Wrath
Epic
Damn if these guys don't get better with every album! If you thought that their last release "Sacrament" was brutal, you better hang on to your seat with this one. "Wrath" starts off with a slow instrumental before kicking into songs so monstrous they could bring buildings crashing down. Guitarist's Mark Morton and Willie Adler are one of metal's finest duo's and they write some of the most bad-ass guitar riffs that will ever decimate your eardrums. Mark's style is more straight forward and his lead work ventures from bluesy swagger to full-on shred-your-face off, while Willie's riffs tend to be more abstract, with obscure note placements and odd time signatures. Together they blend seamlessly to form a massive wall of sound that swings, grooves, and wrecks anything in it's path. Vocalist Randy Blythe has got to be the most angry, pissed off singer I have ever heard. There are a million singers out there who "sound" evil and mean, but Randy…. fuck, he makes you a believer. Chris Adler (Willie's brother) and bassist John Campbell lay down a wicked bottom end. The bass is very fat and meaty this time around, and the drum work is nothing short of phenomenal. "Wrath" has a more organic and less polished sound than "Sacrament" but the production is still top notch. I can't really give you a favorite track at the moment, as I am still trying to absorb it all, but "In Your Words", "Fake Messiah" "Choke Sermon" and "Reclamation" stand out so far. This is a hell of a great start for 2009 with regards to metal releases. It's gonna be hard one to top that's for sure. Highly fucking recommended!
- Craig Harvey
Sunday, January 25, 2009
Wednesday, January 7, 2009
The Tossers
One Fine Spring Evening
Victory Records
I have never been a big punk fan, but I sort of fell in love with this Irish group not that long ago after hearing their live album "Gloatin' and Showboatin'. The Tossers are not your average punk outfit mind you, it's all acoustic instruments for one, and to be honest it's not all punk either. That's just part of their charm. However, because they have played with a lot of punk groups they get lumped into that category I suppose. Regardless, what I truly enjoy about The Tossers is their witty blend of traditional Irish/Celtic melodies, combined with heartfelt lyrics and the energy of punk to give it all a unique spin. Oh, and there's lot's of songs about drinking, drinking and did I say drinking? Well, not all of it anyway. You have many stories of love, heartache, Irish pride and family drama. Vocalist Tony sounds like he's had a few pints as his warbly, but honest and passionate vocals charm you from the moment he starts to sing. The rest of the band are a credit to Irish folk music, as they weave wonderful tunes that go from emotional, soft ballads to furious, fast paced party songs. "One Fine Spring Evening" is the first album other than the aforementioned live disc I have heard, but it reaffirmed that my interest in these guys was not a fluke. I say green is the color of the day and a fine one it is!
- Craig Harvey
Victory Records
I have never been a big punk fan, but I sort of fell in love with this Irish group not that long ago after hearing their live album "Gloatin' and Showboatin'. The Tossers are not your average punk outfit mind you, it's all acoustic instruments for one, and to be honest it's not all punk either. That's just part of their charm. However, because they have played with a lot of punk groups they get lumped into that category I suppose. Regardless, what I truly enjoy about The Tossers is their witty blend of traditional Irish/Celtic melodies, combined with heartfelt lyrics and the energy of punk to give it all a unique spin. Oh, and there's lot's of songs about drinking, drinking and did I say drinking? Well, not all of it anyway. You have many stories of love, heartache, Irish pride and family drama. Vocalist Tony sounds like he's had a few pints as his warbly, but honest and passionate vocals charm you from the moment he starts to sing. The rest of the band are a credit to Irish folk music, as they weave wonderful tunes that go from emotional, soft ballads to furious, fast paced party songs. "One Fine Spring Evening" is the first album other than the aforementioned live disc I have heard, but it reaffirmed that my interest in these guys was not a fluke. I say green is the color of the day and a fine one it is!
- Craig Harvey
Tuesday, January 6, 2009
Bella Morte
Beautiful Death
Metropolis
Bella Morte has become one of the solid standing fixtures in the Gothic Rock genre as one of the new touring and writing monsters of our subculture. Creating solid hard hitting sounds that are unapologetic, at times brash and at others deeply inspirational. Their unique mix of Electronic, Goth, Deathrock, Punk and Metal makes for a bittersweet and heavy blend of tracks that entrances people from many different genres. Always attempting to adapt their style and never be stagnant, the act recently released Beautiful Death. An intriguing and deep new album that hearkens back to their more romantic and deeply traditional Gothic Rock roots.
Beautiful Death opens with the acts latest single for Metropolis records, the song "Find Forever Gone". Andy shows a softer and deeper side to his lyrical repertoire in this very slow and beautiful gothic dance track. "Can't Let this die" opens with a slow electronic rift then pulls you in for the killing rift, the more heavy sound you expect of this gritty act. "Black Seas Collide" Features heavy ripping guitar work combined with eerily dripping keyboards. Again we see the softer side of Andy's vocals in this very classic Goth rift. "Buried Within" is a harder hitting fast paced track with lightning paced synth. "The End of the Day" is a more tragic sounding solemn and moving track. "Fades like a song" is a deep emotional ballad of love lost and burying the past history. "In the Dirt" starts with a crawling Deathrock lyrical rift that explodes into a punching frenzy.
