Tuesday, November 27, 2012

FMA Reviews: Nails: Obscene Humanity

Originally reviewed here.
It was with a lot of trepidation that I agreed to take a listen to this release. I was not familiar with Nails before so I had to look them up. What I found concerned me even more. Nails is a hardcore band. I do not care much for hardcore music. Nails is often associated with Converge. I really do not care for Converge. And Nails is on Southern Lord Records. With the exception of Lair of the Minotaur, I have never really cared for that label. But I did agree to give this a shot, and the fact that the release is three songs from an upcoming seven inch, I figured it would not be too painful. I can probably handle ten to fifteen minutes of hardcore.

Yes I can. This is a very impressive release, which is likely made better by the fact that it is so short. I am not sure I could listen to a full album of this, but I can definitely listen to these three songs.

This is a short but very intense release of metallic hardcore. And no, not metalcore in the sense of Avenged Sevenfold, etc. It is all pummeling riffing, pounding drums, and shrieked vocals. The third track "Lies" is the highlight as it features a very quick guitar solo and one hell of a breakdown leading to the end of the release.

The complaints are typical for this style of hardcore. There is a bit of a lack of dynamics, particularly with the vocalist. He shrieks all the way through. Other than the closing breakdown, there is a lack of any real tempo shift throughout the runtime. And the first two tracks are basically the same song. The third track stands out due to the soloing and the tempo shift but it basically starts the same way as well.

This is not likely something I would listen to often, but I can see some good things in it.

Cataloguing My Metal Collection Pt. 21

ARTIST:  Faith No More
ORIGIN:  San Francisco, CA (United States)
TITLE:  King for a Day...Fool for a Lifetime
LABEL:  Slash Records
YEAR:  1995
GENRE:  Alternative Metal
FAVORITE SONG:  "Digging the Grave"
NOTES:  This was my first full-length album by Faith No More but I had been aware of them for years.  In fact, they may have been the first metal band I really heard as my older brother was a big fan of theirs for quite some time.  I think I was in fourth grade when my brother got The Real Thing and I heard it a lot.  This was a bit of a different sound from Faith No More.  It is more stripped down and does not have some of the rap elements that first garnered the band attention.  There are some filler tracks on this release, but as a whole, it is a fairly strong album.

Monday, November 26, 2012

Mortalicum Interview

As I think I have mentioned many times on this blog, there has been a resurgence in 1970's/1980's style heavy metal.  You know, the classic stuff, stuff like Black Sabbath, Thin Lizzy, and others.  Much of it is incredibly catchy and melodic.  One such band that I had the chance to review earlier is an upstart group from Sweden called Mortalicum.  Their album is a contender for Metallattorney's Album of the Year.  So I jumped at the opportunity to interview the band.  After the jump, you can see answers from bassist Patrick Backlund.


Cataloguing My Metal Collection Pt. 20

ARTIST:  White Zombie
ORIGIN:  Haverhill, MA (United States)
TITLE:  Astro-Creep: 2000 - Songs of Love, Destruction and Other Synthetic Delusions of the Electric Head
LABEL:  Geffen Records
YEAR:  1995
GENRE:  Groove Metal
FAVORITE SONG:  "Blur the Technicolor"
NOTES:  White Zombie was massive in 1995, easily one of the biggest metal bands in the world.  With great videos, amazing live shows, and a kickass album, the band had a great year.  Unfortunately it was all downhill for the band after that.  Their tour took them through Lincoln that year, but I was 14 and missed it.  Damn.  Still, I love this album.

Sunday, November 25, 2012

FMA Reviews: God Seed: I Begin

Originally reviewed here.
Any discussion of God Seed will necessarily include some discussion about the band's origins. The album title here is particularly apt because of this. God Seed is made up of King ov Hell and Gaahl, formerly of black metal psychos Gorgoroth. In actuality, these two members attempted to carry forward with the name Gorgoroth after splitting from Infernus. A lengthy court battle ensued with Infernus actually being granted the rights to the name Gorgoroth. In the meantime, God Seed formed for a couple of months and then disbanded when Gaahl retired temporarily. King used the material written for God Seed for a project with Dimmu Borgir's Shagrath which was called Ov Hell. Gaahl eventually returned and God Seed was formed.

