Relentless
Deathcote Records
Right from the start we have some of the most inhuman drumming I have heard in a while. The (typical) down-tuned guitars and bass are just as tight, but then come the vocals (heavy sigh). What could have been a really great album, turned mediocre as soon as their frontman started singing (well yelling/screaming) would be a more accurate description. It sounds like the tired metalcore style of vocals that every other band has these days (picture the guy screaming his lungs out, his eyes about to burst from the sockets, veins popping out of his neck etc...) you get the picture. There are absolutely no dynamics at all, just full on all the time. I like death vocals, screaming and all that is metal, but I hate one dimensional singers. Amazing drum-work and cool cover art, but that won't save this album from being extremely mediocre.
- Craig Harvey
Tuesday, September 9, 2008
Nirvana
Unplugged in New York
DGC
This is a weird one to review. It's been rerun so many times, especially in those eventful weeks of 1994, that I could replay most of it in my mind, without the aid of this DVD release. Th cumulative effect of this constant repitition of the original work is not unlike xeroxing a picture over and over again, until the source has lost all emotional closeness and you're just staring at a distorted, impersonal facsimile of what was a cherished memory. Y'know how they repeatedly screen "A Christmas Story" for like 24 hours on Christmas Day? That bad. And the seed of what actually made Nirvana distinct and vital becomes ever more distant. I will admit though, it's nice to see it without commercial interruptions and with the excised Meat Puppets cover "Oh Me" restored.
A bit of context. By this point, Nirvana as a band were surely on their last legs. Cobain, wracked by drugs, marital problems and plain ol' rock star pressure, was already making noises about breaking up Nirvana and forming a new one with Mudhoney's Mark Arm and solitary man Mark Lanegan. Management and MTV brass no doubt had to basically blackmail Nirvana into taking part in this, but having already experimented with a quieter mini-set in the midst of their usual apocalyptic noise on a recent tour, Nirvana were as ready as they would ever be. So it was that the band clomped onto an MTV soundstage festooned with flowers and candles (like for a wake), augmented by cellist Lori Goldstein, guitarist Pat Smear, and played their hearts out in front of a invitation-only audience with an inspired set of covers and deep album tracks. It was a night that would be full of surprises.
Almost fifteen years later, some moments of this performance still pack a prickly, visceral thrill. Like what? The last verse of Leadbelly's already haunted "In The Pines" is fucking well beyond spooky - it's like a pained, frantic seance. Listen to that voice soar and crack. Tracks like "All Apologies" and "Something in the Way" became baroque dirges. The Vaseliees' "Jesus Don't Want Me For A Sunbeam" was like a transcendent hymn, with lead lines taken by Krist on an accordion! David Bowie's "The Man Who Sold the World," was an out of fucking nowhere selection, and let me tell you as a Bowie fanatic that the song never sounded better. Best of all to this reviewer was a clearly jazzed (and finally stirring from his hazy grumpiness) Cobain inviting the bemused Kirkwood brothers, the twin engines behind pioneering country punkers the Meat Puppets, onstage to pitch in on coves of three of their classic songs. It was on these country thrash nuggets, recast as ramshackle bluesy sadness that Nirvana really fucking sizzled. This was another magnanimous gesture from a band that always SEEMED to try its best to help out the bands that "brung them to the dance," so to speak (see also Melvins, Breeders, Mudhoney, Shonen Knife, Half Japanese).
The extras remind you that, yes, even at the best of the time Kurt could be a dick to even the best of friends. The rehearsal recordings are by turns intriguing and terribly uncomfortable. Check out the icy contempt he projects like flying daggers towards Krist and Dave, though the beatific Pat Smear, punk legend and Germs mainstay, floats above it all, perched on a stool, barefoot, with a quiet smile on his face. Intriguing, because, as you can tell by the uncertain and tentative rehearsals, the whole shebang really did come together only in the final performance. That, and whoever the director was did a pretty good job in choosing iconic angles.
Other extras include the original MTV version (sure, why not), some interviews with various MTV types ("I can't believe it came together like this!") and some more largely unimportant documentary type stuff. Nowhere near essential but kinda nice that it's there. The packaging is a dead ringer for the "MTV Unplugged" cd release of a few years ago - the inner booklet has a bevy of great still shots. Should you buy this now or wait for the inevitable double disc anniversary set with 32 seconds of unseen footage? I don't want this performance to become as impersonal and unnecessarily imposing as Woodstock or somesuch. But the Market marches on. And YOU thought you hated yourself and wanted to die...
- Matthew Moyer
DGC
This is a weird one to review. It's been rerun so many times, especially in those eventful weeks of 1994, that I could replay most of it in my mind, without the aid of this DVD release. Th cumulative effect of this constant repitition of the original work is not unlike xeroxing a picture over and over again, until the source has lost all emotional closeness and you're just staring at a distorted, impersonal facsimile of what was a cherished memory. Y'know how they repeatedly screen "A Christmas Story" for like 24 hours on Christmas Day? That bad. And the seed of what actually made Nirvana distinct and vital becomes ever more distant. I will admit though, it's nice to see it without commercial interruptions and with the excised Meat Puppets cover "Oh Me" restored.
A bit of context. By this point, Nirvana as a band were surely on their last legs. Cobain, wracked by drugs, marital problems and plain ol' rock star pressure, was already making noises about breaking up Nirvana and forming a new one with Mudhoney's Mark Arm and solitary man Mark Lanegan. Management and MTV brass no doubt had to basically blackmail Nirvana into taking part in this, but having already experimented with a quieter mini-set in the midst of their usual apocalyptic noise on a recent tour, Nirvana were as ready as they would ever be. So it was that the band clomped onto an MTV soundstage festooned with flowers and candles (like for a wake), augmented by cellist Lori Goldstein, guitarist Pat Smear, and played their hearts out in front of a invitation-only audience with an inspired set of covers and deep album tracks. It was a night that would be full of surprises.
Almost fifteen years later, some moments of this performance still pack a prickly, visceral thrill. Like what? The last verse of Leadbelly's already haunted "In The Pines" is fucking well beyond spooky - it's like a pained, frantic seance. Listen to that voice soar and crack. Tracks like "All Apologies" and "Something in the Way" became baroque dirges. The Vaseliees' "Jesus Don't Want Me For A Sunbeam" was like a transcendent hymn, with lead lines taken by Krist on an accordion! David Bowie's "The Man Who Sold the World," was an out of fucking nowhere selection, and let me tell you as a Bowie fanatic that the song never sounded better. Best of all to this reviewer was a clearly jazzed (and finally stirring from his hazy grumpiness) Cobain inviting the bemused Kirkwood brothers, the twin engines behind pioneering country punkers the Meat Puppets, onstage to pitch in on coves of three of their classic songs. It was on these country thrash nuggets, recast as ramshackle bluesy sadness that Nirvana really fucking sizzled. This was another magnanimous gesture from a band that always SEEMED to try its best to help out the bands that "brung them to the dance," so to speak (see also Melvins, Breeders, Mudhoney, Shonen Knife, Half Japanese).