"One thousand days" is an emotionally driving track drawing images of Suicide, Alienation, and Depression. All too familiar themes but this tracks burning image of endurance against all odds is inspiring. "Burn the Sky" is another driving Gothic Rock track with heavy guitar tracks combined with hard hitting lyrics that blend an epic Gothic Rock anthem. "Eternal" is a more exploratory and experimental track with industrial synth and gritty guitar rifts. It carries a more hopeful tone than the prior tracks. "Nine Hours" opens with haunting Piano tones, a heavenly close to this very beautifully put together album.
Recent fans of Bella Morte who have been exposed to the break out album "Bleed the Grey Sky Black" might find the transition to a more romanticized traditional Goth album a hard switch. Bella Morte though shows their ability to mix their traditional gritty guitar licks with deeply written intellectual lyrics and a softer side to Andy's traditional lyrical style to create an album that crawls with the most crepuscular Goth act. The sound of "Beautiful Death" is reminiscent of early Goth acts like Play Dead or Nosferatu. However, Bella Morte retains its razor edge that has kept fans coming back for each new lick the band releases. With the act losing Gopal and Jordan earlier on, many fans felt that Bella Morte might lose some of its punch. Rest assured that the album "Beautiful Death" does not disappoint with all its romantic and creepy crawling beauty.
http://www.myspace.com/bellamorte
- Dr. Raven
Metropolis
Bella Morte has become one of the solid standing fixtures in the Gothic Rock genre as one of the new touring and writing monsters of our subculture. Creating solid hard hitting sounds that are unapologetic, at times brash and at others deeply inspirational. Their unique mix of Electronic, Goth, Deathrock, Punk and Metal makes for a bittersweet and heavy blend of tracks that entrances people from many different genres. Always attempting to adapt their style and never be stagnant, the act recently released Beautiful Death. An intriguing and deep new album that hearkens back to their more romantic and deeply traditional Gothic Rock roots.
Beautiful Death opens with the acts latest single for Metropolis records, the song "Find Forever Gone". Andy shows a softer and deeper side to his lyrical repertoire in this very slow and beautiful gothic dance track. "Can't Let this die" opens with a slow electronic rift then pulls you in for the killing rift, the more heavy sound you expect of this gritty act. "Black Seas Collide" Features heavy ripping guitar work combined with eerily dripping keyboards. Again we see the softer side of Andy's vocals in this very classic Goth rift. "Buried Within" is a harder hitting fast paced track with lightning paced synth. "The End of the Day" is a more tragic sounding solemn and moving track. "Fades like a song" is a deep emotional ballad of love lost and burying the past history. "In the Dirt" starts with a crawling Deathrock lyrical rift that explodes into a punching frenzy.
"One thousand days" is an emotionally driving track drawing images of Suicide, Alienation, and Depression. All too familiar themes but this tracks burning image of endurance against all odds is inspiring. "Burn the Sky" is another driving Gothic Rock track with heavy guitar tracks combined with hard hitting lyrics that blend an epic Gothic Rock anthem. "Eternal" is a more exploratory and experimental track with industrial synth and gritty guitar rifts. It carries a more hopeful tone than the prior tracks. "Nine Hours" opens with haunting Piano tones, a heavenly close to this very beautifully put together album.
Recent fans of Bella Morte who have been exposed to the break out album "Bleed the Grey Sky Black" might find the transition to a more romanticized traditional Goth album a hard switch. Bella Morte though shows their ability to mix their traditional gritty guitar licks with deeply written intellectual lyrics and a softer side to Andy's traditional lyrical style to create an album that crawls with the most crepuscular Goth act. The sound of "Beautiful Death" is reminiscent of early Goth acts like Play Dead or Nosferatu. However, Bella Morte retains its razor edge that has kept fans coming back for each new lick the band releases. With the act losing Gopal and Jordan earlier on, many fans felt that Bella Morte might lose some of its punch. Rest assured that the album "Beautiful Death" does not disappoint with all its romantic and creepy crawling beauty.
http://www.myspace.com/bellamorte
- Dr. Raven
Tuesday, December 30, 2008
We Wish You a Metal Xmas And A Headbanging New Year
Armoury Records
What could be a better gift for the metalhead in your life than a cover of X-mas songs done by their favorite metal artists? Nothing. So, the folks at Armoury records got together some of metal's cream of the crop and had them put their spin the holiday classics we know and love. Some of the renditions are outstanding, some are downright hilarious, and some are just eh... ok. However, most are pretty darn cool. The best ones are "God Rest Ye Merry Gentlemen" with Ronnie James Dio on vocals and Tonni Iommi on guitar; making this the darkest, heaviest version of this song ever done. Dug Pinnick lends his outstanding voice to "The Little Drummer Boy" with a little help from George Lynch, Billy Sheehan and Simon Phillips. Joe Lynn Turner turns on the charm on "Rockin' Around The Christmas Tree" backed by four delightful lads; Bruce Kulick, brother Bob Kulick, Rudy Sarzo, and Simon Wright. For the more humorous side of things, we have Testament frontman Chuck Billy doing his scary, evil vocals from hell on the thrash anthem "Silent Night." He had help of course from Scott Ian, Jon Donais, Chris Wyse, and John Tempesta. Alice Cooper gives us a new nightmare, in the form of "Santa Claws Is Coming To Town." Scary guitarist John 5, mad bassist Billy Sheehan, and drummer extraordinaire Vinny Appice were also held responsible for aiding and abetting Alice in this song. There are several other's that are not bad, but don't rate as well as these, except one: I saved the best for last, "Run Rudolph Run" performed by none other than Lemmy Kilmister on the mike, the Reverend Billy Gibbons on the six string, and Dave Grohl bashing the skins. Folks, it just doesn't get any better than this. Hell, the album's worth it for this one track alone! This is one X-Mas album you won't mind listening to during the holiday season or anytime during the year. Ho! Ho! Ho!
