HELP ALONG YOUR WAY

New Home

2009-09-21T12:33:00.000-07:00

www.HelpAlongYourWay.com

DVD REVIEW: HATEBREED "LIVE DOMINANCE"

2009-01-14T18:35:00.000-08:00

Hatebreed
"Live Dominance"
Koch Records

Links:
www.hatebreed.com
www.myspace.com/hatebreed
www.kochrecords.com

Vitals:
Format - Hi-Definition Recording/DVD
Director/Producter/Editor - Kevin Custer
DVD Authoring - Houseworks Digital Media, Inc.
Worldwide Management - No Name Worldwide

Band:
Vocals - Jamey Jasta
Guitar - Frank Novinec
Bass - Chris Beattie
Guitar - Sean Martin
Drums - Matt Byrne

The Grit:
Open this DVD and you'll get sucked into the LIVE show of Hatebreed. Walk onto the stage with the band at the legendary Harpo's in Detroit, and dive into the pit of dominance. From the first track to the last track, you will be sated. The show is over 1 hour in a length and has over 20 tracks of live in yer face hardcore from Connecticut. Filmed in high definition DVD the live action is crisp, clear and almost as good as being there in person, without all the blood, sweat, and tears. In terms of the DVD packaging, we have phenomenal artwork that breathes out Hatebreed with logo and spikes on sticks. Before we begin, we must explain this is a DVD for those eighteen and over, due to the nature and content of some of the songs.

In terms of the camera angles, we are talking on stage, from beside the drumkit, to behind it, to beside the guitars, overhead and facing the fans. Better than that, live camera angles from the circle pits, sloshing, slushing, moshing, and all too real. The instruments are in tip top shape along with the harsher than ever vocal blasts from Jamey.

Picture this, adrenaline laced fits of rage, emotion, and vomit inducing pit activity. You remember Saving Private Ryan, opening on Omaha Beach... all the intensity, the explosive nature of what's coming next, the ceaseless pulverizing of fire all about, the barage of potent decibel exhilaration, like unto this Live Dominance show. Not only does the band take the show, but they share the show with crowd interaction be it gang vocals, roars into the air, or pounding slabs of concrete - Hatebreed deliver the show.

Some of the long time favored tracks captured in this DVD are songs such as Perseverance, A Call For Blood, Never Let It Die, and I Will Be Heard. Each song unleashes thunderous bolts of unyielding audible locomotives plowing their way into a DVD player near you. Jamey's focus and soliloquies on PMA, Positive Mental Attitude says a lot about the band. They don't exist to tear down society, but too shake it up a little, rattle it around a bit, and provide a cathartic outlet for those who feel the same way. The set list includes what we could consider probably the best definable and most liked hardcore set list ever. Hatebreed exemplify that sure intelligence can stream through walls of sound. Ultra-hyper sonic freakin heavy breakdowns scatter themselves through each song.

Speaking of the instruments, you have chunky thick, juicy twin guitars, a resounding solid submarine like state bass guitar rhythms, double bass grooves from behind the kit, and thick gritty vocals to top it all off - all the best. Sean Martin and Frank Novinec on guitars play hard, in tune, without over powering each other or subtracting from what the rest of the band is doing - playing hardcore. Chris Beattie on bass pounds the crap out of his 4 string machine, while maintaing composure and playing like his heart is in the music. Matt Byrne on the kit never misses a beat in fact I think he may throw in a few extra to scare the snot out of the fans who know and love all the classic tracks in this set. Last but not least, Jamey Jasta's vocal delivery is punishing, yet a welcome punishment and message that gets heavier each subsequent tracks in the list.

A behemoth of various sound and riffs that stair step in progressive aggression. Step 1 - tracks 1-5 lay waste to all who are in the way or dare to stop this friendly monster called Hatebreed. Step 2 - tracks 6-13, intricacies appear as well as catchy metallic hooks. Headchargers like rams spew forth in tracks like "Straight to Your Face", and "Facing What Consumes You". Step 3 - is a step back in time to some of the sweat soaked anthems, "Before Dishonor", "Smash Your Enemies", "Live For This", and "I Will Be Heard" develop into a plateau achieved by few bands in a live setting, save Pantera, Crimsoon Moonlight, Nile or Necrophagist, "A New Level"...

The showmanship of these 5 guys is phenomenal. The set is full of tributes to various groups and people "As Diehard As They Come" was dedicated to armed forces; "A Call For Blood", the principal found in the old Law of Moses "eye for an eye" - which is where the mature adult will understand the feelings behind it... mature folks will understand, gratitude and thankfulness show as well. Jamey in the liner notes of the DVD thinks he may obsess too much about thanking people, but my friend, keep it up. \M/. This is important to continue, because not many people say thank you, nor mean it if they do. A brutal dose of honesty never hurt anyone, but may have bruised a few in fun as they were swirling the pits. Hatebreed remembers from whence they came, never forgetting their roots. It's the culmination of conquering the negativity of internal strife encircled by worldly demise. Agreed, there is always hope, and He is the Beginning and the End.

Hatebreed also re-emphasizes the vitality of relationships, between and amongst family and friends, and like minded individuals. They remind us we are not in this world alone. Whether you barely scrape by on the streets, slave away for a corporation, have lost a loved one, is one pursuing justice, or just need a release to vent your frustration - Hatebreed has now become the pressure release valve.

Mind you there are some extra goodies on the disc and clips from other live shows.

Koch Records roster continues to grown in maturity and strength, and Hatebreed's work on this DVD shoot proves that the investment was a wise choice. In conclusion, it is best said by the frontman himself, "... somebody falls pick them up - respect each other..."

CD REVIEW: IN BATTLE "THE KINGDOM OF FEAR"

2008-11-10T11:38:00.000-08:00

In Battle
The Kingdom of Fear
Candlelight Records USA

In Battle descend from Sweden, yet another top notch band. This one surfaces above many of its peers because of the relentless pursuit for metal perfection. In Battle realizes incredulous executions of varying time signatures. This band’s talent is brimming delectable audible character on vocals, stellar instruments recordings, and hook laden speed breaks (from fast into hyper speed). Complex layers of guitars sharpen the ax for In Battle. With regard to bass guitar, you have thick breakdowns, palm mutes and trigger finger change ups. The Kingdom of Fear is chock full of artillery like drums, painting the picture of what war sounds like from within. Constant overhead barrages, smashes, clashes, and double bass attacks are prominent – yet not dominant. The mix down on the disc is alone a captivating feature.

Au grand serieux, The Kingdom is full metal to the hilt. Scandinavia unleashes another rival for the Swedish metal reign. Each song is like unto a Roman legionnaire’s dagger, sharp, polished, and furious when put to the test.

If you want a unique, yet captivating disc to plug into, The Kingdom of Fear is just for you.

All songs come recommended to you:
Kingdom of Fear; this title track is probably one of the stronger title tracks produced, since Ithyphallic as produced by Nile. One of the successes of this album is the concept of delicate yet brutal musicianship in the title track. Currently many bands do not produce title tracks, perhaps the reason why is they can’t deliver like Nile or In Battle for that matter. This is the pacesetter for the entire album, gritty edges and heavy bottom end earth jolting extreme metal.

The Multitude; classic metal intro that leads into hypersonic speed and some death metal chops. For grins, I suppose they put in some guitar pinches with some muted riffing. At just over four minutes you feel as if you have run out air and gas. Not quite yet. More to come. The backing vocals come across as hardcore gang vocals which we think is a positive use of the other voices in the band.

The Wandering One; if you will remember Righteous Pigs back in the day, well infuse in a few tanks of NOS, and you will have the feel of this song. Here we have a total grindcore through and through, yet with intelligible lyrics and direction. Guitars are raspy with distortion, the bass is over the top and the drums pound the sense out of your hearing. This track showcases the sharp and strong presence of the band’s ability to create a memorable heaviness.

Follow the Allfather; perhaps a throwback to old-school thrash/black metal, this track has a good vibe of unrelenting verve and riffs so thick you can taste them. For fans of old Obituary, you will find consolation with In Battle. Just because we mention Obituary does not mean they mimic, but produce the same intriguing metal stamina… Throughout the drums you have a perpetual cymbal leading the march of doom.

Tyr; chord dissonance is present in this song that are laid out by hammer-ons. Rhythmically speaking, the drums and bass align themselves while sustaining individuality. Vocally the charges are more energetic and herculean than in previous tracks.

The Dead Shall See; we coin this track as the new and improved theme song for the once-popular television show, “Dark Shadows”. Strange, inexplicable, frightening sounds that protrude forth into a quick-paced doom charged song. The pulse of the song lies in the bass guitar that defines the leitmotif; panning from left to right channels to return you to the same mental state as before. Contained herein is some of the best drumwork on the disc; unfathomably quickened with each new turn on the song; cymbal splashing and shattering. The most mysterious aspect of the vocalization is the sound bites that resemble old screamers once staring Vincent Price. For all we know it could be him (?)!