The extras remind you that, yes, even at the best of the time Kurt could be a dick to even the best of friends. The rehearsal recordings are by turns intriguing and terribly uncomfortable. Check out the icy contempt he projects like flying daggers towards Krist and Dave, though the beatific Pat Smear, punk legend and Germs mainstay, floats above it all, perched on a stool, barefoot, with a quiet smile on his face. Intriguing, because, as you can tell by the uncertain and tentative rehearsals, the whole shebang really did come together only in the final performance. That, and whoever the director was did a pretty good job in choosing iconic angles.
Other extras include the original MTV version (sure, why not), some interviews with various MTV types ("I can't believe it came together like this!") and some more largely unimportant documentary type stuff. Nowhere near essential but kinda nice that it's there. The packaging is a dead ringer for the "MTV Unplugged" cd release of a few years ago - the inner booklet has a bevy of great still shots. Should you buy this now or wait for the inevitable double disc anniversary set with 32 seconds of unseen footage? I don't want this performance to become as impersonal and unnecessarily imposing as Woodstock or somesuch. But the Market marches on. And YOU thought you hated yourself and wanted to die...
- Matthew Moyer
Sapphire Solace
Self Titled EP
I do so enjoy hearing collaboration projects between established artists. It's always new and interesting when solid acts in the Dark Rock scene begin to share talent and ability in creating new and beautiful projects. In 2007, established Gothic Rock legends Velvet Shadow (of Dream Cypher) and Rick Joyce (from The Last Dance) began a project they titled Sapphire Solace. A romantic blend of Velvet Shadows haunting vocals combined with Joyce's signature dreamy ripping electric guitar sound. The project began when the two met to collaborate on Velvet Shadows five song EP project and from this direct collaboration spawned a new and beautiful project. Already having been featured in multiple Goth magazine compilations, the duo continues to attract attention the world over.
The self-titled EP opens with the gripping dance track "Take a Look Inside". The track opens with a pulse pounding synth beat followed by Joyce's signature evocative guitar rifts. Velvet Shadow's voice flows smooth as mercury, painting a luxurious soundscape for this racing track. "Completely" is an indelibly dysphoric ballad that moves slowly and purposefully. A deeply written and very emotionally blue track, it conjures up memories of unrequited love and loss while plucking your heartstrings with barbed emotional guitar rifts. "Too Late" is a signature traditionally romantic Goth track traipsing in to a more macabre feel. Velvet Shadow's eerie vocals permeates the track with a saccharine sound that bleeds confidence and assurance. "Believe" is an operatic gem combined with inspirational lyrics. A hopeful and encouraging track combined with moving stripped down drum beats and compelling dreamy rifts. "Ugly Form" is much more 'industrial' in its approach. Pounding drum backbeats combined with tenebrous synth rifts creates an angsty and bitter track. "Finally" is a slower trippy new wave ballad with a bleeding edge. Velvet Shadow's moving vocals bleed confidence and closure in this pointed track. Joyce's signature illusory eerie guitar sound gives the track a frightening nightmare edge.
Sapphire Solace's sound is an empiral blend of both respective talents. The duo's beautiful combined writing and musical talents blend and mix seamlessly with each other. Velvet Shadow's lovely vocals are gripping and compelling. Combined with the Joyce's signature guitar and instrumentals, the act creates a glamour dripping Gothic work of art. Currently, the Sapphire Solace EP is only available via the acts official website or distributed via Amazon.com, Napster, Itunes, et al. Their official press release in 2008 has already generated an enormous buzz early on and continues to build steam. Keep posted on this act as it develops because if this is just the beginning opener for the duo, the further recordings given the longstanding experience the duo has in the music industry can only become even more fascinating.
http://www.sapphiresolace.uni.cc/
http://www.myspace.com/sapphiresolace
- Dr. Raven
I do so enjoy hearing collaboration projects between established artists. It's always new and interesting when solid acts in the Dark Rock scene begin to share talent and ability in creating new and beautiful projects. In 2007, established Gothic Rock legends Velvet Shadow (of Dream Cypher) and Rick Joyce (from The Last Dance) began a project they titled Sapphire Solace. A romantic blend of Velvet Shadows haunting vocals combined with Joyce's signature dreamy ripping electric guitar sound. The project began when the two met to collaborate on Velvet Shadows five song EP project and from this direct collaboration spawned a new and beautiful project. Already having been featured in multiple Goth magazine compilations, the duo continues to attract attention the world over.
The self-titled EP opens with the gripping dance track "Take a Look Inside". The track opens with a pulse pounding synth beat followed by Joyce's signature evocative guitar rifts. Velvet Shadow's voice flows smooth as mercury, painting a luxurious soundscape for this racing track. "Completely" is an indelibly dysphoric ballad that moves slowly and purposefully. A deeply written and very emotionally blue track, it conjures up memories of unrequited love and loss while plucking your heartstrings with barbed emotional guitar rifts. "Too Late" is a signature traditionally romantic Goth track traipsing in to a more macabre feel. Velvet Shadow's eerie vocals permeates the track with a saccharine sound that bleeds confidence and assurance. "Believe" is an operatic gem combined with inspirational lyrics. A hopeful and encouraging track combined with moving stripped down drum beats and compelling dreamy rifts. "Ugly Form" is much more 'industrial' in its approach. Pounding drum backbeats combined with tenebrous synth rifts creates an angsty and bitter track. "Finally" is a slower trippy new wave ballad with a bleeding edge. Velvet Shadow's moving vocals bleed confidence and closure in this pointed track. Joyce's signature illusory eerie guitar sound gives the track a frightening nightmare edge.