- Craig Harvey
What could be a better gift for the metalhead in your life than a cover of X-mas songs done by their favorite metal artists? Nothing. So, the folks at Armoury records got together some of metal's cream of the crop and had them put their spin the holiday classics we know and love. Some of the renditions are outstanding, some are downright hilarious, and some are just eh... ok. However, most are pretty darn cool. The best ones are "God Rest Ye Merry Gentlemen" with Ronnie James Dio on vocals and Tonni Iommi on guitar; making this the darkest, heaviest version of this song ever done. Dug Pinnick lends his outstanding voice to "The Little Drummer Boy" with a little help from George Lynch, Billy Sheehan and Simon Phillips. Joe Lynn Turner turns on the charm on "Rockin' Around The Christmas Tree" backed by four delightful lads; Bruce Kulick, brother Bob Kulick, Rudy Sarzo, and Simon Wright. For the more humorous side of things, we have Testament frontman Chuck Billy doing his scary, evil vocals from hell on the thrash anthem "Silent Night." He had help of course from Scott Ian, Jon Donais, Chris Wyse, and John Tempesta. Alice Cooper gives us a new nightmare, in the form of "Santa Claws Is Coming To Town." Scary guitarist John 5, mad bassist Billy Sheehan, and drummer extraordinaire Vinny Appice were also held responsible for aiding and abetting Alice in this song. There are several other's that are not bad, but don't rate as well as these, except one: I saved the best for last, "Run Rudolph Run" performed by none other than Lemmy Kilmister on the mike, the Reverend Billy Gibbons on the six string, and Dave Grohl bashing the skins. Folks, it just doesn't get any better than this. Hell, the album's worth it for this one track alone! This is one X-Mas album you won't mind listening to during the holiday season or anytime during the year. Ho! Ho! Ho!
- Craig Harvey
Sunday, November 30, 2008
Trivium
Shogun
Roadrunner
On their last release "The Crusade" I was hailing these guys as the next thrash metal kings. Moving from the more metalcore style of their previous album "Ascendancy" I was floored by the monstrous riffing and great vocals on "The Crusade". Even vocalist/guitarist Matt Heafy's voice had evolved into a near carbon copy of Metallica's James Hetfield. It was truly an amazing release. So now, on their forth album "Shogun" the band has taken yet another leap in their sonic journey to combine all the elements of their past sounds and bring us a heavier and even more powerful album. Employing seven string guitars and bringing back Heafy's screaming vocals into the fray, "Shogun" is a powerful tour de force. Heafy's vocal prowess has become quite impressive. He can easily move his voice from screams, to his "Hetfield" yells, to what has become a much improved singing style. The musicianship is of course, outstanding. Unlike Dragonforce, Trivium know how to write great riffs, play insane shredding solo's and manage to have the restraint not to overplay and leave space and texture in the songs when it is needed. The songs themselves delve into Japanese and Greek mythology and are four to over six minutes in length with the exception being the almost twelve minute closer "Shogun." To be honest, I could have done with less metalcore screaming and more of his (Heafy's) other vocal styles, but regardless, Shogun is definitely on the best metal albums of 2008.
- Craig Harvey
Roadrunner
On their last release "The Crusade" I was hailing these guys as the next thrash metal kings. Moving from the more metalcore style of their previous album "Ascendancy" I was floored by the monstrous riffing and great vocals on "The Crusade". Even vocalist/guitarist Matt Heafy's voice had evolved into a near carbon copy of Metallica's James Hetfield. It was truly an amazing release. So now, on their forth album "Shogun" the band has taken yet another leap in their sonic journey to combine all the elements of their past sounds and bring us a heavier and even more powerful album. Employing seven string guitars and bringing back Heafy's screaming vocals into the fray, "Shogun" is a powerful tour de force. Heafy's vocal prowess has become quite impressive. He can easily move his voice from screams, to his "Hetfield" yells, to what has become a much improved singing style. The musicianship is of course, outstanding. Unlike Dragonforce, Trivium know how to write great riffs, play insane shredding solo's and manage to have the restraint not to overplay and leave space and texture in the songs when it is needed. The songs themselves delve into Japanese and Greek mythology and are four to over six minutes in length with the exception being the almost twelve minute closer "Shogun." To be honest, I could have done with less metalcore screaming and more of his (Heafy's) other vocal styles, but regardless, Shogun is definitely on the best metal albums of 2008.
- Craig Harvey
Cradle Of Filth
Godspeed On The Devil's Thunder
Roadrunner
The most well recognized and popular gothic/black metal band returns with their most vile, horrific and blackest album yet. "Godspeed On The Devil's Thunder is a return to their older works in terms of speed and tempo, but still retains the clarity and more riff oriented elements of their previous release "Thornography." Never one to shy away from controversy, Dani Filth and his cohorts in foulness have outdone themselves this time. While a previous album (Cruelty And The Beast) enlightened us to the horrific crimes of the blood countess Elizabeth Bathory, we now are told the tale of one of the earliest serial killers history had all but buried in it's deepest dungeons; Gilles de Rais.
