Parasitized - "Existence Unveiled"
February 2, 2012
Producer: Dan Foster
All good things come to he who waits. In the case of Parasitized, at the time a quintet of Death Metal destruction who's origins reside in Hull, England, had to wait an excruciating 32 months for the seemingly impossible to happen: To have a record label pick up their debut EP entitled "Existence Unveiled", and release it upon the unsuspecting ears of Death Metal elitists across the globe, revitalizing a struggling band's career.
"Existence Unveiled" is a six-track EP of total mayhem and pandemonium. Everything on this release clicks: the instrumentation, vocal levels, atmosphere and even jacket artwork.
Dan Foster managed to record and catch this band in an environment where they sound so raw and bombastic you'd think they were recording at the bottom of a stairwell!! This release is so incredibly loud and in your face it knocks you down into your seat and straps you down for a listen. However, on top of how intensely loud this release is, you truly see how organic Parasitized really is. The riffs of Adam Blyth and Sam Wilson slap you across the face and fester in your brain, their leads are so wildly chaotic yet contain a sense of melody that most bands can't pull off when trying this approach and Joel Haslam's bass is not totally buried beneath everything else that is happening. Furthermore, the consideration of the bass on this EP is in my opinion one of the reasons why it is such a crushing listening experience. Because when it's only seems to be the drums filling the low-end of any release it leaves the release and the listener with a somewhat hollow feeling. With this EP there is no mercy shown and there's no room to breathe. Haslam's bass attack will be ringing in your ears long after finishing this EP.
With all the talk of guitars I must mention the performance of drummer Tom Walker is top-notch. With very precise blast-beats, smart quick and tasteful fills sometimes involving splash cymbal accents futhermore with an overall playing intensity to be reckoned with, Tom reminds me personally of Jon Rice of Job For A Cowboy fame.
Perhaps the performance on this recording that stunned me the most was that of vocalist Tom Blyth. Tom is extremely proficient vocalist. His timing and phrasing is beyond perfect but what made my jaw drop the most is how high his pitch can go. A lot of the great Death Metal vocalists are very capable of changing pitch mid-breath flawlessly but with Tom it's his ability to go so high it almost seems inhuman and you almost think he is going to collapse his lungs. When Parasitized becomes more well known Tom's skills will become an inspiration to many aspiring Death Metal vocalists I can only believe.
"Existence Unveiled" clocking in at 23 minutes is just merely a taste for things yet to come. Thanks to Blast Head Records, the Canadian distribution that took on the task of releasing this EP. Parasitized has now started to play more shows and even had the honor of opening for Ulcerate, a very proficient Technical Death Metal group. However, most importantly, they have finally started to write new material. Be on the look-out for their debut full-length in the future, if it's anything like their extremely promising EP, Parasitized will have a bright future ahead of them.
My Killer Kutz: "Beyond The Frontiers of Pain", "Flesh Harvest" & "Existence Unveiled"
Sunday, March 11, 2012
Wednesday, February 22, 2012
"Resolution"
Lamb of God - "Resolution"
January 24, 2012
Producer: Josh Wilbur
On August 31, 2004. A quintet from Richmond, Virginia named Lamb of God released their fourth album (third under the Lamb of God banner) entitled: "Ashes of The Wake". This record went on to become their most successful and well received album to the fans and critics alike. Having sold over 398,000 units "Ashes of The Wake" is to date the best selling Lamb of God record.
For the longest time "Ashes of The Wake" was my favorite Lamb of God record as well. Not only for the fact that I thought it was their best written album, but also for the fact that the record in question also turned out to be one of the albums in the first decade of the 21st century to save Heavy Metal music in a time where digital "music" was starting to take over. "Ashes of The Wake", in a time of need, introduced many new fans to the world of Metal, furthermore still keeping the interest alive. Much like Pantera did in the early 90's when they released "Cowboys From Hell" in a time where Metal was starting to lose interest to the Grunge movement front-lined by bands such as Soundgarden and Nirvana.
I was starting to think that Lamb of God wouldn't release another album that hit me nearly as hard as Ashes did. Well, here we are in 2012 eight years later, and Lamb of God proved me wrong with their 7th full length album entitled: "Resolution".
"Resolution" completes a metamorphosis that started on their previous album, 2009's "Wrath". Along with their always improving writing skills, producer Josh Wilbur (who also worked with the band on "Wrath") just might have been the man to give Lamb of God that extra insight they needed in writing the album that all their musical abilities shine their brightest lights.
Starting with the core rhythm section of drummer Chris Adler and bassist John Campbell, their presence together is felt much more on this album compared to anything they've done in the past.
The drums are crisp, clear and more detailed than ever before. Your ears won't miss even the smallest splash cymbal accent and the toms are tuned deeper than ever imagined which makes for a pummeling listening experience all the way through. Every fill Chris plays around the kit you will in your bones more so than any other Lamb of God record.
With every great drummer goes a great bassist. Finally on this record John Campbell can be heard in all his glory. His sense of groove is un-parallel and is a major key that shouldn't go unnoticed in Lamb of God's success. There is no doubt in my mind John brings a portion of the riffs to the table that Mark and Willie translate to the 6-stringers.
Quite possibly the biggest standout feature on this record is guitarist Mark Morton stepping out of his shadow and showing off his lead playing abilities. We've always known he was capable of playing leads in the past as we heard on previous songs like "Ruin" and "Walk With Me In Hell". But on this record he by far surpasses anything he has ever done before. Songs like "The Undertow", "Ghost Walking" and "Invictus" surprised the hell out of me upon my first listen of the album and still do from time to time.
To me the major selling point of this record is how much they have grown as a band. Gone are the breakdowns, which is one of the key things that brought Lamb of God to the table in the first place. In exchange for this we get far much more mature, creative and compelling song-writing. The very dense and constantly changing "The Number Six", the very atmospheric and emotionally charged "King Me" along with quite possibly the most addicting and hook-driven song they have ever composed entitled "Terminally Unique" are all stand-out tracks and signs of musical growth for this very accomplished band, always looking to challenge themselves and to never get too comfortable writing a certain way.
With that being said with their next album should be quite interesting to see how much more they develop as writers and to see if they'll incorporate their now completely Groove-driven sound with their Metalcore roots. Or, mix it with another style or influence of theirs that we don't know about?, only time will tell.
"Resolution" is a album full of good surprises for fans that don't condemn Lamb of God's evolution and artistic growth. There are many chaotic, catchy choruses. Guitar riffs and hooks galore. Plus a few other surprises that you'll have to listen to and experience for yourself.
"Resolution" isn't a selling-out point. It's a point of growth. Intensity, aggression and purpose are not missing on this album. Some may frown upon it now, but give this album another 6 years and I know people will look back on this record and see how much of a turning point this album was for the better. "Resolution" is properly titled, Lamb of God have turned over a new leaf and are only broadening their musical capabilities.
My Killer Kutz: "Terminally Unique", "King Me" and "The Undertow"
January 24, 2012
Producer: Josh Wilbur
On August 31, 2004. A quintet from Richmond, Virginia named Lamb of God released their fourth album (third under the Lamb of God banner) entitled: "Ashes of The Wake". This record went on to become their most successful and well received album to the fans and critics alike. Having sold over 398,000 units "Ashes of The Wake" is to date the best selling Lamb of God record.
For the longest time "Ashes of The Wake" was my favorite Lamb of God record as well. Not only for the fact that I thought it was their best written album, but also for the fact that the record in question also turned out to be one of the albums in the first decade of the 21st century to save Heavy Metal music in a time where digital "music" was starting to take over. "Ashes of The Wake", in a time of need, introduced many new fans to the world of Metal, furthermore still keeping the interest alive. Much like Pantera did in the early 90's when they released "Cowboys From Hell" in a time where Metal was starting to lose interest to the Grunge movement front-lined by bands such as Soundgarden and Nirvana.
I was starting to think that Lamb of God wouldn't release another album that hit me nearly as hard as Ashes did. Well, here we are in 2012 eight years later, and Lamb of God proved me wrong with their 7th full length album entitled: "Resolution".
"Resolution" completes a metamorphosis that started on their previous album, 2009's "Wrath". Along with their always improving writing skills, producer Josh Wilbur (who also worked with the band on "Wrath") just might have been the man to give Lamb of God that extra insight they needed in writing the album that all their musical abilities shine their brightest lights.
Starting with the core rhythm section of drummer Chris Adler and bassist John Campbell, their presence together is felt much more on this album compared to anything they've done in the past.
The drums are crisp, clear and more detailed than ever before. Your ears won't miss even the smallest splash cymbal accent and the toms are tuned deeper than ever imagined which makes for a pummeling listening experience all the way through. Every fill Chris plays around the kit you will in your bones more so than any other Lamb of God record.
With every great drummer goes a great bassist. Finally on this record John Campbell can be heard in all his glory. His sense of groove is un-parallel and is a major key that shouldn't go unnoticed in Lamb of God's success. There is no doubt in my mind John brings a portion of the riffs to the table that Mark and Willie translate to the 6-stringers.
Quite possibly the biggest standout feature on this record is guitarist Mark Morton stepping out of his shadow and showing off his lead playing abilities. We've always known he was capable of playing leads in the past as we heard on previous songs like "Ruin" and "Walk With Me In Hell". But on this record he by far surpasses anything he has ever done before. Songs like "The Undertow", "Ghost Walking" and "Invictus" surprised the hell out of me upon my first listen of the album and still do from time to time.
To me the major selling point of this record is how much they have grown as a band. Gone are the breakdowns, which is one of the key things that brought Lamb of God to the table in the first place. In exchange for this we get far much more mature, creative and compelling song-writing. The very dense and constantly changing "The Number Six", the very atmospheric and emotionally charged "King Me" along with quite possibly the most addicting and hook-driven song they have ever composed entitled "Terminally Unique" are all stand-out tracks and signs of musical growth for this very accomplished band, always looking to challenge themselves and to never get too comfortable writing a certain way.
With that being said with their next album should be quite interesting to see how much more they develop as writers and to see if they'll incorporate their now completely Groove-driven sound with their Metalcore roots. Or, mix it with another style or influence of theirs that we don't know about?, only time will tell.
"Resolution" is a album full of good surprises for fans that don't condemn Lamb of God's evolution and artistic growth. There are many chaotic, catchy choruses. Guitar riffs and hooks galore. Plus a few other surprises that you'll have to listen to and experience for yourself.
"Resolution" isn't a selling-out point. It's a point of growth. Intensity, aggression and purpose are not missing on this album. Some may frown upon it now, but give this album another 6 years and I know people will look back on this record and see how much of a turning point this album was for the better. "Resolution" is properly titled, Lamb of God have turned over a new leaf and are only broadening their musical capabilities.
My Killer Kutz: "Terminally Unique", "King Me" and "The Undertow"
Friday, February 17, 2012
"Infest To Ingest"
Human Infection - "Infest To Ingest"
February 2, 2012
Producer(s): Trey Richards & Human Infection
Suffocation and Cannibal Corpse are two of the most respected, popular and identifiable Death Metal acts on the planet. Both bands showcase Brutal and Technical songwriting yet contain their own individual sound and approach respectfully.
It only seems right to start off 2012 with a brand new band and debut album that took the daunting challenge of writing and perfecting a very old school sounding slab of Death Metal. While maintaining their own individual approach to their music they have directly or indirectly, in my mind, merged two of the best sounding Death Metal Icons into one brand new band full of promise and surprises. The band: Human Infection. The album: "Infest To Ingest".
With this album the first thing that blew me away was the overall guitar sound. This record while brand new, gives off feelings of nostalgia for any long time Death-head, because of the consistency, individuality and intricate yet cunning talents of guitarist Andrew Mathews. Andrew's writing style is something truly to nod your head at. While his writing is completely his own, his style makes ears wonder if Terrance Hobbs (of Suffocation) and Pat O'Brien (of Cannibal Corpse) are playing in the same band, no joke.
Some songs like "Perversely Possessed", "Ungodly Reanimation" and my personal favorite tune off this record "Extremities" showcase, in my mind, a strong Terrance Hobbs influence in the rhythm writing of Mathews' playing. While on the flip-side of the coin tunes like "Vile Disposal", "Sheer Terror" and "Virulent Virtue " show off a strong Pat O'Brien influence in the rhythm writing in my opinion.
As for the lead-playing approach on this record. Again, while Andrew Mathews is his own type of player, I find his use of quick, sporadic sweeping patterns and his chaotically driven leads compared to meticulously composed leads, to pay at least partial homage to that of the style of Pat O'Brien.
To see the grand design and purpose Human Infection was going for with this record look to these three tracks: "Unspeakable Acts of Violence", "Within Sickened Prospects" and "Seed of Madness". With these three tunes being the most musically elite, you really see the unique entity that Human Infection really is. Combining all their different influences while still adding their own unexampled twists and turns; truly giving them a sound of their own. However, at the same time of giving us something new to think about, they blend just the right amount of old school traditions to show us their musical origins, what they're about and what they want to accomplish in the future: To further add, develop and leave their own mark in the world of Death Metal.
With all the talk about guitars on this record I must comment that the drumming is supreme sounding as well. CJ Giles is a very tight time-keeper who reminds me of a cross between Paul Mazurkiewicz (of Cannibal Corpse) and Pete Sandoval (of Morbid Angel & Terrorizer). CJ demonstrates very tight and precise blast-beats along with superb double-kick work, very much to the likes of Mr. Mazurkiewicz. While his sense of using the entire drum-set to it's full capabilities to me is a strong and trademark trait of Mr. Sandoval (who also has very proficient blasting and double kick abilities as well).
Another major point of interest and amazement to me on this record is that of the vocal performance of frontman Andrew Brown. Andrew is an extremely young and promising talent (having just celebrated 18th birthday recently.) With any kind of talent though there is always room for improvement. First off I must say I'm extremely impressed with his performance, but with Human Infection and "Infest To Ingest" being his first band and album ever, I personally felt his phrasing was a little off at a couple of different points throughout the record. That's something that's only going to improve with time and I feel strongly that Andrew will do just fine. His timing, depth and for the most part phrasing is right on the bulls-eye, it just comes with the more experience and the more gigs you play.
Any band is not complete without a bassist, and in Human Infection's case Hank James is the man they turn to. His thunderous and groove based approach to playing will fester in your brain for days upon finishing this record. At times his playing is a little bit buried on this album but when you fully hear what he's pulling off on his fret-board you will be headbanging and playing air-Bass at the same time. On top of his playing abilities Hank also serves as backing vocalist as well, belting out all the higher pitched gutterals. At shows all us fans I'm sure will shout with him in unison his line in the tune "Vile Disposal": "WE MUST STRIVE AWAY FROM FAITH!!!!".
