Album Reviews

[Dave's Bitch]

Yup, that's the plan (assuming my copy turns up tomorrow I should be able to fast-track it and get it done by the end of the week).

Isn't it Tuesday it comes out?.Either way I look forward to reading it.Have you heard the preview of "Don't Turn Your Back"?.Exactly the kind of song i have been wanting

[binnie]

From the vaults: Mad Capsule Markets – Cistm KonFliqt (2004)

Normally if a band is described as ‘unique’ it is a synonym for ‘impenetrable’, music which is clever but often challenging to listen to. In the case of Japan’s Mad Capsule Markets, however, distinctiveness was not coupled with difficulty. Welding together industrial, a bit of prog, lots of trance and layers of punk and metal, this was heavy music that you could hold a rave too – here was a heavy band engaging with dance music long, long before Korn ever heard of Skrillex, or Pendulum had hair on their nut-sacks. As discordant as it is danceable, influences like Ministry, Slipknot and Fear Factory are notable, but all of this is channeled through a heavy dose of The Ramones – simple structures, infectious energy, choruses you can sing. Influences aside, however, this was not a band who shamelessly emulated American sounds – Mad Capsule Markets had a distinct approach to heavy music, one which was undoubtedly influenced by their culture.

‘Cistm KonFliqt’ was the band’s 11th record, but perhaps only the second to make a splash outside of Japan (following the equally brilliant ‘Osc-Dis’). Opener ‘Retalk’ is music to mosh too, tribal rhythms and heavy nu metal edged guitars make things bounce with a demented stomp; ‘Bomb Idea’ is The Dead Kennedy’s with keyboards and hooks that kill; whilst ‘Scary’ could be played on mainstream rock radio – sounding a little like The Wildhearts at their most bombastic, it has a punk hook so sticky it sticks to your mind like shit to a blanket. ‘Cracker’ sees the band’s dance elements taken to the fore – imagine Aphex Twin jamming with early Pitchshifter – whilst ‘Grim Monster’ sound like Rob Zombie would if he could still write songs. There’s certainly variety – ‘She Loves It’ is trippy Californian surfer music; whilst ‘Let It Rip’ is the heavier end of Korn – but it is all absorbed into a unique aesthetic, and never feels clumsy. Quite what label we might put on that aesthetic – quirky, eccentric, demented? – is beside the point: this is a fuck of a lot of fun, the sort of music that scream FTW whilst smiling.

[binnie]

Megadeth – Super Collider (2013)

Megadeth face the same problem as Motorhead: a legendary band shackled by the myopia of music critics and fans, both of whom – blinded by nostalgia for a golden age – chronically overlook the fact that the music the band have put out in recent years equals (if not, in the case of Motorhead, surpasses) their ‘classic’ albums. In the case of Megadeth, the form that Mustaine and co. have been on since 2007’s ‘United Abominations’ (as sensational as it was heavy) has been the most consistent of their career and has added a series of classic songs, epic riffs, and great moments to an already illustrious catalogue. If ‘Endgame’ (2009) was a continuation of ‘United’s thrashier side of Megadeth, ‘Thirteen’ (2011) saw the band explore the more melodic, mid-paced aspect of their sound. ‘Super Collider’ continues where ‘Thirteen’ left off, but with two crucial differences: 1) it is more consistently brilliant; and 2) the range of sounds, tones and styles explored is far, far wider, resulting in a slicker, warmer album.

This will not, of course, be to everyone’s taste. If you’re only prepared to allow Megadeth to be gun-metal grey, then you may be disappointed by ‘Super Collider’. But it will be your loss. Although 1985-1992 is often seen as the band’s golden ‘thrash’ heyday, it is easy to forget that between 1992-2000 Megadeth were as much ‘rock’ as they were ‘metal’, and that – the woeful ‘Risk’ (1999) aside – they were bloody good at it (see ‘Youthanasia’ and ‘Cryptic Writings’). Album number 14 does not tread down the ‘rock’ path as much as those mid-90s records, but there is certainly a warmer feel, a more mid-paced tempo and – believe it or not – an upbeat mood (well, in places – we are talking about Dave Mustaine, after all!) ‘Forget To Remember’ is a damn fine, classically-hewn metal tune strong on melody, simple dynamics and hooks; and the title-track – about a conversion experience – is barely metal at all. The latter is easily the weakest track here. The loose, vocal first performance exposes Mustaine’s limitations as a singer, but if you play it loud enough it is a hell of a blast of rock ‘n’ roll (even if it is hard to reconcile with the image of the snarling Mustaine so many of us remember). After 30 years it is hard to surprise your fans, but how many of us ever thought that we’d hear a fiddle on a Megadeth record? Fewer still could have imagined that the tune in which it (and other traditional Irish instruments) features – ‘The Blackest Crow’ – is crushing: it may not be the evil thrash of ‘Black Friday’, but it is proof that Mustaine is still more than capable of penning dark little ditties in his sixth decade. Emotive, mature and masterful.

