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Thread: Album Reviews

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    Twilight of the Gods – Twilight of the Gods (2013)

    This. Is. Heavy. Metal. And it’s fucking glorious. A supergroup of sorts, Twilight of the Gods features Alan Averill (Primordial), Nick Barker (ex Cradle Of Filth/ Dimmu Borgia), Rune Eriksen (Aura Noir) and Frode Glesner (Einherjer), and started life as a Bathory tribute band. That legacy is here throughout – those landscapes of riffs and steel which Bathory do so well define this record – as are the crushing energy of early Manowar, Maiden and the majestic power of Candlemass in what amounts to a celebration of all that makes Metal good. Opener ‘Destiny Forged In Blood’ is a swirl of powerchords and gallops, with Averill’s Dio/Dickinson vocal berating us all to ‘write your name in blood’ for metal – if it sounds corny, you’ll never get the joy of this record. In truth, this emotive stuff – raw without being cheesy, it goes straight to the heart of what makes our genre bubble and tick. The gothic horror of ‘Children Of Cain’ contrasts militia rhythms and razor riffs with ethereal lyrics drawn from folklore; whilst the sheer stomp of ‘Fire On The Mountain’ will nourish your inner teenage Viking and practically command you to headbang – it’s easily the most metal thing I’ve heard this year, until I head ‘Sword Of Damocles’, which conjures visions of ten thousands devil horns in the air.

    What makes it so infectious? The dynamics: effortless cool component parts are held together in perfect balance, meaning that this album never slips into the sin of becoming melodramatic nostalgia produced by so many spotty pretenders. A beautiful, inspiring slab of Heavy Metal.
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    Quote Originally Posted by Von Halen View Post
    I like Black Stone Cherry.
    I quite like Blackstone Cherry, too:

    ________________________________________

    Blackstone Cherry – Magic Mountain (2014)

    Blackstone Cherry’s third album – ‘Between The Devil & The Deep Blue Sea’ (2011) – was as terrible as its title suggests: an overtly corporate slice of rock engineered to garner radio play and appear to a mass, Nickleback loving audience. It is a warm surprise, then, to discover that album number four sees the band return to the thunderous rock and molasses grooves of their earlier work. Put simply, this is Southern Rock for the 21st Century, a record which is steeped in Skynrd, Molly Hatchet (who may be the band’s nearest sonic cousins), the Allman Brothers, and dashed with more than a hint of Bad Co. and Mahogany Rush. Raw, deceptively heavy, and very riff focussed, BSC know that this type of music works best when you don’t overcomplicate things – it’s all about the hooks, stoopid!

    And there are hooks here a-plenty. Opener ‘Holding On…to Letting Go’ is the sort of groove-laden anthem they’ve made their name on; ‘Me & Mary Jane’ is pure thunder, and is bound to become a live favourite; the title track makes you shake your money-maker; and the likes of ‘Never Surrender’ and ‘Blow My Mind’ kick like a woman jilted at the altar. It’s a bombastic wave of rock. Sure, the ballads are still over-cooked and waaaay too sentimental (see the sinner-needs-saving story of ‘Runaway’), but that’s what the skip button was invented for. And there may be a little filler here, too (see ‘Dance Girl’). But overall, them good ‘ol boys are back, and they’re ready to rock 1975 into 2014.

    But there is always a sticking point with BSC. They’re just too……nice to be a rock band. It’s not just their overtly Christian stance, it’s more than that. You just know that they probably say their ‘please’ and ‘thank-yous’, cuddle after sex, and enjoy long walks in the great outdoors. One band member even refers to his fiancé as his ‘snuggle bunny’ in the liner notes – Jimmy Page didn’t do that. Not everyone can be a badass, but it helps if your rockstars are. And as a result BSC, as good as their songs are, will only ever progress so far.

  3. 2 users say thank you to binnie for this KICKASS post:

    78/84 guy (05-13-2014),Von Halen (05-14-2014)


  4. #1163
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    I agree. The last album had some weak spots. More lyric's than music. This new album rocks. It really grew on me in the last week. I love their debut album. On of my favorite albums. They kind of replaced Badlands for me.
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    I'd say their debut is the one I enjoy the most, largely because it's the rawest. The last one was just too.....clean: the polished production and pop-heavy dynamics robbed them of their power.

    There are better rock bands in the world right now (The Rival Sons, for instance), but BSC are always a lot of fun.