I wouldn't call "Infest To Ingest" a masterpiece but rather an album that is the first major stepping stone to creating the masterpiece that every band wants to set out to do. I'm not saying their next album will be that masterpiece, it could be their third, fourth, fifth maybe even eighth album!! Who knows is what I'm trying to get at. The fact of the matter is this: This band has some serious talent of blending the old school with the new school and that should be a big enough reason to pick up "Infest To Ingest" and start following their career. Human Infection has everything it takes to become a successful band within the world of Death Metal, all they are waiting for is you to buy their album.
My Killer Kutz: "Extremities", "Within Sickened Prospects" and "Unspeakable Acts of Violence"
February 2, 2012
Producer(s): Trey Richards & Human Infection
Suffocation and Cannibal Corpse are two of the most respected, popular and identifiable Death Metal acts on the planet. Both bands showcase Brutal and Technical songwriting yet contain their own individual sound and approach respectfully.
It only seems right to start off 2012 with a brand new band and debut album that took the daunting challenge of writing and perfecting a very old school sounding slab of Death Metal. While maintaining their own individual approach to their music they have directly or indirectly, in my mind, merged two of the best sounding Death Metal Icons into one brand new band full of promise and surprises. The band: Human Infection. The album: "Infest To Ingest".
With this album the first thing that blew me away was the overall guitar sound. This record while brand new, gives off feelings of nostalgia for any long time Death-head, because of the consistency, individuality and intricate yet cunning talents of guitarist Andrew Mathews. Andrew's writing style is something truly to nod your head at. While his writing is completely his own, his style makes ears wonder if Terrance Hobbs (of Suffocation) and Pat O'Brien (of Cannibal Corpse) are playing in the same band, no joke.
Some songs like "Perversely Possessed", "Ungodly Reanimation" and my personal favorite tune off this record "Extremities" showcase, in my mind, a strong Terrance Hobbs influence in the rhythm writing of Mathews' playing. While on the flip-side of the coin tunes like "Vile Disposal", "Sheer Terror" and "Virulent Virtue " show off a strong Pat O'Brien influence in the rhythm writing in my opinion.
As for the lead-playing approach on this record. Again, while Andrew Mathews is his own type of player, I find his use of quick, sporadic sweeping patterns and his chaotically driven leads compared to meticulously composed leads, to pay at least partial homage to that of the style of Pat O'Brien.
To see the grand design and purpose Human Infection was going for with this record look to these three tracks: "Unspeakable Acts of Violence", "Within Sickened Prospects" and "Seed of Madness". With these three tunes being the most musically elite, you really see the unique entity that Human Infection really is. Combining all their different influences while still adding their own unexampled twists and turns; truly giving them a sound of their own. However, at the same time of giving us something new to think about, they blend just the right amount of old school traditions to show us their musical origins, what they're about and what they want to accomplish in the future: To further add, develop and leave their own mark in the world of Death Metal.
With all the talk about guitars on this record I must comment that the drumming is supreme sounding as well. CJ Giles is a very tight time-keeper who reminds me of a cross between Paul Mazurkiewicz (of Cannibal Corpse) and Pete Sandoval (of Morbid Angel & Terrorizer). CJ demonstrates very tight and precise blast-beats along with superb double-kick work, very much to the likes of Mr. Mazurkiewicz. While his sense of using the entire drum-set to it's full capabilities to me is a strong and trademark trait of Mr. Sandoval (who also has very proficient blasting and double kick abilities as well).
Another major point of interest and amazement to me on this record is that of the vocal performance of frontman Andrew Brown. Andrew is an extremely young and promising talent (having just celebrated 18th birthday recently.) With any kind of talent though there is always room for improvement. First off I must say I'm extremely impressed with his performance, but with Human Infection and "Infest To Ingest" being his first band and album ever, I personally felt his phrasing was a little off at a couple of different points throughout the record. That's something that's only going to improve with time and I feel strongly that Andrew will do just fine. His timing, depth and for the most part phrasing is right on the bulls-eye, it just comes with the more experience and the more gigs you play.
Any band is not complete without a bassist, and in Human Infection's case Hank James is the man they turn to. His thunderous and groove based approach to playing will fester in your brain for days upon finishing this record. At times his playing is a little bit buried on this album but when you fully hear what he's pulling off on his fret-board you will be headbanging and playing air-Bass at the same time. On top of his playing abilities Hank also serves as backing vocalist as well, belting out all the higher pitched gutterals. At shows all us fans I'm sure will shout with him in unison his line in the tune "Vile Disposal": "WE MUST STRIVE AWAY FROM FAITH!!!!".
I wouldn't call "Infest To Ingest" a masterpiece but rather an album that is the first major stepping stone to creating the masterpiece that every band wants to set out to do. I'm not saying their next album will be that masterpiece, it could be their third, fourth, fifth maybe even eighth album!! Who knows is what I'm trying to get at. The fact of the matter is this: This band has some serious talent of blending the old school with the new school and that should be a big enough reason to pick up "Infest To Ingest" and start following their career. Human Infection has everything it takes to become a successful band within the world of Death Metal, all they are waiting for is you to buy their album.
My Killer Kutz: "Extremities", "Within Sickened Prospects" and "Unspeakable Acts of Violence"
Wednesday, February 15, 2012
"Nauseate"
Splattered Entrails - "Nauseate"
August 9, 2011
Producer: Mike O'Hara
One man bands are something in the world of extreme metal that get a lot of the time frowned upon. Some of these reasons include: The guitarist involved often repeats himself for the length of the record. The songs on top of sounding the same have no foundation or structure. Finally, the drum programming is a lot of the times lifeless, robotic sounding furthermore replacing groove and feel with only speed and intensity. Not a good trade off at all.
Late last year I came across the band Splattered Entrails and was completely blown away, this Death Metal band had it all: Speed, Groove, Brutality and most importantly Foundation. It came to me as a great shock when I learned that Splattered Entrails was a one-man Death Metal Machine created by guitarist/vocalist Mike O'Hara. The album in question you ask? Is his debut full-length record: 2011's "Nauseate".
Grabbing my attention right away was Mike's very strong sense of groove. While there are some extremely fast tunes on this record, Mike proves time and time again that you don't always have to play 280BPM's to write and perform Death Metal. He showcases this rather well in the album's opening and closing tracks respectfully: "Rewriting Human Genetics" and "Eliminating The Substructure", which are both instrumental pieces that show groove and feel are just as if not more important than speed and intensity.
Upon listening to this album several times, another thing I really noticed about Mike's playing style is his ability in writing riffs that feature built-in melodic hooks. Some tunes where this really stands out are: "Bathyspheric Claustrophobia", "Humans: Deprogrammed" and my favorite song off this record "Compound 19". I list this as significant because with Splattered Entrails being a Brutal Death Metal project, it's normally atypical for bands of this sub-genre to play around with melodic hooks. As most bands in this specific sub-genre when it comes to writing hooks tend to favor atonal and chaotic lead sections. Which is why in my opinion Mike O'Hara has something very special going with Splattered Entrails.
As I said earlier when I learned Splattered Entrails was a one-man project I was really stunned. A good portion of that reason was the incredible drum-programming that takes place on this record. There is nothing on this album that sounds robotic or alien-like, the drums groove with life and for the most part sound extremely organic (omitting one passage in the still amazing song "Buried In Cement"). What impressed me the most is Mike's drummer instincts despite the guitar being his main instrument, and the fact he programmed this entire record without the assistance of another sticks-man for guidance or suggestions.
Mike, who plays drums as his second instrument, obviously had an advantage when programming this record. However, many other one-man bands should take note and learn from "Nauseate". The higher your knowledge of drums, the better chances your record will become a success. Guitars are only have the equation, if your drums lack groove, feel and sound extraterrestrial the chances of your album becoming successful start to become nil.
"Nauseate" is 35-minute Brutal Death Metal assault divided up into 10 tracks for your auditory pleasures. Each tune is heavy, tight and will blow your head off after every listen. This album easily made my top list of 2011. Mike has stated that he already has enough material written for two more albums. It will be very interesting to see how much he improves with each record. We can only hope that the second Splattered Entrails record will see the light of day before the end of 2012.
If you don't own "Nauseate" you should be disgusted by the thought, this record destroys everything in it's path. Mike O'Hara and Splattered Entrails are one of the first Brutal Death bands in quite some time to breathe some new life and spark some new imagination into this amazing genre of music. Be on the lookout - Splattered Entrails is going to roll some heads in the years to come.
My Killer Kutz: "Compound 19", "Buried In Cement" and "Swarm of Virulence"
August 9, 2011
Producer: Mike O'Hara
One man bands are something in the world of extreme metal that get a lot of the time frowned upon. Some of these reasons include: The guitarist involved often repeats himself for the length of the record. The songs on top of sounding the same have no foundation or structure. Finally, the drum programming is a lot of the times lifeless, robotic sounding furthermore replacing groove and feel with only speed and intensity. Not a good trade off at all.
Late last year I came across the band Splattered Entrails and was completely blown away, this Death Metal band had it all: Speed, Groove, Brutality and most importantly Foundation. It came to me as a great shock when I learned that Splattered Entrails was a one-man Death Metal Machine created by guitarist/vocalist Mike O'Hara. The album in question you ask? Is his debut full-length record: 2011's "Nauseate".
Grabbing my attention right away was Mike's very strong sense of groove. While there are some extremely fast tunes on this record, Mike proves time and time again that you don't always have to play 280BPM's to write and perform Death Metal. He showcases this rather well in the album's opening and closing tracks respectfully: "Rewriting Human Genetics" and "Eliminating The Substructure", which are both instrumental pieces that show groove and feel are just as if not more important than speed and intensity.
Upon listening to this album several times, another thing I really noticed about Mike's playing style is his ability in writing riffs that feature built-in melodic hooks. Some tunes where this really stands out are: "Bathyspheric Claustrophobia", "Humans: Deprogrammed" and my favorite song off this record "Compound 19". I list this as significant because with Splattered Entrails being a Brutal Death Metal project, it's normally atypical for bands of this sub-genre to play around with melodic hooks. As most bands in this specific sub-genre when it comes to writing hooks tend to favor atonal and chaotic lead sections. Which is why in my opinion Mike O'Hara has something very special going with Splattered Entrails.
As I said earlier when I learned Splattered Entrails was a one-man project I was really stunned. A good portion of that reason was the incredible drum-programming that takes place on this record. There is nothing on this album that sounds robotic or alien-like, the drums groove with life and for the most part sound extremely organic (omitting one passage in the still amazing song "Buried In Cement"). What impressed me the most is Mike's drummer instincts despite the guitar being his main instrument, and the fact he programmed this entire record without the assistance of another sticks-man for guidance or suggestions.
Mike, who plays drums as his second instrument, obviously had an advantage when programming this record. However, many other one-man bands should take note and learn from "Nauseate". The higher your knowledge of drums, the better chances your record will become a success. Guitars are only have the equation, if your drums lack groove, feel and sound extraterrestrial the chances of your album becoming successful start to become nil.
"Nauseate" is 35-minute Brutal Death Metal assault divided up into 10 tracks for your auditory pleasures. Each tune is heavy, tight and will blow your head off after every listen. This album easily made my top list of 2011. Mike has stated that he already has enough material written for two more albums. It will be very interesting to see how much he improves with each record. We can only hope that the second Splattered Entrails record will see the light of day before the end of 2012.
If you don't own "Nauseate" you should be disgusted by the thought, this record destroys everything in it's path. Mike O'Hara and Splattered Entrails are one of the first Brutal Death bands in quite some time to breathe some new life and spark some new imagination into this amazing genre of music. Be on the lookout - Splattered Entrails is going to roll some heads in the years to come.
My Killer Kutz: "Compound 19", "Buried In Cement" and "Swarm of Virulence"
Saturday, February 11, 2012
"Strategy of Obsolescence"
Hate Division - "Strategy of Obsolescence"
February 11, 2011
Producer: Shane Forsyth
Deathgrind is a genre of music where the technical aspects of Death Metal merge with the intensity of Grindcore. Thus creating one of the most intense and ear shattering sub-genres in the world of Heavy Metal. However, there is one Canadian quartet that while they fit the expectations listed above, they have in my opinion written their own set of rules. That band is Hate Division with their debut full-length album: 2011's "Strategy of Obsolescence".
When listening to this album the first thing I noticed that I thought was really cool, was the way they literally composed the record.
The majority of Deathgrind bands tend to write songs that are usually between 1:30 to 2:30 in length, that contains extreme lead work with a lot of the time rhythm work that is easily overlooked and forgotten. With Hate Division, their song structures more favor Death Metal with the majority of the tracks being over three minutes in length. In my mind however, what truly separates Hate Division from most of their peers is their overall sound.
In Deathgrind most bands go back and forth with their songs. In other words, some songs sound more like Death Metal and some songs sound more like Grindcore. It's a breath of fresh air to see a band like Hate Division find that perfect balance and incorporate it into all their songs. Each tune you come across on this record guitarist Howard Young treats you to some crusty Grind riffs and in a matter of a heartbeat, slaps you across the face with that classic down-tuned traditional Death Metal sound we all know and love. Songs like "Regression of Reality" and "Denialism" showcase this rather well.
It's right about now that I should mention that this band is extremely tight. These guys can stop on a dime going from blasting and riffing frenzies into short, precise, catchy and calculated intervals that really keep you on edge and most importantly keep you guessing throughout the entire record.
The advanced rhythm section of bassist Paul Shaw and drummer Shane Forsyth are the glue that in this case hold these intervals together and are the major points of interest at various sections throughout this album. Tunes like the title track "Strategy of Obsolescence" and "Assimilation Or Death" are two prime examples of this combination hard at work.
Hate Division is a band of many talents and perhaps one of if not the best thing about this record is the vocal performance. I am not joking when I say Sean Wyszynski is quite possibility the best Death vocalist I have come across in a very long time. His sense of timing and phrasing along with his ability to change pitch mid-breath flawlessly is very hard to come by. For their genre of Death-flavored music, Sean is the next best thing to in my opinion the best Death Metal vocalist on the scene, in terms to their style as: George Fisher from the legendary Death Metal band - Cannibal Corpse.
As far as the production is concerned the only thing I would have done a little differently is I would have had the Bass more prominent in the final mix. However, besides my personal preference, drummer Shane Forsyth did an outstanding job with the production. The sound was consistent all the way through, each instrument stood out at all the right parts respectfully and the vocals were not over-shadowed by all the instruments - a very even final mix. Quite honestly, for a debut full-length album that is extremely impressive in my mind.
Finally all I can say is this: Hate Division is a band to be on the look-out for in the years to come. If first impressions mean anything, this band is going to get heavier, more technical and more experimental in their quest to fully create their own niche. This band has all the tools and talent to become a big deal in extreme music. It's just simply a matter of being in the right place at the right time.
My Killer Kutz: "Assimilation Or Death", "Regression of Reality" and "A Division of Hate"
February 11, 2011
Producer: Shane Forsyth
Deathgrind is a genre of music where the technical aspects of Death Metal merge with the intensity of Grindcore. Thus creating one of the most intense and ear shattering sub-genres in the world of Heavy Metal. However, there is one Canadian quartet that while they fit the expectations listed above, they have in my opinion written their own set of rules. That band is Hate Division with their debut full-length album: 2011's "Strategy of Obsolescence".