God Seed has already released a live album from Wacken and a single. This is the debut full-length however and the first exposure that a lot of people will get to the band. Expectations are certainly high as Gorgoroth has been a stalwart in the Norwegian black metal scene for a very long time.

Gorgoroth has always been known for particularly hateful black metal that had moments of softness to it. God Seed for the most part follows this same formula. The riffs are explosive and Earth-shaking. The atmosphere is still cold and terrifying. One of the things that I always liked most about Gorgoroth was their ability to be punishing and brutal one second and be dissonant and unsettling the next. God Seed accomplishes this same fluid shift throughout most of this album. For example, the band shifts easily from the darkwave-sounding "Hinstu Daga" to the much more traditional black metal crunch of "Aldrande Tre".

The truly unusual moments are the usage of electronics, keyboards, and organs. Gorgoroth did not do a lot of experimenting with different instrumentation in their releases, but God Seed actually employs a member to play the keyboards. This is kind of an unusual thing for a black metal band that does not fall into the melodic black metal genre. But the keyboard moments do work. They add a certain unsettling flair to the already destructive and evil riffing and vocals.

This is a widely varied album. Gorgoroth had been working towards that and perfected it. Their early albums were simply fast barrages of riffs. The band slowly added more and more atmosphere to their music. God Seed does a fantastic job in carrying this forward on this release. Gaahl's vocals fit in well with this constantly evolving sound. He uses a variety of vocal styles from high-pitched rasp, to deep-throated bellow, to some actual clean moments. One thing is for certain though, they are never boring.

So we finally got that God Seed album from the dismissed members of Gorgoroth and it is everything it was hoped to be. This album proves that the second wave Norwegian black metal band members are still capable of putting out some high-quality releases.

Cataloguing My Metal Collection Pt. 19

ARTIST:  Queensryche
ORIGIN:  Bellevue, WA (United States)
TITLE:  Empire
LABEL:  EMI Music
YEAR:  1990
GENRE:  Progressive Metal
FAVORITE SONG:  "Empire"
NOTES:  Another album that I got for my 14th birthday from my grandmother (she really came through on this one).  This was my second album by the Washington-based progressive metal outfit.  Though I never quite liked this one as much as my first album by the band, even though it is arguably heavier.  "Silent Lucidity" is probably Queensryche's most well-known song.

Saturday, November 24, 2012

Cataloguing My Metal Collection Pt. 18

ARTIST:  Ozzy Osbourne
ORIGIN:  Birmingham, England
TITLE:  No More Tears
LABEL:  Epic
YEAR:  1991
GENRE:  Heavy Metal
FAVORITE SONG:  "No More Tears"
NOTES:  I got this for my birthday from my grandmother at the same time as the prior Black Sabbath album.  It is kind of odd that I got an Ozzy album and a Black Sabbath album at the same time but the Black Sabbath album did not feature Ozzy on vocals.  I was aware by this time that Ozzy did sing for Sabbath early on, even though I did not have anything that featured him.  This is still one of my favorite albums by Ozzy, and his last really good one.

Friday, November 23, 2012

Reader Submissions: Inquisitor: Dark Ages of Witchery

I love it when a band comes out of nowhere to blow me away with a release.  Enter Portugal's Inquisitor.  They have only been around for a few years now and have yet to release a full-length.  Thus far their entire discography consists of a demo, this 7" EP, and a split with Virgin Killer.  But if this EP is any indication, Inquisitor should have a bright future.

Inquisitor is a thrash/speed metal band with a sound firmly rooted in the 1980's.  Their music strongly resembles bands that straddled the line between thrash metal and more melodic styles.  Names like Flotsam and Jetsam, Exciter, and Razor come to mind.  The vocals are done in more of an early extreme thrash metal style, most similar to Teutonic thrash masters Destruction, Kreator, and Sodom.  The riffs are fast-paced and memorable and the band possesses some impressive songwriting chops.

The production on this sounds great.  The sound is beefy and muscular, which befits the style of music.  There is a heavy bottom-end which is sometimes missing in more traditionally-minded metal albums.  Everything is clear without sounding sterile.