The Curse; If you need a rush of unadulterated adrenaline then set your volume to 12 and lose the knob. Not much of a different way to describe this track, other than to grab your dreadlocked wig, glue it to your head and hope it stays on as you bang your head for 187 seconds. Double bass drums sound tight and the guitars and drums perform as expected, riff-thick and accessible.

I Kamp; quick gut punches of chanting the title track, with well arranged guitar solos, triumphant bass guitar floggings, and three dimensional drums – another welcome track to your repeat function on your digital device or player.

Terrorkings; various thrash metal giants influence surface in this song, Slayer, Testament, Kreator, yet In Battle make this song their own – in their own right. Some of the guitar breaks pivot between doom metal and avant-garde stylings used by industrial metal giants, Treponem Pal.

Path of Power; consider this part two of “The Dead Shall See”, equally impactful with minor chord progressions, and Bill Steer style guitar soliloquies (as heard in “Heartwork”).

Raven Calls; various sound bites resemble the sound of war – swords, groaning, and defeat. The most definable aspect of this track is the diminuendo and slowing down of the beats per minute of the song, amongst the various instruments – without losing volume. Each instrument including vocals pursue full performance to the end – no filler, no junk, just metal you weld yourself to…

Click here to purchase

Thanks a million to Candlelight Records USA. \M/

CD REVIEW: HILASTHERION "TAKEN FROM DARKNESS"

2008-10-28T10:33:00.000-07:00

Hilastherion

Taken From Darkness

Finland produces yet another well rounded melodic metal band called Hilastherion. Hilastherion’s first full length release clocks in at over 65 minutes and is worth the listen to every second. Each track packs a punch that is quite delightful and yet heavy enough to call you back for more. Lyrically, there has not been a recent band that has produced such heartfelt and honest words into lyrical form, save Iron Maiden. Musically a full platter is delivered in melodic death form. True to form there are melodies, but not the type you are used to hearing. Each of the melodies is unique to Hilastherion’s work and not a recycled sound from other bands. Congratulations, a feat few bands achieve!

Speaking of the instrumental sounds: you have two guitars that flail melodic death rhythms all over the place, yet with control and accuracy; you have a bass guitar that somewhat lays under the twin guitars as somewhat of a third rhythm instrument mirroring guitar riffs; drums you have a 3-D effect of fast punchy hits and beats; vocally you have a caustic burning sound that adds weight to the final mix of the sound. Furthermore, you also have keyboards/synthesizers that enhance the atmosphere of each song without dominating the track’s overall sound. In summation, a priceless work of metal sounds palatable for anyone searching for the truth of melodic death metal genius!!! This release contains no filler, nor crap, just straight up metal. Hilastherion have something to say, and you should all listen. Hilastherion – the fearless wielder of the sword!!!!

Eleven of eleven songs come recommended to you metal fans:

Sick and Rotten World; a powerful intro with all strings pounding the daylights of the darkness. Not to mention, the drums are hard hitting and power-packed. The first taste of unique melodies, Hilastherion-style. Vocally you will be amazed of the brutal sense of bitterness.

See The Pain In His Face; All together separate sounding from Iron Maiden, the introductory melody brings to mind the pre-emptive genius Iron Maiden’s guitar duo introduced with their first release, specifically the song “Transylvania”. Don’t let the lyrics scare you it’s only light exposing the darkness of the world. The rapid pace of the instruments is just right.

Jesus Rules; a song laden with tremendous break downs and searing twin guitar leads. The bass guitar thunders and echoes the introduction; while the drums clap against the audio landscape. What’s really cool about this song is that although the vocals are in death metal style, they remain clearly comprehendible. It’s always nice to hear what they are saying.

Why; this song addresses the question of WHY! Many folks think that Christians have it easy and never suffer – this song addresses that topic and dispels the myth of “complete bliss on earth”. Yeah we all go through life, but Hilastherion sum it up in one word, “Why”. A low volume guitar riff hammers into a full sonic blast of simultaneous instrumental salvos.

A Sinner’s Song Of Desperation; high octane guitar runs punctuated with double bass drums and synthesizer highlights. This track showcases one of the stronger vocal performances on the disc, more of a mid-range tone with occasional grunts plus the flow well with the ineffable guitar tones.

Battle Of The Flesh; not for the faint of heart or those who refuse to hear the truth. The musical driven precision leads you to believe this is going to be a short song, because how can anyone play that long and steady without a break, other than NILE or RUSH. Clocking in at over 6 minutes the integrity of the metal sound remains and intact and intense as ever – as heard from the guitar solos.

Save My Soul; twin guitars plead for relief where the drums beat the rhythm in from all sides of the Dolby sound spectrum. Another track containing carefully planted guitar solos.

Taken From Darkness; title track has a lot of atmosphere with airy keys and dueling guitars in two different tones on two different sides, one left and one right channel. Excellent work, a movement started by Smith & Murray and enhanced by Extol! In the midst of all the speed lies the solid bass guitar foundation and harsh vocals.

Judgement Day; a work filled with guitar pinches, a soliloquy, unforeseen breakdowns, all wrapped up in a metalcore shell. For fans of As I Lay Dying and Imperial – this one is for you.

A Fallen One; this is reminiscent of Andy Laroque’s early 90s work in terms of palm mutings and topped with harpsichord sounding keys. An intense early 90s thrash sense of urgency while maintaining originality.

Story Of John; a truly epic musical adventure. It features highs and lows in the sound as well as the running lyrical themes. The guitar virtuosity shines through as Yngwie Malmsteen; but it’s not him! The foundation continues to be solid and dependable to create a wall of sound necessary for metal success.

Thanks to Hilastherion for sharing the superb work of art!

CD REVIEW: WARLIGHT "THE BLOODCHRONICLES"

2008-10-24T10:53:00.000-07:00

Warlight
The Bloodchronicles
WhirlWind Records (DE)

Punk-Rock-N-Roll has resurfaced and not been as dignified as these fine gentlemen from land of the Norse, who call themselves Warlight. Punk is back from the dead, with high octane rhythms, unforgettable/un-erasable gang vocals and thriving instruments. Warlight are uncompromising, blistery punk riff makers, headstrong bass leaders, and unbeatable drums surrounded by hypnotic vocals. Mark these words, “Never mind the Sex Pistols – we now have WARLIGHT!” Tapping the same musical vein as original punk generators the Sex Pistols, The Damned, The Misfits, Minor Threat, Shmunks For You, and the Ramones – these guys from Norway bring the Punk-Rock-N-Roll sound like never heard before.

Each track is cohesive, yet individual so what you have is an all encompassing smorgasbord of musical masterpieces. Some have unstoppable energy; some songs produce a mosh-inducing fever pitch, where others get you to thinking and singing aloud. Only God could arrange such a forthright bold band who sticks to the truth. The Crème de la Crème.

Each track comes highly recommended:
An Introduction To The Bloodchronicles; this sounds like the soundtrack from an old horror movie; flat piano keys and accelerating drums and guitars into a scene that sound like Braveheart – a sword leaving it’s sheath “kaching!”

Vengeance Of The Martyrs; straight in from track one rises this fierce riff driven rock anthem. They pull no punches, only deliver them.

Death To Babylon; what a punch line! Warlight step up the intensity with a fast riding bass guitar and screaming Chuck Berry like guitars, and Robo/Misfist style drums, and the ever caressing yet screaming lungs.

Snake Blood; riffs reminiscent of John Christ’s early work in Danzig, and straight up sounds of Angus Young/ACDC; lined with a low undertow of bass guitar and head-swaying vocals topped with back-splashing drums fit just right.

Welcome To The Earth; here is where we here some Minor Threat-esque and Dead Kennedy’s influence; they may have been the forerunners, but Warlight are the torch bearers ~ burning a new path where ever these audio tracks are laid.

Like You; This track is a bit slower one that brings to mind the catchy hooks of Husker Du and the Ramones. Add a dash of bass sound resembling Lemmy/Motorhead and the new vocal strikes of the singer and you one flippin awesome track!

The Exorcist; now this one is a new generation of The Damned if I have ever heard them! Clocking in at less than one minute, all instruments fall into place and so will you.

A Note To The Public; in only seventeen seconds Warlight deliver a message once only prescribed by genre defining metal heads, Napalm Death. Not so much the metal sound, but the heart rendering intensity in such a short span of what we call time.

Drive Me In The Firewagon; the dichotomía of the rest of the CD, a departure into electronic/alternative roots as New Order. A pronounced bass adds presence to the airy spacey feel from the synthesizers/sampling; and twangy/twinkling guitars add a subventitious atmosphere once produced by The Smiths. Great track!

Hypocits and Alibi’s; imagine a punk sounding Meatloaf, playing along with Bob Seger and his Silver Bullet Band and you have this track. Some piano keys add a 70s flare to the track and the manner in which drums are played lead one to almost think Peter Kriss/Kiss (Alive era). Nicely done.