When listening to this album the first thing I noticed that I thought was really cool, was the way they literally composed the record.
The majority of Deathgrind bands tend to write songs that are usually between 1:30 to 2:30 in length, that contains extreme lead work with a lot of the time rhythm work that is easily overlooked and forgotten. With Hate Division, their song structures more favor Death Metal with the majority of the tracks being over three minutes in length. In my mind however, what truly separates Hate Division from most of their peers is their overall sound.
In Deathgrind most bands go back and forth with their songs. In other words, some songs sound more like Death Metal and some songs sound more like Grindcore. It's a breath of fresh air to see a band like Hate Division find that perfect balance and incorporate it into all their songs. Each tune you come across on this record guitarist Howard Young treats you to some crusty Grind riffs and in a matter of a heartbeat, slaps you across the face with that classic down-tuned traditional Death Metal sound we all know and love. Songs like "Regression of Reality" and "Denialism" showcase this rather well.
It's right about now that I should mention that this band is extremely tight. These guys can stop on a dime going from blasting and riffing frenzies into short, precise, catchy and calculated intervals that really keep you on edge and most importantly keep you guessing throughout the entire record.
The advanced rhythm section of bassist Paul Shaw and drummer Shane Forsyth are the glue that in this case hold these intervals together and are the major points of interest at various sections throughout this album. Tunes like the title track "Strategy of Obsolescence" and "Assimilation Or Death" are two prime examples of this combination hard at work.
Hate Division is a band of many talents and perhaps one of if not the best thing about this record is the vocal performance. I am not joking when I say Sean Wyszynski is quite possibility the best Death vocalist I have come across in a very long time. His sense of timing and phrasing along with his ability to change pitch mid-breath flawlessly is very hard to come by. For their genre of Death-flavored music, Sean is the next best thing to in my opinion the best Death Metal vocalist on the scene, in terms to their style as: George Fisher from the legendary Death Metal band - Cannibal Corpse.
As far as the production is concerned the only thing I would have done a little differently is I would have had the Bass more prominent in the final mix. However, besides my personal preference, drummer Shane Forsyth did an outstanding job with the production. The sound was consistent all the way through, each instrument stood out at all the right parts respectfully and the vocals were not over-shadowed by all the instruments - a very even final mix. Quite honestly, for a debut full-length album that is extremely impressive in my mind.
Finally all I can say is this: Hate Division is a band to be on the look-out for in the years to come. If first impressions mean anything, this band is going to get heavier, more technical and more experimental in their quest to fully create their own niche. This band has all the tools and talent to become a big deal in extreme music. It's just simply a matter of being in the right place at the right time.
My Killer Kutz: "Assimilation Or Death", "Regression of Reality" and "A Division of Hate"
Friday, January 27, 2012
"Deconstruction"
Devin Townsend Project - "Deconstruction"
June 21, 2011
Producer: Devin Townsend
January 1st of every year is a significant day to countless people of all walks of life. For the newly-wed couple it marks the beginning of their new life together, with the new calender year a wide open canvas for optimism and adventure all theirs for the taking. For the soldiers risking their lives over sea, the glass remains half full as they patrol their routes pondering the thoughts of the war's end and returning home safely to their families. For the Metalhead January 1st at dawn is known as national hangover day. However, as the cobwebs begin to crumble of the previous night's endeavors, our minds wonder towards the question of what will the album of the year be? Well, with 2011 now in the rear-view mirror to me the answer to this question came fairly easy. For what my thoughts are worth "Deconstruction" the thirteenth studio album from Devin Townsend (also the third record in the Devin Townsend Project series) is my pick for album of 2011.
For anyone who has followed Devin's career most of you (myself included) would say this is the album that Devin has been building to create his entire career.
Devin's playing and song-writing has gone through a metamorphosis over the last few years, as all his musical influences are really starting to show up in all of his works nowadays (With each album in The Devin Townsend Project series being the ruby on a mood ring. They each explore a different area of Devin's musical interests that you can quite easily relate to your current emotional state.) With Deconstruction being easily the most aggressive, angry and destructive album in the series it's no surprise that it is the full out "Metal" record in the series. However, that doesn't stop Devin from pushing the envelope thus creating one of the most jaw-dropping records in the last 15 years.
The first thing to really grab my attention on this record is the army of guest vocalists who share the spotlight (some very briefly) with Devin. There are too many to name but the three most of you will recognize are: Mikael Akerfedlt (Opeth/Bloodbath), Tommy Giles Rogers (Between The Buried And Me) and Paul Masvidal (ex-Death, Cynic). The cool thing is however, among these three and the others who contributed to this record, Devin - the keen musician that he is, uses all their voices in a very constructive matter. As each different voice gives the 9 tracks on this album their own sense of purpose, always keeping it fresh and unpredictable. Each vocalist's distinctive approach and range blends perfectly with the songs they are featured in. They are all tediously placed and hit their marks on the bulls-eye. Rather than sounding like a mundane pop song and having to guess who is the vocalist because they change every second line. Each vocalist that has a part in this record you truly notice their contributions.
With Devin handling most of the instrumentation on "Deconstruction", playing all guitars (except a guest solo by Meshuggah guitarist Fredrik Thordendal in the title track), bass, keyboards and programming. That leaves us with the drumming that is taking place on this record.
The drumming on this record was accomplished with two different sticks-men: Ryan Van Poederooyen (who gained recognition playing with Devin on past albums) and Dirk Verbeuren (Soilwork & Scarve).
The cool thing with working with two drummers is that it gave Devin more space to venture out and write music that not only appeals to him but caters to the two drummers strengths and specialties. In the songs that featured more dominate Industrial structures and elements like: "Praise The Lowered", "Stand" and my personal favorite track "Planet of The Apes" Ryan handled the time-keeping. While on the more Metal and technical side of things on tunes like: "Pandemic", "Poltergeist" and "Sumeria" Dirk was sitting at the throne for those tunes.
Perhaps the most impressive part about this record is that despite all the insane proficiency of Devin and company on their respected instruments, it's the fact that Devin sat and composed an entire score with the help of Pro-Tools and presented the Prague Philharmonic Orchestra with an entire score of "Deconstruction". While this element adds a whole new other dimension to the record, turn to the tracks "Stand", "Juular" and "The Mighty Masturbator" for they are in my opinion the tracks where the Orchestra shines it's brightest light.
"Deconstruction" is an album full of surprises at every turn and in the album's centerpiece, the 16-minute epic "The Mighty Masturbator", it couldn't be anymore clearer. This track has it all: Metal, Industrial Rock, antediluvian instrumentation and during the climax of the tune I kid you not: Carnival-themed music with an accompanying speech that the inner-man in all of us would pound our chests to like a Viking being promised entrance to Valhalla.
Amongst all the aggression and chaos that is unleashed during "Deconstruction" their is a message involved. "Deconstruction is a concept album about a man who is obsessed with finding the true nature of reality." Townsend went on further to say that "Deconstruction is a musical representation of facing your fears and overcoming them." In short Devin wanted this record to have a positive direction, despite the maniacal nature of the music presented.
As I am writing this the date is January 27, 2012. I purchased this album in July of 2011. It has taken many many listens between now and then for me to be writing this paragraph you are reading right now. This album has not only challenged me as a musician to push myself further to become a more proficient drummer, this record has also pushed me to the brink of my writing abilities. Upon completion of this review I feel as if I have improved my craft significantly and look forward to finding my next writing endeavor.
In closing if you don't own "Deconstruction" you are seriously cheating yourself out of an amazing 70 minutes of music, that will be stuck in you Cd player for many months to come.
My Killer Kutz: "Planet of The Apes", "Stand" and "The Mighty Masturbator"
June 21, 2011
Producer: Devin Townsend
January 1st of every year is a significant day to countless people of all walks of life. For the newly-wed couple it marks the beginning of their new life together, with the new calender year a wide open canvas for optimism and adventure all theirs for the taking. For the soldiers risking their lives over sea, the glass remains half full as they patrol their routes pondering the thoughts of the war's end and returning home safely to their families. For the Metalhead January 1st at dawn is known as national hangover day. However, as the cobwebs begin to crumble of the previous night's endeavors, our minds wonder towards the question of what will the album of the year be? Well, with 2011 now in the rear-view mirror to me the answer to this question came fairly easy. For what my thoughts are worth "Deconstruction" the thirteenth studio album from Devin Townsend (also the third record in the Devin Townsend Project series) is my pick for album of 2011.
For anyone who has followed Devin's career most of you (myself included) would say this is the album that Devin has been building to create his entire career.
Devin's playing and song-writing has gone through a metamorphosis over the last few years, as all his musical influences are really starting to show up in all of his works nowadays (With each album in The Devin Townsend Project series being the ruby on a mood ring. They each explore a different area of Devin's musical interests that you can quite easily relate to your current emotional state.) With Deconstruction being easily the most aggressive, angry and destructive album in the series it's no surprise that it is the full out "Metal" record in the series. However, that doesn't stop Devin from pushing the envelope thus creating one of the most jaw-dropping records in the last 15 years.
The first thing to really grab my attention on this record is the army of guest vocalists who share the spotlight (some very briefly) with Devin. There are too many to name but the three most of you will recognize are: Mikael Akerfedlt (Opeth/Bloodbath), Tommy Giles Rogers (Between The Buried And Me) and Paul Masvidal (ex-Death, Cynic). The cool thing is however, among these three and the others who contributed to this record, Devin - the keen musician that he is, uses all their voices in a very constructive matter. As each different voice gives the 9 tracks on this album their own sense of purpose, always keeping it fresh and unpredictable. Each vocalist's distinctive approach and range blends perfectly with the songs they are featured in. They are all tediously placed and hit their marks on the bulls-eye. Rather than sounding like a mundane pop song and having to guess who is the vocalist because they change every second line. Each vocalist that has a part in this record you truly notice their contributions.
With Devin handling most of the instrumentation on "Deconstruction", playing all guitars (except a guest solo by Meshuggah guitarist Fredrik Thordendal in the title track), bass, keyboards and programming. That leaves us with the drumming that is taking place on this record.
The drumming on this record was accomplished with two different sticks-men: Ryan Van Poederooyen (who gained recognition playing with Devin on past albums) and Dirk Verbeuren (Soilwork & Scarve).
The cool thing with working with two drummers is that it gave Devin more space to venture out and write music that not only appeals to him but caters to the two drummers strengths and specialties. In the songs that featured more dominate Industrial structures and elements like: "Praise The Lowered", "Stand" and my personal favorite track "Planet of The Apes" Ryan handled the time-keeping. While on the more Metal and technical side of things on tunes like: "Pandemic", "Poltergeist" and "Sumeria" Dirk was sitting at the throne for those tunes.
Perhaps the most impressive part about this record is that despite all the insane proficiency of Devin and company on their respected instruments, it's the fact that Devin sat and composed an entire score with the help of Pro-Tools and presented the Prague Philharmonic Orchestra with an entire score of "Deconstruction". While this element adds a whole new other dimension to the record, turn to the tracks "Stand", "Juular" and "The Mighty Masturbator" for they are in my opinion the tracks where the Orchestra shines it's brightest light.
"Deconstruction" is an album full of surprises at every turn and in the album's centerpiece, the 16-minute epic "The Mighty Masturbator", it couldn't be anymore clearer. This track has it all: Metal, Industrial Rock, antediluvian instrumentation and during the climax of the tune I kid you not: Carnival-themed music with an accompanying speech that the inner-man in all of us would pound our chests to like a Viking being promised entrance to Valhalla.
Amongst all the aggression and chaos that is unleashed during "Deconstruction" their is a message involved. "Deconstruction is a concept album about a man who is obsessed with finding the true nature of reality." Townsend went on further to say that "Deconstruction is a musical representation of facing your fears and overcoming them." In short Devin wanted this record to have a positive direction, despite the maniacal nature of the music presented.
As I am writing this the date is January 27, 2012. I purchased this album in July of 2011. It has taken many many listens between now and then for me to be writing this paragraph you are reading right now. This album has not only challenged me as a musician to push myself further to become a more proficient drummer, this record has also pushed me to the brink of my writing abilities. Upon completion of this review I feel as if I have improved my craft significantly and look forward to finding my next writing endeavor.
In closing if you don't own "Deconstruction" you are seriously cheating yourself out of an amazing 70 minutes of music, that will be stuck in you Cd player for many months to come.
My Killer Kutz: "Planet of The Apes", "Stand" and "The Mighty Masturbator"
Friday, August 19, 2011
"Planetary Duality"
The Faceless - "Planetary Duality"
November 12, 2008
Producer: Michael Keene
If you are a fan of Death Metal you are a fan of extremely fast music. While that is an obvious statement, the point I'm trying to get across is basically this: Everyone in this genre is very capable of executing fast, heavy and aggressive music.
So while it is easy to find countless bands that fit the criteria above, it is also at the same time kind of depressing. There was a time where all it took was the speed and nature of the music to be considered a good Death Metal band. Nowadays bands have to be willing to take the next step in working to create an identity of their own and put their own fingerprint in this wonderful but sometimes mundane genre of music. However, a California quintet known as The Faceless were up to the challenge and did they ever deliver!!.
Whether your a fan of melodic leads, themes and passages. Or whether your a fan of technical riffing and time changes, it is all here within this record. Producer Michael Keene (who also serves as the band's primary songwriter and guitarist) does a stellar job at capturing everything his band was looking to accomplish with this album.
The Faceless' claim to fame more-or-less is the guitar work from the guitarist duo of Michael Keene and Steve Jones. Throughout the entire record both of their playing abilities shine without question. Showing casing both of their strong senses of rhythm, flawless time changes and tastes for melodic and even softer sections (like the instrumental interlude "Shape Shifters" for example.)
While this record adds a little more diversity in the fact that the band does explore more with experimenting around with genre-hopping. With a couple more sections with clean vocals provided by Michael Keene, the use of robotic vocals for a few different sections throughout the album and proper use of keyboards throughout (which is a major improvement from their debut album "Akeldama".) This excellent record does come with a couple of personal flaws in my opinion.
While the band pushed the bar up once again rising the technicality of their music, even with additional breath-taking moments throughout the entire record. In my eyes they were off the mark just a little bit as I found myself missing some of the incredible melodies found on "Akeldama." Furthermore, while the use of robotic vocals can be and are really cool, on this album I found them to sound almost out of place and could be considered by some to sound comical.
However, "Planetary Duality" was indeed the right step and progression for The Faceless to make. You have to respect the band for not making "Akeldama - Part 2," and following their own musical instincts to make the exact record they wanted to make. It simply comes down to maybe "Planetary Duality" just didn't hit me nearly as hard as "Akeldama" did?