This 15th century nobleman fought along side Joan Of Arc, (and was rumored to have loved her) but after her death, he became dark, evil and immoral beyond words. After his vast fortune was exhausted, he delved into the occult, searching for ways to accumulate his wealth once again. This path took him into the black realm's of Satanism, child sacrifice and terrible sexual deviancy. His abominable deeds became the stuff of nightmares. After he was caught he did express remorse for his crimes and was pardoned by the church, but then hanged (and possibly burned). Cradle of Filth's take on this story is of course embellished to give it a sense of drama and tragedy, but none the less, one of their most thought provoking albums yet.
As I said before, the intensity is amped up and brings to mind earlier albums, but has a much better production quality I think. Paul Allender's guitar work is a raging inferno of wicked riffs, speedy single note lines, and fleet fingered solo's. Dani Filth's voice is just as blasphemous as ever, with ear piercing demonic screams, and raspy growls he has never sounded more in his element than now. Dave Pybus bass work along side Martin Skaroupka's drums are a thunderous force that conjures up the bowels of hell itself to hold everything together. Old friend and partner in darkness Doug Bradley ("Pinhead") once again provides narration between songs, as he plays the role of Gilles de Rais himself. He of course, is as the Brits say "spot on" with the part. Female background vocals are again done by Sara Jezebel Deva who has been part of the Cradle family for some time now. So I can say without a doubt, this is one best Cradle of Filth albums to come about in a while and assuredly their most disturbing.
- Craig Harvey
Roadrunner
The most well recognized and popular gothic/black metal band returns with their most vile, horrific and blackest album yet. "Godspeed On The Devil's Thunder is a return to their older works in terms of speed and tempo, but still retains the clarity and more riff oriented elements of their previous release "Thornography." Never one to shy away from controversy, Dani Filth and his cohorts in foulness have outdone themselves this time. While a previous album (Cruelty And The Beast) enlightened us to the horrific crimes of the blood countess Elizabeth Bathory, we now are told the tale of one of the earliest serial killers history had all but buried in it's deepest dungeons; Gilles de Rais.
This 15th century nobleman fought along side Joan Of Arc, (and was rumored to have loved her) but after her death, he became dark, evil and immoral beyond words. After his vast fortune was exhausted, he delved into the occult, searching for ways to accumulate his wealth once again. This path took him into the black realm's of Satanism, child sacrifice and terrible sexual deviancy. His abominable deeds became the stuff of nightmares. After he was caught he did express remorse for his crimes and was pardoned by the church, but then hanged (and possibly burned). Cradle of Filth's take on this story is of course embellished to give it a sense of drama and tragedy, but none the less, one of their most thought provoking albums yet.
As I said before, the intensity is amped up and brings to mind earlier albums, but has a much better production quality I think. Paul Allender's guitar work is a raging inferno of wicked riffs, speedy single note lines, and fleet fingered solo's. Dani Filth's voice is just as blasphemous as ever, with ear piercing demonic screams, and raspy growls he has never sounded more in his element than now. Dave Pybus bass work along side Martin Skaroupka's drums are a thunderous force that conjures up the bowels of hell itself to hold everything together. Old friend and partner in darkness Doug Bradley ("Pinhead") once again provides narration between songs, as he plays the role of Gilles de Rais himself. He of course, is as the Brits say "spot on" with the part. Female background vocals are again done by Sara Jezebel Deva who has been part of the Cradle family for some time now. So I can say without a doubt, this is one best Cradle of Filth albums to come about in a while and assuredly their most disturbing.
- Craig Harvey
Dragonforce
Ultra Beatdown
Roadrunner
I first heard Dragonforce on their last album "Inhuman Rampage" late one Saturday night when Headbanger's Ball played their new single "Between The Fire And The Flames". I was impressed. It was kinda like Dream Theater on speed. The song flew by a breakneck speed, the vocals clear and soaring, the guitars, keyboards and drums played at imhumanly fast tempos, and oh yes, there was plenty of amazingly fast shredding guitar solo's. So of course I bought the album. That's when the disappointment set in. After six tracks I couldn't take it anymore. It was all the same. It sounded like a swarm of angry bees had flown into a video game arcade. The talent was there but these guys had no sense of writing a catchy riff. One or two tracks like this would be ok, but the entire album? I love extreme metal, power metal, black metal, metal period. But this was on the verge of being ridiculous.
So, why do you ask would I think their latest album would be any different? I have no idea. Especially when it's entitled "Ultra Beatdown". Maybe I wanted to give these guys a second chance and see if they could slow down and give me something to bang my head to and not dislocate my neck from my shoulders. To my dismay it's exactly what I feared (it's probably even worse), with the exception of one (count that, one) slow ballad. I bet guitarist Herman Li and co-guitarist Sam Totman were having speed withdrawals just waiting to get done with this song. I know that this is their gimmick, and what their fans want to hear, but I just can't get into it. It's a shame really, because as far as I am concerned, it's great musical talent gone to waste.
- Craig Harvey
Roadrunner
I first heard Dragonforce on their last album "Inhuman Rampage" late one Saturday night when Headbanger's Ball played their new single "Between The Fire And The Flames". I was impressed. It was kinda like Dream Theater on speed. The song flew by a breakneck speed, the vocals clear and soaring, the guitars, keyboards and drums played at imhumanly fast tempos, and oh yes, there was plenty of amazingly fast shredding guitar solo's. So of course I bought the album. That's when the disappointment set in. After six tracks I couldn't take it anymore. It was all the same. It sounded like a swarm of angry bees had flown into a video game arcade. The talent was there but these guys had no sense of writing a catchy riff. One or two tracks like this would be ok, but the entire album? I love extreme metal, power metal, black metal, metal period. But this was on the verge of being ridiculous.
