Home Blog Page 2068

Helrunar – Baldr Ok Iss (Lupus Lounge/Prophecy)

0

A formula that is as proven as any in metal, epic black metal can do little wrong when performed with the type of care and dare we say, “honor” that it rightly deserves. The marriage of atmospheric bliss and BM intensity is as glorious as they come, and when a new participant comes along, it only serves to galvanize the sound even more.

Germany’s Helrunar are now onto album #3, the first with new North American imprint Prophecy. Baldr Ok Iss as it stands, is a heroic salvo of classic mid-90’s epic metal with some cool brutal twists that adds some variety and beef to an all-around solid, near-flawless affair.

Very much at home with those clashing, churning chords that made early Enslaved and Borknagar heroes, Helrunar doles out a handful of crushing riffs in a variety of ways. Noticeable entrants include the end riff on “Baldr,” a colossal wave of quasi-melodic angling and depth that segues into the crush-and-rush of “Iss,” a devastating rush of scathing chord runs and primal intensity.

The above-mentioned brutal and simple segments work like a charm on “Glamr,” a straightforward and forceful number that strips Helrunar down to its BM core. Perhaps the best song here is “Til Jaroar” an instantly memorable number with a hazy opening riff that is a delight of massive proportions.

It’s hard to mask one’s enthusiasm for an effort as this – Helrunar have forged a complete and grinding album that is stocked with memorable riffs and air-tight arrangements. Highly recommended for anyone with the slightest clue as to how friggin’ awesome epic black metal can be…

 www.helrunar.com

(This content originally appeared on Blistering.com)

Bats – Cruel Sea Scientist (Armed Ambitions)

Having first stumbled across Bats playing a lacklustre show supporting Down I Go in a dingy dive bar in Dublin, initial impressions were not good, although they already had the beginnings of a fan base there to support them, which meant it could have just been an off night. A few weeks later they popped up again supporting The Locust in Whelan’s and pulled out all the stops. Maybe it was down to the fact that they were supporting a bigger, more musically challenging band that led them to up their intensity levels and playing. Whatever it was, this band seemed promising. Then they came out with this, their debut EP Cruel Sea Scientist and they’re already living up to that promise.

Opening with a series of shouts, before descending into some brief, angular and heavy, guitar/drum messing around and a repeated mantra of “and Bats will destroy you,” you’re better off leaving all hope of safety on the pier, throwing the life jacket overboard and climbing on board this ship to God only knows where. The hopping bass and choppy rhythms of “These Ones lay Eggs” sets you up for a Liars-style rock frenzy. The calmly delivered vocals are a million miles from the storm, which was in the preceding “Death To Kent Hovind”. The diversion into some Mr. Bungle friendly madness is as unexpected and memorable as being stopped and handed a broken compass by a stranger while walking down O’Connell Street on a hungover Sunday. The hypnotic, very danceable outro seems to end too quickly before its back to the realm of the weird with the fleeting, Down I Go alike “Nautilus vs. Irish Ferry.”

Where Bats excel is in their approach to their song writing, which is basically an-everything-including-the-kitchen-sink-and-the-dirty-dish-water affair (“Atom & Eve”). So you get bursts of weird almost pop madness alongside heavier riffs and quirky, bouncy little passages all mixed up with their unusual approach to vocals. There’s one almost spoken, sometimes biting angry voice but then there are parts where it seems like almost everyone in the band decides to jump in and lend a throat. At these times we get multiple vocal parts calling, responding, echoing and generally attempting to cause chaos and confusion. Or else tell you a story. Or give you a warning. It’s difficult to tell.

Bats thankfully seem to not be paying any attention to what’s going on around them at all musically, which is utterly refreshing in this day and age where you’re almost looking at each musician as if they have an agenda. There’s actually nothing cool about Bats, but fans of oddball music will adore them and try to hold them close to their bosom (could be dangerous though, I’d imagine they smell quite bad and possibly bite).

