Katun
Moribund Records
And to think that I just picked up this record because I thought the back cover photo of the band made them look like they stepped right out the cover shoot for Darthrone's Transilvanian Hunger. High contrast occultisms aside, immediately into this record I'm being bludgeoned repeatedly by a Mexican blackdeath assault. Taking the most evil parts of death metal's most vile - Morbid Angel, Pestilence, Asphyx, Hellhammer, Sarcofago - during the first minutes of opener "Regnum Satani (In League With Satan We Ride)", Hacavitz try to fucking fool me into thinking they're mere primitive death metal cassette bashers, but oh no no. Hacavitz add a dark psychogeography to their sound, firmly rooted in their homeland and their roots. It could be the subtle accenting in the vocals, a chord change here and there, the frankly terrifying wind instrument that closes out "Regnum" (and pops up again in "Tinieblas-Tenochtitlan" - catch that Aztec reference) the loneliness is bone deep. And by "Ride Thee Nebulah" it's obvious that as much as Hacavitz love Satan (Marduk, Darkthrone, Dark Angel - check it, they cover "Hunger of the Undead!" Fuck yeah!) they also worship good, progressive songcraft (Nile and Incantation loom large).
Songs are way longer than traditional death metal but still chock full of those evil downtuned riffs that only primitve, early tape-tradin' death metal exectuted to fullest potential. The strings hum like devils' forked tongues. Elsewhere it's all blast beats, clattering percussion, screams, funeral doom passages, trebly guitars, speed metal goodness with quasi-mystical soloing, sure it's been done before, but Hacavitz execute it with a feral brio that gives Katun that extra oomph. And to think that Antimo Buonnano (guitarist/vocalist) and Oscar (Garcia) drummer had to fire the rest of their band to allow their blood-soaked aesthetic to take full flight.
Retro low-fi blackened filth meets labyrinthine riffs and verses. Absolutely effective. Surrender to the evil.
- Matthew Moyer
Wednesday, September 12, 2007
Tomorrow Show: Punk and New Wave
DVD
Shout! Factory
I was saddened by the news of Tom Snyder's recent death - strange considering he hasn't graced my television screen for years now, the last time being the Letterman-endorsed stint on The Late Late Show in the late 90s. Stranger considering that Charlie Rose, Terri Gross, Tavis Smiley and others have now taken his schtick wholesale, minus the balls and anarchy, and run with it nightly. Aside from his Soup 2 Nuts production company, which brought us the utterly peerless Home Movies cartoon, Snyder's absence has left a gaping void on the popular culture-scape. His most memorable late-night run, on the Tomorrow Show from 1973-1982 on NBC, was iconic and iconoclastic at the same time. Iconoclastic in that it dispensed with most of the niceties of late night chat - audience tittering away in the background, brief softball-like chats with celebs and no smoking - and iconic in the figure Snyder himself cut on the program, Shaggy, abruptly sideparted grey hair, an intense stare, totally dated college prof/hipster attire and a cigarette constantly burning between his fingers - Snyder seemed more like a no-bullshit late night dj than a nicey-nicey host - his interviews were longer and much more frank, conversation was heady and Snyder was prone to making little in-jokes to his staff and camera crew at the drop of a hat. In a word or two, fucking awesome. Can't believe this was on NBC. Please, please, scour Youtube for vintage Snyder-y goodness.
And since Tom Snyder wasn't afraid to ask the tough questions and try to crack the tough nuts, it seems obvious that Snyder and representatives of the then-nascent punk and new wave movements would meet. Or is that clash? See, though Snyder was probably the most competent American television host to give the punks a sympathetic airing, the interviews that comprise the majority of Shout! Factory's collection of the cream of Snyder's meetings with punk and new wave artists are tense and uncomfortable at best. Oh, hey wait, just like punk rock. Call it generational angst. Call it rebel meets rebel. (Am I the only one who thinks that when John Lydon and Tom Snyder are hissing back at one another, cigarettes held like knives, two sets of eyes flashing with contempt and not blinking at all, that it might just be an estranged father-son duo?) But it doesn't go down smoothly. And yet, they kept coming back. Which is pretty brilliant if you think about it, for both Snyder and the bands - both get street cred from their respective audiences AND there is always the possibility of an oldster picking up a Jam disc based on Paul Weller's impassioned performances of "Pretty Green" and "Funeral Pyre" or some spikey-haired naif deciding to maybe get home by midnight the next night to see who this grandpa has on his crazy show.