So, why do you ask would I think their latest album would be any different? I have no idea. Especially when it's entitled "Ultra Beatdown". Maybe I wanted to give these guys a second chance and see if they could slow down and give me something to bang my head to and not dislocate my neck from my shoulders. To my dismay it's exactly what I feared (it's probably even worse), with the exception of one (count that, one) slow ballad. I bet guitarist Herman Li and co-guitarist Sam Totman were having speed withdrawals just waiting to get done with this song. I know that this is their gimmick, and what their fans want to hear, but I just can't get into it. It's a shame really, because as far as I am concerned, it's great musical talent gone to waste.
- Craig Harvey
Chemical Brothers
Brotherhood
Astralwerks
While it may be true, that the electronic dance phenomenon that swept through the nineties has gone underground and out of the limelight, the artists that help spawn those magnificent days gone by are still around and still very valid. One such artist is The Chemical Brothers. Their contributions to the particular music scene could easily be described as nothing short of brilliant, rivaled by only a handful of their respected peers. So, in honor of the historic musical achievement that these lads have graced our ears with, Astralwerks has put out a beautiful 2 disc box set of their greatest singles and a limited disc of re-mixes that are quite rare, entitled "Electronic Battle Weapons 1-10".
There are fifteen wonderful tracks that will surely bring back memories for those who have followed this duo from the beginning. Even if you were not all that familiar with them, you surely heard a few of these songs somewhere in your travels. Not all of the songs are from older works however, as this set chronicles all the way to some of the most recent singles as well. The Chemical Brother's defy categorization as they seamlessly blend house, techno, psychedelia, and every other aspect of electronica you can imagine into their own wicked brew that has (and continues to rock clubs today). I can't recommend this enough for fans of great dance music.
- Craig Harvey
Astralwerks
While it may be true, that the electronic dance phenomenon that swept through the nineties has gone underground and out of the limelight, the artists that help spawn those magnificent days gone by are still around and still very valid. One such artist is The Chemical Brothers. Their contributions to the particular music scene could easily be described as nothing short of brilliant, rivaled by only a handful of their respected peers. So, in honor of the historic musical achievement that these lads have graced our ears with, Astralwerks has put out a beautiful 2 disc box set of their greatest singles and a limited disc of re-mixes that are quite rare, entitled "Electronic Battle Weapons 1-10".
There are fifteen wonderful tracks that will surely bring back memories for those who have followed this duo from the beginning. Even if you were not all that familiar with them, you surely heard a few of these songs somewhere in your travels. Not all of the songs are from older works however, as this set chronicles all the way to some of the most recent singles as well. The Chemical Brother's defy categorization as they seamlessly blend house, techno, psychedelia, and every other aspect of electronica you can imagine into their own wicked brew that has (and continues to rock clubs today). I can't recommend this enough for fans of great dance music.
- Craig Harvey
Oasis
Lord Don't Slow Me Down
On the surface, what seems like a yob's eye view of "Eat the Document" or even Radiohead's "Meeting People Is Easy" tour documentary quickly becomes so much more. The plot is a simple and familiar one within rock n' roll: band tours the world, deals with all the attendant highs and lows that come with the surrealities of "pop stardom." "Lord Don't Slow me Down," much like the aforementioned "Eat The Document" or even Nick Cave's "The Road To God Knows Where," is less concerned with what happens onstage - songs are only presented as snippets, bookends - and instead concentrates on what happens in between the concerts. The endless promotional grind of clueless interviews (Noel, why don't you like Liam? Liam, why don't you like Noel?), planes, buses, trains, sitting and waiting for the show, sitting and waiting for all of the hangers-on to leave the backstage area, a procession of bars and late nights followed by punishingly early mornings. What elevates this particular film from a "tortures of fame" pity party is that Oasis are so fucking grumpy and bemused and funny about the whole affair. Noel Gallagher and Liam Gallagher clearly enjoy being rock starts, but as they start to get a little older, it's just as clear that they realize just how ridiculous all the rituals are; even though it doesn't kill their crucial/original love of music. An unselfconscious encore of The Who's "My Generation" proves that.
Didn't I say funny? The movie begins with a backstage party where Noel is unable to open a comically large bottle of champagne, leading every band member to have a go, with members of their entourage joining in too. It's only after several minutes and ever-more ridiculous scheming that the bottle finally yields, to relieved cheers. A few minutes later, Noel is incredulously asking an interviewer, "You do know I'm not Liam, right?" Then there is a shot of Noel at a radio interview in New York, giving a "What the fuck" look at the camera, as the hosts prattle on about nonsense from ten years ago. Even later, when a reporter asks Liam how he prepares for a gig, he doesn't even hesitate before deadpanning, "Wank."
The use of black-and-white film stock lends "Lord, Don't Slow Me Down" a hazy, timeless feel. Even more interesting, given that the subject matter is gonzo anthem factory Oasis, is that the camera work of director BaillieWalsh is subtle, non-linear and strangely beautiful. But then again,wasn't smilin' Paul McCartney the Beatle who introduced the rest of the group to tape loops and avant-garde music? It ain't all appearances, pally. The editing jumps from scene to scene, the camera blurs out the principals to focus on one small seemingly inconsequential detail in the frame, there are beautiful landscape shots from every country they visited, nighttime becomes magical, airports look like alien realms, backstage green rooms look like small fishbowls, their fans drunkenly stumble about, and the closing scene is a voiceover of Noel expressing doubts about their future of a touring band juxtaposed against an endless sea of audience. But when the members of Oasis do the long walk onstage, they look every bit as iconic as that famous walking shot in "Reservoir Dogs."