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    Quote Originally Posted by ELVIS View Post
    I'm not a hater...

    It's just that when I hear BLS it sounds like Ozzy should be handling the vocals
    And at this point that's not a great sign.

    I was thinking the same thing during the new Jake E Lee album last night although it's better than BLS...
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    Quote Originally Posted by Seshmeister View Post
    And at this point that's not a great sign.

    I was thinking the same thing during the new Jake E Lee album last night although it's better than BLS...
    It's really not better than BLS (did you see my review of Jake the previous page?)

    Man, Jake hired the wrong singer. I think the tune with Sass Jordan on vocals is genuinely brilliant, but the rest is mediocre.

    Zakk Wylde may have released too many BLS albums - which can be patchy - but when it clicks it clicks. His vocals have developed with age, and he can certainly put a song across now......

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    Maybe I should give BLS another chance but the 10 songs or so I've heard have done nothing for me.

    I find ZW uninteresting as a guitarist and less as a writer and vocalist.

    The Jake E Lee album is frustrating, he needs a collaborator. There are some really good bits, I was listening to Feeder and it could be great but it doesn't go anywhere.

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    Quote Originally Posted by Seshmeister View Post
    Maybe I should give BLS another chance but the 10 songs or so I've heard have done nothing for me.

    I find ZW uninteresting as a guitarist and less as a writer and vocalist.

    The Jake E Lee album is frustrating, he needs a collaborator. There are some really good bits, I was listening to Feeder and it could be great but it doesn't go anywhere.
    I think your problem with BLS may be that you don't really care for the heavier end of metal, which is where Wylde was heading with the project. I'd be the first to say that it all lacks subtelty (most metal does), and that he's put some dross out under that name. But I think there are at least 4 very, very good albums. But they may not be for you.

    As for Red Dragon Cartel, 'frustrating' is being polite. I was really disappointed. Albums with multiple vocalists are always a mish-mash and rarely gell, but this one really suffered because there's no unifying style. He should have hired Sass Jordan for the whole thing, in my opinion. But to me - as I said in the review - the really odd thing is the ABSENCE of Jake's guitar. Normally guitar-player goes solo = wank-fest; this was too far the other way......

    I'll be seeing 'em at Donnington next month. Not sure how they'll fare on the mainstage, or how many people under 40 will know that Jake played with Ozzy, will have heard of Badlands, or know anything other than 'Bark At the Moon', but I'm hopeful I'll enjoy it. 'High Wire' is one of many favourite songs/riffs - not the same without Ray Gillan, but you can't ask for the impossible....

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    Sesh, I think you are allowing your opinion of ZW's guitar playing, to cloud your judgement. Or maybe I am, because I love his guitar playing.

    BLS is one of my favorite bands. I might not be 100% in love with the entire body of work, but I sure do love a lot of it.

    I think "Book Of Shadows" is fucking brilliant.

    I love the early stuff. I love "Mafia". I have been listening to the new one a lot, and it is very very good. Much better than the ones between "Mafia" and this one.
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    Quote Originally Posted by Von Halen View Post
    Much better than the ones between "Mafia" and this one.
    Yup.

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    Binnie, have you reviewed the Texas Hippie Coalition "Peacemaker" album?

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    This sounds exactly like Alice in Chains with a Zakk solo...



    It's not bad though...
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    Quote Originally Posted by Von Halen View Post
    Binnie, have you reviewed the Texas Hippie Coalition "Peacemaker" album?
    No, but I shall investigate........

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    E nails that track , it was very very AIC.
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    Quote Originally Posted by ELVIS View Post
    This sounds exactly like Alice in Chains with a Zakk solo...
    There in lies the problem. The song has a lumbering, lethargic groove and vocal melody, then this guy plays a solo like he's got a gun to his head with someone yelling, "faster, faster!!" I just don't get it. What's the hurry? He can play with feeling. So, why doesn't he?
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    Quote Originally Posted by DLR Bridge View Post
    There in lies the problem. The song has a lumbering, lethargic groove and vocal melody, then this guy plays a solo like he's got a gun to his head with someone yelling, "faster, faster!!" I just don't get it. What's the hurry? He can play with feeling. So, why doesn't he?
    Like I said in the review, the solos let the record down. But it's a good record.

    There is also noticeably less squeaking this time round, too.