Sapphire Solace's sound is an empiral blend of both respective talents. The duo's beautiful combined writing and musical talents blend and mix seamlessly with each other. Velvet Shadow's lovely vocals are gripping and compelling. Combined with the Joyce's signature guitar and instrumentals, the act creates a glamour dripping Gothic work of art. Currently, the Sapphire Solace EP is only available via the acts official website or distributed via Amazon.com, Napster, Itunes, et al. Their official press release in 2008 has already generated an enormous buzz early on and continues to build steam. Keep posted on this act as it develops because if this is just the beginning opener for the duo, the further recordings given the longstanding experience the duo has in the music industry can only become even more fascinating.
http://www.sapphiresolace.uni.cc/
http://www.myspace.com/sapphiresolace
- Dr. Raven
Wednesday, August 20, 2008
AZRA (Dual Review)
AZRA
Dante's Bride
Movement Frequencies
It is often difficult and fraught with peril when an artist leaves the music scene and attempts to make a return. The danger is in reconnecting with lost fans and supporters as well as winning the attention of the new and often estranged fans still supporting the current scene. Azra Medea is no stranger to the Dark Rock music scene spending years with Alucarda providing solid melodic dark rock with her compelling operatic vocals. Joining now with members of S.R.I. and Navaja, Azra Medea makes a return to the dark rock scene with a new unique play list to tantalize your predacious desire for dark licks.
With the new album Dante's Bride; The CD opens with a very ghostly keyboard riff and thunderous backbeats creating an eerie intro, sculpting a soundscape entry to what promises to be a dank and creepy album. Dark Creation has a solid horror romance rift with Azra and Robert's vocals dreamily leading you through their strange poetic lyrical enchantment. Romantic and evocative, Azra's lyrics conjure up fantastic ritual images to delight you into the journey. Bell the Cat trips up the album from its creepier mood and evocations. A poppy number of revenge it halts the forward motion of earlier tracks. Queen of the Danse is a beautiful blend of Romany influenced folk acoustics with bleeding electric guitar rifts. Haunted is an alluring number with Robert's crepuscular vocals complimenting Azra's own sultry licks. Rant is an angry ripping diddy that punches and kicks at everyday issues that decimate the listener. Lucky One is a dulcet romantic melody sweetly tickling your ears. The title track Dante's Bride blends gritty guitar licks with Azra's very operatic style creating a truly amazing Goth Club dance track. Closing with the Alice Reprisal, Azra leaves you with a bittersweet and chilling riff.
The album Dante's Bride en total is an eclectic dark rock mix of gritty guitar work, lilting operatic vocals, industrial sampling and unorthodox lyrics. Azra Medea's style of writing and lyrical vocals hearken back to a forgotten era of dark rock reminiscent of Jarbo and Eva-O where quality writing sold an album better than easily manufactured fluff. My critique is that it has a very raw feel from opening to closing. The guitars will gritty and bleeding from every rift, sound under cut when featured prominently next to Azra's and Robert's vocals. Its style while compelling for those who appreciate all aspects of the dark rock scene has drawbacks. While romantic in every gesture, the album has a solid Deathrock feel that will make it a hard sell to today's pop fluff Neo Goth or (sic) Emo brainwashed community.
Still Dante's Bride is a stolid work, passionate and bombastic with tracks like Rant and What you Deserve while retaining a sinister romanticism in Haunted and Queen of the Danse. As an album and a return to the Dark Rock scene, Azra's unusual writings and dark vocal style add a welcome addition to any dark rock play list.
Dr. Raven
MOVEMENT corespondent - Springfield OR
------------------------------------------------------
AZRA
Dante's Bride
Movement Frequencies
The Jacksonville gothic assault begins here? Oh, if it were only so simple. Local artist/muician/muse/scenester Azra Medea has been a creative force in our fair city for several years now, most notably as part of Alucarda, amongst varied other multimedia endeavors, but it appears she has now focused herself down to this one project, even stamping her name on the damn thing, so let’s just say that “Dante’s Bride” is her signature work right now. For a debut it’s a little less than alright. Azra’s no shoegazing mewler, but a pretty fucking strong belter along the lines of an early Siouxsie or Monica Richards from Faith and the Muse, yoking her pipes to dark atmospherics and oddly harder-edged metallic tones. Is there any club fodder here? No? Thank god. In fact, “Dante’s Bride” reminds this reviewer of a more metallic and rudimentary take on the Projekt sound or way early Switchblade Symphony. There are some problems, though. The production is a little thin, so the overall sound and instrumentation doesn’t quite match up to the force of the vocals. Could be fuller and probably louder. It suffers from a lack of bottom-end, everything's all trebly and mid-range, further flattening out the album. Taken in isolation, each song isn't that bad - it's when you're faced with thirteen songs that you become a little overwhelmed. The songs on "Dante’s Bride" are somewhat flat in terms of variation in mood and dynamics, and though Azra has a powerful set of lungs, she’s not a dynamic or compelling enough vocalist to elevate such material to the level of transcendence. And the less said about the Marilyn Mansonesque male backing vocals, the better.
At a time when gothic music and other dark alternative fare is simultaneously looking back to early pioneers like Alien Sex Fiend, Suicide and Killing Joke for inspiration and assimilating bleeding-edge elements of avant-garde, death folk and no-wave music, “Dante’s Bride” comes off as a little too staid and conservative.
Would I rather listen to this than the Cruxshadows? Fuck yes.
Matthew Moyer
MOVEMENT staff writer - Jacksonville, FL
Dante's Bride
Movement Frequencies
It is often difficult and fraught with peril when an artist leaves the music scene and attempts to make a return. The danger is in reconnecting with lost fans and supporters as well as winning the attention of the new and often estranged fans still supporting the current scene. Azra Medea is no stranger to the Dark Rock music scene spending years with Alucarda providing solid melodic dark rock with her compelling operatic vocals. Joining now with members of S.R.I. and Navaja, Azra Medea makes a return to the dark rock scene with a new unique play list to tantalize your predacious desire for dark licks.
With the new album Dante's Bride; The CD opens with a very ghostly keyboard riff and thunderous backbeats creating an eerie intro, sculpting a soundscape entry to what promises to be a dank and creepy album. Dark Creation has a solid horror romance rift with Azra and Robert's vocals dreamily leading you through their strange poetic lyrical enchantment. Romantic and evocative, Azra's lyrics conjure up fantastic ritual images to delight you into the journey. Bell the Cat trips up the album from its creepier mood and evocations. A poppy number of revenge it halts the forward motion of earlier tracks. Queen of the Danse is a beautiful blend of Romany influenced folk acoustics with bleeding electric guitar rifts. Haunted is an alluring number with Robert's crepuscular vocals complimenting Azra's own sultry licks. Rant is an angry ripping diddy that punches and kicks at everyday issues that decimate the listener. Lucky One is a dulcet romantic melody sweetly tickling your ears. The title track Dante's Bride blends gritty guitar licks with Azra's very operatic style creating a truly amazing Goth Club dance track. Closing with the Alice Reprisal, Azra leaves you with a bittersweet and chilling riff.