The "preview disc" I got for review had a roundtable on punk with a clearly bemused Bill Graham, some rock critic, an overacting and unbearable (as usual) yet completely entertaining Kim Fowley, who all sort of exchanged non sequitors for awhile as Snyder smoked impressively and tried to let someone else get a word in over Fowley. But the atmosphere became utterly electric when Paul Weller (pulling off the feat of chewing gum and smoking while seething in a canary yellow jacket) and Joan Jett join the discussion. Graham gives Weller credit for being an excellent songwriter, Weller seemingly wills the entire panels' heads to explode at once and the very young Jett is utterly charming and innocent, despite her Susie Quatro as a Hell's Angel image. Brilliant. The Jam return for the two incendiary performances I mentioned above, notably for prime footage of a young Weller at the height of his powers with the Jam - loud as hell, dressed to kill, somehow making white socks look cool. However, there's an audience in that episode - what the hell? Final episode is the famously disastrous show with Snyder interviewing a sullen John Lydon and (a smacked out) Keith Levene, just finding their way in the world as Pil. It's a masterstroke of mindgames, aggression and awkward pauses, I think Snyder was failed by his researchers here and Lydon undone by his distaste for Americans. Too many missed opportunities. And yet, it's awesome to see the old guard and new guard go at each other, not giving an inch, hatred simmering - making you realize, hey we're not that different after all.
Moral of the story: I want to start smoking now.
- Matthew Moyer
Shout! Factory
I was saddened by the news of Tom Snyder's recent death - strange considering he hasn't graced my television screen for years now, the last time being the Letterman-endorsed stint on The Late Late Show in the late 90s. Stranger considering that Charlie Rose, Terri Gross, Tavis Smiley and others have now taken his schtick wholesale, minus the balls and anarchy, and run with it nightly. Aside from his Soup 2 Nuts production company, which brought us the utterly peerless Home Movies cartoon, Snyder's absence has left a gaping void on the popular culture-scape. His most memorable late-night run, on the Tomorrow Show from 1973-1982 on NBC, was iconic and iconoclastic at the same time. Iconoclastic in that it dispensed with most of the niceties of late night chat - audience tittering away in the background, brief softball-like chats with celebs and no smoking - and iconic in the figure Snyder himself cut on the program, Shaggy, abruptly sideparted grey hair, an intense stare, totally dated college prof/hipster attire and a cigarette constantly burning between his fingers - Snyder seemed more like a no-bullshit late night dj than a nicey-nicey host - his interviews were longer and much more frank, conversation was heady and Snyder was prone to making little in-jokes to his staff and camera crew at the drop of a hat. In a word or two, fucking awesome. Can't believe this was on NBC. Please, please, scour Youtube for vintage Snyder-y goodness.
And since Tom Snyder wasn't afraid to ask the tough questions and try to crack the tough nuts, it seems obvious that Snyder and representatives of the then-nascent punk and new wave movements would meet. Or is that clash? See, though Snyder was probably the most competent American television host to give the punks a sympathetic airing, the interviews that comprise the majority of Shout! Factory's collection of the cream of Snyder's meetings with punk and new wave artists are tense and uncomfortable at best. Oh, hey wait, just like punk rock. Call it generational angst. Call it rebel meets rebel. (Am I the only one who thinks that when John Lydon and Tom Snyder are hissing back at one another, cigarettes held like knives, two sets of eyes flashing with contempt and not blinking at all, that it might just be an estranged father-son duo?) But it doesn't go down smoothly. And yet, they kept coming back. Which is pretty brilliant if you think about it, for both Snyder and the bands - both get street cred from their respective audiences AND there is always the possibility of an oldster picking up a Jam disc based on Paul Weller's impassioned performances of "Pretty Green" and "Funeral Pyre" or some spikey-haired naif deciding to maybe get home by midnight the next night to see who this grandpa has on his crazy show.