Something More; slightly distorted vocals trap your audio attention and then suck you under into the world of wild guitar and bass announcements. Not to forget the drums keep punching back at you. Don’t worry, you’ll be singing along with this one too.

Break The Curse; with almost a post-hardcore instrumental sound, the vocals remind you it’s not post anything ~ it’s all precursor material, like no other. Rock on, this historic event rings loud and true in the vocal arrangements. Yet another you’

A Prayer From The Wolves; is it a sad song, or a slow thought provoking song? Your guess is as good as mine; but dang it!!!!!! Warlight deliver another hit from this disc.

Thanks very much to WhirlWind Record for sending the disc. \M/

CD REVIEW: PANTOKRATOR "AURUM"

2008-10-16T11:38:00.000-07:00

Pantokrator
Aurum
WhirlWind Records (DE)

Aurum is the musical culmination of pure adrenaline soaked guitars, the unequaled bass repercussions, machine precisioned – human drumming, and visceral vocal charges. Pantokrator have now ranked among themselves among the best peers with this work, namely Amon Amarth, Crimson Moonlight, and the resurfacing Gardenian. Each individual wields himself as a wall o sound, then combine with the four others in the band and you will have a quintet frothing with molten metal from heels to gills.

Pantokrator manifest the reality of pristine musicianship as found in Aurum’s musical themes and arrangements, lyrical hooks, alongside the immense breadth and depth of each instrument (inclusive of vocals). Left and right channels hardly imperceptibly satisfy the listener to completely soak in the musical rays of electic energy emitted by such talented Swedes.

Whirlwind have made it nearly impossible to select just a few tracks for listening – in fact they too achieve a rarity, a completely listenable and enjoyable disc. Having stated that, all tracks are favored and come highly recommended. Trust us.

Amongst the highly favored tracks:
Gold of Havilah; quite an opener, thick heavy grooves of guitars intermittently jabbed with furious drum chops and the visceral vocal taste to be founder later in the disc.

Nephilim; probably one of the faster tracks on the disc. This tracks exhibits the technical death metal thrash tones and rhythm that Slayer and Exodus have been known to produce. Nice job guys!

Words of Agur; the drums flow very well to provide a nice solid foundation of relentless rhythms of the song. For some reason there is a taste of Paranoid in this track – perhaps it’s a distorted bass sound.

Out of the north clothed in gold; for fans of Carcass and The Crown, this one is for you. Believe us in that this is truly owned by Pantokrator, but the aura the ambience of this track reminisces the two bands previously mentioned.

Where Lilith found her peace; this here a slower paced song; but catchy grooves as once produced by Cathedral and currently recorded by Candlemass. Ultimate heavy sludge riffage and intricate vocal spikes.

The order of Melchisedec; yet another quick paced ditty. Intensely played with guitar railings and bass and drum launches and lunges. The use of string harmonics an art now lost is used appropriately and sparingly in this masterpiece. Burning vocals leave the imprint they were intended to leave – deep and sharp.

King of Babylon; from the foundation up the guitars incorporate pull off/hammer-on combinations that draw you in with odd-timed (as in slower for the moment the action is taking place), then bam!!! Thorough vocal demise, nothing left for us the listener but the singer continuously drones into heavy obscurity while mouthing the lyrics. The guitars pass the deeper hits to the bass guitar while fully backed by the double bass drumming and ornate cymbal work.

The madness of Nebuchadnezzar; riffer madness and complicated thrash overtones and speed metal undertows, produce another good hook.

Thy feeble flame; in terms of time, the longest track on the record. Overpowering yet well used guitar brandings. In terms of the vox, yet a deeper abrasive roar. Drums and bass guitar sound as if they are bending while guitarists bend the strings in various interludes and bridges of the song.

The hidden treasure; here is the winding down track. This track features Lina Holstrom as guest vocalist. A haunting and daunting task to fully absorb the message of the song – id est musically and lyrically. A challenging feat, yet mission accomplished. Heaviness has never sounded so good.

Many thanks to WhirlWind Record for the disc. \M/

CD REVIEW: ZAO "FUNERAL OF GOD"

2008-10-08T09:36:00.000-07:00

Zao
Funeral of God
Ferret Music
http://www.zaoonline.com/

Zao have long been innovators in the metalcore scene, since inception. What they bring to the forefront in this offering is a mixture of abstract guitars, almost non-defined bass guitar, kit shredding drums, and a slight departure from the vocal spewing a fan may be used to hearing from the band. Just the title alone on this disc is awe-striking; a weighty counterpart to the classic “Liberate Te Ex Inferis”. As difficult as it is to say this, Zao may have struggled with the sound and content on this disc. Composition-wise, the collection of songs sound like a fight between “Liberate…” and “Parade of Chaos”; an intermediate yet difficult balance to strike. A thick heaviness is more pervasive in some tracks than others, while still maintaining and enveloping the straightforward unpolished alternative metal/rock flavor of “Parade…”

When all is said and done, Zao remains consistent in producing the steel coated metal roots that hang around for years to come with such thirst inducing tracks as: The Rising End (The First Prophecy); The Last Revelation (The Last Prophecy); and Truly, Truly, This Is The End.

Thanks to Ferret Music!

CD REVIEW: TESTAMENT "THE FORMATION OF DAMNATION"

2008-08-15T06:17:00.000-07:00

Testament
“The Formation of Damnation”
Nuclear Blast Records
www.testamentlegions.com

Thrash-mongers, true to form, and sticking to their metal roots, unyielding and more intense than ever before, comes the thrash line-up of the year: Chuck Billy, Paul Bastoph, Alex Skolnick, Greg Christian, and Eric Peterson. Testament accomplishes the pressing of another well seasoned and well executed metal release. The vocals are denser coated with a gritty sound, rhythm and lead guitars are unpredictable yet produce an aura of future metal, the percussion and layered bass sections convey a firestorm of sounds, (a movement once started by old school Sabbath). Lyrical themes include the quest and questions of an afterlife, ushering in of the countdown of the meeting at Har Megiddo, virtue, and resilience. This disc is a welcomed addition to your collection. From the ear-deadening speed coupled with punctuality, and from the unbridled virtuosity ~ lands TESTAMENT.

Superior songs include: More Than Meets The Eye, The Evil Has Landed, The Formation of Damnation, Afterlife, and F.E.A.R.

Thrashers prepare for landing!

CD REVIEW: ALETHEIAN "DYING VINE"

2008-08-12T05:51:00.000-07:00

Aletheian
“Dying Vine”
Ironclad Recordings/Metalblade Records
www.aletheian.com

Aletheian proves to be a leader amongst the ranks of metal bands. Dying Vine release contains elements of rigorous and unexplored technical guitar structures, steady and head-strong bass guitar, double-bass pulverizing drum sessions, and freezer burn vocal blizzards. A metal disc has never been so diverse as to bombard the listener with such musical spirals in the vein of Dream Theater, Death, Disharmonic Orchestra, Testament, In Flames, Mortification, Extol, and of course Cynic. This is not an expression to pigeon-hole Aletheian, just an attempt to tell you they bring a lot to the musical feasting table. At times there are high speed yet attainable and enjoyable guitar solos, an occasional acoustic guitar interlude, thinly covered with keyboards, and punctuated with easily-recognizable bass arrangements, punched out with intricate percussion, and accentuated with melodic vocal twists and turns. Some may call it progressive metal, some dare call it death-metal, we NOW just call it technically untouchable. Creativity knows no bounds, nor does Aletheian. Ironclad Recordings/Metalblade have outdone themselves again. Reset your volume.

Amongst the highly favored tracks: Paragon, Broken Legacy, Open Grave, Call to Arms, and How Could I (originally recorded by Cynic).

CD REVIEW: WITH BLOOD COMES CLEANSING "HORROR"

2008-07-15T10:21:00.000-07:00

With Blood Comes Cleansing
“Horror”
Victory Records
www.withbloodcomescleansing.net

After first featuring WBCC on my first episode as they were presented by Blood And Ink Records, I could not stop following this band. Each minute of their former release packed double kicks, roundhouses, and uppercuts to produce one of the heaviest independent label releases for 2006-2007.

Apparently, Victory Records got wind of WBCC at a showcase and expressed interest in the band and likewise the band in the label. Not long after that occurred, WBCC had a new label home with new songs in progress. The end result of this hat trick was the production of “Horror”, WBCC’s second release.

Some similarities exist between the first and second releases in that the raw, one inch punch feel of the songs is present. Yet this second release brings forth quite a few surprises – as in change in band roster, change in vocal arrangements, tighter guitars, and more progressive percussion and bass sections of the tracks. The conclusion of the matter is a top notch produced disc ready to burn a hole in the cones of your speakers.

“Horror” is chock full of expressive emotion, a turning of the tables if you will, a monsoon inducing, crater producing metal sound. This disc is dedicated to fans that are new and old alike: for fans of Obituary (pre-2000); Embodyment (1993-1996 release); Job For A Cowboy; Gojira; and Impending Doom.