The album Dante's Bride en total is an eclectic dark rock mix of gritty guitar work, lilting operatic vocals, industrial sampling and unorthodox lyrics. Azra Medea's style of writing and lyrical vocals hearken back to a forgotten era of dark rock reminiscent of Jarbo and Eva-O where quality writing sold an album better than easily manufactured fluff. My critique is that it has a very raw feel from opening to closing. The guitars will gritty and bleeding from every rift, sound under cut when featured prominently next to Azra's and Robert's vocals. Its style while compelling for those who appreciate all aspects of the dark rock scene has drawbacks. While romantic in every gesture, the album has a solid Deathrock feel that will make it a hard sell to today's pop fluff Neo Goth or (sic) Emo brainwashed community.
Still Dante's Bride is a stolid work, passionate and bombastic with tracks like Rant and What you Deserve while retaining a sinister romanticism in Haunted and Queen of the Danse. As an album and a return to the Dark Rock scene, Azra's unusual writings and dark vocal style add a welcome addition to any dark rock play list.
Dr. Raven
MOVEMENT corespondent - Springfield OR
------------------------------------------------------
AZRA
Dante's Bride
Movement Frequencies
The Jacksonville gothic assault begins here? Oh, if it were only so simple. Local artist/muician/muse/scenester Azra Medea has been a creative force in our fair city for several years now, most notably as part of Alucarda, amongst varied other multimedia endeavors, but it appears she has now focused herself down to this one project, even stamping her name on the damn thing, so let’s just say that “Dante’s Bride” is her signature work right now. For a debut it’s a little less than alright. Azra’s no shoegazing mewler, but a pretty fucking strong belter along the lines of an early Siouxsie or Monica Richards from Faith and the Muse, yoking her pipes to dark atmospherics and oddly harder-edged metallic tones. Is there any club fodder here? No? Thank god. In fact, “Dante’s Bride” reminds this reviewer of a more metallic and rudimentary take on the Projekt sound or way early Switchblade Symphony. There are some problems, though. The production is a little thin, so the overall sound and instrumentation doesn’t quite match up to the force of the vocals. Could be fuller and probably louder. It suffers from a lack of bottom-end, everything's all trebly and mid-range, further flattening out the album. Taken in isolation, each song isn't that bad - it's when you're faced with thirteen songs that you become a little overwhelmed. The songs on "Dante’s Bride" are somewhat flat in terms of variation in mood and dynamics, and though Azra has a powerful set of lungs, she’s not a dynamic or compelling enough vocalist to elevate such material to the level of transcendence. And the less said about the Marilyn Mansonesque male backing vocals, the better.
At a time when gothic music and other dark alternative fare is simultaneously looking back to early pioneers like Alien Sex Fiend, Suicide and Killing Joke for inspiration and assimilating bleeding-edge elements of avant-garde, death folk and no-wave music, “Dante’s Bride” comes off as a little too staid and conservative.
Would I rather listen to this than the Cruxshadows? Fuck yes.
Matthew Moyer
MOVEMENT staff writer - Jacksonville, FL
Unkle
End Titles…Stories For Film.
Surrender All
The new Unkle is really not the new Unkle album. Confused? Don't be. This is music that they have worked on between the last release and now for film, television and video games that have not been used and instead of letting it just sit around, they decided to release it. End Titles… is nothing like what you would expect (that is, if your expecting music similar to their first two albums.) I never heard their last album "War Stories" so I can't comment on that, but this release is another cool set of musical explorations that will still manage to please long time fans. I found it to be almost a cross between Radiohead and William Orbit (if that makes any sense). Lots of lush electronics, violins, cellos, somber vocals, and guitar make for some nice medium tempo and slightly mellow tracks. There are a slew of special guests as well including Gavin Clark, Josh Homme (from Queens of the Stone Age), the Canadian indie rock band Black Mountain and many more. The orchestration between the rock stylings and the orchestral instrumentation really works. It makes the album sound very dramatic and emotional in places. Unkle are defying genre's these days as their music flows through various sonic territories while keeping some of their old sounds still in the mix.
- Craig Harvey
Surrender All
The new Unkle is really not the new Unkle album. Confused? Don't be. This is music that they have worked on between the last release and now for film, television and video games that have not been used and instead of letting it just sit around, they decided to release it. End Titles… is nothing like what you would expect (that is, if your expecting music similar to their first two albums.) I never heard their last album "War Stories" so I can't comment on that, but this release is another cool set of musical explorations that will still manage to please long time fans. I found it to be almost a cross between Radiohead and William Orbit (if that makes any sense). Lots of lush electronics, violins, cellos, somber vocals, and guitar make for some nice medium tempo and slightly mellow tracks. There are a slew of special guests as well including Gavin Clark, Josh Homme (from Queens of the Stone Age), the Canadian indie rock band Black Mountain and many more. The orchestration between the rock stylings and the orchestral instrumentation really works. It makes the album sound very dramatic and emotional in places. Unkle are defying genre's these days as their music flows through various sonic territories while keeping some of their old sounds still in the mix.
- Craig Harvey
Friday, August 8, 2008
THE FAINT
Fasciinatiion
Self Released
THE FAINT, departed from their label Saddle Creek, return (finally) with Fasciinatiion another chapter in their meticulously planned catalog of music. Why does it take so many years for them to release 10 songs when other bands seem to release a new CD every other week? Because THE FAINT seem to really care about making good music and they take their time at doing it. And as always, its is well worth the wait. MOVEMENT called THE FAINT "the first must-hear band of the 21st Century" back in 2000 and we feel no differently with each consecutive release they have offered. THE FAINT are one of the smartest and creative bands I have heard in many years. Their tracks defy genres while simultaneously complimenting them all. They are lyrically clever and at times surreal over bass strums that would have Peter Hook asking for royalties and keyboard diddling that would make Mr. Moog proud. THE FAINT have made another solid album of music that will keep you feeling Fasciinaciion over and over again. Catch them on tour this summer.
- Max Michaels
Self Released
THE FAINT, departed from their label Saddle Creek, return (finally) with Fasciinatiion another chapter in their meticulously planned catalog of music. Why does it take so many years for them to release 10 songs when other bands seem to release a new CD every other week? Because THE FAINT seem to really care about making good music and they take their time at doing it. And as always, its is well worth the wait. MOVEMENT called THE FAINT "the first must-hear band of the 21st Century" back in 2000 and we feel no differently with each consecutive release they have offered. THE FAINT are one of the smartest and creative bands I have heard in many years. Their tracks defy genres while simultaneously complimenting them all. They are lyrically clever and at times surreal over bass strums that would have Peter Hook asking for royalties and keyboard diddling that would make Mr. Moog proud. THE FAINT have made another solid album of music that will keep you feeling Fasciinaciion over and over again. Catch them on tour this summer.