This is an extremely impressive release, but it is just a teaser.  There are only two tracks here and they both sound very good.  I am looking forward to something longer.

Cataloguing My Metal Collection Pt. 17

ARTIST:  Black Sabbath
ORIGIN:  Birmingham, England
TITLE:  Cross Purposes
LABEL:  I.R.S. Records
YEAR:  1994
GENRE:  Doom Metal/Heavy Metal
FAVORITE SONG:  "Cross of Thorns"
NOTES:  My very first Black Sabbath album was one with Tony Martin on vocals.  I still think that this is one of the most underrated Black Sabbath albums.  There are some truly great songs on this thing and it is a shame that it is so often overlooked.  I have a lot of memories of playing video games with this album on, to the point that I still think of Super Metroid whenever I listen to it.  Odd.  I got this around my 14th birthday from my grandmother.

Thursday, November 22, 2012

Cataloguing My Metal Collection Pt. 16

ARTIST:  Various
ORIGIN:  Various
TITLE:  Monsters of Rock Vol. 3: Molten Metal
LABEL:  Priority Records
YEAR:  1994
GENRE:  Various
FAVORITE SONG:  Fear Factory: "Scapegoat"
NOTES:  Another compilation that I picked up early on.  This one featured songs by Motorhead, Flotsam and Jetsam, and Fear Factory that I eventually checked out.  It also featured White Zombie and Aversion.  There were some non-metal bands such as L.A. Guns, Mudhoney, Kiss, and Biohazard as well.

Wednesday, November 21, 2012

Reader Submissions: Mystical: Demo I

One of the results of our current technology-dominated society is that just about anyone can now make music.  And it is much easier to get music out to people as well.  I do not mean to start this out on a negative note, but it is fairly clear from the quality of this release that the members of Portuguese black metal band Mystical are fairly new to the game.  A cursory glance at the members' respective backgrounds would confirm this, beyond guitarist BHJS.  But this is just a demo, so it is hard to be too hard on the guys.

The big complaint that I have here is that it sounds too synthetic.  The drums are programmed, the keyboards sound a little bit too sterile, and the samples are an odd choice.  The only real instrument is the guitar which simply plays some basic black metal riff, usually just one or two riffs per song.  It is hard to achieve a good black metal atmosphere when the instruments do not sound real.  The music is fairly simple and direct.  The songs are all very short as well and rely on a couple of ideas per song.

There are a couple of silver linings for this band, glimmers of hope that could be improved on and result in a decent next recording.  "Eternal Damnation" is a pretty decent song, with some interesting riffs and a decent sound, despite the overly-programmed drumming.  A couple of the other tracks also have the hint of some good ideas present, such as the keyboard-driven break in "Torture of the Damned" and the riffs in "The Cursed Earth".  In addition, the vocals, despite being stereotypical for black metal, do sound pretty good.

When all is said and done, this is a demo.  It is hard to have high expectations and it is hard to be disappointed.  There are some things that Mystical could do to improve, but that is typical for bands on their first demo.  There is room for growth.  It will be interesting to see where they go from here.

Cataloguing My Metal Collection Pt. 15

ARTIST:  Various
ORIGIN:  Various
TITLE:  Metal Mayhem
LABEL:  Priority Records
YEAR:  1993
GENRE:  Various
FAVORITE SONG:  Flotsam and Jetsam: "Iron Tears"
NOTES:  I started picking up some cheap various artist compilations early on in order to find new bands to check out.  This was one of the first ones.  It included songs by Flotsam and Jetsam, Prong, Gwar, Voivod, and Pro-Pain that I eventually checked out, partially on the power of these songs.  Suicidal Tendencies and a few non-metal bands appeared as well.