With all comparisons aside I can tell you this though. "Planetary Duality" is one record that is very much worth owning and dare I say was one of the more elite records of 2008. All I can really say in closing is this: I am very excited to hear what their next record will have to offer. Furthermore, to see what musical boundaries, ideas and inspirations that have influenced them over the last three to four years.
My Killer Kutz: "Xenochrist", "Coldly Calculated Design" and "Prison Born"
November 12, 2008
Producer: Michael Keene
If you are a fan of Death Metal you are a fan of extremely fast music. While that is an obvious statement, the point I'm trying to get across is basically this: Everyone in this genre is very capable of executing fast, heavy and aggressive music.
So while it is easy to find countless bands that fit the criteria above, it is also at the same time kind of depressing. There was a time where all it took was the speed and nature of the music to be considered a good Death Metal band. Nowadays bands have to be willing to take the next step in working to create an identity of their own and put their own fingerprint in this wonderful but sometimes mundane genre of music. However, a California quintet known as The Faceless were up to the challenge and did they ever deliver!!.
Whether your a fan of melodic leads, themes and passages. Or whether your a fan of technical riffing and time changes, it is all here within this record. Producer Michael Keene (who also serves as the band's primary songwriter and guitarist) does a stellar job at capturing everything his band was looking to accomplish with this album.
The Faceless' claim to fame more-or-less is the guitar work from the guitarist duo of Michael Keene and Steve Jones. Throughout the entire record both of their playing abilities shine without question. Showing casing both of their strong senses of rhythm, flawless time changes and tastes for melodic and even softer sections (like the instrumental interlude "Shape Shifters" for example.)
While this record adds a little more diversity in the fact that the band does explore more with experimenting around with genre-hopping. With a couple more sections with clean vocals provided by Michael Keene, the use of robotic vocals for a few different sections throughout the album and proper use of keyboards throughout (which is a major improvement from their debut album "Akeldama".) This excellent record does come with a couple of personal flaws in my opinion.
While the band pushed the bar up once again rising the technicality of their music, even with additional breath-taking moments throughout the entire record. In my eyes they were off the mark just a little bit as I found myself missing some of the incredible melodies found on "Akeldama." Furthermore, while the use of robotic vocals can be and are really cool, on this album I found them to sound almost out of place and could be considered by some to sound comical.
However, "Planetary Duality" was indeed the right step and progression for The Faceless to make. You have to respect the band for not making "Akeldama - Part 2," and following their own musical instincts to make the exact record they wanted to make. It simply comes down to maybe "Planetary Duality" just didn't hit me nearly as hard as "Akeldama" did?
With all comparisons aside I can tell you this though. "Planetary Duality" is one record that is very much worth owning and dare I say was one of the more elite records of 2008. All I can really say in closing is this: I am very excited to hear what their next record will have to offer. Furthermore, to see what musical boundaries, ideas and inspirations that have influenced them over the last three to four years.
My Killer Kutz: "Xenochrist", "Coldly Calculated Design" and "Prison Born"
"When Legends Become Dust"
Conducting From The Grave - "When Legends Become Dust"
February 17, 2009
Producer: Zach Ohren
Every long time Metalhead will tell you at one point or the other they go through a phase where nothing new they find excites them as much as bands from the past. That almost every new Metal band on the circuit is just a copycat version of something that is years gone by. I know this because I myself was guilty of this on a few different occasions.
I was somewhat in that state of mind again when a very good friend of mine mentioned the band Conducting From The Grave to me. So like the devout metal head that I am, I went to youtube and began my search. The quest was looking for material off their debut record: 2009's "When Legends Become Dust." So needless to say but after listening to the title track I was far beyond mildly interested, in fact I was hooked immediately.
It wasn't too long before I tracked down the record and popped it into my cd player. Thus beginning a 53-minute journey that cleansed me of my self-doubt the week before and drenched me with a new found enthusiasm. That indeed there are still plenty of bands unheard to my ears that have the ability to drop my jaw and embrace my heart.
Conducting From The Grave is no ordinary Deathcore band. Drawing heavy influence from various aspects of Death Metal (and even Jazz) that prosper flawlessly throughout this record. Having a taste for technical riffing and very melodic hooks and leads is ever apparent through the entire album. Tracks like "From Ruins We Rise," "Improper Burial" and "The Skies Are Blackened... Not By Clouds But Insects" are just only mere examples as the entire album is full of memorable catchy riffs and melodies.
However, in my eyes the most interesting feature about this band is their approach to playing breakdowns.
While breakdowns are sometimes frowned upon by listeners because some view breakdowns as just a way to lengthen a song without adding any depth to it. Conducting From The Grave prove so many people wrong as they added their own unique twist of playing lead runs and hooks over their breakdowns, truly giving them a sound like no other band I have heard to date. Tunes like "The Calming Effect," "Burdens of A Dying World" and the title track again are just mere examples as each track truly has it's own identity and specific qualities to look for. Indeed, the guitarist duo of John Abernathy and Jeff Morgan have a playing chemistry I have not seen in a very long time.
With all the talk of the guitar playing on this album I must mention that the other members of this band are just as equally responsible for the brilliance of this record. Drummer Greg Donnelly indeed knows how to play the entire drum kit as he does not fully depend just on blast beats to get him through the album. In fact Greg throws quite a few different time signatures and influences in his playing furthermore making him the point of interest at various moments during this record.
Working with producer Zach Ohren meant that the bass would get the attention it so rightfully deserves on this compilation. Steve Lovas, while not pumping out any bass leads on this album, nonetheless plays at a breakneck speed through many technical bass passages on this record. That furthermore at the hands of the wrong producer would have gone unnoticed if not for Mr. Ohren. For that every fan of this record and band owes him a huge thank you.
Last but not least vocalist Lou Tanius delivers one of the finest vocal performances I have heard on a Deathcore/Death Metal release in quite some time. It's been awhile since I've heard a Death Metal vocalist with as much power and clarity as in my opinion the best Death vocalist in the scene: George Fisher of Cannibal Corpse fame.
I realize up until this point I have only praised this album. I am a very realistic listener and usually have something to point out that could have made the record in question that much better. However, with this record I have really no concerns. I have listened to this album a full fifteen times and still do not have a bone to pick with it. Despite people who think differently than I, I do believe this is the closest thing to a perfect record I have heard in a very long time.
All that is really left to say is for those fans of Death Metal/Core who have yet to listen to "When Legends Become Dust" have no idea on how much they are missing out on. This record should be pushed to the top of all their album lists. No joke this record has the changed the landscape of Deathcore music in my eyes forever.
My Killer Kutz: "Improper Burial," "Eternally Gutted" & "From Ruins We Rise"
February 17, 2009
Producer: Zach Ohren
Every long time Metalhead will tell you at one point or the other they go through a phase where nothing new they find excites them as much as bands from the past. That almost every new Metal band on the circuit is just a copycat version of something that is years gone by. I know this because I myself was guilty of this on a few different occasions.
I was somewhat in that state of mind again when a very good friend of mine mentioned the band Conducting From The Grave to me. So like the devout metal head that I am, I went to youtube and began my search. The quest was looking for material off their debut record: 2009's "When Legends Become Dust." So needless to say but after listening to the title track I was far beyond mildly interested, in fact I was hooked immediately.
It wasn't too long before I tracked down the record and popped it into my cd player. Thus beginning a 53-minute journey that cleansed me of my self-doubt the week before and drenched me with a new found enthusiasm. That indeed there are still plenty of bands unheard to my ears that have the ability to drop my jaw and embrace my heart.
Conducting From The Grave is no ordinary Deathcore band. Drawing heavy influence from various aspects of Death Metal (and even Jazz) that prosper flawlessly throughout this record. Having a taste for technical riffing and very melodic hooks and leads is ever apparent through the entire album. Tracks like "From Ruins We Rise," "Improper Burial" and "The Skies Are Blackened... Not By Clouds But Insects" are just only mere examples as the entire album is full of memorable catchy riffs and melodies.
However, in my eyes the most interesting feature about this band is their approach to playing breakdowns.
While breakdowns are sometimes frowned upon by listeners because some view breakdowns as just a way to lengthen a song without adding any depth to it. Conducting From The Grave prove so many people wrong as they added their own unique twist of playing lead runs and hooks over their breakdowns, truly giving them a sound like no other band I have heard to date. Tunes like "The Calming Effect," "Burdens of A Dying World" and the title track again are just mere examples as each track truly has it's own identity and specific qualities to look for. Indeed, the guitarist duo of John Abernathy and Jeff Morgan have a playing chemistry I have not seen in a very long time.
With all the talk of the guitar playing on this album I must mention that the other members of this band are just as equally responsible for the brilliance of this record. Drummer Greg Donnelly indeed knows how to play the entire drum kit as he does not fully depend just on blast beats to get him through the album. In fact Greg throws quite a few different time signatures and influences in his playing furthermore making him the point of interest at various moments during this record.
Working with producer Zach Ohren meant that the bass would get the attention it so rightfully deserves on this compilation. Steve Lovas, while not pumping out any bass leads on this album, nonetheless plays at a breakneck speed through many technical bass passages on this record. That furthermore at the hands of the wrong producer would have gone unnoticed if not for Mr. Ohren. For that every fan of this record and band owes him a huge thank you.
Last but not least vocalist Lou Tanius delivers one of the finest vocal performances I have heard on a Deathcore/Death Metal release in quite some time. It's been awhile since I've heard a Death Metal vocalist with as much power and clarity as in my opinion the best Death vocalist in the scene: George Fisher of Cannibal Corpse fame.
I realize up until this point I have only praised this album. I am a very realistic listener and usually have something to point out that could have made the record in question that much better. However, with this record I have really no concerns. I have listened to this album a full fifteen times and still do not have a bone to pick with it. Despite people who think differently than I, I do believe this is the closest thing to a perfect record I have heard in a very long time.
All that is really left to say is for those fans of Death Metal/Core who have yet to listen to "When Legends Become Dust" have no idea on how much they are missing out on. This record should be pushed to the top of all their album lists. No joke this record has the changed the landscape of Deathcore music in my eyes forever.
My Killer Kutz: "Improper Burial," "Eternally Gutted" & "From Ruins We Rise"
"The Common Man's Collapse"
Veil of Maya - "The Common Man's Collapse"
April 1, 2008
Producer: Michael Keene
Deathcore is one of the most difficult sub-genres of Metal music to fully create an identity of your own in. Having to meet certain criteria such as odd-time signatures and poly-rhythmic abilities among others. Yes, it does take a group of very skilled musicians to pull this off flawlessly. However, it seems that the majority of bands in this genre get carried away with only making very math-like music and forgetting the most important thing: Passion for the music itself.
It takes an extraordinary group of musicians to not only meet the criteria above but also to give their music a DNA type of it's own. Furthermore, giving the genre itself a facelift in a time where things were starting to look seemingly mundane. That band would be Veil of Maya and the record that came to the rescue, the band's second full-length offering: 2008's "The Common Man's Collapse."
Behind every great record is a great producer, and in this case that man was Michael Keene. Michael (on top of being a producer) is also known as the guitarist and primary songwriter in the Technical Death Metal group known as: The Faceless. So it's easy to see Veil of Maya was in very capable hands. It truly takes a metal musician to know a metal musician, so Michael knew exactly how to record and mix this band.
When I think about this record the first thing that comes to my mind is the melodic nature of this band. It is something very worth while to note because a lot of bands in the Deathcore genre generally rely just on very heavy riffing and atonal-like leads. Which isn't necessarily a bad thing, however this trend has somewhat become the norm of the genre. So when I heard tracks such as "We Bow In It's Aura," "It's Not Safe To Swim Today" and "All Eyes Look Ahead" the melodic themes that kept re-appearing throughout these songs made me realize right away that Veil of Maya was going to become something special in the world of extreme music.
While there are plenty of melody hooks throughout the entire album, there are songs that are dominated more-or-less by disjointed riffs and odd-time signatures. Tracks such as "Crawl Back," "Entry Level Exit Wounds" and my personal favorite song off the album "Mark The Lines" showcase this perfectly, while displaying a strong Meshuggah-ish like influence in their playing.
There is a great number of good things to be said about "The Common Man's Collapse." However, there is one aspect about this record that nags at me. While Veil of Maya's musicianship is flawless, it seems the bass on this record lacks an identity of it's own.
What I mean by that is there are plenty of moments throughout this record where guitarist Marc Okubo and drummer Sammy Applebaum shine in the spotlight, furthermore showcasing their abilities to their own breaking points. While bassist Kris Higler more-or-less just does his job (which is no easy task in Veil of Maya.) It's just with everything that Marc and Sammy bring to the band I guess my expectations were high on what I was looking for bass wise. Kris is not a bad bassist at all, what I'm trying to get at is I just wish Kris stepped out of Marc's shadow a little more and put his own fingerprint on this record like his band mates did.
With "The Common Man's Collapse" clocking in at about thirty three minutes there is a lot of music to be absorbed in a short amount of time. While die-hard fans like myself will more likely fall in love with this record upon first listen. It might take a few more listens for new coming fans of the genre to fully understand why this band is the real deal.
My Killer Kutz: "Mark The Lines," "Sever The Voices" and "It's Not Safe To Swim Today"
April 1, 2008
Producer: Michael Keene
Deathcore is one of the most difficult sub-genres of Metal music to fully create an identity of your own in. Having to meet certain criteria such as odd-time signatures and poly-rhythmic abilities among others. Yes, it does take a group of very skilled musicians to pull this off flawlessly. However, it seems that the majority of bands in this genre get carried away with only making very math-like music and forgetting the most important thing: Passion for the music itself.
It takes an extraordinary group of musicians to not only meet the criteria above but also to give their music a DNA type of it's own. Furthermore, giving the genre itself a facelift in a time where things were starting to look seemingly mundane. That band would be Veil of Maya and the record that came to the rescue, the band's second full-length offering: 2008's "The Common Man's Collapse."
Behind every great record is a great producer, and in this case that man was Michael Keene. Michael (on top of being a producer) is also known as the guitarist and primary songwriter in the Technical Death Metal group known as: The Faceless. So it's easy to see Veil of Maya was in very capable hands. It truly takes a metal musician to know a metal musician, so Michael knew exactly how to record and mix this band.
When I think about this record the first thing that comes to my mind is the melodic nature of this band. It is something very worth while to note because a lot of bands in the Deathcore genre generally rely just on very heavy riffing and atonal-like leads. Which isn't necessarily a bad thing, however this trend has somewhat become the norm of the genre. So when I heard tracks such as "We Bow In It's Aura," "It's Not Safe To Swim Today" and "All Eyes Look Ahead" the melodic themes that kept re-appearing throughout these songs made me realize right away that Veil of Maya was going to become something special in the world of extreme music.
While there are plenty of melody hooks throughout the entire album, there are songs that are dominated more-or-less by disjointed riffs and odd-time signatures. Tracks such as "Crawl Back," "Entry Level Exit Wounds" and my personal favorite song off the album "Mark The Lines" showcase this perfectly, while displaying a strong Meshuggah-ish like influence in their playing.