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    See now that's a good tune. I just gave up after Hellride. And that might be my favorite one. Maybe I thought he couldn't top it. I'm not much of a heavy music fan. I get bored with it too fast. I'm sure there are tons of good songs on the newer albums like this one. I'll have too look for them at cheapo records and update my zakk shit. I always thought his voice was cool. And Book Of Shadows is a great record. I agree his solos can be too frantic for the songs. I get bored with the sound of those pickups also. Tone robbers is what I call them !

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    Animals As Leaders – The Joy Of Motion (2014)

    Instrumental albums usually have a marmite effect. Loved by nerdy muso types, they often leave the rest of us cold. Animals As Leaders have bucked the trend and have produced one which manages to combine the instrumental dexterity you’d expect from this type of music with a leave of emotion which is genuinely moving. The trick is to create landscapes of sound rather than just to indulge in navel-gazing shredding, and the ability of Animals As Leaders to layer their songs with rich textures, colours and hues is very impressive indeed. In Tosin Abasi they have a guitar players who is not just one of the best in metal but in music; and drummer Matt Garstka is equally dextrous in his approach to serving the song. The band’s sound is firmly grounded in the djent scene, but the range of references is far wider – you can here Tesseract, Tool, and Cynic, but also shades of The Cure, U2, Santana and a shit-ton of jazz. That songs this complex never sound angular is very impressive, and in a sense Animals As Leaders stretch the possibility of what guitars and drums can achieve. That they manage to do so without disappearing up their own asses makes that feat all the more impressive.

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    Quote Originally Posted by binnie View Post
    I think your problem with BLS may be that you don't really care for the heavier end of metal, which is where Wylde was heading with the project. I'd be the first to say that it all lacks subtelty (most metal does), and that he's put some dross out under that name. But I think there are at least 4 very, very good albums. But they may not be for you.

    As for Red Dragon Cartel, 'frustrating' is being polite. I was really disappointed. Albums with multiple vocalists are always a mish-mash and rarely gell, but this one really suffered because there's no unifying style. He should have hired Sass Jordan for the whole thing, in my opinion. But to me - as I said in the review - the really odd thing is the ABSENCE of Jake's guitar. Normally guitar-player goes solo = wank-fest; this was too far the other way......

    I'll be seeing 'em at Donnington next month. Not sure how they'll fare on the mainstage, or how many people under 40 will know that Jake played with Ozzy, will have heard of Badlands, or know anything other than 'Bark At the Moon', but I'm hopeful I'll enjoy it. 'High Wire' is one of many favourite songs/riffs - not the same without Ray Gillan, but you can't ask for the impossible....
    More shirts please!


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    Jake is so, so much better than the situation he's in. Great to hear him playing again, but there must be better singers out there......

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    Jake needs to hang up the sauce for good...

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    He does kind of sound a bit like Eddie talking...


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    I hope Zack Wylde sees this!


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    I think that the guitar players amongst you will find the Animals As Leaders record I reviewed above interesting.

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    I know we don't usually link to external reviews but I had to share this one...

    http://thequietus.com/articles/15274...stories-review





    Coldplay

    GHOST STORIES

    Mr Agreeable , May 16th, 2014 06:23




    Two years in the making, alternative rock band Coldplay’s new album, essentially a concept piece about Chris Martin’s break-up with Gwyneth Paltrow, has certainly garnered a number of extremely favourable reviews. In today’s harsh critical climate when major groups can expect to be torn to pieces by a fearless music press regardless of the consequences, that’s remarkable indeed. It’s all the more remarkable given that all things considered, Ghost Stories is from its arse to its f***ing elbow, one, long stagnant f***ing pool of premium grade f***ing cockwash! I would rather chew off my f***ing scrotum than ever listen again to this boneless f***ing melange of morose f***ing piss-shit! I would rather eat an entire f***ing yurt, washed down with f***ing beige paint recently shat out of an incontinent yak’s anus! Put it this way; so remorselessly insubstantial is this album that if it were submitted to the f***ing British Homeopathic Association as a f***ing potential remedy, they’d f***ing knock it back, saying: “No good, mate. You’ve over-diluted it, you silly twat!”