The guitars are muscular in texture, perplexed with digit flicking pinches and unsuspecting change ups. Bass guitar-wise, the tones are dreadfully heavy, juicy-thick, and easily definable/listenable. Vocal charges tend to prick one’s consciousness with the representations of history in the lyrical content of the disc; notwithstanding – the flame kissed groans for successful delivery. As for the drums, a well rounded clean recording. Each kick carries a punch and the toms of various shapes and sizes come alive with each pounding, or should I say “jolting”.

As far as the lyrical content and concepts, easy: the story of how true love awaits you, through the saving power of Jesus Christ. Once in the form of GOD, obeys his father to pay the price we cannot afford in a million lifetimes. Death has no grip on him, nor shall it we. Thank you for this, WBCC.

In terms of recommended tracks – the answer is ALL OF THE ABOVE. Beyond, thoroughly impressed with production and the mixing, an indelible imprint has been left on the metal music world, a force with which to be reckoned known as With Blood Comes Cleansing. VICTORY have outdone themselves again, congratulations and thanks for the disc!

CD REVIEW: ELYSIA "LION OF JUDAS"

2008-07-15T10:15:00.000-07:00

Elysia
“Lion of Judas”
Ferret Music

For fans of the once active Kill Ratio, the illusive Life Of Agony, the northeast hardcore pillars Biohazard, the mythological Godflesh, the ever creative Dillinger Escape Plan, Ferret Music presents the thick murky sounds of an untamed musical chaos called Elysia.

The subject matter is highly controversial and yet gut-induced. Honest lyrics are hard to beat, as you know the content is subjective as is with anything else. Relationships is the key to unlocking the disc. It is who you know and where they reside.

Amongst the highly favored tracks:

Lack of Culture, An indestructible alloy masterpiece comprised of the finest metal and ferocious hardcore. A shaving of metallic sparks from the drums here, and fierce guitar bends mirrored by the bass guitar there, and surrounded with straight up vocal damage.

Plague Of Insects, At 3 min 26 sec, high octane eruptions of massive drum/guitar/bass/wall of sound including the vocals on top, as if surfacing amidst the dogpile. For fans of straight on bass guitar riffs a la Dan Lilker, in yer face screams that seemed to be inspired by Harley Flanagan of the Cro-Mags, and guitar section resembling the impression-makers Converge.

Pride Of Lions, Ah a taste of old-real-Metallica music structure, reminiscent of their work in cover “Breadfan”, the first half of this song sucks into that interlude and then just starts shoving all over the place. A kind of muddy mix on the song but flows well within the architecture of the disc.

Curse Of God (Pt.1), For some reason this brings to mind a story of worms. When one makes themselves out to be god, they are put in their rightful place. Just like when Herod accepted the praise of the people as being a god and because he did not give glory to GOD, he was struck down and eaten with worms. Now that’s a curse. Similarly the instrument arrangements of this song paint a picture of force, power and agony.

Lion Of Judas, For fans of stiff driven bass guitar, and dissonant yet sensible guitar, this track is for you. Vocally, this is the culmination of the entire disc, a mounting and throwing off of emotion and despair. So here, take it. The only thing I would have hoped for was some positive message.

Thanks Ferret!

CD REVIEW: IN FLAMES "A SENSE OF PURPOSE"

2008-05-22T08:57:00.000-07:00

In Flames
“A Sense Of Purpose”
KOCH RECORDS
www.INFLAMES.com

“A Sense Of Purpose” a disc, chock full of emotional subtitles, sub states of mind, and prolific musicianship arrives the leviathan of melodic metal. Lyrically diving deep into untapped emotions, only for the strong to endure, and honest. Musically, another piercing in the ears, yet a welcome one… not of pain, but of intense scores, layers, pleasure and viscosity. A thick flow of musical injections, released one dose at a time. Amongst the highly favored tracks are the following:

The Mirror’s Truth; Nice short ditty to bring you into the world of IN FLAMES metal, in a matter of 20 seconds you have been brought into the thick gi-normous wall of sound form Sweden, let your senses be inflamed, let them be awakened to the first track of this disc. Intricate decisive guitar panning, searing bass guitar, locked on drums, and haunting vocal parades this song down the avenue of time, unsinkable, unfathomable and unrelenting.

Sleepless Again; A momentary acoustic intro, lead one to believe this will be a slow song. Listener beware, this is only a moment in time. The songs rips right into the audio spectrum of heavy laden bass drum rolls, multi-faceted-panning tom fills, awe inspiring bass line, and adrenaline injected guitars. Are your veins bigger yet? They should be, if not check your pulse.

Alias; The acoustic guitar feel reminds the listener of Metallica’s classic “Fight Fire With Fire” track (ie Ride The Lightning). Cliff Burton would be proud of the melodic arrangement in this track. The accents provided by the synthesizers just add to the comforting surround of melodies interspersed all throughout this opus.

I’m the Highway; Swift music introductions that curve into haunting lead guitar interludes combined with alluring melodic riffs make this another IN FLAMES classic. An unforgettable mixing of intricate drum work, low end bass guitar, mind searing vocals, and juicy distortion… nice work.

Delight and Angers; hypnotic and calming gang style vocals. Hard to imagine a caustic vocal run can be soothing, trust me, it can be. Relentless drum pacing and bass guitar rumblings ensure this to be a hit in the metal scene.

Move Through Me; rhythmic pulsing section, guitars/bass/drums, add the hook into the track. An urgent call to arms, a cause for reaction, a cause for chain reaction. From the track, to the player, to the volume, to the neck, to the bang.

The Chosen Pessimist; the longest track on the disc and the most emotionally musically sculpted piece of the disc. Slow melancholy guitars introduce the track to unleash a fury found later in the track. Drums and Bass in lock step unison, a clear distinction in sound, a mixing dream come true. For fans of Rammstein’s slower songs such as Engel, this is for you. I see the lyrical content as a plea for answers – the kind of answers only God can afford. Like thematically, in Hilastherion’s song “Why”, this song awakes you the reality of life and questions and the pursuit of answers.

Sober and Irrelevant; highly persuasive guitar solos and twin guitar flaring. Amongst the fuzzy and gray metal music scene that often times pervades popular culture, arrives a track of definition and clarity. Come clarity. Forthwith, we arrive at a audible shocking of the senses.

Condemned; strong wielding guitars curve the sound with highly punctual and active drumming. Fast, easy flowing bass guitar lowers the growl of the song, the sonic indulgence only In Flames can produce! Hark, yield to the Established Kings of melodic metal, das Konung.

Drenched In Fear; A fresh breath of air to the highly stimulated eardrums. The kind of fresh air you get after getting punched in the gut. No air left, but only to suck in the this with a yearning for emotional calmness. Where is the voice of reason? Let not this metal madness end, too good to pass up. Harmonic vocals, inventive drum surrounds, solid bass resonating, and racing harmonic/melodies on guitars. A masterpiece amongst many on this disc.

March to the Shore; pushing the envelope once again, the most apparent song on the release. A clean delineation of guitar sounds, mix well with the solid thickness of the bass. The drums cadence well with the vocal arrangements. At just the right time, just the right punch on the bass drum and snap of the snare. Well used splash cymbals add emotional effect in switching moods.

Thanks to KOCH RECORDS for sending us the disc. Well worth the listening over and over.

CD Reviews

2008-03-04T10:00:00.001-08:00

Vader
"Lead Us"
Regain Records
http://www.vader.pl/

High output, high energy, thrashing and musical delivery has never sounded so good. The recent years I have read about many Polish bands making news in metal music, and one that always seemed to be mentioned was Vader. Several months back I was checking out a band called Protest (www.PROTESTband.com) and noticed Ronnie Sterling one of the guitarists wearing a Vader shirt. At that time I thought I would do some research. I found the "vader.pl" site and checked out their music. I was totally amazed. It never occurred to me eastern Europe, specifically Poland produced such technically driven, ultra-heavy and aggressive, professional musicians.

Vader sounds to be the culmination of Sepultura raw power (Beneath The Remains era), Kreator's speed focused riffs and drumming (Coma Of Souls era), and Slayer's technical prowess (Reign In Blood era). As if God reached down from heaven and took the dust that settled in Poland post-cold war era and breathed into Poland the breath of life.

Lead Us is a time-short EP, in that there is not many songs on it in audio form, yet it contains three video clips. En total 4 audio tracks and 3 video clips making it total of 7 different songs. For this CD review the focus will be on the audio.

Track1 Launches the listener onto the stage of heavy metal at its finest. Fast, furious, precise metal delivery. The song is moving, stirring, and hook-laden. The heaviness comes in the aspect of the stop and go, the perfection of instruments stopping and starting at the same instant of time. A composer’s dream, should we say Mozart?

Track2 Tightly controlled speed in guitars, non-stop drum rolls, double bass kicking, and some archaic tribal/Sepultura-esque drums. Vocals across this track as well as the others is unique, no one in metal has a voice like Piotr/Peter. Solo work brings to mind the late Darrell Abbot ex-Pantera, formerly Damageplan, slight echo, high reverb with pinching tremolo bends. Good work.