They certainly sound like they’re having fun, incorporating art rock gimmicks into their repertoire without being pretentious or unapproachable (“These Ones Lay Eggs”) it’s different enough to be interesting. Couple that with the fact that they’ve got tunes to back it up and you’re onto a winning combination. Let’s say if you’ve listened to and liked either Liars or Mr. Bungle ever, then give these weirdo’s a chance.

Bats may only be at the beginning of their career but it sounds like it’s going to be a good ride so get on now. Hopefully these guys will be around for the long haul. Give them the attention they deserve.

 www.batstheband.com

(This content originally appeared on Blistering.com)

Meshuggah – obZen (Nuclear Blast Records)

0

Early reports had obZen marking a return to the unbridled fury of 1998’s Chaosphere, but instead, it’s more of a combination of NothingCatch Thirty-Three and the aforementioned sonic maelstrom that thrust Meshuggah into the underground spotlight. obZen, in certain spots liquidates both Nothingand Catch Thirty-Three, but in other spots, it seems like the band is standing still, not quite sure if it wants to go bananas or sit around trying to confuse people with rather monotonous songs.

Opener “Combustion” is exactly the frenetic, crazed track the band needed to show they were going to meet initial Chaosphere expectations. Far and away the thrashiest song the band has written in 13 years, “Combustion” is the prototypical song for thrash circa ’08. “Electric Red” drags without gaining any real momentum, the result of Meshuggah still farting around tempos without any groove.

Obviously “Bleed” is the best song on the album. Released a few weeks ago on the Internet, the song is a ten-ton hammer of downforce, with guitarists Hagstrom and Thordendal pushing the limits of how hard they can down-pick and triplet. When drummer Thomas Haake unleashes a killer groove underneath it all, it’s hard to not to be enthused about what the rest of the album has in store.

Surprisingly, Meshuggah never fully capitalizes off “Bleed.” Songs like “Lehtargica” and “obZen” have some so-so moments, especially in the verse section of “Lethargica,” but don’t capture a band willing to step on the gas pedal and let it rip.

”This Spiteful Snake” is a solid number, with several contrasting moments centered around a winding main riff. “Pravis” is a head-spinner, utilizing the band’s trademark off-time signatures and bruising riffage.

Consider obZen half awesome and half respectable. Some are hailing this as an early Album of the Year candidate, but those claims might be founded in the intensity of “Combustion” and “Bleed,” two songs that could hang with anything off of Destroy.Erase.Improve.

Meshuggah finds itself in a unique position: they are possibly the only band that can push the metallic envelope forward without losing any real footing. Better yet, their grasp on extreme, forward-thinking metal has made them something akin to a mini-legend, which makes the relative stagnation on obZen all the more confounding.

 www.myspace.com/meshuggah

(This content originally appeared on Blistering.com)

Satan’s Host – Great American Scapegoat 666 (Moribund Records)

0

Formed in the late 70’s, well before a lot of us were even a twinkle in our parents eyes (at least in yours truly’s case…), Denver’s Satan’s Host have gone from a hard-nosed, melodic ‘power’ metal band to a threatening, devious death/black combo that is hard to top. Buoyed by the success of the reissue of 2004’s Burning the Born Again, Satan’s Host are enjoying a monstrous resurgence and Great American Scapegoat 666 should only further that cause.

Characterized by churning, evil riffage, SH’s modus operandi centers around praise for ‘ole Scratch. While their message is overt (check their Myspace), SH does it in a classy manner, recalling the prototypical black metal band, Mercyful Fate.

As for Great American Scapegoat 666, there are a handful of downright dastardly tunes here, namely the savage “Dragons – Darkness,” brooding, almost modern Slayer-edged “Azreal – Death Wing Angel,” and the ode “Hail Satan,” something that wouldn’t be out of reach for the likes of God Dehtroned and even latter-day Dissection.