    Never in human f***ing history, since fish first slithered onto the f***ing land and sprouted limbs has there been a more nondescript f***ing decade than the f***ing Noughties and never has there been a more nondescript f***ing group than those gelatinous c***lords Coldplay! They made Dido sound like Bessie f***ing Smith! They filled the giant f***ing void in pop culture in the early 21st century because they are a giant f***ing void! Somehow, Martin’s knack for trudging up and down a keyboard like a middle aged man in f***ing chinos strolling to the f***ing corner shop to buy the f***ing Daily Express while singing like he’d just been kneed in the f***ing bollocks caught the zeitgeist of the dullest, do-nothing, think-wishfully generation of all f***ing time! In the rock & roll hall of fame they sit near the f***ing exit like a f***ing birch veneer occasional f***ing table! Getting excited about f***ing Coldplay is like getting excited about the f***ing Liberal Democrat Spring conference!

    Anyway, Martin got married to f***ing Gwyneth Paltrow, that ghastly, gulping, giraffe-necked, sick-making long drink of carb-averse goop, they created their own f***ing hole in the f***ing ozone layer flying around the world with Martin warbling about how concerned they were about the f***ing environment, spawned a couple of sprogs and saddled them with life-ruining names, promoted every f***ing vapid strain of spiritual, anti-materialist New Age nonsense while raking in the f***ing ackers like whorehounds and then finally “consciously uncoupled”, though it’s a f***ing wonder either of them could stay f***ing conscious in each other’s company at all, given that they’re the two most testicle-achingly f***ing tedious people on earth! And now Chris is sad. He feels like shit. And he’s perfectly conveyed that unremittingly f***ing excremental condition on f***ing Ghost Stories!

    So, track one 'Always In My Head' sets the f***ing dolorous tone. “I think of you/I haven’t slept.”, whines Martin, while f***ing George, Ringo and Ringo or whoever the f*** the other three are try not to fall asleep at their f***ing instruments. Next up, 'Magic'. No, sorry, it’s not about actual magic. Tommy f***ing Cooper retrieving the f***ing ace of spades from a pack using a f***ing blindfolded wooden duck, not that. Nothing remotely entertaining. No, as f***ing ever, Chris Martin’s here to suck all the f***ing joy out of the room like a giant f***ing Happiness Hoover! A wan swirl of keyboards, like that pink water you get at the f***ing dentist’s swilling down a f***ing metal hole, and Chris is all about how he f***ing “can’t get over” you know who.


    At which point you have to say: For f***’s sake, why, man? Gwyneth Paltrow no longer being in your life is like having a 14 inch long celery stick that’s been stuck up your arse for years surgically removed! You should be f***ing delirious! This album should be a series of f***ing honky-tonk piano-driven upbeat bangers with titles like 'Wahoo!' and 'Thank F*** Almighty, Free At Last!' and 'I Don’t Have To Knit My Breakfast No More!', all accompanied to the sound of six-shooters fired into the f***ing ceiling with both hands! All your f***ing friends hated her, were you not aware of that? But no, Chris is sad, so on we f***ing crawl through the cesspools of f***ing self-pity. “All I know is I love you/so much it hurts.” (yep, that stench coming from Stratford-Upon-Avon isn’t the drains, it’s f***ing Shakespeare shitting himself in his grave). I’d suggest you drown your f***ing sorrows, Chris, but it’d probably be best all round if you f***ing drowned yourself!

    Next up; 'True Love', to a tune akin to watered down elephant smegma slowly dripping into a f***ing plastic bucket. “I wish you could have let me know/What’s really going on below.” No, kids, he doesn’t mean genitalia. Martin and Paltrow are like 1930s Disney nymphs, they don’t f***ing have genitalia. He means f***ing feelings, the c***. Cue also the worst, truncated f***ing guitar solo in f***ing history - like a dying kitten mewing for help, then remembering that this is a world with f***ing Coldplay in it and deciding not to f***ing bother. Now “Midnight” - and guess what? Chris is alone, alone. I’m not f***ing surprised. Any evening out with him’s gonna be a f***ing brief one, with mates making their excuses and back home in time for f***ing Channel 4 News!