The "preview disc" I got for review had a roundtable on punk with a clearly bemused Bill Graham, some rock critic, an overacting and unbearable (as usual) yet completely entertaining Kim Fowley, who all sort of exchanged non sequitors for awhile as Snyder smoked impressively and tried to let someone else get a word in over Fowley. But the atmosphere became utterly electric when Paul Weller (pulling off the feat of chewing gum and smoking while seething in a canary yellow jacket) and Joan Jett join the discussion. Graham gives Weller credit for being an excellent songwriter, Weller seemingly wills the entire panels' heads to explode at once and the very young Jett is utterly charming and innocent, despite her Susie Quatro as a Hell's Angel image. Brilliant. The Jam return for the two incendiary performances I mentioned above, notably for prime footage of a young Weller at the height of his powers with the Jam - loud as hell, dressed to kill, somehow making white socks look cool. However, there's an audience in that episode - what the hell? Final episode is the famously disastrous show with Snyder interviewing a sullen John Lydon and (a smacked out) Keith Levene, just finding their way in the world as Pil. It's a masterstroke of mindgames, aggression and awkward pauses, I think Snyder was failed by his researchers here and Lydon undone by his distaste for Americans. Too many missed opportunities. And yet, it's awesome to see the old guard and new guard go at each other, not giving an inch, hatred simmering - making you realize, hey we're not that different after all.
Moral of the story: I want to start smoking now.
- Matthew Moyer
Tuesday, September 4, 2007
GG Allin and the Murder Junkies
HATED: GG ALLIN & THE MURDER JUNKIES DVD
MVDVisual, 2007
Do I REALLY need to get into this one? Very well: This is a reissue of the documentary on legendary scum rocker GG Allin. All those stories you heard about him shitting on the stage, and his public nudity, and his habit of slicing his own flesh to bloody shreds, and all manner of anti-social behavior? Yeah, it’s all caught on tape here. With that as a warning (this is GRAPHIC AS HELL), this does provide a fascinating glimpse into the world of Allin, right up to his death from an overdose (you even get some footage of his coffin being carried to his grave). I wouldn’t personally purchase this, since it’s a curiosity you will probably view only a few times and then get bored/jaded, but it is something I could see a lot of punk fans wanting to watch at least once. Just don’t say I didn’t warn you if you have a sensitive stomach.
- Adam Naworal
MVDVisual, 2007
Do I REALLY need to get into this one? Very well: This is a reissue of the documentary on legendary scum rocker GG Allin. All those stories you heard about him shitting on the stage, and his public nudity, and his habit of slicing his own flesh to bloody shreds, and all manner of anti-social behavior? Yeah, it’s all caught on tape here. With that as a warning (this is GRAPHIC AS HELL), this does provide a fascinating glimpse into the world of Allin, right up to his death from an overdose (you even get some footage of his coffin being carried to his grave). I wouldn’t personally purchase this, since it’s a curiosity you will probably view only a few times and then get bored/jaded, but it is something I could see a lot of punk fans wanting to watch at least once. Just don’t say I didn’t warn you if you have a sensitive stomach.
- Adam Naworal
Retconned
UNHAPPENINGS
Army Of Bad Luck/Stickfigure, 2007
Crazy lo-fi electronic punk/no-wave. VERY appealing to the experimentalist in me! Retconned is what would have happened if Throbbing Gristle and the Screamers decided to have an absinthe-fueled jam session. As you can imagine, the music is stunning in its stark coldness. Absolutely recommended.
~Adam Naworal
Army Of Bad Luck/Stickfigure, 2007
Crazy lo-fi electronic punk/no-wave. VERY appealing to the experimentalist in me! Retconned is what would have happened if Throbbing Gristle and the Screamers decided to have an absinthe-fueled jam session. As you can imagine, the music is stunning in its stark coldness. Absolutely recommended.
~Adam Naworal
Liars
LIARS
Mute, 2007
Being a Liars fan, this album was initially kind of a letdown. Repeated listens have proven it to be as good as anything else Liars have done, but it does lose points for not being anywhere near as experimental as past releases. Those expecting the frantic sound of outings like DRUM’S NOT DEAD and THEY WERE WRONG SO WE DROWNED may also be disappointed at first, but as an off-kilter post-punk outing this is still solid gold. Recommended, but neophytes should really check out any of the past albums first.