- Max Michaels
REVOLTING COCKS
SEXO OLYMPICO
13th Planet/Megaforce Records
Uncle Al is not resting one bit after retiring his genre defining band MINISTRY, no sir, he is right back at it manning the helm of the spectacle that is REVOLTING COCKS. Most of the world will have to wait until October 14th until the new REVCO is released but MOVEMENT received an advance copy this week and it is devilishly addictive. I haven't been able to get it out of my player since it came in! This shit is good! Granted I've loved REVCO since the early days when they made Harley David a Son of a Bitch and "Beers, Steer and Queers" a dance floor hit and I am admittedly an age old fan of all things Jourgensen since the days of With Sympathy, so I am perhaps a tad bias. But to be honest I have not been a fan of the more recent REVCO releases, they seemed to loose focus and failed to impress or inspire. Perhaps because Al was in the process of pulling MINISTRY out of a similar creative slump. So a month or so ago we received an early advance MP3 of the REVCO track "I'm Not Gay" and I was beyond pleased to hear an unexpectedly fresh sound from the COCKS. More upbeat and club friendly than usual yet still with the comfortably familiar pounding beats, crunching guitar and reverberating vocals REVCO I've come to expect. The entire album follows equally in step with that single. Every track on SEXO OLYMPICO is a Dance-Industrial Rock gem, from the opening track of "Hookerbot 3000" to the closing Disco a Go Go "Hookerbot 3000" mix. But particular favorites are the guaranteed club fav "Cousins" (my personal fav of the entire dic), the cheeky "I'm Not Gay," the groovy and atmospheric "Touch Screen," and the extra long (over 7 minute) "Wizard of Sextown" that I can only best describe as sounding like the Deftones covering Ministry covering Bauhaus. Its just brilliant. So until October you will have to wait, but the wait will be worth it. Thanks Uncle Al for spawning a new era for the COCKS! I can't wait to see hear it all LIVE!
- Max Michaels
13th Planet/Megaforce Records
Uncle Al is not resting one bit after retiring his genre defining band MINISTRY, no sir, he is right back at it manning the helm of the spectacle that is REVOLTING COCKS. Most of the world will have to wait until October 14th until the new REVCO is released but MOVEMENT received an advance copy this week and it is devilishly addictive. I haven't been able to get it out of my player since it came in! This shit is good! Granted I've loved REVCO since the early days when they made Harley David a Son of a Bitch and "Beers, Steer and Queers" a dance floor hit and I am admittedly an age old fan of all things Jourgensen since the days of With Sympathy, so I am perhaps a tad bias. But to be honest I have not been a fan of the more recent REVCO releases, they seemed to loose focus and failed to impress or inspire. Perhaps because Al was in the process of pulling MINISTRY out of a similar creative slump. So a month or so ago we received an early advance MP3 of the REVCO track "I'm Not Gay" and I was beyond pleased to hear an unexpectedly fresh sound from the COCKS. More upbeat and club friendly than usual yet still with the comfortably familiar pounding beats, crunching guitar and reverberating vocals REVCO I've come to expect. The entire album follows equally in step with that single. Every track on SEXO OLYMPICO is a Dance-Industrial Rock gem, from the opening track of "Hookerbot 3000" to the closing Disco a Go Go "Hookerbot 3000" mix. But particular favorites are the guaranteed club fav "Cousins" (my personal fav of the entire dic), the cheeky "I'm Not Gay," the groovy and atmospheric "Touch Screen," and the extra long (over 7 minute) "Wizard of Sextown" that I can only best describe as sounding like the Deftones covering Ministry covering Bauhaus. Its just brilliant. So until October you will have to wait, but the wait will be worth it. Thanks Uncle Al for spawning a new era for the COCKS! I can't wait to see hear it all LIVE!
- Max Michaels
Tuesday, August 5, 2008
The Birthday Massacre
Looking Glass EP
Metropolis Records
It is often difficult for an act to break new ground in an independent and underground music scene. Oftentimes many acts become wooden cut outs of prior big name innovators and pioneers. With too many bands emulating the hit makers of prior eras, everything begins to blend and sound rather static and homogenous. Too many bands begin to sound like a bad mix of Depeche Mode meets Sisters of Mercy meets Nine Inch Nails. Complete with Marilyn Manson knock off gimmicks. Not the case with new up and coming act The Birthday Massacre. Altogether beautiful, empirical, dreamy, and bitingly bitter, the band draws fans with a sound years ahead of many of their current competitors.
The Birthday Massacre took the world by storm in 2004 with their album Violet. Blending beautiful female vocals and sharply biting intelligent lyrics with saccharinely sweet electronic rifts and heavy ominous guitar sounds, the band raised the bar for Dark Rock artists both in Canada and Internationally. In 2007, the acts album "Walking with Strangers" cemented The Birthday Massacre as one of dark rocks more compelling acts. In May of 2008, the eagerly fan awaited release of the single "Looking Glass" was cut for fans worldwide.
The album opens with "Looking glass," the second hit single off of the earlier album "Walking with Strangers." The thunderous guitar and synth rifts open the album with high energy and pulse pounding excitement. Chibi's lovely vocals are razor keen and moving as the dance track beckons you to the floor. "Falling Down" slows the pace with deeply evocative lyrics and moving keyboards. Sweetly pulling the listener through a melancholy lost love song. Shiver steps up the dance beat tempo again. Heavy industrial guitar rifts and astir keyboards create a somnambulistic sounds cape that's truly inviting. "Looking Glass" features two remixes of "Red Stars"; Lukewarm Lover mix by Il Attire is biting and cynical with dreary and ripping synth. The Space Lab mix with Dean Garcia is much more sci-fi evocative and floats effortlessly. "Nowhere" is a featured instrumental with emotive keyboards and a lovely ambient piece that truly embraces the sense of wonder and sometimes innocent feeling that permeates the acts previous tracks. "Weekend" the NYC77 mix by producer Dave Ogilvie has an older feel of 80's new wave synth leading to the bands cover of "I think were alone now." Chibi's voice gives the cover track an illusory feel while the keyboard and heavy guitars turn the original track on its ear. Enclosed within the CD is a DVD video of the Looking Glass single. The doll images combined with Japanese schoolgirl uniforms creates a creepy image that's positively chilling.