    'Another’s Arms' begins with an androgynous, anaemic yelp that is quite possibly the whitest moment in all of popular f***ing culture. Shirley f***ing Temple serenading the f***ing Ku Klux Klan with 'White Christmas' during a f***ing snowstorm could scarcely be any f***ing whiter. Next 'Oceans'. Seriously, just f*** off, you insufferable f***ing streak of twatrot! 'A Sky Full Of Stars' breaks into a disco house groove but it’s funkless like a f***ing HSBC staff party - “wave your arms in the air, finish your f***ing mineral water and be back at your desks at 7.15 sharp tomorrow morning!” And so the album wends on - imagine Christ, instead of having to carry the f***ing cross to f***ing Calvary having to carry a giant, ten foot long flaccid penis instead - that’s how listening to this f***ing album feels by this stage!

    Finally, the f***ing title track itself. Chris wonders if he himself is “just a ghost”. Tell you what, Martin, you woeful f***ing waste of a snail’s time, here’s one way of f***ing finding out - why not run into that f***ing brick wall head first? Twenty times, just to be f***ing sure?

    There was another track but the f***ing CD physically f***ing evaporated before I could play it. Coldplay? C***grey, more like! There’s only one f***ing substance on this earth more colourless and full of f***ing nothing than Ghost Stories and that’s f***ing Gwyneth Paltrow’s urine!
    Last edited by Seshmeister; 05-20-2014 at 10:33 AM.

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    From what I've heard of the new Colplay record, it's a fair summary...........

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    Quote Originally Posted by Von Halen View Post
    Binnie, have you reviewed the Texas Hippie Coalition "Peacemaker" album?
    Great band!
    Great album!



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    From the vaults: Skin – Lucky (1996)

    ‘Brit Pop? Pa!’ That was always my reaction during the supposed ‘golden era’ of pop/rock in mid-90s Britain. Faced with a far, far more interesting collection of British rock/metal bands – Therapy? The Wildhearts, The Almighty, Three Colours Red, Gun, Skunk Anansie, Thunder – I always found the re-hashed ‘60s drivel from the likes of Oasis and Blur to be a little……dull. And Skin were certainly a band that fitted in perfectly with that crop of exciting rock/metal bands. In many ways the most traditional of the bunch – this was really a rough ‘n’ ready take of stadium rock – they nevertheless knew how to belt out a tune or two. ‘Lucky’, their softmore record, balanced rollicking hard rock (‘Spit On You’) with soulful ballads of genuine world-class proportions (‘Juliet’). In Neville MacDonald they had a singer with a soulful, raspy voice who was equally comfortable belting or crooning – he makes the gospel tinged rock of ‘Prey’ sizzle and sparkle. And in guitar player Myke Gray, they had a guy who could play screaming (if not quite shredding) leads that gave this melodic hard rock added crackle and pop. The likes of ‘How Lucky You Are’ still make me bounce around the room in hysterics.

    A lot of this is dated now, of course. In truth that’s more indicative of the fact that most ‘rock’ bands now sound like 1973 than it is of Skin having done anything particularly wrong. There’s no slavish Zep or ‘DC worship here, or anything that sounds like the dying fart of Sunset Strip. It’s bluesy, song-based rock which knows that tunes and choruses carry the day. And those choruses come in droves – each one packs all of the excitement of the first day of the long summer holiday. When they tried to experiment, it was less convincing (see the swampy ‘Make It Happen’ or the sentimental ‘Escape From Reality) – this was a band much more comfortable in the footsteps of more mainstream rockers, like Bon Jovi without all of the flounce and preen. It was dated in ’96, but you just can’t argue with some of those hooks when they’re sold on a voice like that.

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    Down – IV part 2 (2014)

    Calling this an ‘EP’ is something of a stretch – at 36 minutes its as long as many albums, especially those of music’s ‘classic’ period which it hearkens back too. Following on from their previous ‘EP’ – IV part 1 (2011) – Down have undergone something of blow in the loss of founder guitar player Kirk Windstein. But fans need not fear, for in Bobby Landgraf (their tour manager) the band have found quite a replacement, a man who can trade licks (and riffs!!) with Pepper Keenan with ceaseless aplomb. Continuing the raw, under-produced vibe of the previous EP, this will equally be a release that divides fan’s opinions: only the most obstinate wearer of rose-tinted spectacles would say that this approaches the musical highs of Down’s first three records; but, equally, only the most musically myopic
    would write off this looser, less overtly aggressive Down as trading on their laurels. That ‘IV – 2’ is a wonderful piece of doom-fuelled metal is undeniable.