There’s not a whole lot to dislike about Satan’s Host, the band’s versatility has been quite evident the last few years, making future releases worth chartering. One could clamor for some melodic riffage, which is something that band should explore down the road, as the pairing of this particular album’s ‘brutile’ approach and some melodic flourishes could work wonders. Nevertheless, Great American Scapegoat 666 is a pure, hate-mongering blackened death metal platter, that hits the crown of thorns right off of JC’s head.

 www.myspace.com/satanshost

(This content originally appeared on Blistering.com)

Zimmers Hole – When You Were Shouting At the Devil…We Were In League With Satan (Century Media Records)

0

Essentially SYL without Devin, Zimmers Hole isn’t as new as many think – the duo of guitarist Jed Simon and bassist Byron Stroud have been doing the “Hole” for years whenever Townsend would go off and do one of his solo projects. Joined by drum lord Gene Hoglan and vocalist Satan aka “The Heathen,” Zimmers Hole is by all intents and purposes the substitute for SYL and frankly, When You Were Shouting At the Devil is a pretty fun and enthralling listen when in the right mindframe.

Satan (God, that sounds weird saying that in relation to a vocalist…) has some Devin-ready pipes, as evidenced by his opening scream on the title track. With excellent pitch and delivery, Satan (ugh, there it is again!) is a versatile vocalist that shines on more than one occasion. Check out his throaty delivery in “Anonymous Esophagus” and the cheesy “We Rule the Fucking Land.”

Anything with Hoglan behind the kit is bound to sound good and since Zimmer’s Hole has decided to stay within the SYL framework, a lot of these sounds froth like they should. Check out the cool swing in “1312” and monster triplet gauntlet in “Fista Corps” for proof of Zimmers Hole high-quality musicianship. Even Dethklok’s Nathan Explosion gets in on the fun during “The Vowel Song.”

Fun stuff, hardly anything of real substance, When You Were Shouting At the Devil can get by on its own merits and actually doesn’t need the overt tongue-and-cheek it prides itself on. Nevertheless, we all need that brash, friendly punch in the arm once and a while, and it looks like Zimmers Hole will be doling out the bruises for ’08.

 www.myspace.com/zimmershole

(This content originally appeared on Blistering.com)

Dark Fortress – Eidolon (Century Media Records)

0

Given a ringing endorsement by Tom G. Warrior of Celtic Frost, Germany’s Dark Fortress (why such the unimaginative name?) have received a nice little push from Century Media, who must feel like this is 1997 all over again when their Century Black imprint ruled the roost. Their newest effort, Eidolon (no, not the band that gave Mustaine two more ‘yes-men’) is a slightly above-average affair of modern black metal, devoid of any real hooks or outstanding moments, but with enough gusto to just get by.

Songs like “Cohorror” and “The Unflesh” blaze by with the par-for-course BM elements such as swift chord runs and blast-happy segments that give these songs some ammo strong enough to make this a competent listen.

However, a certain level of sameness occurs once past the halfway mark, as “Edge of the Night” and “No Longer Human” fail to enact any sort of key dynamics. Dark Fortress runs into a wall with these tunes a few others, perhaps giving headway to the band’s need for more growth.

Recommended stuff only if you’re looking to beef up your BM collection, Eidolonhas some blatant flaws, but some moments and ideas that show Dark Fortress could do something of worth with the German BM template. Then again, the number of high-profile German BM bands is minute, so perhaps these guys will have to go back to the ‘ole drawing board.

www.thetruedarkfortress.com

(This content originally appeared on Blistering.com)

3 – The End Is Begun Special Edition (Metal Blade Records)

0

A band that has piqued the curiosity of many in both the underground metal and progressive scenes, Woodstock, NY’s 3 (or just “Three”) are getting the ‘ole reissue treatment on one of the most infectious and classy albums to emerge from the prog rock scene. Hardly metal, 3 has those 70’s flavored prog/arena rock sensibilities that has the potential to break these guys big and frankly, The End Is Begun is the type of album to savor and enjoy, railing against the current landscape of bands who have no freakin’ clue how to write a song.

In terms of The End Is Begun, roughly a half-dozen or so of these songs just kill, laced with memorable vocal hooks, well-constructed verses and chorus, and an apparent attention to detail that makes songs like “All That Remains,” the fun “Live Entertainment,” spacey “Been to the Future,” heavy “The End Is Begun” and groovin, funky “Battle Cry” numbers that will lay embedded in one’s brain for days upon days.