Looking Glass introduces the key elements that have made The Birthday Massacre such a compelling act. While not an epic groundbreaking release like their prior works, it's a perfect introduction to the band in its current form and gives us a taste of dulcet things to come. The bands own self styled artwork on album labels and production is delightfully innocent and morbid. Chibi's style and voice along with Rainbows guitars and backing vocals make a solid and catchy formula. The bands videos continue to be as breathtaking in production quality and artwork as everything else they touch. From humble beginnings as art students in London Ontario to the worldwide stage, the act makes attention to detail and production their first priority. Rest assured, "Looking Glass" will delight your senses and continue to draw fans to a polished and delightful act.
- Dr. Raven
Metropolis Records
It is often difficult for an act to break new ground in an independent and underground music scene. Oftentimes many acts become wooden cut outs of prior big name innovators and pioneers. With too many bands emulating the hit makers of prior eras, everything begins to blend and sound rather static and homogenous. Too many bands begin to sound like a bad mix of Depeche Mode meets Sisters of Mercy meets Nine Inch Nails. Complete with Marilyn Manson knock off gimmicks. Not the case with new up and coming act The Birthday Massacre. Altogether beautiful, empirical, dreamy, and bitingly bitter, the band draws fans with a sound years ahead of many of their current competitors.
The Birthday Massacre took the world by storm in 2004 with their album Violet. Blending beautiful female vocals and sharply biting intelligent lyrics with saccharinely sweet electronic rifts and heavy ominous guitar sounds, the band raised the bar for Dark Rock artists both in Canada and Internationally. In 2007, the acts album "Walking with Strangers" cemented The Birthday Massacre as one of dark rocks more compelling acts. In May of 2008, the eagerly fan awaited release of the single "Looking Glass" was cut for fans worldwide.
The album opens with "Looking glass," the second hit single off of the earlier album "Walking with Strangers." The thunderous guitar and synth rifts open the album with high energy and pulse pounding excitement. Chibi's lovely vocals are razor keen and moving as the dance track beckons you to the floor. "Falling Down" slows the pace with deeply evocative lyrics and moving keyboards. Sweetly pulling the listener through a melancholy lost love song. Shiver steps up the dance beat tempo again. Heavy industrial guitar rifts and astir keyboards create a somnambulistic sounds cape that's truly inviting. "Looking Glass" features two remixes of "Red Stars"; Lukewarm Lover mix by Il Attire is biting and cynical with dreary and ripping synth. The Space Lab mix with Dean Garcia is much more sci-fi evocative and floats effortlessly. "Nowhere" is a featured instrumental with emotive keyboards and a lovely ambient piece that truly embraces the sense of wonder and sometimes innocent feeling that permeates the acts previous tracks. "Weekend" the NYC77 mix by producer Dave Ogilvie has an older feel of 80's new wave synth leading to the bands cover of "I think were alone now." Chibi's voice gives the cover track an illusory feel while the keyboard and heavy guitars turn the original track on its ear. Enclosed within the CD is a DVD video of the Looking Glass single. The doll images combined with Japanese schoolgirl uniforms creates a creepy image that's positively chilling.
Looking Glass introduces the key elements that have made The Birthday Massacre such a compelling act. While not an epic groundbreaking release like their prior works, it's a perfect introduction to the band in its current form and gives us a taste of dulcet things to come. The bands own self styled artwork on album labels and production is delightfully innocent and morbid. Chibi's style and voice along with Rainbows guitars and backing vocals make a solid and catchy formula. The bands videos continue to be as breathtaking in production quality and artwork as everything else they touch. From humble beginnings as art students in London Ontario to the worldwide stage, the act makes attention to detail and production their first priority. Rest assured, "Looking Glass" will delight your senses and continue to draw fans to a polished and delightful act.
- Dr. Raven
Satan's Host
Satanic Grimoire
Great American Scapegoat 666
Moribund Cult
For consistency's sake, it should be noted that Movement Magazine did enjoy Satan's Host's earlier release for Moribund Cult Records, the altogether decent "Burning the Born Again," but with two (!) more releases following on its hot little heels, this glut of Satan's Host material is starting to become too much of an only okay thing, with these albums blurring together into one homogenous, amorphous mass of black-cum-death metal. I'm starting to reassess my original take, and it ain't looking too
good for Satan's Host. Maybe they (or Moribund) could have compressed these albums into one kick-ass, concise collection? Dunno. They're starting to seem like the Ryan Adams or Sebadoh of Black Metal. They've shed most original members in their twenty-year tenure (most notably founding member Harry Conklin of Jag Panzer) and radically changed their sound (apparently they were originally evil power metal - awesome! - makes me think of Solitude Aeternus or an amped-up Dio for some reason) to a
more technically inclined occult noise.
"Satanic Grimoire" is lyrically gonzo almost to the point of parody, especially in the spoken intros. Imagine Manowar if they spent all their time reading demonic lore instead of bodybuilding mags and Conan
paperbacks, and the sound is somewhere between the like of Entombed/Sunlight Studios Swedish death and the more thrashy black metal of Darkthrone, but lacking some of the inherent convictions of both, along with the disastrous tendency to noodle. (They are genuinely proficient musicians, after all. I can't help but wonder if the genre strictures of black metal aren't causing some chafing.) Some genuinely good songs do raise their ugly, bloodied heads - try "Grimoire's" "My Will, My Law: Evil" and "Scapegoat's" "Black Order," but on the whole these two remarkably similar albums are overkill and one gets the sense that they are spreading themselves too thin aesthetically, sonically and conceptually.
Maybe a name change, a new beginning, would liven things up? Unfortunately, you can very easily live without these records.
- Matthew Moyer
Great American Scapegoat 666
Moribund Cult
For consistency's sake, it should be noted that Movement Magazine did enjoy Satan's Host's earlier release for Moribund Cult Records, the altogether decent "Burning the Born Again," but with two (!) more releases following on its hot little heels, this glut of Satan's Host material is starting to become too much of an only okay thing, with these albums blurring together into one homogenous, amorphous mass of black-cum-death metal. I'm starting to reassess my original take, and it ain't looking too
good for Satan's Host. Maybe they (or Moribund) could have compressed these albums into one kick-ass, concise collection? Dunno. They're starting to seem like the Ryan Adams or Sebadoh of Black Metal. They've shed most original members in their twenty-year tenure (most notably founding member Harry Conklin of Jag Panzer) and radically changed their sound (apparently they were originally evil power metal - awesome! - makes me think of Solitude Aeternus or an amped-up Dio for some reason) to a
more technically inclined occult noise.