~Adam Naworal
Mute, 2007
Being a Liars fan, this album was initially kind of a letdown. Repeated listens have proven it to be as good as anything else Liars have done, but it does lose points for not being anywhere near as experimental as past releases. Those expecting the frantic sound of outings like DRUM’S NOT DEAD and THEY WERE WRONG SO WE DROWNED may also be disappointed at first, but as an off-kilter post-punk outing this is still solid gold. Recommended, but neophytes should really check out any of the past albums first.
~Adam Naworal
Prinzhorn Dance School
PRINZHORN DANCE SCHOOL
Astralwerks/DFA, 2007
This CD completely baffled me at first. From the packaging alone you know this is going to be odd: A strange little photo (I think) in gray on pure black, the back being black with little information. Then the inside has a few more strange pictures and the lyrics printed in a simple little font. It looks like the package was made by some other form of life on some strange planet beyond the sun. The music, surprisingly, is no less alien. Stilted and stuttering martial drum beats that manage to be simple yet complex at once, a strangely recorded guitar that more often or not is hard to identify as electric or acoustic playing lines that would make any No Wave guitarist put down his guitar and walk away in shame, and bizarre somewhat shouted/somewhat declared/never truly sung male and female vocals……… These are the ingredients that sound so horrid on paper, but work absolute magic on the CD. After a while, once you get used to the sheer oddity of it, the album becomes addictive, and you find yourself tapping along and replaying it. At that point the only remaining strangeness is what in hell possessed Astralwerks and DFA (both highly electro-centric labels) to release this, but kudos to them! Perhaps the only thing this can be compared to is the Young Marble Giants, those mostly forgotten Scottish post-punk darlings. But Prinzhorn Dance School is no YMG ripoff; they are perhaps more wondrous and completely idiosyncratic. Absolutely 100% recommended to everyone.
~Adam Naworal
Astralwerks/DFA, 2007
This CD completely baffled me at first. From the packaging alone you know this is going to be odd: A strange little photo (I think) in gray on pure black, the back being black with little information. Then the inside has a few more strange pictures and the lyrics printed in a simple little font. It looks like the package was made by some other form of life on some strange planet beyond the sun. The music, surprisingly, is no less alien. Stilted and stuttering martial drum beats that manage to be simple yet complex at once, a strangely recorded guitar that more often or not is hard to identify as electric or acoustic playing lines that would make any No Wave guitarist put down his guitar and walk away in shame, and bizarre somewhat shouted/somewhat declared/never truly sung male and female vocals……… These are the ingredients that sound so horrid on paper, but work absolute magic on the CD. After a while, once you get used to the sheer oddity of it, the album becomes addictive, and you find yourself tapping along and replaying it. At that point the only remaining strangeness is what in hell possessed Astralwerks and DFA (both highly electro-centric labels) to release this, but kudos to them! Perhaps the only thing this can be compared to is the Young Marble Giants, those mostly forgotten Scottish post-punk darlings. But Prinzhorn Dance School is no YMG ripoff; they are perhaps more wondrous and completely idiosyncratic. Absolutely 100% recommended to everyone.
~Adam Naworal
VHS Or Beta
BRING ON THE COMETS
Astralwerks, 2007
I never really gave these guys the time of day. I regret that now. This is a thoroughly enjoyable disco-punk outing. The drums have that classic 70s disco swing to them, and the songs as a whole have the same feel. At the same time, the vocal delivery is nicely varied, and some tracks are more post-punk than disco, resulting in an interesting and varied listen. The lyrics of course probably don’t mean a thing, but with music this catchy, who cares? Very well worth your time!
~Adam Naworal
Astralwerks, 2007
I never really gave these guys the time of day. I regret that now. This is a thoroughly enjoyable disco-punk outing. The drums have that classic 70s disco swing to them, and the songs as a whole have the same feel. At the same time, the vocal delivery is nicely varied, and some tracks are more post-punk than disco, resulting in an interesting and varied listen. The lyrics of course probably don’t mean a thing, but with music this catchy, who cares? Very well worth your time!