There is a great number of good things to be said about "The Common Man's Collapse." However, there is one aspect about this record that nags at me. While Veil of Maya's musicianship is flawless, it seems the bass on this record lacks an identity of it's own.
What I mean by that is there are plenty of moments throughout this record where guitarist Marc Okubo and drummer Sammy Applebaum shine in the spotlight, furthermore showcasing their abilities to their own breaking points. While bassist Kris Higler more-or-less just does his job (which is no easy task in Veil of Maya.) It's just with everything that Marc and Sammy bring to the band I guess my expectations were high on what I was looking for bass wise. Kris is not a bad bassist at all, what I'm trying to get at is I just wish Kris stepped out of Marc's shadow a little more and put his own fingerprint on this record like his band mates did.
With "The Common Man's Collapse" clocking in at about thirty three minutes there is a lot of music to be absorbed in a short amount of time. While die-hard fans like myself will more likely fall in love with this record upon first listen. It might take a few more listens for new coming fans of the genre to fully understand why this band is the real deal.
My Killer Kutz: "Mark The Lines," "Sever The Voices" and "It's Not Safe To Swim Today"
Friday, March 18, 2011
"The World Is Yours"
Motorhead - "The World Is Yours"
February 1, 2011 (Canadian Release Date)
Producer: Cameron Webb
It's said that through experience you gain wisdom. It's said a fine wine only improves with age. It's said to always trust your first instinct. These are the first few expressions that come to my mind to describe this legendary British heavy metal trio, the baddest band on the planet: Motorhead.
There was without question doubters from the very beginning, who thought Motorhead wouldn't last long enough to even make a fifth record. Well, here we are in 2011 with Lemmy and company just releasing their twenieth studio album titled: "The World Is Yours." Although Motorhead proved very long ago that they arn't going anywhere anytime soon, "The World Is Yours" is another rock solid release by the group. Exspanding their lengthy discography and legacy. Motorhead still display to fans both young and old that there is still plenty of great material to come.
Motorhead have always truly possessed their own sound that is extremely hard for most other bands to gimmick to the same effect. Taking old fashioned rhythm and blues then injecting very Punk-like song structures and riffs, futhermore played at a very rapid fire pace which showcases a trace of Speed Metal, in which many people consider Motorhead an innovator of the genre. Their philosophy has not changed since they first formed in 1975.
Ever since Motorhead started to work with producer Cameron Webb in 2004, it seems that their music has become heavier and more bombastic which each release ever since. Songs like "Brotherhood of Man" and "Outlaw" showcase this rather well, while still containing that unique sound that is Motorhead.
While it is more-or-less easy to pin-point the songs throughout Motorhead's discography that are very Punk in nature (those tracks being on this record "I Know What You Need" and "Born To Lose" in my opinion.) Some newer fans of the band may be shocked to learn that old time rhythm and blues/rock 'n roll like Chuck Berry play a significant role in their sound. For those fans just listen to tracks like "Get Back In Line," "Rock n' Roll Music" and my personal favorite cut from the album "Bye Bye Bitch, Bye Bye" and listen to the guitar hooks very closely as well as the pacing at which Lemmy delivers the vocals, then it should all become perfectly clear for those who questioned it before.
With Lemmy turning sixty-five this past Christmas Eve, a lot of fans may be starting to think that Motorhead's legandary career may be soon coming to an end. However, I feel very strongly that Motorhead will still be a force to be reckoned with for quite some time. Just look to the lyrics of "Rock n' Roll Music," the last line of the chorus is "Do it till the day I die." To some that may sound like a timeless cliche in the world of Hard Rock and Heavy Metal, however with Lemmy actions speak louder than words. Many thought he would achieve nothing, but here we are thirty-six years later and Motorhead are still the kings standing atop the Heavy Metal mountain.
Lemmy is a man that always lives by his words. Words can only begin to describe the passion and deditcation he truly feels for music and for all the Motorhead fans. Lemmy is truly a man who has lived by the sword and will die by the sword. However, that sword would be replaced by his bass guitar and a bottle of Jack.
So mothers lock up your daughters and discipline your sons, Motorhead is still far from done.
My Killer Kutz: "Bye Bye Bitch.. Bye Bye," "Rock n' Roll Music" & "Brotherhood of Man"
February 1, 2011 (Canadian Release Date)
Producer: Cameron Webb
It's said that through experience you gain wisdom. It's said a fine wine only improves with age. It's said to always trust your first instinct. These are the first few expressions that come to my mind to describe this legendary British heavy metal trio, the baddest band on the planet: Motorhead.
There was without question doubters from the very beginning, who thought Motorhead wouldn't last long enough to even make a fifth record. Well, here we are in 2011 with Lemmy and company just releasing their twenieth studio album titled: "The World Is Yours." Although Motorhead proved very long ago that they arn't going anywhere anytime soon, "The World Is Yours" is another rock solid release by the group. Exspanding their lengthy discography and legacy. Motorhead still display to fans both young and old that there is still plenty of great material to come.
Motorhead have always truly possessed their own sound that is extremely hard for most other bands to gimmick to the same effect. Taking old fashioned rhythm and blues then injecting very Punk-like song structures and riffs, futhermore played at a very rapid fire pace which showcases a trace of Speed Metal, in which many people consider Motorhead an innovator of the genre. Their philosophy has not changed since they first formed in 1975.
Ever since Motorhead started to work with producer Cameron Webb in 2004, it seems that their music has become heavier and more bombastic which each release ever since. Songs like "Brotherhood of Man" and "Outlaw" showcase this rather well, while still containing that unique sound that is Motorhead.
While it is more-or-less easy to pin-point the songs throughout Motorhead's discography that are very Punk in nature (those tracks being on this record "I Know What You Need" and "Born To Lose" in my opinion.) Some newer fans of the band may be shocked to learn that old time rhythm and blues/rock 'n roll like Chuck Berry play a significant role in their sound. For those fans just listen to tracks like "Get Back In Line," "Rock n' Roll Music" and my personal favorite cut from the album "Bye Bye Bitch, Bye Bye" and listen to the guitar hooks very closely as well as the pacing at which Lemmy delivers the vocals, then it should all become perfectly clear for those who questioned it before.
With Lemmy turning sixty-five this past Christmas Eve, a lot of fans may be starting to think that Motorhead's legandary career may be soon coming to an end. However, I feel very strongly that Motorhead will still be a force to be reckoned with for quite some time. Just look to the lyrics of "Rock n' Roll Music," the last line of the chorus is "Do it till the day I die." To some that may sound like a timeless cliche in the world of Hard Rock and Heavy Metal, however with Lemmy actions speak louder than words. Many thought he would achieve nothing, but here we are thirty-six years later and Motorhead are still the kings standing atop the Heavy Metal mountain.
Lemmy is a man that always lives by his words. Words can only begin to describe the passion and deditcation he truly feels for music and for all the Motorhead fans. Lemmy is truly a man who has lived by the sword and will die by the sword. However, that sword would be replaced by his bass guitar and a bottle of Jack.
So mothers lock up your daughters and discipline your sons, Motorhead is still far from done.
My Killer Kutz: "Bye Bye Bitch.. Bye Bye," "Rock n' Roll Music" & "Brotherhood of Man"
Sunday, February 6, 2011
"Organic Hallucinosis"
Decapitated - "Organic Hallucinosis"
Usually when a band member departs from a group, there is a trace of “bad blood,” or hard feelings to some degree. One of the rarest things you will ever come across in the world of music, is the departing member going through the trouble of finding a suitable replacement for himself, further helping the band he is leaving. Well, that was the case for the Polish Death Metal group: Decapitated. When their long-time vocalist Sauron decided to put down the microphone for the final time because of escalating health problems and a new found enthusiasm for taking his musical talents in a different direction.
Before he left, Sauron introduced the band to a good friend of his who goes by the name, Covan. The chemistry was there and it wasn't long before Decapitated started putting pen to paper, constructing music for their fourth studio offering: "Organic Hallucinosis," released in 2006.
When they first broke into the scene in the late 90's, Decapitated were noticed right away for a couple of different reasons. First, for their very technical playing abilities and second, for the extremely young age of the band. In fact, when they recorded their debut album in the year 2000, the oldest member of the group was guitarist (and main songwriter): Vogg, who was nineteen at the time. Furthermore, they were composing (and putting together) music that some longtime musicians could only dream of writing. They have only gotten better since their debut release and it shows immensely throughout "Organic Hallucinosis."
Containing the same elements of their previous albums keeping up the same velocity and energy, "Organic Hallucinosis" takes on those same elements and multiplies them by a thousand. With this record being the measuring stick of all their material to date, guitarist Vogg's skills are taken to a whole new level of brilliance.
While still maintaining his own unique brutal writing style which is easily identifiable among fans of the genre, Vogg (and the rest of the band for that matter), have started to incorporate poly-rhythms into their writing. Poly-rhythm, for those who may not be familiar with the term, is the occurrence of two or more different rhythms being played simultaneously. Just check out the tracks: "Visual Delusion," "Day 69," and my personal favorite tune off the album, "Post(?) Organic" to see them executed flawlessly.
While this record throws plenty of ploy-rhythmic ideas around, Decapitated have not forgotten what brought them to the table. This record still contains material which is technical in nature, but is easier for one's internal metronome to follow. Tracks like "Flash-B(l)ack," and "Revelation of Existence (The Trip)" are perfect examples that show off the "old-school" sound of Decapitated, while at the same time still flirts with the ideas and concepts of poly-rhythm.
It's a shame that this masterpiece is only thirty-two minutes long. However, it is a half-hour of music that at times seems to defy the laws of human nature due to how fast and accurate our external limbs can actually perform. "Organic Hallucinosis" is a must have for every die-hard death metal fan out there. It is an album which has reminded me why I started listening to death metal in the first place, and you truly have to hear it to believe it.
My Killer Kutz: "Post(?) Organic," "Invisible Control," and "Visual Delusion."
February 7, 2006
Producer(s): Decapitated
Usually when a band member departs from a group, there is a trace of “bad blood,” or hard feelings to some degree. One of the rarest things you will ever come across in the world of music, is the departing member going through the trouble of finding a suitable replacement for himself, further helping the band he is leaving. Well, that was the case for the Polish Death Metal group: Decapitated. When their long-time vocalist Sauron decided to put down the microphone for the final time because of escalating health problems and a new found enthusiasm for taking his musical talents in a different direction.
Before he left, Sauron introduced the band to a good friend of his who goes by the name, Covan. The chemistry was there and it wasn't long before Decapitated started putting pen to paper, constructing music for their fourth studio offering: "Organic Hallucinosis," released in 2006.
When they first broke into the scene in the late 90's, Decapitated were noticed right away for a couple of different reasons. First, for their very technical playing abilities and second, for the extremely young age of the band. In fact, when they recorded their debut album in the year 2000, the oldest member of the group was guitarist (and main songwriter): Vogg, who was nineteen at the time. Furthermore, they were composing (and putting together) music that some longtime musicians could only dream of writing. They have only gotten better since their debut release and it shows immensely throughout "Organic Hallucinosis."
Containing the same elements of their previous albums keeping up the same velocity and energy, "Organic Hallucinosis" takes on those same elements and multiplies them by a thousand. With this record being the measuring stick of all their material to date, guitarist Vogg's skills are taken to a whole new level of brilliance.
While still maintaining his own unique brutal writing style which is easily identifiable among fans of the genre, Vogg (and the rest of the band for that matter), have started to incorporate poly-rhythms into their writing. Poly-rhythm, for those who may not be familiar with the term, is the occurrence of two or more different rhythms being played simultaneously. Just check out the tracks: "Visual Delusion," "Day 69," and my personal favorite tune off the album, "Post(?) Organic" to see them executed flawlessly.
While this record throws plenty of ploy-rhythmic ideas around, Decapitated have not forgotten what brought them to the table. This record still contains material which is technical in nature, but is easier for one's internal metronome to follow. Tracks like "Flash-B(l)ack," and "Revelation of Existence (The Trip)" are perfect examples that show off the "old-school" sound of Decapitated, while at the same time still flirts with the ideas and concepts of poly-rhythm.
It's a shame that this masterpiece is only thirty-two minutes long. However, it is a half-hour of music that at times seems to defy the laws of human nature due to how fast and accurate our external limbs can actually perform. "Organic Hallucinosis" is a must have for every die-hard death metal fan out there. It is an album which has reminded me why I started listening to death metal in the first place, and you truly have to hear it to believe it.
My Killer Kutz: "Post(?) Organic," "Invisible Control," and "Visual Delusion."
Wednesday, February 2, 2011
"Helping The World To See"
Vehemence - "Helping The World To See"
April 6, 2004
Producer(s): Will Solares & Vehemence
April 6, 2004
Producer(s): Will Solares & Vehemence
At a time when Death Metal was going through more-or-less of a dry-spell, other genres of metal, like Metalcore, were starting to gain more attention. Some of the newer Death Metal acts might have been tempted to alter their sound to gain some recognition. I don't know about the other bands, but I know for a fact that Vehemence did not give up on their quest to write (and execute) some of the most brutal Death Metal around. They showed us with their third studio album, 2004's: "Helping The World To See," that they are a Death Metal group and will not settle for anything less.
It is quite easy to see that producer Will Solares, along with the rest of the band sitting at the soundboards, have built one of the biggest and baddest sounding Death Metal releases of the last decade. Vehemence at this point have truly outdone themselves.
With this record, the Phoenix quintet continue to develop and perfect their take on Melodic Death Metal. Main songwriter and guitarist Bjorn Dannov wrote the majority of this record musically. He clearly is the more mature musician of the group, and in my eyes all the songs he penned display a stronger sense of melody.
Yes, his songs are still very aggressive and brutal, but you can however, feel different emotions within his tunes. All contain very distinctive riffing patterns and melodies that are sorrowful, yet sinister at the same time. Tunes like "You Don't Have To Be Afraid Anymore," "Kill For God," and the very atmospheric, "Alone In Your Presence" are the ones that come to mind first when trying to show Bjorn's vastly improving writing skills.
Now that is not to take away from the skills of Vehemence's second guitarist, John Chavez. The biggest difference in the songs in which John wrote, are his strengths in rhythm. While it is true that the songs he penned contain some very nice lead-work, it is the driving rhythms of his tunes that will be remembered, rather than the melody hooks, in my opinion. Simply look at the tracks: "What Could Go Wrong," and "Spirit of The Soldier" to see what I am trying to get at.
Vehemence could not have picked a better title for this record, the lyrical content of "Helping The World To See" does exactly that. Tackling subjects from televangelists in "Trinity Broadcasting (Know Your Enemy)," religion fanaticism in "Kill For God," our military becoming desensitized to violence in "Spirit of The Soldier," to the idea that the politicians that are in control of this world will be the death of all of us if something does not change in "We Are All Dying."