Track3 For fans of old school thrash this song is for you. Non-stop head-banding, This song includes old-school high end solos, reminiscent of Judas Priest circa the Painkiller era. Quite nice, nostalgic, and catchy. Vocals are caustic and blizzard like in that they are fast, nonstop and make it difficult to focus on one part of the song. Then again that is the point, to keep it moving.

Track4. I am not usually keen on untouchable cover songs by the original artist/group. Yet I take exception to this track. Raining Blood as recorded by Vader, truly rivals - if not overtakes the original. Technology, and equipment improvements aside, I think Vader's rendition of the song is far superior to that of Slayer. Then again if it were not for Slayer this song would not have originally been written. That said, it's an equal tug-of-war between metal forces, Slayer VS. Vader = TIE.

The only thing lacking is a definitive bass guitar sound. I have heard some of Vader’s older tracks where the bass guitar was recognizable and was expecting the same kind of tone from the bass guitar. I know it’s been recorded, but not mixed at the volume I would have hoped.

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Job For A Cowboy
“Genesis”
Metal Blade Records
http://www.jfacmetal.com/

Job For A Cowboy's release Genesis is Jurassic Park in musical form. An unruly beast from the depths of the tar pits and swamps of a world gone by. A primitive hierarchy of metal challenges meat. A charge to the spine that wakes the soul. The second boot to the rear, created after a successful run at the DOOMED EP, JFAC have ascended to a new strata of untouched musical fields and strains. Clean downtuned guitars, spasmodic & sometimes prominent-pulverizing bass guitar poundings, high point accuracy in drumming, and war-call vocals. Among the stand out tracks are as follows.

Track1 Flows from where JFAC's "Doomed" EP Left off, a superfluous flow of solar-flare-like vocals, streaming, heavy distorted pull-off guitar structure, as far as the bass guitar the presence is available but not as much as could be. A symphony of prolific energy and anxiety.

Track2 Here is where JFAC begin redefining themselves in a deeper, more extreme manner. Backing vocals appear more in this track than I am used to hearing from JFAC. They accentuate the blistery vocals and accompany the pinging guitar rhythms. Moreover, the drums articulate the pulse of the band - exact and nimble. "J-FAC be nimble J-FAC be quick, J-FAC consumes the candlestick".

Track4 For fans of Ministry's "Burning Inside" and some of the newer songs by Celtic Frost on "Monotheist", this introduction will please you very much. A solemn harmonic that tends to increase in force, volume, pitch brought low by the mind-numbing choir-like effects in the background.

Track9 This represents where Black Sabbath should be today, if they had progressed in the vein of doom metal. Ultra-riffic damage, slow harmonious bends in the guitar string, also drumfull injections, and solid bass guitar foundation, side by side deep puke inducing vocals. In fact it sounds as if synthesizers appear from out of nowhere for that added comfort of eeriness.

Track10 Frantic speed on guitars, protruding bass guitar, insidious vocal strains, and skin splitting drumming - define this track. The guitar change ups are slower paced and painted with winding down tremolo swings.

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Exhale SWE
“Prototype”
Emetic records
http://www.exhaleswe.com/

Quite the superior recording from these Swedish grindcore kings. They have set themselves up amongst the best, the hypnotic and abrupt nature found in Napalm Death's now classic "Harmony Corruption" and Slipknot's s/t double platinum release energy and unbridled fury. Fourteen tracks of pure grind at its best. Exhale have struck the appropriate balance of genius, gifted-talent, and barbed metal musical hooks. EXHALE have authenticated themselves to be one of the most technically proficient and heaviest grindcore bands in existence; past or present. With their work on this disc, they have achieved the status of peers with bands exempli gratia Napalm Death, Carcass, and Righteous Pigs.

The lyrics are mostly in English, but some sound to be in their native tongue, Swedish/Svenska.

I first heard of ExhaleSWE when doing an online interview with Gurra/aka Gustav of CrimsonMoonlight (best black metal band this side of heaven). He mentioned he played in this band as well. Being the avid metal fan I am, I quickly did my research and reached out to Emetic Records for this disc. Well worth the wait and effort.

Most of the tracks average 3 minutes in length, with a few outlyers that are either longer or shorter. But each 3 minute series of guttural punches lunges an unsuspecting listener into a full-body thrash. Each song with a taste and spice of its own.

My commentary below is not exhaustive, but a well-rounded depiction of the sound ExhaleSWE produces.

Track1 descends as an icy avalanche from above. The gated reverse reverb/backwards effect lays out the theme of the release, heavy, brutal, aggressive and catchy. Exhale do not sound like any other band.

Track2, the guitar channeling riffage use complements well the surrounding drum sounds. The bass guitar mirrors the exact rhythm that Gurra produces on his stack of sticks. Staccato is thrown in here for a hardcore type feel (reminiscent of HELMENT early 90s). Not to mention the guitar plucking for which Testament's Alex Skolnick is known.

Track6 I came to the conclusion what genius guitar sound and tone they produce, with just one guitarist. Just think this is with one guitarist, Ah-hah, contemplate the grindage then!

Track10 Systematic drum rolls yield a militaristic marching feel, which I so happen to enjoy very much. A cadence of wall of sound guitars, caustic lightning inducing screams, incredibly spot-on/nimble bass lines, and pummeling percussion.

Track12Nnow this is tribute to Napalm Death if I ever heard one, but in a Swedish metal way. Flaring guitar riffs. Ultra throat shriveling vocals, full of sandblasts. Blast beats are a prominent feature in the drums coupled with a nice "movie-like" voice-over.

Track13 is quite the punk/metal sound that was brought to life by cross-over kings, D.R.I. with their "Four of a Kind" disc. But in this vein, more life is given to the metal dimension of the sound. Occasionally you hear the bass guitar stand out in tune with the guitar feedback. Fear no metal.

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Beatsteaks
“.limbo messiah”
Warner Music Group Germany Holding GmbH
http://www.beatsteaks.com/

A fruity blend of fun, seriousness, verbal rantings, passionate musical pursuits, and intellectual stimulation. The defining moment in new alternative music, the punk rock roots upheaval and audible dispersion. Many attempt, yet few achieve a successful release of such a wide range of musical styles and tastes. As Frank Black/The Pixies, The Cure, Sugar/Bob Mould, Faith No More, Beatsteaks joins the ranks of the cream of the crop. Among the standout tracks are as follows.

Track 2 Here is some catchy food for thought, as flavored with Veruca Salt - in this track known as Jane Became Insane. In addition, The Pixies have a stake in this song, not by personal relationship, but by influence. Almost pop-related punk drive, yet gritty enough to be real. Lastly this track reminds me of Husker DÜ, the original full blown punk rock feel.

Track3 For fans of Bad Religion and Dead Kennedys, this song is for you. Intelligently written, crafted musicianship. Move this to volume 13.

Track4 What seems to have been inspired by Depeche Mode rhythms, The Cure's talent to amaze the listener, the techno-pop beats of New Order, coupled with Thin Lizzy type heart tugging vocals, ala (cowboy song)... you have the best track on this disc.

Track5 Quirky impulsive rhythms. Soul-lifting chorus sing-alongs.

Track6 Led Zeppelin type introduction. Also, this track features Reggae down beats and Distorted bass guitar. Let the damage begin. Even a hint of Faith No More bass and drum tracking, especially the outro of the song.

Track7 One of the best presentations of punk roots and guitar playing. An emotional firecracker of a song. Get ready to strap on your crash helmet, because this will move the ground. Sparks start flying and things start popping. Including your speakers or headphones or whatever you have left in your ears.

Track8 A throwback to the late 1970s & early 1980s R&B charts, a soulful yearning. A "make-Marvin-Gaye-smile" kind of lyrical work. Spice it up with Chuck Berry guitar string plucking. A call to mind of Al Green's untainted vocal latherings. A Smokey Robinson contemporary masterpiece.

Thanks to Beatseaks for the CD and to Richard Z. Kruspe of RAMMSTEIN fame and EMIGRATE for his recommendation of this band. If you are looking for the next big thing to soar through the airwaves, you have no need to look further than Berlin - for this city has BEATSTEAKS.

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Calm
"Army Of A Few"
Self-released
http://www.calmswe.com/

Imagine yourself in an hideous vortex of briars, rose bushes, razor wire, slabs of flying concrete, the screams of video games, amidst the spectacle of the circus, and you have the workings of "Army of a few". Calm exemplify the hard working metal/hardcore band, but with one exception - they accept nothing less than perfection in their recordings. Painful as it may be, Calm only release meaty songs, no filler, no msg. A pleasant mixture of old school bass funk lines, hyper funky screams along the lines of Rick James, and creative genius like Bootsy Collins. Here is ambition, energy, drive, and dedication to the core that is known as CALM.

Among the entirety of this release, here are the standout tracks:
Track1 Here is our first introduction to the circus aspect of the music. Fast high hat pans, upbeat bass lines, then acute adrenaline injections of roars, squeekish guitars, and distorted channel switcheroos.