Oasis is a very lucky band, while it's clear they'll never recapture their initial rush of creative energy and commercial fame, they're in no way tethered to a particular song or album. Oasis are still a productive band, and despite their apparent stodginess and obstinance, they're able to change and adapt to the times every so subtly. And beyond that the Gallahaghers give great interview. Approximately 70% of the fun of this film is listening to Liam and Noel banter and belittle each other, anyone within a twenty foot radius, and every rock band ever. Their delivery is so unforced and deliciously deadpan, it's like "Zelig" by way of Roger Daltry and Stephen Fry.
The package is an essential one for the Oasis fan. Included is the documentary film, a commentary track featureing the entire band (priceless), and a full live set from their home city of Manchester, filmed in sharp, cinematic color. Even if you're not an Oasis fan, you'll get a kick out of all the surreal indignities of the entertainment-industrial complex writ large upon a group of mouthy Brits, without actually having to put up with any but the best bits of their music.
- Matthew Moyer
On the surface, what seems like a yob's eye view of "Eat the Document" or even Radiohead's "Meeting People Is Easy" tour documentary quickly becomes so much more. The plot is a simple and familiar one within rock n' roll: band tours the world, deals with all the attendant highs and lows that come with the surrealities of "pop stardom." "Lord Don't Slow me Down," much like the aforementioned "Eat The Document" or even Nick Cave's "The Road To God Knows Where," is less concerned with what happens onstage - songs are only presented as snippets, bookends - and instead concentrates on what happens in between the concerts. The endless promotional grind of clueless interviews (Noel, why don't you like Liam? Liam, why don't you like Noel?), planes, buses, trains, sitting and waiting for the show, sitting and waiting for all of the hangers-on to leave the backstage area, a procession of bars and late nights followed by punishingly early mornings. What elevates this particular film from a "tortures of fame" pity party is that Oasis are so fucking grumpy and bemused and funny about the whole affair. Noel Gallagher and Liam Gallagher clearly enjoy being rock starts, but as they start to get a little older, it's just as clear that they realize just how ridiculous all the rituals are; even though it doesn't kill their crucial/original love of music. An unselfconscious encore of The Who's "My Generation" proves that.
Didn't I say funny? The movie begins with a backstage party where Noel is unable to open a comically large bottle of champagne, leading every band member to have a go, with members of their entourage joining in too. It's only after several minutes and ever-more ridiculous scheming that the bottle finally yields, to relieved cheers. A few minutes later, Noel is incredulously asking an interviewer, "You do know I'm not Liam, right?" Then there is a shot of Noel at a radio interview in New York, giving a "What the fuck" look at the camera, as the hosts prattle on about nonsense from ten years ago. Even later, when a reporter asks Liam how he prepares for a gig, he doesn't even hesitate before deadpanning, "Wank."
The use of black-and-white film stock lends "Lord, Don't Slow Me Down" a hazy, timeless feel. Even more interesting, given that the subject matter is gonzo anthem factory Oasis, is that the camera work of director BaillieWalsh is subtle, non-linear and strangely beautiful. But then again,wasn't smilin' Paul McCartney the Beatle who introduced the rest of the group to tape loops and avant-garde music? It ain't all appearances, pally. The editing jumps from scene to scene, the camera blurs out the principals to focus on one small seemingly inconsequential detail in the frame, there are beautiful landscape shots from every country they visited, nighttime becomes magical, airports look like alien realms, backstage green rooms look like small fishbowls, their fans drunkenly stumble about, and the closing scene is a voiceover of Noel expressing doubts about their future of a touring band juxtaposed against an endless sea of audience. But when the members of Oasis do the long walk onstage, they look every bit as iconic as that famous walking shot in "Reservoir Dogs."
Oasis is a very lucky band, while it's clear they'll never recapture their initial rush of creative energy and commercial fame, they're in no way tethered to a particular song or album. Oasis are still a productive band, and despite their apparent stodginess and obstinance, they're able to change and adapt to the times every so subtly. And beyond that the Gallahaghers give great interview. Approximately 70% of the fun of this film is listening to Liam and Noel banter and belittle each other, anyone within a twenty foot radius, and every rock band ever. Their delivery is so unforced and deliciously deadpan, it's like "Zelig" by way of Roger Daltry and Stephen Fry.
The package is an essential one for the Oasis fan. Included is the documentary film, a commentary track featureing the entire band (priceless), and a full live set from their home city of Manchester, filmed in sharp, cinematic color. Even if you're not an Oasis fan, you'll get a kick out of all the surreal indignities of the entertainment-industrial complex writ large upon a group of mouthy Brits, without actually having to put up with any but the best bits of their music.
- Matthew Moyer
Saturday, November 15, 2008
OhGr
Devils In My Details
Musebox/SPV
Nivek Ogre reunites with long time partner Mark Walk to bring us Devils In My Details. Ripe with gripping orchestral moments, sharp samples and a darkness as creeping and menacing as classic Skinny Puppy albums Too Dark Park or Last Rights but all the while these many devils remain signature OhGr tracks. Originally conceived as one massive musical piece then dissected into the individual details, Devils departs from the previous two offerings from the demonic duo leaving the more expected dance tracks to the wayside for more surprising esoteric device. Stepping into unlikely territory on offerings like "Feeling Chicken" which lends whimsy but remains no less sinister then the rest of the album which starts off running and continues to build track after track to a brooding triple climax with the first single "Timebomb," followed by "Smogharp" and finally the soaring "Witness." Devils is another stunning opus in the ever expending history of one of music's most prolific performers.