"Satanic Grimoire" is lyrically gonzo almost to the point of parody, especially in the spoken intros. Imagine Manowar if they spent all their time reading demonic lore instead of bodybuilding mags and Conan
paperbacks, and the sound is somewhere between the like of Entombed/Sunlight Studios Swedish death and the more thrashy black metal of Darkthrone, but lacking some of the inherent convictions of both, along with the disastrous tendency to noodle. (They are genuinely proficient musicians, after all. I can't help but wonder if the genre strictures of black metal aren't causing some chafing.) Some genuinely good songs do raise their ugly, bloodied heads - try "Grimoire's" "My Will, My Law: Evil" and "Scapegoat's" "Black Order," but on the whole these two remarkably similar albums are overkill and one gets the sense that they are spreading themselves too thin aesthetically, sonically and conceptually.
Maybe a name change, a new beginning, would liven things up? Unfortunately, you can very easily live without these records.
- Matthew Moyer
Thursday, July 31, 2008
Hollenthon
Opus Magnum
Napalm Records
I am a sucker for cool cover art and Hollenthon's latest dark epic has a great one. Picture this evil looking demonic creature with outstretched arms, that turn into hundreds of arms that almost look like wings. Oh yeah, I am digging it. However as the old saying goes, you can't judge a book, er... a Cd by it's cover. Anyway, Hollenthon's music falls into the grandiose, symphonic, black metal category which in itself is fine. The guitar riffs are excitingly evil and wicked (nothing less would be expected). The synths and background choruses are huge, giving it a larger than life feel. The vocals, while being growled (in true black metal fashion) are very discernable and all this with bombastic bass and drums make for fine metal fare.
So, what's that nagging feeling your having that there's some issue I have with this album? Well there is, but thankfully it's minor. Hollenthon, as good as they are, sound a little too much like Dimmu Borgir to be honest. However, I can overcome this small quibble because this Austrian band does everything dead on, despite the comparisons to their black metal brethren. I guess I shouldn't bitch that much, because it's hard as hell to be totally original, if not impossible. So, yes Hollenthon should definitely grace your Cd/Ipod or whatever type of music collection you have. If you don't buy it, these guys might send that creepy, fucking demon thing on the cover to kill you and that would suck.
- Craig Harvey
Napalm Records
I am a sucker for cool cover art and Hollenthon's latest dark epic has a great one. Picture this evil looking demonic creature with outstretched arms, that turn into hundreds of arms that almost look like wings. Oh yeah, I am digging it. However as the old saying goes, you can't judge a book, er... a Cd by it's cover. Anyway, Hollenthon's music falls into the grandiose, symphonic, black metal category which in itself is fine. The guitar riffs are excitingly evil and wicked (nothing less would be expected). The synths and background choruses are huge, giving it a larger than life feel. The vocals, while being growled (in true black metal fashion) are very discernable and all this with bombastic bass and drums make for fine metal fare.
So, what's that nagging feeling your having that there's some issue I have with this album? Well there is, but thankfully it's minor. Hollenthon, as good as they are, sound a little too much like Dimmu Borgir to be honest. However, I can overcome this small quibble because this Austrian band does everything dead on, despite the comparisons to their black metal brethren. I guess I shouldn't bitch that much, because it's hard as hell to be totally original, if not impossible. So, yes Hollenthon should definitely grace your Cd/Ipod or whatever type of music collection you have. If you don't buy it, these guys might send that creepy, fucking demon thing on the cover to kill you and that would suck.
- Craig Harvey
Tuesday, July 29, 2008
Tyr
Land
Napalm Records
"Land" is the sixth release from these Nordic metal warriors who proudly hail the old ways, defiling those who would deny them their heritage. The cover art depicts a Viking ship coming to rest in calm waters, while village fires burn along the coast (of which we do not know) and this visual representation gives a perfect idea to the listener of what awaits inside. (However, if you are already familiar with Tyr it's just icing on the cake). The vocals are a mix of the traditional Nordic and English with a very anthemic and uplifting style. Speaking of the vocals, no screaming or death styles here, just great singing and powerful harmonies. The songs are catchy, but not overly fast, having just the right tempo that grabs hold and instills you with the band's proud vision. The guitar riffs were outstanding and there was some impressive lead work as well. The traditional melodies are prominent but are void of any type of folk instrumentation. This is pure metal regardless of the lyrical and historical elements. Tyr truly takes us back to a more simple time when survival, adventure, and the will to conquer and endure were all that mattered.
- Craig Harvey
Napalm Records
"Land" is the sixth release from these Nordic metal warriors who proudly hail the old ways, defiling those who would deny them their heritage. The cover art depicts a Viking ship coming to rest in calm waters, while village fires burn along the coast (of which we do not know) and this visual representation gives a perfect idea to the listener of what awaits inside. (However, if you are already familiar with Tyr it's just icing on the cake). The vocals are a mix of the traditional Nordic and English with a very anthemic and uplifting style. Speaking of the vocals, no screaming or death styles here, just great singing and powerful harmonies. The songs are catchy, but not overly fast, having just the right tempo that grabs hold and instills you with the band's proud vision. The guitar riffs were outstanding and there was some impressive lead work as well. The traditional melodies are prominent but are void of any type of folk instrumentation. This is pure metal regardless of the lyrical and historical elements. Tyr truly takes us back to a more simple time when survival, adventure, and the will to conquer and endure were all that mattered.
- Craig Harvey
Arkona
Ot Serdca K Nebu
Napalm Records
Straight from the heart of Russian Federation, Arkona deliver a massive album of Pagan Metal that shows they are at the top of their game. Front woman Masha produces devilish screams and growls (that are downright scary) and then graces us with a clean, bardish style to offset things. The guitars, bass and pounding drums rage along side more traditional folk instruments (many of which I have no idea what they are). Some tracks have battle cries chanting in the background (in which you can envision massive armies, swords and other weapons held high waiting for the upcoming battle) while others are devoid of any modern instrumentation or vocals and are wonderful, elegant pieces using the aforementioned folk instruments. Arkona skillfully connect the sounds of the lost, ancient past with the powerful metal styles of today that showcase an extremely multi-talented band. To be honest, they could drop the metal aspect of their music and focus entirely on the folk elements and still have a brilliant album. Perhaps they might explore that as a side project somewhere in the future.
- Craig Harvey
Napalm Records
Straight from the heart of Russian Federation, Arkona deliver a massive album of Pagan Metal that shows they are at the top of their game. Front woman Masha produces devilish screams and growls (that are downright scary) and then graces us with a clean, bardish style to offset things. The guitars, bass and pounding drums rage along side more traditional folk instruments (many of which I have no idea what they are). Some tracks have battle cries chanting in the background (in which you can envision massive armies, swords and other weapons held high waiting for the upcoming battle) while others are devoid of any modern instrumentation or vocals and are wonderful, elegant pieces using the aforementioned folk instruments. Arkona skillfully connect the sounds of the lost, ancient past with the powerful metal styles of today that showcase an extremely multi-talented band. To be honest, they could drop the metal aspect of their music and focus entirely on the folk elements and still have a brilliant album. Perhaps they might explore that as a side project somewhere in the future.