~Adam Naworal
Mindless Self Indulgence
OUR PAIN YOUR GAIN DVD
Metropolis/Uppity Cracker, 2007
The music of MSI really gains something when you see their manic live performance. Chock full of audience baiting, weird antics, and extremely amusing banter, OUR PAIN YOUR GAIN completely justifies MSI’s existence. Filmed over the course of three nights in New York, the band tears through thirty songs in just over an hour. The bonus features are actually quite nifty as well, consisting of both versions of the Jhonen Vasquez-produced “Shut Me Up” video, the “Straight to Video” vid, making-of featurettes for both, two fan videos, and some bonus silliness. MSI is usually a hit-or-miss proposition, but this package is all hit.
~Adam Naworal
Metropolis/Uppity Cracker, 2007
The music of MSI really gains something when you see their manic live performance. Chock full of audience baiting, weird antics, and extremely amusing banter, OUR PAIN YOUR GAIN completely justifies MSI’s existence. Filmed over the course of three nights in New York, the band tears through thirty songs in just over an hour. The bonus features are actually quite nifty as well, consisting of both versions of the Jhonen Vasquez-produced “Shut Me Up” video, the “Straight to Video” vid, making-of featurettes for both, two fan videos, and some bonus silliness. MSI is usually a hit-or-miss proposition, but this package is all hit.
~Adam Naworal
Wednesday, August 15, 2007
KMFDM
Tohuvabohu
Metropolis Records
As with all things in life, the things you really like never quite stay the same. For better or worse that's the way it is. With KMFDM It was my opinion that after En Esch and Guenter Schulz left it was gonna be for the worse. The last few albums were "lacking" as I see it, and I was not of any high hopes that the band could really redeem themselves to their glory days. So does Tohuvabohu achieve this mighty feat? No, but it's a lot better than I had hoped. Let's be real folks, without En Esch and Guenter it will never be the KMFDM we all came to know and love, but Sascha and Co do a pretty good job with what's left. The riffs have more of a power groove than straight ahead metal, the electronic side of things is still pure KMFDM through and through and Sascha and Lucia give it their all in the vocal department. It may not be the original recipie but it's still got some of the old flavor left in it.
Craig Harvey
Metropolis Records
As with all things in life, the things you really like never quite stay the same. For better or worse that's the way it is. With KMFDM It was my opinion that after En Esch and Guenter Schulz left it was gonna be for the worse. The last few albums were "lacking" as I see it, and I was not of any high hopes that the band could really redeem themselves to their glory days. So does Tohuvabohu achieve this mighty feat? No, but it's a lot better than I had hoped. Let's be real folks, without En Esch and Guenter it will never be the KMFDM we all came to know and love, but Sascha and Co do a pretty good job with what's left. The riffs have more of a power groove than straight ahead metal, the electronic side of things is still pure KMFDM through and through and Sascha and Lucia give it their all in the vocal department. It may not be the original recipie but it's still got some of the old flavor left in it.
Craig Harvey
Hurtlocker
Embrace The Fall
Napalm Records
The back of this CD described this as thrash metal. Not really. It's more metalcore with thrash elements. However, it sounds like a clone of several other bands from this scene with not anything that really stands out to distinguish them from the fold. Gut-wrenching screaming vocals, heavy down-tuned riffs, etc... very formulistic. Still, it's heavy as hell, the band is solid and the production is well done which all counts for something I guess. Like every style of music there are a lot of bands that sound similar to each other, but a lot of the metalcore stuff was not my favorite anyway. However, it's not bad and if you like this style of metal then it's right up your alley.
Craig Harvey
Napalm Records
The back of this CD described this as thrash metal. Not really. It's more metalcore with thrash elements. However, it sounds like a clone of several other bands from this scene with not anything that really stands out to distinguish them from the fold. Gut-wrenching screaming vocals, heavy down-tuned riffs, etc... very formulistic. Still, it's heavy as hell, the band is solid and the production is well done which all counts for something I guess. Like every style of music there are a lot of bands that sound similar to each other, but a lot of the metalcore stuff was not my favorite anyway. However, it's not bad and if you like this style of metal then it's right up your alley.