RELEASE DATE: 11/18/08
- Max Michaels
Musebox/SPV
Nivek Ogre reunites with long time partner Mark Walk to bring us Devils In My Details. Ripe with gripping orchestral moments, sharp samples and a darkness as creeping and menacing as classic Skinny Puppy albums Too Dark Park or Last Rights but all the while these many devils remain signature OhGr tracks. Originally conceived as one massive musical piece then dissected into the individual details, Devils departs from the previous two offerings from the demonic duo leaving the more expected dance tracks to the wayside for more surprising esoteric device. Stepping into unlikely territory on offerings like "Feeling Chicken" which lends whimsy but remains no less sinister then the rest of the album which starts off running and continues to build track after track to a brooding triple climax with the first single "Timebomb," followed by "Smogharp" and finally the soaring "Witness." Devils is another stunning opus in the ever expending history of one of music's most prolific performers.
RELEASE DATE: 11/18/08
- Max Michaels
Friday, November 7, 2008
Empire Auriga
Auriga Dying
Moribund Cult
Michigan duo Empire Auriga (Boethius on vocals and 90000065B on machines) continue the American mutation of black metal with their intensely individualized take on the core materials of the genre. To wit, "Auriga Dying" is just as reminiscent of early Swans, Death in June and Non's "Total War," as metal oddballs like Burzum and Xasthur. And a sprinkle of Godflesh and early Swamp Terrorists' masochism. Face it chum, "Auriga Dying" is going to be VERY tough going for the corpsepainted doppleganger wearing an Immortal shirt. Hell, they're probably going to hate Empire Auriga. Fucking good, I say. Isn't one of the hallmarks of extreme metal supposed to be that it's not for everyone, that it purposely bucks movements? No blast beats, no headbanging, shit, nothing even resembling a rock beat, no solos, no goblin vocals. The sound of Empire Auriga is a malignant brew of post-industrial sonics and machinery, lashed to rusted radios, the occasional hint of gothic grandeur and the ground-down hopelessness of a Grief or a Khanate. Mournful guitar, martial, fascistic beats, and decaying electronics all presided over by vocals that sound like Ian Curtis's personality encoded into a Commodore 64 computer. Wave after wave of ghost-in-the-machine funeral doom and elegiac 8-bit paranoia come pulsing at you. Hotly tipped, I should hope.
- Matthew Moyer
Moribund Cult
Michigan duo Empire Auriga (Boethius on vocals and 90000065B on machines) continue the American mutation of black metal with their intensely individualized take on the core materials of the genre. To wit, "Auriga Dying" is just as reminiscent of early Swans, Death in June and Non's "Total War," as metal oddballs like Burzum and Xasthur. And a sprinkle of Godflesh and early Swamp Terrorists' masochism. Face it chum, "Auriga Dying" is going to be VERY tough going for the corpsepainted doppleganger wearing an Immortal shirt. Hell, they're probably going to hate Empire Auriga. Fucking good, I say. Isn't one of the hallmarks of extreme metal supposed to be that it's not for everyone, that it purposely bucks movements? No blast beats, no headbanging, shit, nothing even resembling a rock beat, no solos, no goblin vocals. The sound of Empire Auriga is a malignant brew of post-industrial sonics and machinery, lashed to rusted radios, the occasional hint of gothic grandeur and the ground-down hopelessness of a Grief or a Khanate. Mournful guitar, martial, fascistic beats, and decaying electronics all presided over by vocals that sound like Ian Curtis's personality encoded into a Commodore 64 computer. Wave after wave of ghost-in-the-machine funeral doom and elegiac 8-bit paranoia come pulsing at you. Hotly tipped, I should hope.
- Matthew Moyer
Tuesday, October 28, 2008
Battlelore
The Last Alliance
Napalm Records
I seem to remember not being overly impressed with the last Battlelore release, so as you can imagine my hopes were not high for this one. Well, it's nice to be wrong occasionally. "The Last Alliance" seems more grandiose than last time, a more epic feel to it all perhaps.... well, you get the point. The guitars are massive and the female vocals seem more prominent. Maybe they were before, but I can't really recall. Still I liked the overall feel of this album, and it still revolves lyrically around J.R.R. Tolkien's Middle Earth. Not the most original idea to be sure ( and not the first band to mold their songs from his works) , but Battlelore seem to have a knack for it, and while I tend to rant about bands lacking originality, I couldn't help but really enjoy the powerful and majestic tales they wove into "The Last Alliance".
- Craig Harvey
Napalm Records
I seem to remember not being overly impressed with the last Battlelore release, so as you can imagine my hopes were not high for this one. Well, it's nice to be wrong occasionally. "The Last Alliance" seems more grandiose than last time, a more epic feel to it all perhaps.... well, you get the point. The guitars are massive and the female vocals seem more prominent. Maybe they were before, but I can't really recall. Still I liked the overall feel of this album, and it still revolves lyrically around J.R.R. Tolkien's Middle Earth. Not the most original idea to be sure ( and not the first band to mold their songs from his works) , but Battlelore seem to have a knack for it, and while I tend to rant about bands lacking originality, I couldn't help but really enjoy the powerful and majestic tales they wove into "The Last Alliance".