Extras include a near-flawless cover of Pink Floyd’s “See Emily Play” and live footage of standbys “Monster/Bramfatura,” “Amazed Disgrace” and music videos of “Alien Angel” and “All That Remains.”

Anyone who thinks the album is dead has heard The End Is Begun, a body of work that the metal scene should take note of. There are incredible highs and lows here, performed flawlessly by singer/guitarist Joey Eppard and crew. Better yet, these songs are something to behold – an actual band putting together something that would have made them heroes in the 70’s, but sadly will get lost in the shit-mire that is the stagnant rock and metal scenes.

 www.theband3.com

(This content originally appeared on Blistering.com)

Eluveitie – Slania (Nuclear Blast Records)

0

Scheduled to take part in the inaugural Paganfest with Ensiferum, Tyr, and Turisas (drools on keyboard…), Switzerland’s Eluveitie is the newest participant in the ever-expanding folk metal arena. Part Battlelore, part Dark Tranquillity (especially in the more up-tempo segments), topped off with a little Finntroll jig, Eluveitie have conjured up a very memorable, satisfying debut withSlania.

If there was one thing that continually sucks the wind out of folk metal’s sails is the preponderance of filler material on any given record. Check out any recent Battlelore, Turasis and even Korpiklaani album and there’s usually two or three rowdy, melodic throw-downs, while the rest comes off as a half-hearted piss in the wind. Magically, Eluveitie has elevated those qualms with 12 songs that speak volumes about their songwriting skills, which are quite significant.

Tracks of note include the spirited “Grey Sublime Archon” which is an odd mix of folk metal and German Goth metal masters Crematory (see: synths). The aforementioned DT comparison rears its head on “Bloodstained Ground” and “Tarvos” both of which are hard-charging romps through glorious epic metal territory.

“The Somber Lay” is wrought with Irish flutes (very Gaelic) and hurdy-gurdy, blended with more speed, while the more somber interludes of “Anagantiios” and “Glamonios” give the album a nice breather amidst the raucous folk metalling going on.

Let us hope Slania doesn’t get caught in the folk metal log-jam, ‘cause this is seriously one world-beater of an album, an early candidate for Top 10 lists and a standard-bearer for the epic folk metal scene for 2008. Excellent, glorious material that has this octet en route to things on a Moonsorrow level…

 www.eluvetie.ch

(This content originally appeared on Blistering.com)

Landmine Marathon/Scarecrow – Split (Level Plane)

0

‘Tis a cool concept for a split – two bands that actually don’tsound like each other, Landmine Marathon continuing in their rumbling, primitive (lots of Bolt Thrower) approach to crusty death metal, while Scarecrow surprisingly emerges as the long-lost son of Forbidden. Interesting.

For Landmine Marathon, vocalist Grace Perry’s throat-scraping provide a vitriolic front for the three numbers included – “Skin From Skull,” “Rise with the Tide” and “Changing Addictions.” LM’s innate rawness and penchant utter brutality over technicality is easy to latch onto – just check out the cool crawl of “Rise With the Tide” for further proof.

On the flipside, Scarecrow (fronted by former (?) Exhumed mainman Matt Harvey) come forth with some thrashy numbers without the insincere bells and whistles that accompany so many new throwback thrash bands. With a thin, trebly production, Scarecrow’s three songs have stocked with swift, agile riffs (especially in “Scum Also Rises”), sweet, melodic solos (think old Kirk Hammett) and Harvey’s surprisingly versatile vocal approach that is both discernable and memorable. Quite the change from his Exhumed days, obviously.

A highly recommended split, both Landmine Marathon and Scarecrow offer up something for everyone and in a rare moment, stayed firmly entrenched in yours truly’s CD player, a device that sees more turnover that the Oakland Raiders coaching staff.

 www.level-plane.com

(This content originally appeared on Blistering.com)