    Opener ‘Steeple’ erupts with a trademark Philip Anselmo scream, before breaking into a thunderous riff and a hectic melody which comes straight out of ‘Down II’. Signing off with lucid, bluesly jams of hypnotic potency, it’s quite a clarion call. It also encapsulates the feel here: the looser, more jamming feel works for Down, and the aim here is clearly to capture a performance, a series of moments. Moreover, whilst most doom bands merely worship Sabbath, Down sweep through the entire spectrum of occult, southern and stoner rock to create a sound that is at once muscular and heavy, but equally open and oozing. ‘We Knew Him Well’s’ swampy groove is juxtaposed with a demented vocal from Anselmo, and once again features a chiselled riff; ‘Hogshead/Dogshead’ is a crusher which booms out of the speaker; and the 8 minute ‘Conjure’ showcases doom at its very best, using bottom-end as a weapon to create a dark, crusty celebration of heaviness hatched in a darkened crevice of Satan’s brain. And the high’s just keep coming. ‘Sufferer’s Years’ is a punchy headbanger which could hang with anything in the band’s back-catalogue – you know it will crush live. And closer ‘Bacchnalia’ is a glorious epic closer awash with melodic thrusts of bass which swings like the coolest cat in Cool Town. It’s heavy and quite, quite beautiful.

    The raucous aggression of the band’s early years may be gone, but there’s something otherworldly about music like this, an unnameable quality which is much more than 5 guys playing good songs, an impact beyond the notes being strummed together in sequences. Metal like this makes you feel bigger than you are. It’s the reason we fell in love with it in the first place.

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    I like 36 minute albums...

    Just because a CD holds 74 minutes doesn't mean it has to...

    ADKOT would have been much better if it were trimmed down...

    The same goes for the tired 13 album from Sabbath...

  34. 2 users say thank you to ELVIS for this KICKASS post:

    78/84 guy (06-11-2014),Von Halen (06-09-2014)


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    Agreed, Elvis.

    I think calling something that long an 'EP' is weird.

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    Anti-Mortem – New Southern (2014)

    The title of Anti-Mortem’s debut album is startlingly accurate: this is a band with all the hallmarks of Southern Rock played through bottom-heavy, Black Label Society-esque Metal. Consequently, much of ‘New Southern’ is dumber than a Tea Party debate on evolution – hello ‘Path To Pain’ and ‘Hate Automatic’ – but it kicks like a mule on steroids. Tough-talking ol boys who deal with subtlety in the same way that the Taliban deal with dissent, this is an album packed full of 3 minute songs based around crunching riffs and testosterone. ‘Words Of Wisdom’ sounds like turn of the millennium Corrosion of Conformity and is awash with bounce, roll and rumble and a chorus bigger than Detroit’s debt. ‘100% Pure American Rage’ is a stomping charge of anger, and ‘Stagnant Water’s is propelled REALLY heavy, bottom end crunch that is simple, but oh so irresistible. It’s fair to say that there is some filler here, and that this is not a band concerned with originality, but when you are presented with such an ‘ave it!!’ attitude it really doesn’t matter.

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    Quote Originally Posted by ELVIS View Post
    I like 36 minute albums...

    Just because a CD holds 74 minutes doesn't mean it has to...

    ADKOT would have been much better if it were trimmed down...

    The same goes for the tired 13 album from Sabbath...
    Black Ice also. Great songs but too long. Save a few for a box set. Put them in the can for a few years !

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    I'd rather have a 36 minute album every 6 months or year, than a 74 minute album once every 10 years.

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    Conan – Blood Eagle (2014)

    ‘…….and the winner of “Heaviest Album 2014” is…..’. Even in the spectrum of Doom Metal, the weight of Conan’s sonic umph is remarkable. If when a butterfly flaps its wings there is a hurricane somewhere on the other side of the world, then every time someone plays ‘Blood Eagle’ a distant galaxy implodes. Featuring just 4 songs of sparse, raw and punishingly heavy music, this is the sort of album which re-affirms your faith in a subgenre which often descends into mere Sabbath-worship. Guitars drone and hum to funereal beats, creating landscapes of endless volume and power in which nothing is out-of-place. And it is that which is most impressive – and effective – here. The last decade of post-emo and ‘core’ influenced metal has seen bands getting busier and busier, producing music which is increasingly manic. ‘Blood Eagle’ is the antithesis of that, a record which lets the rattling of those down-tuned guitar-strings be the presence of the songs and suckers you into the grooves of those riffs. ‘Gravity Chasm’ is what a black hole must sound like, ‘Total Conquest’ stomps forward with a thud that your distant ancestors will be able to feel, and ‘Crown of Talons’ uses repetition to an almost otherworldly, primordial end.

