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"
Saturday, February 11, 2012
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."
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