While not every single one of the songs on this record are about major social issues in our society, they are songs that take a look into our society from a different angle, writing from a perspective in which we constantly ignore: that of the victim. On this album, the darker side of human nature is explored extensively, and while these lyrics are fictitious in nature, they can all identify with real life tragedies or misfortunes that have happened in recent history. "Helping The World To See" is an album that does exactly that, only if your willing to open your eyes a little wider and start asking questions rather than just taking the given answers.
It came as a surprise that by the end of 2005, Vehemence dissolved right before our eyes with most members becoming involved with different projects (most noticeably three of the members forming the Black Metal group Abigail Williams). However, in late 2007 the band decided to reform with guitarist Kyle Moeller taking the place of John Chavez. They have been plugging away ever since.
In early 2010, Kyle Moeller decided to leave the band. He would be replaced by guitarist Jake Green. The band has progressed very slowly since "Helping The World To See" was released in 2004 (now seven years ago), however they are now currently at work writing new material. We as fans can only hope that the next record will pick up right where they left off.
It is quite easy to see that producer Will Solares, along with the rest of the band sitting at the soundboards, have built one of the biggest and baddest sounding Death Metal releases of the last decade. Vehemence at this point have truly outdone themselves.
With this record, the Phoenix quintet continue to develop and perfect their take on Melodic Death Metal. Main songwriter and guitarist Bjorn Dannov wrote the majority of this record musically. He clearly is the more mature musician of the group, and in my eyes all the songs he penned display a stronger sense of melody.
Yes, his songs are still very aggressive and brutal, but you can however, feel different emotions within his tunes. All contain very distinctive riffing patterns and melodies that are sorrowful, yet sinister at the same time. Tunes like "You Don't Have To Be Afraid Anymore," "Kill For God," and the very atmospheric, "Alone In Your Presence" are the ones that come to mind first when trying to show Bjorn's vastly improving writing skills.
Now that is not to take away from the skills of Vehemence's second guitarist, John Chavez. The biggest difference in the songs in which John wrote, are his strengths in rhythm. While it is true that the songs he penned contain some very nice lead-work, it is the driving rhythms of his tunes that will be remembered, rather than the melody hooks, in my opinion. Simply look at the tracks: "What Could Go Wrong," and "Spirit of The Soldier" to see what I am trying to get at.
Vehemence could not have picked a better title for this record, the lyrical content of "Helping The World To See" does exactly that. Tackling subjects from televangelists in "Trinity Broadcasting (Know Your Enemy)," religion fanaticism in "Kill For God," our military becoming desensitized to violence in "Spirit of The Soldier," to the idea that the politicians that are in control of this world will be the death of all of us if something does not change in "We Are All Dying."
While not every single one of the songs on this record are about major social issues in our society, they are songs that take a look into our society from a different angle, writing from a perspective in which we constantly ignore: that of the victim. On this album, the darker side of human nature is explored extensively, and while these lyrics are fictitious in nature, they can all identify with real life tragedies or misfortunes that have happened in recent history. "Helping The World To See" is an album that does exactly that, only if your willing to open your eyes a little wider and start asking questions rather than just taking the given answers.
It came as a surprise that by the end of 2005, Vehemence dissolved right before our eyes with most members becoming involved with different projects (most noticeably three of the members forming the Black Metal group Abigail Williams). However, in late 2007 the band decided to reform with guitarist Kyle Moeller taking the place of John Chavez. They have been plugging away ever since.
In early 2010, Kyle Moeller decided to leave the band. He would be replaced by guitarist Jake Green. The band has progressed very slowly since "Helping The World To See" was released in 2004 (now seven years ago), however they are now currently at work writing new material. We as fans can only hope that the next record will pick up right where they left off.
My Killer Kutz: "You Don't Have To Be Afraid Anymore," "What Could Go Wrong?" & "Trinity Broadcasting (Know Your Enemy)."
Monday, January 31, 2011
"Something Wicked This Way Comes"
Iced Earth - "Something Wicked This Way Comes"
July 7, 1998
Producer: Jim Morris
Iced Earth is a band that have suffered many line-up changes through the years. To the point where band founder, guitarist Jon Schaffer, is the only orginial remaining member left. So in a sense Jon really IS Iced Earth. However, he has always been in good company with very talented musicians that have come and gone in Iced Earth's 25-year history. In 1998 Jon and Iced Earth released what many fans consider to be their best work to date. Their fifth studio offering: "Something Wicked This Way Comes."
On this record Jon is accompined by: Long time front-man and co-songwriter vocalist Matt Barlow. Handling bass duties and having a song-writing credit himself on the record is James MacDonough. This would also be the debut album for guitarist Larry Tarnowski, handling all the leads. Finally, main time keeper Mark Prator makes his return behind the drum-set recording his second consecutive and final album with the group.
Iced Earth have always been a difficult band to identify one sound with. Having very cut-throat aggressive riffs and constant double bass drumming throughout a lot of their material, some would suggest they are a Thrash Metal band. However, Iced Earth is also known for their strong vocal melodies as well as their very heartfelt lead sections. Containing some lyrical content that some would say isn't thrash metal worthy but would rather fall under the banner of Power Metal. The reason I'm telling you all this is because "Something Wicked This Way Comes" is nothing short of a balancing act.
This is one of their most compelling albums lyrically. This record could almost be a semi-concept album as most tracks contain lyrics centering around various aspects of religion and faith.
Looking through the eyes of the Holy Martyr himself in the track "Melancholy." To grappling the idea of their being no Holy Martyr to begin with in the tune "Stand Alone." Coming to the conclusion you are your own maker with the cut "My Own Savior." To dealing with the loss of a loved one who becomes your guardian angel in the song "Watching Over Me." This album contains these tracks and more that show while Faith is a good belief, it shows in my eyes that it's something best kept to yourself as it is something many people will manipulate and take advantage of if given the chance.
When listening to this album in it's entirety it is almost 'bi-polar' to give it a term. As it seems every second song is of a more melodic nature furthermore shows more of a Power Metal influence. Songs like "Watching Over Me," "Blessed Are You" and "Melancholy" showcase that side of the band rather well.
While on the flip side of the coin, all the odd numbered tracks of the record seem to be of a heavier and faster nature. Furthermore putting on display they know how to thrash rather well. Tunes like "Stand Alone," "Burning Times" and "Disciples of The Lie" are very prime examples showing their thrash heritage.
However, that formula of sorts comes to an end at the start of the last three tracks on the record. Composing of the "Something Wicked Trilogy," on these tracks the musicianship is stepped up a notch above the rest of the album. Showcasing plenty of technical composing and more unconventional song structures, the light is truly shining bright as this is one of the group's finest hours. Displaying their abilities to mash their Power influences into their Thrash influences and vice-versa flawlessly. The tracks that form this trilogy are titled: "Prophecy," "Birth of The Wicked" and my favorite cut from the album "The Coming Curse."
On a side note the "Something Wicked Trilogy" is what laid the groundwork for Iced Earth's eighth and ninth records released in 2008 and 2009 respectively. The concept albums titled: "Framing Armageddon: Something Wicked Pt. 1" and "The Crucible of Man: Something Wicked Pt. 2."
Despite the consistency of one stable complete line-up for a significant period of time, Jon Schaffer and company deliver one of the best pure Heavy Metal albums of the late 90's. Containing riffs that are headbanging and air-guitar worthy, a top notch vocal performance with lyrics that will give comfort to anyone struggling with faith, giving some good pros but very realistic cons along the way. With lots of interesting stick-work that moves the record along at a glorious pace, this collection of music totaling sixty-one minutes will be over before you know it.
While this may not be my personal favorite Iced Earth release, I encourage all new coming fans of the group to pick this record up. As it shows all on one release what this band is truly all about.
My Killer Kutz: "The Coming Curse," "Watching Over Me" & "Consequences"
July 7, 1998
Producer: Jim Morris
Iced Earth is a band that have suffered many line-up changes through the years. To the point where band founder, guitarist Jon Schaffer, is the only orginial remaining member left. So in a sense Jon really IS Iced Earth. However, he has always been in good company with very talented musicians that have come and gone in Iced Earth's 25-year history. In 1998 Jon and Iced Earth released what many fans consider to be their best work to date. Their fifth studio offering: "Something Wicked This Way Comes."
On this record Jon is accompined by: Long time front-man and co-songwriter vocalist Matt Barlow. Handling bass duties and having a song-writing credit himself on the record is James MacDonough. This would also be the debut album for guitarist Larry Tarnowski, handling all the leads. Finally, main time keeper Mark Prator makes his return behind the drum-set recording his second consecutive and final album with the group.
Iced Earth have always been a difficult band to identify one sound with. Having very cut-throat aggressive riffs and constant double bass drumming throughout a lot of their material, some would suggest they are a Thrash Metal band. However, Iced Earth is also known for their strong vocal melodies as well as their very heartfelt lead sections. Containing some lyrical content that some would say isn't thrash metal worthy but would rather fall under the banner of Power Metal. The reason I'm telling you all this is because "Something Wicked This Way Comes" is nothing short of a balancing act.
This is one of their most compelling albums lyrically. This record could almost be a semi-concept album as most tracks contain lyrics centering around various aspects of religion and faith.
Looking through the eyes of the Holy Martyr himself in the track "Melancholy." To grappling the idea of their being no Holy Martyr to begin with in the tune "Stand Alone." Coming to the conclusion you are your own maker with the cut "My Own Savior." To dealing with the loss of a loved one who becomes your guardian angel in the song "Watching Over Me." This album contains these tracks and more that show while Faith is a good belief, it shows in my eyes that it's something best kept to yourself as it is something many people will manipulate and take advantage of if given the chance.
When listening to this album in it's entirety it is almost 'bi-polar' to give it a term. As it seems every second song is of a more melodic nature furthermore shows more of a Power Metal influence. Songs like "Watching Over Me," "Blessed Are You" and "Melancholy" showcase that side of the band rather well.
While on the flip side of the coin, all the odd numbered tracks of the record seem to be of a heavier and faster nature. Furthermore putting on display they know how to thrash rather well. Tunes like "Stand Alone," "Burning Times" and "Disciples of The Lie" are very prime examples showing their thrash heritage.
However, that formula of sorts comes to an end at the start of the last three tracks on the record. Composing of the "Something Wicked Trilogy," on these tracks the musicianship is stepped up a notch above the rest of the album. Showcasing plenty of technical composing and more unconventional song structures, the light is truly shining bright as this is one of the group's finest hours. Displaying their abilities to mash their Power influences into their Thrash influences and vice-versa flawlessly. The tracks that form this trilogy are titled: "Prophecy," "Birth of The Wicked" and my favorite cut from the album "The Coming Curse."
On a side note the "Something Wicked Trilogy" is what laid the groundwork for Iced Earth's eighth and ninth records released in 2008 and 2009 respectively. The concept albums titled: "Framing Armageddon: Something Wicked Pt. 1" and "The Crucible of Man: Something Wicked Pt. 2."
Despite the consistency of one stable complete line-up for a significant period of time, Jon Schaffer and company deliver one of the best pure Heavy Metal albums of the late 90's. Containing riffs that are headbanging and air-guitar worthy, a top notch vocal performance with lyrics that will give comfort to anyone struggling with faith, giving some good pros but very realistic cons along the way. With lots of interesting stick-work that moves the record along at a glorious pace, this collection of music totaling sixty-one minutes will be over before you know it.
While this may not be my personal favorite Iced Earth release, I encourage all new coming fans of the group to pick this record up. As it shows all on one release what this band is truly all about.
My Killer Kutz: "The Coming Curse," "Watching Over Me" & "Consequences"
Saturday, January 22, 2011
"Sanctify The Darkness"
Suicidal Angels - "Sanctify The Darkness"
January 12, 2010
Producer: R.D Liapakis
It always brings a smile to my face when I hear band nail the exact sound they are looking for. You may ask how can I know this without knowing the band personally? Well, the answer isn't exactly the easiest thing to explain, but what it comes down to is basically this: you can truly feel the record in your bones, rather than just your ears. It is the subliminal confidence the band gives off with each track, showing they are truly one unit that isn't second guessing what they want to play, and how they know the exact direction they want their music to take, stopping at nothing until they get exactly what they want. Greek Thrash Metal quartet, Suicidal Angels did exactly that with their second studio offering: 2010's "Sanctify The Darkness."
This is the first up and coming Thrash band to grab my attention in quite some time. In my opinion, Suicidal Angels is going to be the next 'big deal' in the thrash music world and the Suicidal Angels are nothing short of a well-oiled machine. They have a classic, old-school thrash sound that every fan of the genre will immediately identify with. Every track on the record contains no shortage of razor-sharp riffs with insane tempo-changes that will keep your head grooving through its entire thirty-eight minutes. What I love most about this group though, is that they remind of three bands that I love dearly, all rolled into one.
The production of the record is a bit more polished and clean with a somewhat stronger sense of melody, which compares to more recent Kreator releases. You can hear this in tracks such as: "Bloodthirsty" and my personal favorite cut off the album, "Apokathilosis." The extremely high-velocity chugging riffs, laced over with strong Anti-Christian lyrical themes is a very strong nod to Slayer tunes such as: "The Pestilence of Saints," "Atheist," and "Beyond The Laws of Church," showcase this rather well. Finally, the very rapid-fire raspy vocal performance on the entire album personally reminds me of Angelripper, who is the front-man of
legendary German Thrash-act, Sodom.
In my eyes, Suicidal Angels are an extremely promising group on the rise. The only 'complaint' I have ever heard about their music is the fact that some tend to think the band is 'too in control' of themselves. In other words, some believe the band is not playing at the very brink of their own abilities, therefore causing some to think Suicidal Angels might not not be giving us everything they have. I do not see this as an issue because of what I previously said at the start of this review. To sum it up, this record basically reeks of confidence and absolution. This collection of music is exactly the way Suicidal Angels intended for you to hear their sound, and I doubt they wouldn't settle for anything less.
I personally think that a few years down the road, after Suicidal Angels adds more records to their discography, people will look back and realize that "Sanctify The Darkness" was the album where this band really came into their own. This compilation of music will become the record that aspiring thrash metal bands of the future will listen to, realizing that is the: sound, atmosphere, and attitude they want to capture.
My Killer Kutz: "Apokathilosis," "The Pestilence of Saints" and "Atheist."
January 12, 2010
Producer: R.D Liapakis
It always brings a smile to my face when I hear band nail the exact sound they are looking for. You may ask how can I know this without knowing the band personally? Well, the answer isn't exactly the easiest thing to explain, but what it comes down to is basically this: you can truly feel the record in your bones, rather than just your ears. It is the subliminal confidence the band gives off with each track, showing they are truly one unit that isn't second guessing what they want to play, and how they know the exact direction they want their music to take, stopping at nothing until they get exactly what they want. Greek Thrash Metal quartet, Suicidal Angels did exactly that with their second studio offering: 2010's "Sanctify The Darkness."