But don’t think that ‘Super Collider’ strays too far from the fold. There is metal here. Big, skull-crushing, ‘stick this riff up yer ass’ metal. Opener ‘Kingmaker’ – a take on addiction – is furious, a crunching riff, neck-bracing drum pattern ushering in that quintessential Mustaine menace; ‘Built For War’ is off-the-scale heavy and the sort of technical powerhouse that few contemporary bands could match – it is odd that the most ‘Megadeth’ song here is the one in which Mustaine himself had the least involvement in writing (the plaudits go to Chris Broderick and Shawn Drover); and ‘Begging For Sorrow’ is savage, cynical and harrowing in equal measure. But perhaps most surprising – and pleasing – of all is ‘Dance In The Rain’, which features Disturbed frontman (and renowned dick-head) David Drainman on co-lead vocals. Take a deep breath……………..IT FUCKING RULES!!! Damn it is heavy, and as strong as anything this band has recorded in the last 15 years. The twisted power of Mustaine’s cynicism is alive, kicking, and pounding here those slabs on sinewy riffs and warped time-changes we’ve come to expect. In the face of such a metallic treat, we can perhaps over-look the rather pointless inclusion of a cover of Thin Lizzy’s ‘Cold Sweat’ (as good as it is).

It is odd that thrash’s most unpredictable character has also been its most dependable servant. Whilst Anthrax have been floundering around trying to jump-start their career since the mid-90s, Slayer have done little more than repeat themselves, and Metallica lurch from drama to procrastination, Megadeth have delivered the goods time and time again. Consequently, it goes without saying the ‘Super Collider’ is packed full of shredding solos, epic riffs, and world class musicianship; or that it will take your damn head off if you play it loud enough. But sometimes familiarity breeds contempt. What people overlook about Mustaine is that he is a hell of a songwriter. Every song here is finally honed, crisp and drips in quality hooks – even if you don’t like the less-manic side of Megadeth, you would have to respect it. And if you’re waiting for that heavier (or rather, ‘heaviest’) side of the band, you probably won’t have to wait long – album number 15 will be along in less than two years, and who’s to say it won’t be a face melter? Until then, ‘Super Collider’ will keep your Ipod warm – it may not be vintage Megadeth, but it is a hell of a record nonetheless.

[Mr. Vengeance]

Nice review Bin. I just picked up Super Collider and had a lot of the same thoughts as you. I thought that closing the album with a raucus cover of the Thin Lizzy classic, "Cold Sweat" was cool as hell!

Disagree about Anthrax...their last album was kickass.

[Dave's Bitch]

I liked this album well enough the first play through but it took a second to really appreciate it.Awesome review Binnie.One tiny little thing,Dave is 51 so he is more than capable of penning dark little ditties in his fifth decade

[binnie]

I liked this album well enough the first play through but it took a second to really appreciate it.Awesome review Binnie.One tiny little thing,Dave is 51 so he is more than capable of penning dark little ditties in his fifth decade

Sixth decade: 0-10 (1); 10-19 (2); 20-29 (3); 30-39 (4); 40-49 (5); 50 + the beginning to the sixth. Just a note from pedant's corner.

[binnie]

Disagree about Anthrax...their last album was kickass.

Glad you liked the review.

Yes, Anthrax's last record was awesome (as I said in my review here). My point about Anthrax, however, is that every time they try and do someting (since about 1995) something has kicked them in the ass, or they've squandered their own momentum. It was 8 years between 'We Have Come For You All' and 'Worship Music'.

[Dave's Bitch]

Sixth decade: 0-10 (1); 10-19 (2); 20-29 (3); 30-39 (4); 40-49 (5); 50 + the beginning to the sixth. Just a note from pedant's corner.

Ok I'll give you that one.Great review

[binnie]

Black Sabbath – 13 (2013)

Is it any good? That’s all you want to know really, isn’t it? And the answer is a resounding ‘yes, but…….’. Because whatever you say about the positives of ‘13’ – the ‘reunion’ album from Ozzy-era Sabbath – there’s something that’s just not quite satisfying about it. Maybe it’s because it feels like a con: this is 75% of Black Sabbath, and although 75% of the original is better than 0 (and, in all likelihood, all we’re ever going to see now that these guys are in their winter years), it’s still not 100%. Maybe it’s because the songs are over-long, would have benefitted from a further directorial hand (adding to the conviction that Rick Rubin has long been trading on the fumes of his ‘legendary’ producer status) – all of the faff and procrastination in some of the tunes here only throws the potential of what they could have been into relief. Or maybe it’s the fact that in 2013 many of Sabbath’s imitators now do Sabbath a lot better than Sabbath do themselves. Whatever the case, ‘13’ is good but very far from great.

That being said, it’s waaaaaay better than many had feared. Let’s be clear: all of the songs here beat the living shit out of the two abominations they recorded for the live reunion record in 1998; and, despite his detractors, Ozzy’s voice sound remarkably healthy – no-more the Kermit-the-Frog autotuneisms of recent years. Indeed, Ozzy’s melodies are persistently strong throughout this record and lead to tunes which are memorable, captivating even. And, even though Bill Ward is not here, Brad Wilk does a sterling job, adding groove and underplaying throughout. So: three potential banana skins, 3 successful dodges. We must also judge it for what it is rather than what it could never be – it is not 1971 one any more, and these guys are no longer 22. Rather than trying to recapture their past – an approach which always leads to pastiche and self-parody – Sabbath here have approach music in 2013 in the same manner that they did in 1970. Take quality ingredients – riffs, melodies, concepts – and don’t over-dress or over-cook them. The result is a record that a) doesn’t feel like a crash grab; b) isn’t a gushing nostalgia trip; and c) feels very organic and genuine.