Craig Harvey
Mehida
Blood And Water
Napalm Records
I liked the Cd cover right off. Simple yet effective. The music sounded good on the first track with vocals that reminded me oddly enough of Styx accompanied by solid sounding metal riffs. Then I started really listening to the lyrics. That is when it hit me; this is christian metal !!!! It all went south after that. No matter how good the band was I couldn't get passed the lyrics. WIth tracks like "Wings Of A Dove, Grace, Multitude etc.." it was way to obvious. It reminded me of Stryper and their ilk. I just don't do christian metal, it's like oil and water they just don't mix. Sorry guys.
Craig Harvey
Napalm Records
I liked the Cd cover right off. Simple yet effective. The music sounded good on the first track with vocals that reminded me oddly enough of Styx accompanied by solid sounding metal riffs. Then I started really listening to the lyrics. That is when it hit me; this is christian metal !!!! It all went south after that. No matter how good the band was I couldn't get passed the lyrics. WIth tracks like "Wings Of A Dove, Grace, Multitude etc.." it was way to obvious. It reminded me of Stryper and their ilk. I just don't do christian metal, it's like oil and water they just don't mix. Sorry guys.
Craig Harvey
The Chemical Brothers
We Are The Night
Atralwerks
The Chemical Brothers return with their sixth album "We Are The Night" and as you might have guessed, it's another fantastic release from this British duo. Like some of their electronic brethren, (Orbital, Underworld, Crystal Method) the Chemical Brothers have carved their own niche' in the electronic dance scene over the years with their own unique sound and "We Are The Night" continues in that tradition. These guys never play it safe while pushing musical boundries. The album is a plethora of odd quirky sounds and bizarre analogue synth's (that sound as if they are from another dimension) all wrapped up in pulsating beats and samples of voices from the unknown. There are guests galore such as Fat Lip and his contribution to the very humorous "Salmon Dance", Ali Love on the funky "Do It Again" and Midlake on the dreamy sounding "The Pills Won't Help You Now". The Chemical Brothers prove yet again, that electronic music can indeed challenge the ear while pleasing the body.
Craig Harvey
Atralwerks
The Chemical Brothers return with their sixth album "We Are The Night" and as you might have guessed, it's another fantastic release from this British duo. Like some of their electronic brethren, (Orbital, Underworld, Crystal Method) the Chemical Brothers have carved their own niche' in the electronic dance scene over the years with their own unique sound and "We Are The Night" continues in that tradition. These guys never play it safe while pushing musical boundries. The album is a plethora of odd quirky sounds and bizarre analogue synth's (that sound as if they are from another dimension) all wrapped up in pulsating beats and samples of voices from the unknown. There are guests galore such as Fat Lip and his contribution to the very humorous "Salmon Dance", Ali Love on the funky "Do It Again" and Midlake on the dreamy sounding "The Pills Won't Help You Now". The Chemical Brothers prove yet again, that electronic music can indeed challenge the ear while pleasing the body.
Craig Harvey
The Secret Meeting
Ultrashiver
Noiseplus Music
The Secret Meeting is the combined efforts of Karin and Statik of Collide with instrumental help from Dean Garcia formerly of Curve. After listening to this album, I concluded that a more perfect mixture of artist's could not have been more beautifuly matched.The music is very reminicent of both bands (showing the striking similarities they both share) but the music still has its own unique qualities. Karin's voice is seductive, soothing, and at times her voice sounds like Toni Halladay (former vocalist for Curve) almost to the point that I first thought it was Toni singing! The music itself is a union of trip-hop grooves, lush electronic atmospheres, and edgy bursts of distorted guitar. Both Garcia and Statik's compositional genius is a force to be reckoned with on this album. Having lent their talents to such acts as TOOL, Eurythmics, Skinny Puppy and many more, you can only imagine what they have achieved together on "Ultrashiver". This album could have stood as a Collide or Curve release individually in some respects, but the interplay between these very talented artist's has forged something just as beautiful, full of emotion and totally captivating that pay the utmost homage to both bands.