Track2 For fans of 311, a reggae feel and rhythm. Not to be left for long as the sonic sensory battery begins, with thick guitar and bass section. The vocal ranges are all over the place, from solo type singing to tagteam screams and vocal martyrization. Also, for fans of J. Davis of Korn, some insano high pitch warblings and falsetto ending.

Track3 Onset of slicey guitars and bass and backing drums, then you are captivated by what I call the "video game hypnosis" loop. It's creepy, ethereal, and haunting at the same time. For fans of Soulfly's first release, you hear an intermediary piece between verse and chorus/second verse, solitary guitar lines. Again the video trance consumes the listener as vocals cascade from every direction. Something divine.

Track4 Speaking of the introduction, I don't know where this music is coming from but it sounds like the scene of a 70s horror/suspense flick. But not for long, then the hardcore punches of drums, bass and guitar mutes invigorate the picture from horror to moshpit all in on fell swoop. Occasionally the 70s flick motif shows up but not as the theme, just as introductory phrases in this song's story. Also for fans for doom metal, the drone string bends as first applied by Black Sabbath.

Track5 This song is reminiscent of the times of when you were young, you would run to the local 7-11 and buy 3 packs of Poprocks and drop them all in your mouth as you try not to scream out for relief. Bass strings and snare/bass drums pop all over the place on this, yet in unison and in a sensible way. Speaking of guitars, another kind of quirky and solitary effort to suck your ears in another direction, which they do accomplish by the way. High end fast guitar runs coupled with stellar vocal strain are the icing this work of art, the signature of the artist if you will.

Track6 I smiled when I first heard this song. Juicy thick bass guitars, psychedelic fuzzy guitar tone, drum smash/splattering, falsetto vocals are just right. Change ups flip flop from fast black metal sound, to funk/punk combo throws.

Track10 Another day of metal is here. Call it chaotic, confusion-inducing, circus-related, and plentiful furies of fidgety anxiety without medication. An energetic stream of full on metal and hardcore strides. Panning guitars and cymbal rides add the boost to this octane soaked masterpiece. Enjoy the ride and brace your neck.

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Endstille
“Endstille Reich”
Regain Records
http://www.endstille.com/

First noticeable characteristic of this musical work is the production. For black type metal, the production is very clean and clear - which is enjoyable. The mixdown takes a different approach in that the drums have a very live - small room sound; the guitars have a direct line-in sound; the bass sounds direct line-in; and the vocals are more wet than dry in sound. This is my impression. Each song is chock full of energy and heaviness. The heaviness factor is not produced by palm-mutes and staccato run, yet by the chorus-effect sound on the guitar. The shape of the guitars is not thin, thick rather with sharpened edges. Classical black metal is brought to mind because of the double bass drumming. The vocals resound in the same tone and style. The predictable approach for the vocals comforts the listener.

Lyrically the vocals are geared to mature audiences that can understand and comprehend difficult emotions, as well as process them as just that - lyrics.

Standout tracks.
Ttrack2 A blistery black metal melody. Really intense speed and luring guitar riffage.

Track4 Unusual chord compositions and arrangements. Reminiscent of old school thrash and solid bass lines as found in 70s old school rock. Many of the musical lines appear to be symphonic in arrangement as well. Yet there are no keyboards present.

Track5 Ending bridge on the song is what differentiates this from other tracks on the disc. A persistent cadence of soldier-like precision driven by the snare, and accompanied by the string section, (guitars and bass).

Track7 A fusion of dissonant and harmonic guitar arrangements make this an interesting listen. It features some semblance of punk in that there are a few riff changes that are truly catchy. The drums and bass run alongside with accuracy in filling in the space.

Track8 A general allusion to Lengsel's work back in 2000. A dispersed sound amongst the list of instruments; insomuch as a cohesive jazz band - with a distorted sense of sound. Ah a breath of fresh fire, the vocals have that tone that only Peter Espevoll of EXTOL recorded on Undeceived. High and low range sincerity, a thoughtful, deliberate message delivery.

Track 9 For fans of Melechesh and Absu, grinding speed, hard-sounding drums, and screams from another world. Zao fans would like the vocal burrs on this track - purely static and thick.

Track10 For fans of Metallica's recording of Breadfan, the upfront sound of the guitars and intelligent string strumming, and mid-pace resolution to the flaming fury of prior tracks. Nicely done.

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Vomitous Discharge
"Festering Carcass Covered with Rot"
Independent Release
www.myspace.com/vomitousdischarge

Brace yourself for 25 minutes of ear distorting, mind splitting metal. Vocals are virtually nonexistent. What you hear is swampy earth moaning of what resemble human strains of noise. Dare I say the metal soundtrack to the next Jurassic Park theatrical release. The vocal ranges from earthquake inducing to warring factions of rhino herds at full speed.

The guitars are definitely rough, unpolished, ultra-distorted topped off to be heavy. Each song has it's unique Jurassic dinosaur-like theme - yet catchy. I believe I have stumbled upon the new breed of grindcore metal. For fans of old school Napalm Death (SCUM era), old school Bolt Thrower (pre-IV Crusade release), and The Berzerker a must have. This distortion shape is difficult to describe other than it sounds to produce an odd-harmonic structure and tone.

Drumwork is fast, brutal, intense, punk, and extreme. For fans of The Exploited, The Damned, old school Misfits (Danzig era), Cro-Mags (Age of Quarrel release) - the drums will get you swaying to and fro. This disc requires an entire crash-test-dummy suit. Batter up - this disc is going to hit hard.

This disc is not meant for folks with short hair to enjoy to the fullest, because you must have long hair to glean the full enjoyment of head banging. Not only that, but you can see yourself amidst the stage fog scenes moshpit stage diving. Some tracks are for fans of Morbid Angel guitar arrangements, captivating - yet unpredictably arranged.

In summation, if you need a swift kick up the rear to the ears, then you have got to get your hands on the limited production of this disc.

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Vomitous Discharge
"Severe Head Trauma"
Independent Release
www.myspace.com/vomitousdischarge

Average estimated length per song on the disc about a minute and a half. Some longer, some much shorter. Just as the early punk legends The Misfits were able to achieve and later hardcore kings SickOfItAll, a headstrong song with a message in less than two minutes. All about the delivery.

Vocals are somewhere in the midst of this Predator movie-inspired voice arrangements. Clearly undecipherable, brutal and fast. Raspy pig-yelps, gurgles, and stomach growlings, the Cannibal Corpse influence rears its head. Ugly yes, but enjoyable too.

On the brink of crossing over from speed metal to grindcore, the strings and percussion are hook-laden. Just waiting to snag up another listener. The drums are fast and tainted with hard splashes. With respect to guitars - a taste of Norway's Immortal fast sound, a dash of Obituary's threatening guitar crescendos, waxing of Mitch Harris fretwork, no disguise for talent. Alarm yourself for the time has come to body slam.

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Rob Rock
“Garden of Chaos”
Candlelight Records USA
http://www.robrock.com/

Rob Rock's "Garden of Chaos" disc is a creatively clenching release by Candlelight Records USA. This disc will put power metal on the map once again, with definite repercussions where X marks the spot. Each instrument is consistently arranged for maximum listener impact, in order for Rob's vocal flights to descend and ascend where necessary.

Track1 With the commencement of iron swinging down, as iron sharpens iron, the band launches into impeccable timing, each instrument closely aligned and complementing the others. Rob's power vocals are excellent and sharp.

Track2 This track produces a thrashy feel as heard in Testament's "Practice What You Preach", and singing closely aligned with Dream Theater, not to be mistaken for Dream Theater, but the feel of it. The backing vocals reminisce of Iron Maiden's "Somewhere in time release".

Track3 A near perfect harmonious union of keyboards and guitars as lead instruments, where as the drums and bass intermix and unite for a strong percussive environment. Rob's vocals features some of the best vibrato in metal today.

Track4 Elements of headstrong power metal riffage for fans of Iced Earth, G/Z/R head banding bridge introduction, and membranes drumming of the highest caliber, tinged with lyrical proclamations of victory.

Track5 For fans of Seventh Avenue, here's to you. A blend of classic metal guitar inspired riffs, a hint of Dio-esque influence on the vocal monitors, solos that give Vinnie Moore a run for the money, and all out drum set kicks in the face... Keyboards add just the right amount of spice to satisfy your musical palatum.

Track6 Another strong introduction, tight as a drum. For some reason the musical arrangements brings to mind, the sonic blasts that Deep Purple produced back in their ride atop of the rock world. Faster and sharper solos that rival Yngwie Malmsteen's collection of nail splitting works.

Track7 The rhythm tracks and guitar spiraling guitar power chords allude to Paul Caiafa's (aka Doyle Wolfgang von Frankenstein) work on Kryst the Conqueror (a hard to find gem). Doubling bass drum snaps and twists your mental space, while Rob's hard at work vocals land the words in a way that few can achieve, among contemporaries/predecessors as Robert Lowe of Candlemass & Solitude Aeturnus.