- Craig Harvey
Iced Earth
The Crucible Of Man (Something Wicked Part 2)
SPV Records
Now here was a sight for sore eyes (and hears) a Florida based band who has been paying their dues for many years on the metal scene. Iced Earth are one of the best American metal bands that originated in Tampa Florida back in the early nineties under the original band name Purgatory. Jon Schaffer being the founder, songwriter and rhythm guitarist has kept the band going through thick and thin. Members have come and gone (and come back again) but through it all the band has still kept it's core sound, which drew inspiration from thrash, progressive and power metal along side the new wave of British heavy metal bands such as Iron Maiden and Judas Priest. Lyrically the songs revolve around fantasy, science fiction, horror and true history as well. All finely crafted and intelligently written by Schaffer himself. Vocalist Matt Barlow is back again (taking the lead after Tim "Ripper" Owens departed) to add his powerful pipes to Schaffer's larger than life songs. However, the most exciting aspect is Jacksonville's very own Brent Smedley who is once more behind the drums to give Iced Earth his massive double bass skin pounding attack. I used to hang out with Brent a few years ago when he and his brother Kent were in a local band here called Prodigy. He was a fantastic drummer then and he is nothing short of phenomenal now. He has been back with Iced Earth since the last album, "Framing Armageddon" but it's still cool to have someone I know in such a great metal band. This is metal they way I like it, great guitar riffs and songs that have the imagination and power to make you feel invincible as the metal maelstorm rolls over you and takes you up in it's fury.
- Craig Harvey
SPV Records
Now here was a sight for sore eyes (and hears) a Florida based band who has been paying their dues for many years on the metal scene. Iced Earth are one of the best American metal bands that originated in Tampa Florida back in the early nineties under the original band name Purgatory. Jon Schaffer being the founder, songwriter and rhythm guitarist has kept the band going through thick and thin. Members have come and gone (and come back again) but through it all the band has still kept it's core sound, which drew inspiration from thrash, progressive and power metal along side the new wave of British heavy metal bands such as Iron Maiden and Judas Priest. Lyrically the songs revolve around fantasy, science fiction, horror and true history as well. All finely crafted and intelligently written by Schaffer himself. Vocalist Matt Barlow is back again (taking the lead after Tim "Ripper" Owens departed) to add his powerful pipes to Schaffer's larger than life songs. However, the most exciting aspect is Jacksonville's very own Brent Smedley who is once more behind the drums to give Iced Earth his massive double bass skin pounding attack. I used to hang out with Brent a few years ago when he and his brother Kent were in a local band here called Prodigy. He was a fantastic drummer then and he is nothing short of phenomenal now. He has been back with Iced Earth since the last album, "Framing Armageddon" but it's still cool to have someone I know in such a great metal band. This is metal they way I like it, great guitar riffs and songs that have the imagination and power to make you feel invincible as the metal maelstorm rolls over you and takes you up in it's fury.
- Craig Harvey
Artas
The Healing
Napalm Records
When I read one of the song titles was called "Gangsta's Paradise" and Artas music was labeled as "modern metal" red flags went up everywhere. The red flags were justified, because this is one bloody, awful, goddamn mess. These Austrians should go back to the drawing board and get some new influences. Typical metalcore, down-tuned, un-original garbage. Yeah, sure they can play their instruments, but until they can come up with a shred of originality, please put them down, get day jobs and spare us all the horror of listening to this.
- Craig Harvey
Napalm Records
When I read one of the song titles was called "Gangsta's Paradise" and Artas music was labeled as "modern metal" red flags went up everywhere. The red flags were justified, because this is one bloody, awful, goddamn mess. These Austrians should go back to the drawing board and get some new influences. Typical metalcore, down-tuned, un-original garbage. Yeah, sure they can play their instruments, but until they can come up with a shred of originality, please put them down, get day jobs and spare us all the horror of listening to this.
- Craig Harvey
Kampfar
Heimgang
Napalm Records
The eerie opening track "Vantro" starts off with semi-distorted guitars and a mid tempo beat that sets the stage for "Inferno" where the guitars are cranked up a notch (well everything is ) and moves into a raging, venomous onslaught. However, what set's Kampfar apart from the large black metal community, is their thrashy melodic riffs, a more high end sound on the guitars, and lack of blast beats. It somewhat harkens back to earlier times, when this style of music was very primitive, (but you can actually hear the bass on this! ) Another thing is the pagan influence which makes the songs almost "catchy", except there are no traditional folk instruments playing those parts, just guitar, bass and drums. The vocals are pure bile and darkness, but not that different from many other bands in this genre. Still, this was a breath of foul air, that proves there is life left crawling up from the black metal realms.
- Craig Harvey
Napalm Records
The eerie opening track "Vantro" starts off with semi-distorted guitars and a mid tempo beat that sets the stage for "Inferno" where the guitars are cranked up a notch (well everything is ) and moves into a raging, venomous onslaught. However, what set's Kampfar apart from the large black metal community, is their thrashy melodic riffs, a more high end sound on the guitars, and lack of blast beats. It somewhat harkens back to earlier times, when this style of music was very primitive, (but you can actually hear the bass on this! ) Another thing is the pagan influence which makes the songs almost "catchy", except there are no traditional folk instruments playing those parts, just guitar, bass and drums. The vocals are pure bile and darkness, but not that different from many other bands in this genre. Still, this was a breath of foul air, that proves there is life left crawling up from the black metal realms.
- Craig Harvey
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