This is the first up and coming Thrash band to grab my attention in quite some time. In my opinion, Suicidal Angels is going to be the next 'big deal' in the thrash music world and the Suicidal Angels are nothing short of a well-oiled machine. They have a classic, old-school thrash sound that every fan of the genre will immediately identify with. Every track on the record contains no shortage of razor-sharp riffs with insane tempo-changes that will keep your head grooving through its entire thirty-eight minutes. What I love most about this group though, is that they remind of three bands that I love dearly, all rolled into one.
The production of the record is a bit more polished and clean with a somewhat stronger sense of melody, which compares to more recent Kreator releases. You can hear this in tracks such as: "Bloodthirsty" and my personal favorite cut off the album, "Apokathilosis." The extremely high-velocity chugging riffs, laced over with strong Anti-Christian lyrical themes is a very strong nod to Slayer tunes such as: "The Pestilence of Saints," "Atheist," and "Beyond The Laws of Church," showcase this rather well. Finally, the very rapid-fire raspy vocal performance on the entire album personally reminds me of Angelripper, who is the front-man of
legendary German Thrash-act, Sodom.
In my eyes, Suicidal Angels are an extremely promising group on the rise. The only 'complaint' I have ever heard about their music is the fact that some tend to think the band is 'too in control' of themselves. In other words, some believe the band is not playing at the very brink of their own abilities, therefore causing some to think Suicidal Angels might not not be giving us everything they have. I do not see this as an issue because of what I previously said at the start of this review. To sum it up, this record basically reeks of confidence and absolution. This collection of music is exactly the way Suicidal Angels intended for you to hear their sound, and I doubt they wouldn't settle for anything less.
I personally think that a few years down the road, after Suicidal Angels adds more records to their discography, people will look back and realize that "Sanctify The Darkness" was the album where this band really came into their own. This compilation of music will become the record that aspiring thrash metal bands of the future will listen to, realizing that is the: sound, atmosphere, and attitude they want to capture.
My Killer Kutz: "Apokathilosis," "The Pestilence of Saints" and "Atheist."
Friday, January 21, 2011
"The Epigenesis"
Melechesh - "The Epigenesis"
October 27, 2010 (North America Release Date)
Producer: Ashmedi
Despite what the mainstream thinks, whether they like it or not Heavy Metal is a worldwide phenomenon that reaches beyond the North American culture. In fact a good majority of the artists I listen to on a regular basis are not from North America at all. However, in my wildest dreams I never thought I'd see the day where one of my favorite musical acts can call Jerusalem home. Well, there is a first time for everything. The band is named Melechesh and they have been pumping out tunes since 1993.
It was by chance that I stumbled upon their music one day last week as I heard a track from their newest offering 2010's "The Epigenesis". I was hooked immediately and not three days later I found myself putting this Godsend of an album into my cd player.
Right away I knew this band was going to be something special. As they managed to capture a Black Metal sound that would draw new listeners to them. There ultimate goal however, was to bring their Middle Eastern influences into the fold both musically and lyrically. Therefore to give them a truly unique atmosphere and attitude towards their music and really be a band to stick out from the norm. The band themselves coined the term "Mesopotamian Metal" to best describe their sound.
I figured this out right away while listening to the first track on the album titled "Ghouls of Nineveh" A song that follows the same riff for the most part, but the undertones and over all melody of the tune get the point across that many Middle Eastern themes are going to play a significant role on this record.
Melechesh didn't prove me wrong. Just check out the track "Sacred Geometry". It is easily one of the most powerful tunes off the record. This song has no shortage of catchy riffs and melodies and if you couldn't hear the Midden Eastern influences before you shouldn't be able to miss them on this track, as they are front row and center with this tune.
Then you have the album's centerpiece so to speak. The 12-minute title track "The Epigenesis". With this track while still showing off the Mid-Eastern melodies and influences throughout. This tune in general shows-off how talented main songwriter Ashmedi really is. There are not many guitarists that could take a single riff and play it continuously over a three and a half minute period and keep that same riff just as interesting and fresh sounding as when first introduced. Ashmedi accomplishes this feat effortlessly in my book as I didn't even notice how much time had passed before the song shifted gears.
One more thing that needs to mentioned is the two instrumental tracks on this record. Both "When Halos of Candles Collide" and "A Greater Chain of Being" Display Melechesh's musical abilities far beyond the realms of guitar, bass and drums. Both songs showcase the band's writing abilities on Middle Eastern instruments such as the sitar, the Indian sitar, bag-lama saz and the bindir, with very traditional sounding percussion backing both tracks. The only way I can describe these songs are is they are simply euphoric pieces of music that relive your body and mind of stress for the 7 minutes both tracks roughly last.
If you are ever looking to further stretch your own personal musical boundaries. I highly suggest you give these guys 71 minutes of your day and listen to the whole album. Just listening to one or two tracks alone won't give you the full effect of how mind blowing this album really is. If your already a fan of Nile and Mastodon you would probably highly respect what their music has to offer.
"The Epigenesis" is the type of album that will take you on a musical journey you will never forget.
My Killer Kutz: "The Epigenesis", "Sacred Geometry" & "Mystics of The Pillar"
October 27, 2010 (North America Release Date)
Producer: Ashmedi
Despite what the mainstream thinks, whether they like it or not Heavy Metal is a worldwide phenomenon that reaches beyond the North American culture. In fact a good majority of the artists I listen to on a regular basis are not from North America at all. However, in my wildest dreams I never thought I'd see the day where one of my favorite musical acts can call Jerusalem home. Well, there is a first time for everything. The band is named Melechesh and they have been pumping out tunes since 1993.
It was by chance that I stumbled upon their music one day last week as I heard a track from their newest offering 2010's "The Epigenesis". I was hooked immediately and not three days later I found myself putting this Godsend of an album into my cd player.
Right away I knew this band was going to be something special. As they managed to capture a Black Metal sound that would draw new listeners to them. There ultimate goal however, was to bring their Middle Eastern influences into the fold both musically and lyrically. Therefore to give them a truly unique atmosphere and attitude towards their music and really be a band to stick out from the norm. The band themselves coined the term "Mesopotamian Metal" to best describe their sound.
I figured this out right away while listening to the first track on the album titled "Ghouls of Nineveh" A song that follows the same riff for the most part, but the undertones and over all melody of the tune get the point across that many Middle Eastern themes are going to play a significant role on this record.
Melechesh didn't prove me wrong. Just check out the track "Sacred Geometry". It is easily one of the most powerful tunes off the record. This song has no shortage of catchy riffs and melodies and if you couldn't hear the Midden Eastern influences before you shouldn't be able to miss them on this track, as they are front row and center with this tune.
Then you have the album's centerpiece so to speak. The 12-minute title track "The Epigenesis". With this track while still showing off the Mid-Eastern melodies and influences throughout. This tune in general shows-off how talented main songwriter Ashmedi really is. There are not many guitarists that could take a single riff and play it continuously over a three and a half minute period and keep that same riff just as interesting and fresh sounding as when first introduced. Ashmedi accomplishes this feat effortlessly in my book as I didn't even notice how much time had passed before the song shifted gears.
One more thing that needs to mentioned is the two instrumental tracks on this record. Both "When Halos of Candles Collide" and "A Greater Chain of Being" Display Melechesh's musical abilities far beyond the realms of guitar, bass and drums. Both songs showcase the band's writing abilities on Middle Eastern instruments such as the sitar, the Indian sitar, bag-lama saz and the bindir, with very traditional sounding percussion backing both tracks. The only way I can describe these songs are is they are simply euphoric pieces of music that relive your body and mind of stress for the 7 minutes both tracks roughly last.
If you are ever looking to further stretch your own personal musical boundaries. I highly suggest you give these guys 71 minutes of your day and listen to the whole album. Just listening to one or two tracks alone won't give you the full effect of how mind blowing this album really is. If your already a fan of Nile and Mastodon you would probably highly respect what their music has to offer.
"The Epigenesis" is the type of album that will take you on a musical journey you will never forget.
My Killer Kutz: "The Epigenesis", "Sacred Geometry" & "Mystics of The Pillar"
"Majesty And Decay"
Immolation - "Majesty And Decay"
March 9, 2010
Producer: Paul Orifino
In every genre of music there is a band that is extremely talented but somehow are not mentioned along with most of their fellow peers on a regular basis. Maybe it's just where I'm located in this world, but in and around my hometown Death Metal Giants Immolation fit that docket perfectly. Even after the release of their 8th studio album: 2010's "Majesty And Decay".
Immolation sometimes comes under fire because the band is comfortable in treading the waters they have already established in their music. In other words, some fans get displeased because they think Immolation's music isn't growing, furthermore are happy with making the same record again and again.
However, the band does have an extremely recognizable sound that stands above your average Death Metal group. Immolation is known for their music consisting of: Complex hyper-extended riffs that sound amazing to the musically inclined, but leave others searching for the first down beat of the measure. Mixed with their very gloomy and agonizing atmosphere that drag their listeners along rather than carrying them. Immolation needless to say has found a niche of their own and try to flourish it more and more with each record. Which is something I don't have a problem with.
That being said, "Majesty And Decay" is an album that fits the best of both worlds for long time followers of the New York quartet. As it contains the raw unforgiving relentless sound of the early records. It melds very nicely with the more mature, complex signature sound of Immolation we have all grown to love. You can take tracks like "A Token of Malice", "The Purge" plus the title track and you can feel the roots of the earlier material. Then you can take cuts like "The Rapture of Ghosts", "In Human Form" and "The Comfort of Cowards" and hear Immolation do so flawlessly what other bands would sacrifice one of their own members for. Playing such disjointing riffs, along with leads that are broken, yet mesmerizing, that your internal metronome can only struggle to keep on par with!.
Production wise this is their best album yet. Producer Paul Orifino really made sure on this record that the drums had a life of their own, not just blending in behind the guitars and vocals like on some of their earlier releases. While this record isn't their most technical, I personally feel this is their best album to date. The clarity of the production clearly shows-off all the band's different strengths and shows why they are highly respected by most Death Metal devouts, including myself. Furthermore showing why they have been a force to be reckoned with since their debut album "Dawn of Possession" which was released 20 years ago in 1991.
In closing, I encourage all fans of the the Death Metal genre to check out Immolation if you havent done so yet, furthermore a good place to start is with "Majesty And Decay". As it shows a little bit of everything the band has to offer, easily one of the strongest Death Metal releases of 2010. An album that will only gain more praise in my eyes anyway, in the years to come.
My Killer Kutz: "The Rapture of Ghosts", "Power And Shame" & "Divine Code"
March 9, 2010
Producer: Paul Orifino
In every genre of music there is a band that is extremely talented but somehow are not mentioned along with most of their fellow peers on a regular basis. Maybe it's just where I'm located in this world, but in and around my hometown Death Metal Giants Immolation fit that docket perfectly. Even after the release of their 8th studio album: 2010's "Majesty And Decay".
Immolation sometimes comes under fire because the band is comfortable in treading the waters they have already established in their music. In other words, some fans get displeased because they think Immolation's music isn't growing, furthermore are happy with making the same record again and again.
However, the band does have an extremely recognizable sound that stands above your average Death Metal group. Immolation is known for their music consisting of: Complex hyper-extended riffs that sound amazing to the musically inclined, but leave others searching for the first down beat of the measure. Mixed with their very gloomy and agonizing atmosphere that drag their listeners along rather than carrying them. Immolation needless to say has found a niche of their own and try to flourish it more and more with each record. Which is something I don't have a problem with.
That being said, "Majesty And Decay" is an album that fits the best of both worlds for long time followers of the New York quartet. As it contains the raw unforgiving relentless sound of the early records. It melds very nicely with the more mature, complex signature sound of Immolation we have all grown to love. You can take tracks like "A Token of Malice", "The Purge" plus the title track and you can feel the roots of the earlier material. Then you can take cuts like "The Rapture of Ghosts", "In Human Form" and "The Comfort of Cowards" and hear Immolation do so flawlessly what other bands would sacrifice one of their own members for. Playing such disjointing riffs, along with leads that are broken, yet mesmerizing, that your internal metronome can only struggle to keep on par with!.
Production wise this is their best album yet. Producer Paul Orifino really made sure on this record that the drums had a life of their own, not just blending in behind the guitars and vocals like on some of their earlier releases. While this record isn't their most technical, I personally feel this is their best album to date. The clarity of the production clearly shows-off all the band's different strengths and shows why they are highly respected by most Death Metal devouts, including myself. Furthermore showing why they have been a force to be reckoned with since their debut album "Dawn of Possession" which was released 20 years ago in 1991.
In closing, I encourage all fans of the the Death Metal genre to check out Immolation if you havent done so yet, furthermore a good place to start is with "Majesty And Decay". As it shows a little bit of everything the band has to offer, easily one of the strongest Death Metal releases of 2010. An album that will only gain more praise in my eyes anyway, in the years to come.
My Killer Kutz: "The Rapture of Ghosts", "Power And Shame" & "Divine Code"
Thursday, January 20, 2011
"Bloodthirst"
Cannibal Corpse - "Bloodthirst"
October 19, 1999
Producer: Colin Richardson
Change is necessary for a band to evolve whether the results are bad or good. Up to 1999 Cannibal Corpse's 'home away from home' so to speak was the now legendary Morrisound Studios in Tampa, Florida. Also in this time frame Cannibal Corpse had worked with only two different producers up to this point. The legendary Scott Burns (who played a major role in the development of Death Metal sitting at the throne of the soundboards) and the very talented Jim Morris. It seems the theme of 1999 was 'change' for the Death Metal Kings. The results gave us their 7th studio offering: "Bloodthirst".
Packing their bags and heading west, Cannibal was headed to Village Productions in the small border-town of Tornillo, Texas. Where they would begin their working relationship with renowned producer Colin Richardson, who has worked with dozens of different metal groups around the world. Including the group Carcass on their record "Heartwork", which is arguably the first Melodic Death Metal record ever recorded. Excited by the new face at the soundboards and their completely new surroundings, they began to write.
On their previous record 1998's "Gallery of Suicide" with the addition of guitarist Pat O'Brien coming to the fold and the always improving skills of lead songwriter bassist Alex Webster. The band's music was gaining a more technical edge.
With "Bloodthirst" this trend continues to the delight of myself and all the Cannibal fans I know personally. Songs like "Dead Human Collection", "Coffinfeeder" and "Ecstacy In Decay" showcase the band's ever improving mastery and maturity of their instruments. While tracks like "Pounded Into Dust", "Blowtorch Slaughter" and "Raped By The Beast" still show the band remembers what brought them to the masses.
The band didn't make a mistake deciding to work with Colin Richardson, as he complimented their sound beyond expectations. The results, "Bloodthist" is their heaviest set of tunes since 1992's "Tomb of The Mutilated", a feat at the time most fans didn't deem possible.
While some things change, others will always remain the same. While the evolving musicianship and songwriting carries them to new horizons, they will always remain one of the heaviest and brutal bands metal has to offer. "Bloodthirst" is another priceless release by the group. Pick this record up, it will indeed quench your Death Metal "thirst".