    If you think that slow music = boring music, you need to think again. This is multi-textured, almost tactile, music which is rich in tone and terrifying in clout. It’ll be waaaaay too much for fans of hook-driven music, but for those who like adventure, look no further: this is the sound of the Barbarians!

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    Power Trip – Manifest Decimation (2013)

    ‘Thrash’ isn’t really one thing in 2014: Lost Society are pure gonzo genius, Vektor are progressive-thrash majesty, and Black Breath are nasty, gnarly punk-fuelled filth. Power Trip are closer to the ‘thrash’ of the early ‘80s, but this is no blast of nostalgia. It is a molten ball of metal, welded together, 36 minutes of music played by dudes who make music because they HAVE to. Raw, full-tilt hardcore fused aggro which takes its leanings from the pre-‘Rust In Peace’ type of thrash, when it was still snotty and growling and sporting THAT ‘Kill ‘em All’ guitar tone. The title track is rawer than sandblasted skin, a burst of pure aggression which reminds you ‘Beneath The Remains’ era Sepultura; ‘Murderer’s Row’ is a monolithic wall of metal propelled by raucous gang vocals and slabs upon slabs of riffs; and ‘Power Trip’ is half-thrash/half-hardcore and reeks of primal power. It’s quite the neck snapper, and debut that makes you do laps of the room in excitement.

    Sure, there’s nothing here you’ve not heard before. And, sure, bands who deliberately make their records sound as poor as mid-80s thrash records did when they don’t have to make my head scream – it just brings in a whiff of pardoy. But this is a pitbull of a record, and one that rewards multiple plays.

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    Quote Originally Posted by binnie View Post
    Animals As Leaders – The Joy Of Motion (2014)

    Instrumental albums usually have a marmite effect. Loved by nerdy muso types, they often leave the rest of us cold. Animals As Leaders have bucked the trend and have produced one which manages to combine the instrumental dexterity you’d expect from this type of music with a leave of emotion which is genuinely moving. The trick is to create landscapes of sound rather than just to indulge in navel-gazing shredding, and the ability of Animals As Leaders to layer their songs with rich textures, colours and hues is very impressive indeed. In Tosin Abasi they have a guitar players who is not just one of the best in metal but in music; and drummer Matt Garstka is equally dextrous in his approach to serving the song. The band’s sound is firmly grounded in the djent scene, but the range of references is far wider – you can here Tesseract, Tool, and Cynic, but also shades of The Cure, U2, Santana and a shit-ton of jazz. That songs this complex never sound angular is very impressive, and in a sense Animals As Leaders stretch the possibility of what guitars and drums can achieve. That they manage to do so without disappearing up their own asses makes that feat all the more impressive.
    Animals As Leaders will be touring with Tesseract !!!!
    Last edited by katina; 06-20-2014 at 05:55 PM.
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    From the vaults: Amorphis – Skyforger (2009)

    What do you do with a band like Amorphis? Not quite Goth, not quite Prog, and not wholly Metal either, this bunch of Fins are genuinely unclassifiable. Taking influences from pretty much the entire rock spectrum – they can sound as anthemic as Alter Bridge one minute, as symphonic as Within Temptation the next, and as spacey as Uriah Heap 4 bars later – theirs is a sound at once very unique and often overwhelmingly rich. There’s even a flute for fucks sake! Music which is dazzlingly complex, but never fails to come welded to a Top 20 chorus sung by Tomi Jouston’s majestic pipes, its certainly Heavy but paints with far too many colours to be Metal. And at their very best, they are one of rock’s best kept secrets.

    Starting life in the 1990s as an out and out Death Metal band, the subsequent decades have seen Amorphis expand their sound by injecting Prog, folk and even mainstream rock into their arsenal. ‘Skyforger’ – album no. 9 – is perhaps the most complete realisation of that vision this far, and should be appreciated by a much wider body of fans. Sure, there are some moments of goth-lite that wouldn’t stray too far from Evanescence territory (see ‘Silver Bridge’), but in truth there is too much going on here for this band to be as creatively redundant goth-by-numbers like Lacuna Coil. Indeed, on ‘Majestic Beast’ we get Death Metal vocals and soaring melodies of impossibly rich variety – that it doesn’t sound like a clusterfuck is a testament to how in control of their own ouvre this band are. The title-track is propelled by a cavernous slab of guitar and the raw of something awesome with its party hat on. ‘From The Heaven Of My Heart’ is grunge meets Prog (seriously), a serpentine, sinewy melody over raucous blasts of guitar, and ‘Highest Star’ is pure thunder and proof that this is a band who can crush when they want to.