Tuesday, November 20, 2012

Cataloguing My Metal Collection Pt. 14

ARTIST:  Anthrax
ORIGIN:  Yonkers, NY (United States)
TITLE:  Sound of White Noise
LABEL:  Elektra
YEAR:  1993
GENRE:  Thrash Metal/Groove Metal
FAVORITE SONG:  "Hy Pro Glo"
NOTES:  Maybe it is because it was my first Anthrax album, but I really like this one.  Maybe it would have been different if it was heard after some material with Joey Belladonna on it, but it does not really matter at this point.  This was Anthrax's first album with former Armored Saint wailer John Bush behind the mic.  His voice never quite fit the typical Anthrax sound, but the band sounds a little different, a little more serious this time around.

Monday, November 19, 2012

Initial Impressions: Cradle of Filth: The Manticore and Other Horrors

Just like clockwork.  Every two years or so around the end of October (Halloween time kiddies), English gothic extreme metal mavens Cradle of Filth drop a new album of horror stories upon us.  And every time, I feel absolutely compelled to pick it up.  Let's face it, I am a Cradle of Filth fan.  I know they have their detractors, but I cannot help but love what they are doing every time.  It's a sickness I know.

This one is a little bit different sounding than the band's typical fare.  For one thing, the sound has been stripped down a little bit.  And this even effects the run-time of the release.  There are no ridiculously long songs, everything is tightened up and a lot of the musical meanderings have been cut out.  The riffs have become much more prominent on this release, replacing a lot of the keyboard melodies.  This is the most aggressive Cradle of Filth has sounded in years.  The riffs frequently resemble punk and thrash metal riffs.  Again, this is something that has been missing from Cradle's sound for a long time.  It is a welcome change.  After so many albums of the band doing basically the same thing, it was time to change up the formula a little bit.

No review of Cradle of Filth's new record would be complete without discussing Dani Filth, the only constant element in the band.  Dani's vocals are not as strong as they used to be, that is an unfortunate inevitability when a band has been around as long as Cradle of Filth has been.  But that is not to say that he does not have anything left, he certainly does.  His high-pitched shrieks and low grumbles still do the trick.  And of course, his songwriting has always been very impressive.  His ability to weave stories of gothic horror into the darkly melodic, atmospheric music of which Cradle of Filth specializes.

This is not one of Cradle of Filth's greatest albums, but it is one of their best in years.  It does not touch the levels of Dusk...and Her Embrace, Midian, or Cruelty and the Beast, but I would stack it up against anything from Nymphetamine onward and it would hold its own.  The riffwork definitely stands out as a welcome change from their previous albums and the stripped-down songs make this a slightly easier listening experience.

Cataloguing My Metal Collection Pt. 13

ARTIST:  Corrosion of Conformity
ORIGIN:  Raleigh, NC (United States)
TITLE:  Deliverance
LABEL:  Columbia Records
YEAR:  1994
GENRE:  Southern Metal/Sludge Metal
FAVORITE SONG:  "Clean My Wounds"
NOTES:  Corrosion of Conformity frequently changes their sound, and this definitely stands out from anything the band had done previously.  Taking a Southern/sludge metal sound, this was quite a bit different than anything I had heard before.  But the results, including the tracks "Clean My Wounds" and "Alabatross" were incredible.  A great album.

Sunday, November 18, 2012

Non-Metal Post: Misfits

For a long time I did listen to a number of non-metal bands.  It's true.  I seldomly listen to non-metal bands now, but there are a few exceptions.

Misfits is the biggest exception.  I started out on them after hearing the numerous Metallica covers of Misfits songs and finding out that Glenn Danzig used to be their singer.  I am not the biggest punk fan in the world, but Misfits are so ridiculously catchy that it is hard not to get into them.  Their lyrics deal almost strictly with horror themes and the music is infectious.  It is not the most technically impressive, in fact far from it, and the musicians were certainly not terribly talented, but they could write a damn good song.

I have the Walk Among Us album and have been listening to it over and over again today.  It is the only album I have picked up from the group, but I love tracks like "I Turned into a Martian", "Skulls", "All Hell Breaks Loose", and pretty much everything else on the album.  The fact that it is only a 25 minute album certainly makes it easy to turn it on, rock out for a little while, and move on.  I keep meaning to check out more, but for now, this is a fun album to put on when I am in the mood for it.  Today I definitely was in the mood. 