My Killer Kutz: "Hacksaw Decapitation", "Dead Human Collection" & "The Spine Splitter"
October 19, 1999
Producer: Colin Richardson
Change is necessary for a band to evolve whether the results are bad or good. Up to 1999 Cannibal Corpse's 'home away from home' so to speak was the now legendary Morrisound Studios in Tampa, Florida. Also in this time frame Cannibal Corpse had worked with only two different producers up to this point. The legendary Scott Burns (who played a major role in the development of Death Metal sitting at the throne of the soundboards) and the very talented Jim Morris. It seems the theme of 1999 was 'change' for the Death Metal Kings. The results gave us their 7th studio offering: "Bloodthirst".
Packing their bags and heading west, Cannibal was headed to Village Productions in the small border-town of Tornillo, Texas. Where they would begin their working relationship with renowned producer Colin Richardson, who has worked with dozens of different metal groups around the world. Including the group Carcass on their record "Heartwork", which is arguably the first Melodic Death Metal record ever recorded. Excited by the new face at the soundboards and their completely new surroundings, they began to write.
On their previous record 1998's "Gallery of Suicide" with the addition of guitarist Pat O'Brien coming to the fold and the always improving skills of lead songwriter bassist Alex Webster. The band's music was gaining a more technical edge.
With "Bloodthirst" this trend continues to the delight of myself and all the Cannibal fans I know personally. Songs like "Dead Human Collection", "Coffinfeeder" and "Ecstacy In Decay" showcase the band's ever improving mastery and maturity of their instruments. While tracks like "Pounded Into Dust", "Blowtorch Slaughter" and "Raped By The Beast" still show the band remembers what brought them to the masses.
The band didn't make a mistake deciding to work with Colin Richardson, as he complimented their sound beyond expectations. The results, "Bloodthist" is their heaviest set of tunes since 1992's "Tomb of The Mutilated", a feat at the time most fans didn't deem possible.
While some things change, others will always remain the same. While the evolving musicianship and songwriting carries them to new horizons, they will always remain one of the heaviest and brutal bands metal has to offer. "Bloodthirst" is another priceless release by the group. Pick this record up, it will indeed quench your Death Metal "thirst".
My Killer Kutz: "Hacksaw Decapitation", "Dead Human Collection" & "The Spine Splitter"
"Blessed Are The Sick"
Morbid Angel - "Blessed Are The Sick"
May 2, 1991
Producer(s): Morbid Angel
In 1989 Florida Death Metal Icons Morbid Angel released their first full length studio record titled "Altars of Madness". To this very day it is considered one of the very first true Death Metal records. Containing complex riffing, drumming that is dominated by blast beats, very raw vocals and leads that were more chaotic than melodic.
Alex Webster of Cannibal Corpse describes the record best by saying "That whole album is so amazing.". So needless to say, fans and fellow bands were extremely hungry for their next record, 1991's "Blessed Are The Sick".
In my eyes "Blessed Are The Sick" is the album that showed me Morbid Angel is the real deal, not one of those countless bands that will settle for making the same record again and again. The improvements on this record is like night and day.
David Vincent (who is also the band's bassist) voice improved significantly, gaining a more guttural sound on this record while on the previous record his voice had a more 'thrashy' sound (found more so in acts like Kreator and Sodom two legendary thrash metal acts.).
For me personally the greatest thing about this record was the fact that the band decided to produce this album themselves. Rather than hire another outside party who they couldn't explain to what they wanted to accomplish with this record. Quite frankly I think they made the right decision, as producers at the time would probably have been shocked at what the band had up their sleeves.
"Blessed Are The Sick" showed a completely different side of the band. While still containing very fast tracks like "Brainstorm" and "Day of Suffering", the album had an overall slower sound then it's processer and contains very strong classical undertones throughout the record containing accoustic guitars and keyboards in certain sections (a rarity in the early years of Death Metal).
Also, this record has a greater sense of melody which in my opinion comes from maturer songwriting and shows how much the band has improved in a little more than two years. True, while still containing the 'chaotic' leads as I mentioned before they are becoming of lesser use as the leadwork starts to blossom into more technical playing, you can clearly hear this in my favorite cut from this record "Fall From Grace". It is also prominent in the lightning fast track "Rebel Lands", as the lead section in that tune is a perfect mixture of melody and chaos rolled into one creating a very standout track on this record.
However, while not my favorite track on the record, the album's title track is the best example of what Morbid Angel was looking to accomplish with this record. It shows the 'slower' sound of the record, David's improved vocals and main songwriter guitarist Trey Azagthoth's very quickly improving songwriting abilities, the outro of the song containing a very spooky classical sounding interlude that could have been written by Mozart himself.
With "Blessed Are The Sick" Morbid Angel broke a lot of boundaries that many thought that couldn't be broken in the Death Metal genre without the risk of selling out. Morbid Angel did it very tastefully as "Blessed Are The Sick" remains a fan favorite in their discography to this very day. An album that will not be leaving my cd player for a long time.
My Killer Kutz: "Fall From Grace", "Unholy Blasphemies" & "Rebel Lands"
May 2, 1991
Producer(s): Morbid Angel
In 1989 Florida Death Metal Icons Morbid Angel released their first full length studio record titled "Altars of Madness". To this very day it is considered one of the very first true Death Metal records. Containing complex riffing, drumming that is dominated by blast beats, very raw vocals and leads that were more chaotic than melodic.
Alex Webster of Cannibal Corpse describes the record best by saying "That whole album is so amazing.". So needless to say, fans and fellow bands were extremely hungry for their next record, 1991's "Blessed Are The Sick".
In my eyes "Blessed Are The Sick" is the album that showed me Morbid Angel is the real deal, not one of those countless bands that will settle for making the same record again and again. The improvements on this record is like night and day.
David Vincent (who is also the band's bassist) voice improved significantly, gaining a more guttural sound on this record while on the previous record his voice had a more 'thrashy' sound (found more so in acts like Kreator and Sodom two legendary thrash metal acts.).
For me personally the greatest thing about this record was the fact that the band decided to produce this album themselves. Rather than hire another outside party who they couldn't explain to what they wanted to accomplish with this record. Quite frankly I think they made the right decision, as producers at the time would probably have been shocked at what the band had up their sleeves.
"Blessed Are The Sick" showed a completely different side of the band. While still containing very fast tracks like "Brainstorm" and "Day of Suffering", the album had an overall slower sound then it's processer and contains very strong classical undertones throughout the record containing accoustic guitars and keyboards in certain sections (a rarity in the early years of Death Metal).
Also, this record has a greater sense of melody which in my opinion comes from maturer songwriting and shows how much the band has improved in a little more than two years. True, while still containing the 'chaotic' leads as I mentioned before they are becoming of lesser use as the leadwork starts to blossom into more technical playing, you can clearly hear this in my favorite cut from this record "Fall From Grace". It is also prominent in the lightning fast track "Rebel Lands", as the lead section in that tune is a perfect mixture of melody and chaos rolled into one creating a very standout track on this record.
However, while not my favorite track on the record, the album's title track is the best example of what Morbid Angel was looking to accomplish with this record. It shows the 'slower' sound of the record, David's improved vocals and main songwriter guitarist Trey Azagthoth's very quickly improving songwriting abilities, the outro of the song containing a very spooky classical sounding interlude that could have been written by Mozart himself.
With "Blessed Are The Sick" Morbid Angel broke a lot of boundaries that many thought that couldn't be broken in the Death Metal genre without the risk of selling out. Morbid Angel did it very tastefully as "Blessed Are The Sick" remains a fan favorite in their discography to this very day. An album that will not be leaving my cd player for a long time.
My Killer Kutz: "Fall From Grace", "Unholy Blasphemies" & "Rebel Lands"
"Keeper of The Seven Keys Pt. 1"
Helloween - "Keeper of The Seven Keys Pt. 1"
February 1987
Producer: Tommy Newton
Sometimes when a band tries to broden their horizons and explore their options musically sometimes long time supporters of the group may not approve of the change of direction, believing in notion 'if it ain't broke, don't fix it'. However, if the band can appeal to new fans that may not have given them a fair listen before, most bands will tell you it was a risk worth taking. This is the situation that faced German Heavy Metal Legends Helloween with their second full length record 1987's "Keeper of The Seven Keys Pt. 1"
In 1985 Helloween released their first record "Walls of Jericho" and it was a major success across Germany. Featuring guitarist/vocalist Kai Hansen as the front-man. Helloween in those days consisted of a very thrashy sound that most people that discover the band these days would be shocked to learn that such a sound existed on a Helloween record.
It was at some point in 1986 that the band decided to a hire a vocal specialist. At the time Helloween was a four-piece band consisting of: Guitarist/Vocalist Kai Hansen, Guitarist Michael Weikath, Bassist Markus Grosskopf and Drummer Ingo Scwichtenberg. They knew they were getting a very talented vocalist but I don`t think they realized how much of an influential figure he`d become for future vocalists in a form of metal that was later coined "Power Metal". Believe it or not in 1987 he was only 18 his name: Michael Kiske.
True, while Hansen and Kiske were both melodic singers the major difference between the two were Kiske's significant higher range. Helloween needed a more operatic and flamboyant voice to match the melodies that were being written and beyond.
The making of this record would be one of the first real 'tests' that the band of endure. During the writing and creative stages of the album, guitarist Michael Weikath would suffer a nervous breakdown, therefore causing his contributions to be very little in this record, in fact he only wrote one song on this record the ballad-esk "A Tale That Wasn't Right". However, with the negative there is a positive and that turned out to be guitarist Kai Hansen in this situation. On this record out of the eight tracks, Kai solely wrote five of them himself showing everybody that he is indeed a very strong songwriter. Also on this album because of Michael's illness Kai recorded all rhythm guitars you hear on the record, and also a fair amount of lead work as well. Despite his illness Michael was allowed to record his own lead parts but that's all he was able to do on this album.
This record is mainly known for two tracks. The first being a Helloween classic and a staple in their setlist to this very day in the tune "Future World", which tells us a story about the glory of living in a Utopian society. However, perhaps this song I'm about to tell you of might be what the album is known for best. It's my personal favorite cut off the record, Kai Hansen's 13-minute epic titled "Halloween", which tells us a tongue-in-cheek tale about the happenings and going-ons on Halloween night. In the track "Halloween" I feel it was the measuring stick in all of Power Metal at the time of it's release. It contains all the elements perfectly balanced in which make a killer Power Metal tune, they are: melodic and soaring sing-along vocals, very catchy but aggressive riffs, incredible melodic lead work and twin harmonies that are permanently embedded in your brain. Indeed the perfect Power Metal track.
I should just quickly mention that this album has a couple of hidden gems that sometimes get overlooked because of Helloween's very lengthy discography. They are "I'm Alive" and "Twilight of The Gods". They are both very fast and upbeat anthem like tracks, with lots of memorable fret work and vocals.
All in all Helloween prove that sometimes taking your music in a new direction can be for the better good for a band. Although they might have lost some fans who preferred their aggressive sound over their more euphoric sound. Helloween was at the start of a new movement in heavy metal, that would start gathering many bands in the years to follow. Weather your a Power Metal devout or your interest in the genre is only starting to peek, if you ever stumble across "Keeper of The Seven Keys Pt. 1" do not hesitate pick up this very prestigious record, as it is a "keeper" for your collection.
My Killer Kutz: "Halloween", "Future World" & "I'm Alive"
February 1987
Producer: Tommy Newton
Sometimes when a band tries to broden their horizons and explore their options musically sometimes long time supporters of the group may not approve of the change of direction, believing in notion 'if it ain't broke, don't fix it'. However, if the band can appeal to new fans that may not have given them a fair listen before, most bands will tell you it was a risk worth taking. This is the situation that faced German Heavy Metal Legends Helloween with their second full length record 1987's "Keeper of The Seven Keys Pt. 1"
In 1985 Helloween released their first record "Walls of Jericho" and it was a major success across Germany. Featuring guitarist/vocalist Kai Hansen as the front-man. Helloween in those days consisted of a very thrashy sound that most people that discover the band these days would be shocked to learn that such a sound existed on a Helloween record.
It was at some point in 1986 that the band decided to a hire a vocal specialist. At the time Helloween was a four-piece band consisting of: Guitarist/Vocalist Kai Hansen, Guitarist Michael Weikath, Bassist Markus Grosskopf and Drummer Ingo Scwichtenberg. They knew they were getting a very talented vocalist but I don`t think they realized how much of an influential figure he`d become for future vocalists in a form of metal that was later coined "Power Metal". Believe it or not in 1987 he was only 18 his name: Michael Kiske.
True, while Hansen and Kiske were both melodic singers the major difference between the two were Kiske's significant higher range. Helloween needed a more operatic and flamboyant voice to match the melodies that were being written and beyond.
The making of this record would be one of the first real 'tests' that the band of endure. During the writing and creative stages of the album, guitarist Michael Weikath would suffer a nervous breakdown, therefore causing his contributions to be very little in this record, in fact he only wrote one song on this record the ballad-esk "A Tale That Wasn't Right". However, with the negative there is a positive and that turned out to be guitarist Kai Hansen in this situation. On this record out of the eight tracks, Kai solely wrote five of them himself showing everybody that he is indeed a very strong songwriter. Also on this album because of Michael's illness Kai recorded all rhythm guitars you hear on the record, and also a fair amount of lead work as well. Despite his illness Michael was allowed to record his own lead parts but that's all he was able to do on this album.
This record is mainly known for two tracks. The first being a Helloween classic and a staple in their setlist to this very day in the tune "Future World", which tells us a story about the glory of living in a Utopian society. However, perhaps this song I'm about to tell you of might be what the album is known for best. It's my personal favorite cut off the record, Kai Hansen's 13-minute epic titled "Halloween", which tells us a tongue-in-cheek tale about the happenings and going-ons on Halloween night. In the track "Halloween" I feel it was the measuring stick in all of Power Metal at the time of it's release. It contains all the elements perfectly balanced in which make a killer Power Metal tune, they are: melodic and soaring sing-along vocals, very catchy but aggressive riffs, incredible melodic lead work and twin harmonies that are permanently embedded in your brain. Indeed the perfect Power Metal track.
I should just quickly mention that this album has a couple of hidden gems that sometimes get overlooked because of Helloween's very lengthy discography. They are "I'm Alive" and "Twilight of The Gods". They are both very fast and upbeat anthem like tracks, with lots of memorable fret work and vocals.
All in all Helloween prove that sometimes taking your music in a new direction can be for the better good for a band. Although they might have lost some fans who preferred their aggressive sound over their more euphoric sound. Helloween was at the start of a new movement in heavy metal, that would start gathering many bands in the years to follow. Weather your a Power Metal devout or your interest in the genre is only starting to peek, if you ever stumble across "Keeper of The Seven Keys Pt. 1" do not hesitate pick up this very prestigious record, as it is a "keeper" for your collection.
My Killer Kutz: "Halloween", "Future World" & "I'm Alive"
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