Track8 This one you really hear the Stryper influence, but with greater defiance, confidence, and splendid craftsmanship. Meticulous millenial reign. Classical/symphonic musical solo influences are easily detected - yet well dispersed throughout the song.

Track9 A definite slow in metal pace to a rock ballad, yet without the sell-out factor. Acoustic guitars tempered with scattering tom drums, and light keys, make this one a good rock song. Grab yourself some ice tea, step out on the porch and enjoy the sunset.

Track11 Yet another slow one to bring the disc to a close. Memories of Don Dokken flood the soul on vocals, White Lion on guitars, whereas solo work and guitar melodies point to Finland's metal giants, Wintersun. A somber vocal plea, done with class.

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She Said Destroy
“Time Like Vines”
Candlelight USA
http://www.candlelightrecordsusa.com/

This disc would best address fans of Meshuggah and Extol (Undeceived era and prior), Gwar, and Morgoth. A disc chock full of technical sludge-like arrangements. Sounds as if the torch has passed from Extol to She Said Destroy in terms of cold black sounds from Norway. Guitar work that becomes tangible at every turn, relentless drum runs, stiff-necked bass, and vomit-inducing vocals.

Standout tracks:
Armageddon, Anyone? - Har Megiddo, a fierce blend of rapidly palm muting guitar methods, overlaid bass extracts, punchy double-bass drums and eruptive vocals.

I Sense A Tempest Arising (II) - a surprising guitar interlude into pure black metal chaos. A chaos with order and borders, a formidable ally in the battle for your soul. But not what you expect. If humans could imitate the sounds of animals - here you would have your Lion.

Der Untergeher - One thing that Norwegian musicians can do is produce some of the most unique music and have it still sound great. The introduction lines to this song are reminiscent of contemporary jazz arrangements. For fans of jazz and metal, this is the right mix of both.

Beyond the Borders of our Minds (III) - fast black thrash is what I term this style of song. What makes this a thrash anthem is the rhythmic pulsating guitars, doubling over of the bass lines, grindcore style snare hits hand in hand with rapid ride cymbals, what make colors this with a black feel is the strenuous vocal charging.

Joy to the World: The Coming of Kali (V) - Most black metal bands have what I call a thin sound, where the eq on the disc is more treble and mid-range and much less on the bass end of the sound spectrum. She Said Destroy produce a thick-dense mid-range and bass mix that offers a flare of treble. This is a welcome to any metal genre in the vein of black. This song offers a black fast yet chunky blast of drums, stylish guitar flailing, bass running, and intense vocal vomits.

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Common Yet Forbidden
“The Struggle”
Bombworks Records
http://www.commonyetforbidden.com/

The anticipation for this disc was great, because I heard a song of CYF a while back.

Polished black metal at it's finest, I say the necessary uppercut to metal music, the fist in the face of oppression and ambiguity. For fans of technial prowess and frantic fret board flames, reminisce of Necrophagist, Extol, Melechesh and As I Lay Dying, not to mention the blistering bass drums, snake like subtle snare smashes, and undermining bass lines. This is the only known contemporary of the ultra heavy black thickness of Crimson Moonlight, under the same light but in their own right.

Take your favorite aspects of early days Amorphis, eruptive energy of Venom, celestial solos a la Paradise Lost, fast muted bridges of Slayer, and unequivocal creativity sparked by Celtic Frost (Into Crypts of Rays), resulting in unwavering musical foundation, built on the solid Rock.

Allusions to Vivaldi’s lightning speed fury in the guitar arrangements and runs. Hints of English Dogs ethereal pannings.

Among the highlight tracks,
The Struggle (title track), polished melodic solos, brutal voiced lyrics, solid bass and drums section. With the energy of early KREATOR and stylings of Nordic black metal a la IMMORTAL, CYF rip it up.

Saints O' Saints, attentive frontal vocal assault, guitar riffs spin off pin-wheels, the bass guitar fills in nicely as backing guitar rhythms and rhythmic percussion. The drums are the result of non-stop, intelligently-designed wall of sound.

Face Of The Father, breath in the black metal tinges of guitar perfection, the mirroring bass lines, the blastbeats on the drum throne. The vocal projection is thick enough to slice or should I say saw. The cymbal work on the drum set is very pronounced with the china splashes and ride taps. Lest I forget, the guitar solos are strangely bizzare, yet most of all sweet as candy.
We Only Chase Wind, imagine a human with vocals that cause volcanic eruptions and here you shall hear it. The guitars are again cream-of-the-crop and nicely interspersed with finger slicing solos. The bass is reminiscent of Geezer Butler's recordings on "Paranoid".

Anthem, Again another flavor of Black Sabbath, yet about a hundred miles per hour faster with the same kind of intensity and purpose - HEAVINESS. The neck banging change ups are intricately placed and yet smoothly accessed. Not many music writers can accomplish such fluid transitions, save but a few as Mozart, Beethoven, and on occasion Smetna. Give me more!

Dead Alive, listen closely to the riff structure in the first diminuendo within the first 15 seconds of the track. The theme is repeated through out the track - if you are attentive you will notice a pitch downward that does not appear to come from a tremolo bar but a strained string bend - brinking on the "pinch" effect. The drums appear to be played on three different audio levels or seems to be physical. They sound close to waist level, then there is a level that sounds to be around cymbal height. Lastly there seems to be a level of cymbal work that is elevated above the first; in summation a 3 level 3-dimensional sound. Vocals are harsh and touch on metalcore type styles. Think John Paul Jones on an adrenaline boost throughout the whole song for the bass licks.

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Benea Reach
Monument Bineothan
Candlelight USA
http://www.beneareach.com/

The meeting of logics & arteries. A phrenic dive into the deeper reaches of music seascapes. Monument Bineothan, an intentional nucleus of force, Virtuosity, volume, and shrewd musical craftsmanship.

Featuring members of legendary black metal and hardcore outfits from Scandinavia, Benea Reach have actualized a metal genre all their own, what I deem as colossal metal. Just as a four piece band from Aston, Birmingham,UK paved their own way in the 1970s, so does this six piece icy, Scandinavian storm called Benea Reach. Thick slicy guitar riffs, deep pounding definable drums, prominent bass guitar lines, inexplicable keys, and ominous vocal foreboding define this disc. Just the right music placement and just the right time. Close to perfect as musicians can get.

I first heard of this band when scouring through the WhirlWind Records talented roster and found the link to benea reach... I saw the online videos and knew I had to get my hands on the disc. Monument Bineothan is not your typical, in fact it is a-typical, sonic edgy metal.

Twelve tracks for your enjoyment and musical explorations. Think of it this way, you have found the oasis in a desert full of mirages. Fresh, ice-cold water to sooth the musical papillae. A thirst quencher.

Among the stand out tracks,
Groundslayer. A slothful and well executed dark bass line song. Cauterizing straight guitar sounds and heavy hitting drum rolls from left to right. An expressive outlet of vocal emotion.

Inheritor, this here shadows the riff thick Kyuss work ("Blues for the red sun"). Scattered throughout the song are hints of post hardcore work ala Callisto, but then again a distinct flavor. The floating backing vocals alert the listener for the forthcoming collisions in the rest of the disc.

Purge, a minor zest of thrash leads to jazz-influenced distorted guitars. Sandblasting vocals leave indelible imprints of metal flecks on the face of rock music. The snare drums seems to be very relevant in this track because it keeps time for the guitars, in which would seem virtually impossible to track without a loud drum. Not because of poor timing, but due the fact of odd time signatures and change ups.

Pandemonium, the opening riff stirs up old remembrances of the still functioning metalcore outfit, Society's Finest first EP (Private Conflicts, Suicides). Yet that only lasts for about 7 seconds. Either way, it's a good refresher in high energy head thrashing. If you are down, this song will put the nerve back in your soul, a shock wave to your energy stream, puts the strut back in your walk. Get it? Like an injection of high octane fuel through old-school 4 barrel carburetor into the small block 350 cubic inch Goodwrench engine you just dropped in your old-school mode of transportation.

Emperor, the namesake of the song says it all. Take heed, take hold, behold. The fury of old school metal bass lines, the quasi-dissonant chord progressions on guitars, the howling winds that develop into human tongues, alongside the whacks and bashes on the drum set... Erratic melodic tremors of music.

Venerate, stirs up memories of the first Pitchshifter release I got in early 1990s. An industrial strength dose of metal and knack for use of technology to enhance the human forged musical strains. A production of predictable change ups, that envelope your aural senses. Ethereal guitar solo lines, thick/dry mix guitar chunks, heavy-laden bass lines, and smashing drum work, make this a joy to plug in. For fans of Treponem Pal and Society's Finest, and Killing Joke (...Paul Raven R.I.P.).

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Immortal Souls
Wintereich
Dark Balance - Europe/World
Facedown Records – USA
http://www.immortalsouls.com/

Immortal Souls usher in a new kingdom of metal - uniquely identified as their own. A strong thrashy sound, packed with punchy solos, precision landing bass, including traditional style thrash drums & burning vocals.