Craig Harvey
Noiseplus Music
The Secret Meeting is the combined efforts of Karin and Statik of Collide with instrumental help from Dean Garcia formerly of Curve. After listening to this album, I concluded that a more perfect mixture of artist's could not have been more beautifuly matched.The music is very reminicent of both bands (showing the striking similarities they both share) but the music still has its own unique qualities. Karin's voice is seductive, soothing, and at times her voice sounds like Toni Halladay (former vocalist for Curve) almost to the point that I first thought it was Toni singing! The music itself is a union of trip-hop grooves, lush electronic atmospheres, and edgy bursts of distorted guitar. Both Garcia and Statik's compositional genius is a force to be reckoned with on this album. Having lent their talents to such acts as TOOL, Eurythmics, Skinny Puppy and many more, you can only imagine what they have achieved together on "Ultrashiver". This album could have stood as a Collide or Curve release individually in some respects, but the interplay between these very talented artist's has forged something just as beautiful, full of emotion and totally captivating that pay the utmost homage to both bands.
Craig Harvey
Korpiklanni
Tervaskanto
Napalm Records
What do get when you cross metal guitars, accordians, violins, flutes with songs about drinking and dancing? Humppa metal of course! These finish folk metal guru's are simply outrageous and full of more energy on one song than many bands are on an entire album! The very first song is entitled "Let's Drink" so it's all one big party after that. Korpiklanni crank it up full throttle on just about every track with fast and furious tempos that almost leave you breathless at the end of each song. The frantic vocals of lead singer Jonne sound as if he is just keeping pace with the breakneck speed of the songs but he never falls behind. The interplay of guitars, bass and drums with the more traditional folk instruments is probably the best I have ever heard from any band of this genre. I can picture their live shows with people chanting and singing along, it's got to be a great time. Granted none of the songs are in English but in this case it really doesn't matter because it's all so much fun. So with tongue firmly planted in cheek, Koripiklanni gets my vote for most original album of the year so far.
Craig Harvey
Napalm Records
What do get when you cross metal guitars, accordians, violins, flutes with songs about drinking and dancing? Humppa metal of course! These finish folk metal guru's are simply outrageous and full of more energy on one song than many bands are on an entire album! The very first song is entitled "Let's Drink" so it's all one big party after that. Korpiklanni crank it up full throttle on just about every track with fast and furious tempos that almost leave you breathless at the end of each song. The frantic vocals of lead singer Jonne sound as if he is just keeping pace with the breakneck speed of the songs but he never falls behind. The interplay of guitars, bass and drums with the more traditional folk instruments is probably the best I have ever heard from any band of this genre. I can picture their live shows with people chanting and singing along, it's got to be a great time. Granted none of the songs are in English but in this case it really doesn't matter because it's all so much fun. So with tongue firmly planted in cheek, Koripiklanni gets my vote for most original album of the year so far.
Craig Harvey
Ironfire
Blade Of Triumph
Napalm Records
This Danish power metal outfit brings us tales of magic, epic battles and all manor of fantasy based songs which is the kind of thing I normally enjoy. Ironfire have all the right qualities musically with stunning guitar work, powerful vocals and solid bass and drums. These guys know their stuff and prove it song after song. However the music is not the problem. Unfortunately (and I hate to say this) it's the lyrics. As I said earlier, fantasy themes are very common in metal and I have come to expect that. However, these were just so cliché and unoriginal that I just cringed. Even after a second listen it didn't get any better. I mean, you could write something more original than stories about Camelot and such. This is the bands only downfall. Everything else was fantastic. Still it's hard to overlook something as major as lyrics because they are such an important part of the songs. However, don't give up on these guys just yet. I think they just need some time and perhaps someone to help with the lyrics and they will really have it all together.
Craig Harvey
Napalm Records
This Danish power metal outfit brings us tales of magic, epic battles and all manor of fantasy based songs which is the kind of thing I normally enjoy. Ironfire have all the right qualities musically with stunning guitar work, powerful vocals and solid bass and drums. These guys know their stuff and prove it song after song. However the music is not the problem. Unfortunately (and I hate to say this) it's the lyrics. As I said earlier, fantasy themes are very common in metal and I have come to expect that. However, these were just so cliché and unoriginal that I just cringed. Even after a second listen it didn't get any better. I mean, you could write something more original than stories about Camelot and such. This is the bands only downfall. Everything else was fantastic. Still it's hard to overlook something as major as lyrics because they are such an important part of the songs. However, don't give up on these guys just yet. I think they just need some time and perhaps someone to help with the lyrics and they will really have it all together.
Craig Harvey
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