Cataloguing My Metal Collection Pt. 12

ARTIST:  Suicidal Tendencies
ORIGIN:  Los Angeles, CA (United States)
TITLE:  Join the Army
LABEL:  Caroline Records
YEAR:  1987
GENRE:  Crossover/Thrash Metal
FAVORITE SONG:  "War Inside My Head"
NOTES:  As I recall when I was younger, my parents found a bunch of tapes abandoned by a lake.  This was one of the tapes in there.  They never did anything with them, so they were fair game.  This was the only thing remotely metallic in the tapes, so when I was getting into metal, I claimed it.  This is a short and very fast album with a ton of energy.  I am not the biggest Suicidal Tendencies fan, but this is a very good release.

Saturday, November 17, 2012

One and Done? Pt. 12: Church Bizarre

Among the many styles of metal that I am a big fan of, there is melodic black/death metal, particularly of the Swedish variety.  You know the type, Dissection, Watain, Naglfar, and the like.  One band I discovered in this vein a couple of years ago is the Danish group Church Bizarre.  Their album, Sinister Glorification, was an excellent example of the style with catchy tremolo riffing and some of the most decayed vocals ever.  The band actually released a few demos and EPs as well, but nothing since 2006 after the full-length.  The reasons for the ending of the band are unknown.

It is a shame.  Their release is terrific and it would have been interesting to see what happened next.  They had a unique sound amongst their genre.  Cerekloth formed out of the ashes of Church Bizarre and fellow Danish black/thrash metal act Victimizer.  But Cerekloth does not have the same feel as Church Bizarre and is not quite an acceptable substitute.

There is a glimmer of hope on the horizon though.  It appears as if Church Bizarre will likely release another EP for Hell's Headbangers in 2013.  Maybe they will rise from the grave and curse us with another full-length some day.  One can hope.

Cataloguing My Metal Collection Pt. 11

ARTIST:  Pantera
ORIGIN:  Arlington, TX (United States)
TITLE:  Cowboys from Hell
LABEL:  Atlantic Records
YEAR:  1990
GENRE:  Heavy Metal/Thrash Metal
FAVORITE SONG:  "Cemetery Gates"
NOTES:  At the time, this was the most extreme album I had ever heard.  It actually gave me a headache the first time I heard it. But I did not give up on it and kept listening to it to the point that it was a favorite album pretty quickly.  At the time, "Cemetery Gates" had been played a lot on the local hard rock radio station as a result of appearing on a soundtrack.  Of course Pantera changed their sound soon after this release, but it remains my favorite Pantera album.

Friday, November 16, 2012

Initial Impressions: Enslaved: RIITIIR

A few years ago my interest in Enslaved skyrocketed as a result of seeing them in concert with fellow prog-metal masters Opeth.  Prior to that I enjoyed them quite a bit but would not have gone so far as to say that they were one of my favorite bands.  However after that concert, their status was elevated quite a bit.  I developed an appreciation for their sprawling sound with all of its quirks.  Ordinarily the overly progressive metal stuff has not done much for me, but Enslaved has been an exception.  So I look forward to each new Enslaved album.

This one gave me some pause as some individuals that I usually expect to really enjoy Enslaved have not cared as much for it, calling the album a disappointment or even boring.  Nevertheless, I still felt like I had to check it out.  I have heard every single album since Below the Lights and I was not about to start missing albums now.

I think this one is definitely a grower.  Enslaved have stripped away almost all of their black metal sound.  Of course that has been happening for several albums now at this point.  They have stripped away more and more with each release since the aforementioned Below the Lights.  There are still traces here and there, but this is mostly a progressive metal release.

The album does start fairly strong with "Thoughts Like Hammers", but it slows way down for several songs after the opening track.  The next several songs are kind of a blur, before the band picks things back up with "Materal", probably my favorite song on the album.  This is definitely Enslaved.  They do not do anything markedly different from anything they have done on the last several albums.  As such I am not really sure what a lot of the complaints have been about.  I certainly do not feel the same way about this release as some others do.

I would not say that this is one of Enslaved's stronger releases, but I do like it well enough.  I do not think there is anything markedly different this time around.  Is it a masterpiece?  No, but it is good enough.  I find myself enjoying it more and more with each successive listen.