For fans of these musical styles/subgenres: black/power/doom/speed/thrash metal, intermingled with traditional Finnish music song arrangements, 1960s psychodelic reminiscing of The Doors.

Immortal Souls impresses me with each new release, a better defined, more solid piece of machinery is created, delicate precision-based/thought provoking music centerpiece. The center of Finnish metal scene comes the ice sledgehammer.

Track3 For Fans of Mastodon, 70s hard rock riffage feel, with an almost stadium rock feel only to dive into fast thrashy segments of the song. Oddly a hint of Boston's guitar arrangements.

Ttrack4 A hint of Exol-esque introduction, piercing twin guitars in unison.

Track5 For fans of Exodus "Fabulous Disaster" era, this one is for you. Pedal to the metal head sloshing drums, bass and guitars soar into the heights of a metal atmosphere. Also, for fans of Carcass circa "Heartwork", with fast flittering guitar mutings, and pulverizing drum action - tight as a drum. Vocal stereo affect is nice for the thick raspy yells from the bottom of your soul.

Track6 Dare I say the these Finnish musicians have mastered the Gothenburg sound, tight, furious melodic musical strains. A strong bass guitar presence is made the bridge of the song as the guitars transition to more fluid counter-dependent solos.

Titletrack. A Doors bass line meshes with Iron Maiden vocals, and icy cold guitars and you have this Wintereich. A crown placed on the head of the king.

For fans of original metal stylings and catchy hooks, you can rely on Immortal Souls.

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Demon Hunter
“Storm The Gates of Hell”
Solidstate Records
http://www.demonhunter.net/

A nice blend of the best elements of the metalcore and alternative metal genres - fused into one called Demon Hunter. Storm the Gates of Hell is an emotionally charged musical meteor. A call to your conviction, a call to steady and brace oneself.

A rock music Benchmark comprised of Strong vocals, progressive keyboards/synthesizers Aggressive and raw guitars, steady bass, persistent snare driven drums. Among the best tracks of the disc are as follows.

Track 1 Unleashes angst, bitterness, and grace to subdue hell. A contemporary vocal sound similar to Phil Anselmo, yet unique in the clear enunciation. The guitars have the groove laden guitar pinches and twitches. The drums add much weight to what comes across as a rocker already.

Track 2 A flaring, blazing continuation from track1. The guitar distortion level comes across a little lower but still catchy. The bass and drums deliver to the hilt, punch for punch. The vocals are gritty and deliberate. The chorus takes you back a little, but only to lull you into another lower end blast of blaring sound.

Track3 Cellos and Bass violin sounds make an appears and introduce this work. Guitars become quite twisted and lay into the heavy guitar rhythms as guest vocals by Bruce Fitzhugh deliver the kinetic energy of freefalling from the sky. The drums and bass again outline the steady pulse of the song.

Track 4 Brings to surface the alternative metal feel, streaming keyboards, clean wave producing vocals, and what sounds to be a less distorted guitar sound. The bass and drums track well with the guitar and raging vocals. Also the clean chorus like vocals paint the picture of an alternative venture.

Track 5 Leads me to think is one of the rock genre tracks on this disc. A existential acoustic guitar entry with predictable, yet catchy guitar arrangements, and underlying bass/percussion combo topped by the vocals that are the icing on the cake. Demon Hunter achieve a ballad like semblance without yielding conviction and emotion. No emotions spared here.

Track 6 Now we swing back into the drop-tuning sound again. This track presents a fresh outlook on the incorporation of synthesizers in metal music, the genius of Dream Theater without the lighter vocals. The chorus and melodies tied together are sleek, haunting, and desirable at the same time. Much bass drum kicking and tricky cymbal work make this a solid bass shattering song.

INTERVIEW: Audiocast

2008-02-18T19:24:00.000-08:00

RICHARD Z. KRUSPE - EMIGRATE AUDIOCAST

Should the Audiocast file not be available, please contact us so that we can provide you with a link. Our email is helpalongtheway@gmail.com

Thanks.

CD Review: EMIGRATE "EMIGRATE"

2008-02-18T19:01:00.000-08:00

EMIGRATE
(self-titled)
Pilgrim/MotorMusic
www.EMIGRATE.eu

Emigrate is an audible infusion that morphs into an edible transfusion. An injection of new musical flavors alongside easy sing-along, and guitar driven grappling hooks. Richard Z. Kruspe of RAMMSTEIN renown is the mastermind behind this original work of art. Each song stands in its own merit where some bring to mind the energy of Therapy?, post punk roots of The Pixies, the crystal clear gothic ringings of Katatonia, digital delay feel of The Sisters of Mercy, with a tinge of Bauhaus and AC/DC.

What makes this very appealing is all the singing is in English. The choruses are easy to pick up and get you singing like you are 18 all over again. But do not be mistaken, EMIGRATE is its own machine, a making of its own kind, an original among clones, a winner amongst competitors, a champion in the industrial rock arena.

The entire disc is brimming full of hot rock ready to pour out on the airwaves, a fire pot ready to launch. Each song is separately crafted apart from each - so that no two songs sound the same, only one at a time. That said it is difficult to just write about a few of the songs, so here the absolute best is represented via this commentary.

Emigrate. The title track is the anthem of Richard Z. Kruspe moving to America . In a recent interview with Richard - the conveyance of a new world, new struggles, new challenges, and new life is presented within earshot of this lyrical masterpiece.

Wake Up. For fans of high energy riff rock, and edgy programming, and MINISTRY influenced intellect, you have this track. The drumming technique is head-on, no tricks - just the constant pounding and beating in the ear canals. For fans of hockey team theme songs, this is for you.

My World. A touch of classic rock song layers, a nice 80s style solo, and a strong flare for MINISTRY's "Just One Fix" type riffage. Ah - what delightful energy, a hyper blast of head banging. 3.14 into the song the bass guitar carries the chorus and makes it more accessible and intriguing. Vocally, Richard does a bang up job.

Let Me Break. Clean guitar tones, thick single string bass lines, load this song with a heavy foundation of swaying and body surfing. Shall we say a sonic mixture of THERAPY? (from Ireland ) and FILTER (Short Bus era). A dose of driving guitars and pummeling drums grab you by the shirt and send you soaring into the crowd of like-minded music enthusiasts.

In My Tears. This is a slow, mournful, pennant work. The mental picture of icy tears, the emotional weight of a departure from one's loved ones, one's homeland, the gaping hole in the heart... yet to be fulfilled. With each new song Richard's vocals improve upon greatness, why has the world not heard him sing before?

Babe. A throwback to the mid 80s UK new wave music scene, a gothic ring to lost love that has been found again. A Shakespearean thought-inducing involvement of honest feelings, emotions, and love for the helpmate. For fans of The Cure's emotional streams of music, regarding instrumentation, this one you shall enjoy. There is only one other musician that surfaces in my mind, that can produce such emotion vocally, Kalim Jacobs of YourLotusKiss.

New York City . Here we have a calming agent to a brand new world, a sedative to an alarming culture shock, a push to get your act in gear. Ah-right, get your hands up and start your Angus Young impression and your three finger posing. Here we have a new breed influenced by the ever-likeable AC/DC. Rock on!

Resolution. Middle-eastern tinged musical introduction via programming or strings - which is it - it does not matter. All that matters is that is the leit motif. The looming ping, the hunger pain in the side, the twitch in your eye, the get up and go in your step. Heavy geared guitars, monster-truck bass lines, fabulous cymbal smashing work. "Take it fast and slow."

Temptation. Mid-paced honesty. A plea, a dire urge to overcome. Musically speaking, this echoes talent past of The Posies (Frosting... era), almost touching on the raw emotion of Dinosaur Jr. A definite, indeed a must-have for any modern music fan.

This Is What. A steadily-fierce driven industrial song. Constant guitar meshing, crowd shots, hypnotic synthetic keys, teaming bass and drum set abuse; for fans of any gothic related music genre. Shall we say Sisters of Mercy?

You can't Get Enough. Probably the one rock-ballad on this disc. Similar in nature to what legendary Scorpions achieve, but in his own right.. Richard Z. modernizes the rock ballad with a current state of emotion address. Clean, bending guitar, smooth drums and bass, and fretting sings - make this another stand out.

Blood. Imagine a molten result of New Order (Republic era) electronic sounds, U2 (War era) guitar chord progressions, Kiss (Alive I era) concert arena vocals, and you have a slight taste of this sweet ear candy.

Help Me. This will send you on your way the long desert drive, just waiting to get there. There - the destination, the impetus for which you search, the catalyst for which you burn energy, the sky is the limit. Orbit yourself around this lyric, then it shall begin to imprint itself on gray matter. A Bauhaus-esque introduction, a gothic string ringing intonation, mother-load has arrived and Elvis has left the building.

Congratulations to Richard Z. for this fire-breathing work of art. Rock on!