- Craig Harvey
Prospero
Folie A' Deux - The Elements & The Madness
Artoffact Records
Prospero's latest release could be described as a jack of all trades musical grab bag. It's rare to see so many types of electronic styles spread across one album, but Wade Anderson, the mastermind behind all this sonic diversity is a man of many talents. The album is divided into two parts. The first being "The Elements" which consists of four tracks (representing each of the four elements) of experimental noises, tribal rhythms, dark synth's and a plethora of zombie movie samples (all from Night Of The Living Dead from what I can gather).
The second half, "The Madness" moves into ebm/industrial territory blending more minimal electronic styles (some sans vocals) with harder edged tracks all tailor made for maximum dance-floor efficiency. Three guest artist's (Ayria, Battery Cage and Terrorfakt) also lend their considerable skills to Mr. Anderson's brilliance. I thought I recognized Tyler Newman's (Battery Cage) distinct vocals on "Let The Planet Burn" but Terrorfakt's noise grinding beats just put this track through the roof. One my favorite songs on the second half.
While the entire cd is extremely well done, I have to say that I favor the first half the most. Mainly because it just had so much going on musically and reminded me of some of my favorite experimental acts, especially "This Morn' Omina". Regardless, this is a superb release, one that has just about everything but the kitchen sink. Who know's; after a few listen's, that to may be in there lurking in the mix as well.
- Craig Harvey
Artoffact Records
Prospero's latest release could be described as a jack of all trades musical grab bag. It's rare to see so many types of electronic styles spread across one album, but Wade Anderson, the mastermind behind all this sonic diversity is a man of many talents. The album is divided into two parts. The first being "The Elements" which consists of four tracks (representing each of the four elements) of experimental noises, tribal rhythms, dark synth's and a plethora of zombie movie samples (all from Night Of The Living Dead from what I can gather).
The second half, "The Madness" moves into ebm/industrial territory blending more minimal electronic styles (some sans vocals) with harder edged tracks all tailor made for maximum dance-floor efficiency. Three guest artist's (Ayria, Battery Cage and Terrorfakt) also lend their considerable skills to Mr. Anderson's brilliance. I thought I recognized Tyler Newman's (Battery Cage) distinct vocals on "Let The Planet Burn" but Terrorfakt's noise grinding beats just put this track through the roof. One my favorite songs on the second half.
While the entire cd is extremely well done, I have to say that I favor the first half the most. Mainly because it just had so much going on musically and reminded me of some of my favorite experimental acts, especially "This Morn' Omina". Regardless, this is a superb release, one that has just about everything but the kitchen sink. Who know's; after a few listen's, that to may be in there lurking in the mix as well.
- Craig Harvey
Saturday, July 12, 2008
Silent Hill
Break Me To Pieces
Yo Yo Israel
Ok, first off; this album is not, I repeat, not related to the Silent Hill game or movie franchise in any way, shape or form. (However, by the cover art you would think otherwise). I have no idea how they managed to obtain the rights to name their band Silent Hill, but somehow this Israeli duo has done just that. So, what's in the box (musically that is)? Well, Silent Hill are a mix of electronic trance, guitars/bass and vocals. As far as the guitar and bass, well it's really hard to hear it in the mix. When you can make it out, it's really processed to sound more like keyboards anyway. To be honest, I didn't find anything overly special with this release. It's just trance. It's not bad trance, but I have heard other artist's in this genre do much more interesting things with this style of music. Kudo's go to the art and the packaging which were excellent, but the music rates pretty average.
- Craig Harvey
Yo Yo Israel
Ok, first off; this album is not, I repeat, not related to the Silent Hill game or movie franchise in any way, shape or form. (However, by the cover art you would think otherwise). I have no idea how they managed to obtain the rights to name their band Silent Hill, but somehow this Israeli duo has done just that. So, what's in the box (musically that is)? Well, Silent Hill are a mix of electronic trance, guitars/bass and vocals. As far as the guitar and bass, well it's really hard to hear it in the mix. When you can make it out, it's really processed to sound more like keyboards anyway. To be honest, I didn't find anything overly special with this release. It's just trance. It's not bad trance, but I have heard other artist's in this genre do much more interesting things with this style of music. Kudo's go to the art and the packaging which were excellent, but the music rates pretty average.
- Craig Harvey
Lamb Of God
Walk With Me In Hell DVD
Sony
Lamb Of God have been a rising force as one of the new breed of metal bands from the US. Their latest album "Sacrament" did extremely well and the band toured all over the globe in support of it. "Walk With Me In Hell" is a two DVD set documenting all the triumphs, tribulations and wacky chaos of life on the road for a metal band. There are snippets of live concert footage on the first disc between all the commentary from the band, fan footage, etc.... The second disc has a making of "Sacrament" a live concert from the Download festival in Scotland (which has to be seen to be believed) and various other goodies. These guys have no shortage of finding things to do when boredom sets in. Witness the "Tiger Mask" punching session, learning to use a whip (painfully, I might add), using a machete for cleaning one's toenails (thus involving a trip to the ER) and oh yes, lots and lots of alcohol. Regardless of all this insane behavior, the band is unstoppable live, drawing massive crowds at every show (I wouldn't want to follow playing after them) and their fans are legion all over the world. This a must have for fans of Lamb Of God as it's truly dedicated to them, because they have helped make the band what it is today.
- Craig Harvey
Sony
Lamb Of God have been a rising force as one of the new breed of metal bands from the US. Their latest album "Sacrament" did extremely well and the band toured all over the globe in support of it. "Walk With Me In Hell" is a two DVD set documenting all the triumphs, tribulations and wacky chaos of life on the road for a metal band. There are snippets of live concert footage on the first disc between all the commentary from the band, fan footage, etc.... The second disc has a making of "Sacrament" a live concert from the Download festival in Scotland (which has to be seen to be believed) and various other goodies. These guys have no shortage of finding things to do when boredom sets in. Witness the "Tiger Mask" punching session, learning to use a whip (painfully, I might add), using a machete for cleaning one's toenails (thus involving a trip to the ER) and oh yes, lots and lots of alcohol. Regardless of all this insane behavior, the band is unstoppable live, drawing massive crowds at every show (I wouldn't want to follow playing after them) and their fans are legion all over the world. This a must have for fans of Lamb Of God as it's truly dedicated to them, because they have helped make the band what it is today.
- Craig Harvey
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