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"
Friday, August 19, 2011
"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"
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