And the songs are good, too. Low-key opener ‘End Of The Beginning’ kicks in with BOOM! BOOM as Iommi and Butler level dinosaur-paced riffs in unison, ushering in a track borne of traditional Sabbath eeriness before culminating in frantic up-tempo section built upon a slithering riff – this is a celebration of ‘Black Sabbath’ to ‘Sabotage’ in 8 minutes. ‘Age Of Reason’ – easily the best tune here – is epic, crunchingly heavy and built around some juddering riffs and wonderful Ozzy melodies; whilst closer ‘Dear Father’ – a heavy, swaggering behemoth of a song – conjures up all of the jet-black darknesss that you’ve been yearning for from Sabbath. If the relatively punchy ‘Loner’ (think the caveman-riffing of ‘Vol. 4) is short, sweet and (perhaps) a little obvious; the trippy, floaty psychedelia of ‘Zeitgeist’ a very warm surprise – restrained, melodic and beautiful, the band here reminds us that they did beauty as well as they did beast. In the space of such quality, we can perhaps forgive ‘God Is Dead?’ – a 4 minutes song padded out to 8 minutes which creeps along at glacial pace – and ‘Damaged Soul’ – a loose, bluesy jam which, despite some demonic playing at the close, would have been far more effective in edited form. It’s great to hear Ozzy honking that harmonic, however.

That the whole record signs off with rainfall and a tolling bell is a beautiful piece of symmetry for Black Sabbath’s career – a recognition, perhaps, that this is the last metal we’ll ever hear from the band who started it all. And in making the record they wanted to make – rather than one which tried to emulate former glories – Sabbath have reminded us that honesty and integrity remain their hallmarks. Organic, very heavy, and – crucially – blues based, this was the Sabbath we loved and one which throws into relief how far metal has evolved in the 45 years since its inception. ‘13’ is a record which will both relieve those who feared these old dogs would come a cropper, AND one which can be enjoyed alongside the band’s original records. A worthy – and worthwhile – addition, if you will. So yes, it is good – but with a little more direction and focus it could have been so much more.

[ELVIS]

I wanted the so much more...

Nice review...

[binnie]

Cheers Elvis.

I'm still sure what it IS that's missing. All the features of the Sabbath landscape are there, but it's just not quite right in terms of feel (even allowing for their age and the 40 year gap between 2013 and the original concept of their music). It's certainly not a disaster - indeed, it's pretty worthwhile - but they feel very human, rather than God-like.

As I said in the review, an edit button would have been helpful. 8 mintues songs need to be really, really good to work. Otherwise they're glorified jams...........

[ELVIS]

"Slayer have done little more than repeat themselves..."

C'mon dude, no way is that true...

But other than that, awesome Megadeth review...

I'm certainly not expecting Sabbath to even come close to this album...

My wife picked this up for me on Friday and I really like it...

Built for War (as well as quite a few others) kicks serious ass...

Mustane's overly effected vocals aren't his best, but not bad at all...

[ELVIS]

an edit button would have been helpful.

I thought that's what that $400 million dollar retard was for...

[binnie]

C'mon dude, no way is that true...

But other than that, awesome Megadeth review...

I'm certainly not expecting Sabbath to even come close to this album...

My wife picked this up for me on Friday and I really like it...

Built for War (as well as quite a few others) kicks serious ass...

Mustane's overly effected vocals aren't his best, but not bad at all...

I'd say it's true that Slayer have largely repeated themselves. Even Kerry King jokes that they're 'the AC/DC of thrash'. My comment was certainly not in relation to the quality of Slayer's music - they've rarely put a foot wrong - more towards the fact that you lnow exactly what a new record will sound like. Slayer would EASILY by in my top 10 favourite bands (read the 'Hell Awaits' review on the previous page).

But, yes, the Megadeth record is very good (title-track aside). I'll always prefer their more aggressive records, but Mustaine all writes killer tunes regardless of the style they adopt on a given record. We could argue all day about which of the 'Big 4' bands has put out the best/most important music, but there's no argument whatsover that in the autumn of their careers Megadeth have been the most consistently strong in delivering the goods.........

[binnie]

I thought that's what that $400 million dollar retard was for...

I think Rubin is more about vibe/feel that the technicalities of production. He's the anti-Bob Rock.

Sure, he's produced some killer records, but in the last 10 years he's underperformed and I often think that records would sound much better without him. 'Death Magnetic', for instance, was very good - but in the hands of a really good producer (Andy Sneap, Colin Richardson, Nick Rasculeick) it could have been brilliant. Same goes for the record he made with Slipknot.

I'd say that Rubin's last great metal record was the first System Of A Down album (1998)