    They’ll never be heavy enough for some, or dark enough for others, but in truth no one sounds like Amorphis. Naysayers who make comparisons to the melodrama of acts like Nightwish need to clean their ears: there isn’t even a whiff of cheese here. Mixing such a broad range of influences, sounds and instruments into one unholy rush of music, ‘Skyforger’ is the sort of album that takes over the listener and challenges them without ever becoming overwhelming. One step short of being a modern classic.

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    In Solitude – Sister (2013)

    The cover of ‘Sister’ – a harrowing face half emerging from the darkness – is terrifying and, like the music, truly macabre. Where In Solitude’s debut was a loving tribute to NWOBHM and early Black Metal, their sophomore album sees them plunge head first into Occult Rock. And, my oh my have they cooked up something special. It’s not gory, it’s not stupefyingly heavy, or indeed is it that extreme. But it is truly unnerving in places, and never fails to be moving. Darkness here is no gimmick, it is the undercurrent of the music.

    Opener ‘He Comes’ is layered in acoustic sounds and delves into the dark trips of Depeche Mode, The Cult and The Doors. ‘Death Knows Where’ is a swirl of early Occult Rock and has a very ‘70s feel, like the MC5 jamming with Bathory. Looping melodies spiral and build into something hypnotic as the song considers the ever-presence of death to almost claustrophobic levels. ‘A Buried Sun’ conjures the aching goth of My Dying Bride and feels very much alive and wounded as it lurches from part to part, veering through different shades of darkness in a free form which is perfectly fitting for music this Satanic. But if this all sounds a little pretentious, take comfort in the fact that some of ‘Sister’ flat out ROCKS: ‘Pallid Hands’ has guitar licks that have kissed something genuinely evil, ‘Lavendar’ is thrusting and primal, and ‘Horses in the Ground’ reeks of Angel Witch.

    Eschewing the staccato riffage to explore darker tones and hues, In Solitude have produced one beast of a record. The sort that stays with you. The analogue sound is raw, taut and at odds with an age over-run with pro-tooled perfection. Although very much their own band, this is a record of pure freedom very much in the vein of the first Sabbath album, and one which can match modern masters of Occult Rock like Blood Ceremony in terms of eerie power. Where a band like Hell do melodramatic macabre, ‘Sister’ is the real thing: a record of challenging evil that take Heavy Metal into the ether. That it is anything but screaming extremity serves, ironically enough, to make it more extreme.

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    Fu Manchu – Gigantoid (2014)

    Fu Manchu went off a bit at the turn of the millennium, adopting a ‘less fuzz, more rawk’ approach that left their typical thunder sounding somewhat tepid. That all changed with 2007’s ‘We Must Obey’, however, when they came back with stoner vibes that were heavier than just about anything imaginable. Heavy not in a way that is extreme, but in the bas juddering way that Blue Cheer and The Stooges were heavy. Built upon feel, not finesse, and a healthy dose of ‘70s vibes, petrolhead overdrive and gonzo cool, this band is just as important to the evolution of Stoner Rock as their more celebrated peers (Kyuss, Monster Magnet, Sleep). ‘Gigantoid’ is another burst of riffs, fuzz and grooves that will kick your summer in the ass. ‘Dimension Shifter’ is a sonic boom of classic Fu: monumentally heavy and cooler than Lenny Kravitz in pimp town. What makes it work is that it’s just do damn simple: buzz-saw riffs, thudding drums and B-Movie schditch lyrics take you into a mind warp of almost cartoonish cool that make ‘Invaders on My Back’, ‘Anxiety Reducer’ and ‘Evolution Machine’ so immediate and joyous. You’ll be humming them all day just to remind yourself where your neck hurts.

    Is this the best record Fu Manchu have ever made? No, but every band suffers from the law of marginal returns. But when the sun comes out, you’ll have few better friends this summer.

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