OBLIVION: “CALLED TO RISE”

 Album Reviews  3 Responses »
Sep 242012
 

(In this post TheMadIsraeli reviews the forthcoming debut album from the Bay Area’s Oblivion. In a companion piece that you can find here, TheMadIsraeli also conducts an extended video interview of Oblivion’s Nick Vasallo and Ted O’Neill.)

Oblivion are one of the most badass death metal bands to emerge this year, seemingly appearing out of nowhere in a sea filled with sub-par deathcore and been-there-done-that modern tech-death that’s completely devoid of soul and conviction.  Called To Rise is an album that really brings back what I’ve missed too often since my discovery of death metal: smart riffing, effective song composition, and a keen sense of when to show off and when to not.  In a lot of ways, the album bombards the listener with elements, traces, and straight-up throwbacks to the tech-death of the 90’s (my favorite era of death metal).

It doesn’t hurt, of course, that Oblivion has some undeniable talent behind the name.  Ted O’Neill is an astounding guitar player capable of producing soul-shredding riffs and brain-melting solos, but his partners in crime are also quite badass.  Vocalist/bassist Nick Vasallo is an accomplished classical composer (a talent that factors prominently into the accomplishments of Called to Rise), and drummer Luis Martinez of now-defunct death metal/deathcore greats Antagony (for whom Vasallo was the sole composer). Joining the fold recently is second guitarist Victor Dods of the also now-defunct progressive death metal band Hacksaw to the Throat.

For everyone in this band, Called To Rise is an official return back into the metal world.  Especially most impressive is Ted O’Neill, who’s been out of the game for 25 years.  To repeat: This is the first time he’s played guitar in TWENTY-FIVE YEARS.  Just think about that as you listen to what Oblivion have done so far. Continue reading »

SHORT BUT SWEET: LAWLESS — “NITE OF THE WOLF”

 Album Reviews, SHORT BUT SWEET  3 Responses »
Sep 222012
 

The members of the Bay Area’s Acephalix, whose crushing 2012 album Deathless Master I reviewed here, have their claws in a lot of grisly pies. In addition to unleashing sonic destruction in Acephalix, vocalist Dan Butler, guitarist Kyle House, and bassist Luca Indrio are also members of Vastum, another killer band we featured recently and who are now in the recording/mixing phase of their next album at Earhammer Studios in Oakland.

AND guitarist House, bassist Indrio, and Acephalix drummer Dave Benson are also the three members of a band named Lawless, with Indrio and House also sharing the vocal duties. Earlier this month the trio released their first demo under the Lawless banner. Titled Nite of the Wolf, it includes three songs and is available for download at Bandcamp (HERE) for $3, or on tape for $5.90 (limited to 200 copies) from Blood Divine.

The obvious question is how does Lawless’ music compare to that of Acephalix, given that both bands share the same guitarist, bass player and drummer, and given that both Deathless Master and Nite of the Wolf were recorded by the late Jeff Leppard Davis at SF’s Lennon Studios? Well, if you know anything about Acephalix, you would be shocked if I told you that it turns out these guys decided to form an outlet for their interest in acoustic folk music. So, I’m not telling you that. Continue reading »

EX DEO: “CALIGVLA”

 Album Reviews  9 Responses »
Sep 212012
 

(After a bit of a hiatus, TheMadIsraeli reappears with this review of the new album by Ex Deo.)

Whoever thought Roman battle metal would actually be a thing?

I certainly didn’t.  I remember seeing the video for Ex Deo’s “The Final War (The Battle of Actium)” and had three thoughts.  This is one of the most well-done music videos I’ve ever seen, why are all the dudes from Kataklysm producing music better than Kataklysm, and where can I acquire this masterpiece!?

So yeah, Romulus was a pretty sweet album although it did start to drag a bit at the end.  I didn’t really fault them for this, it was a new idea and they were trying something different.  Now we have the band’s sophomore album Caligvla.  I’ve eagerly anticipated this just to see how Ex Deo’s sound would manifest itself after coming into full fruition, and I’m quite enjoying the result.

For the uninitiated, Ex Deo play a style of imperialistically charged melodic death metal with appropriate ethnic instrumentation to capture the spirit and the chaos of Rome at its most bloody.  The most peculiar part of this band, however, is the fact that they are all of Kataklysm, plus one other member.  This is odd for me, considering that if I had to pick a Canadian band who couldn’t possibly bore me more, it would be Kataklysm (although the first three albums did hit a sweet spot with me).  Continue reading »

AS I LAY DYING: “AWAKENED”

 Album Reviews  12 Responses »
Sep 212012
 

(DGR reviews the new album by As I Lay Dying.)

As I Lay Dying are one of the few metalcore bands who still have new releases to look forward to. While the first two releases from this group may have been somewhat mixed, the quality and sheer heaviness that the band aimed for on the following releases, An Ocean Between Us and The Powerless Rise, is almost undeniable.

They’re able to take some fairly standard metalcore writing and advance it by adding elements of thrash, death metal, and even moving into the realm of groove. Though they’ve never been the perfect song-writers, I have often believed that As I Lay Dying were one of the few bands who could work well within the boundaries of the metalcore realm, because they’ve mastered what they can do for it and clearly have an understanding of what elements of that genre are boring, and how to spice things up. Very few bands can do that, and it really does require a love and reverence of the material that you’re working on in order to pull it off.

Now we have Awakened, a new As I Lay Dying disc with album art that veers dangerously close to Paradise Lost’s Tragic Idol in its color scheme, and that has seemingly sneaked up on us since, holy crap, this thing is out in a few days. Even though I really hadn’t heard anything from As I Lay Dying’s latest release prior to this review outside of the song “Cauterize” once or twice (and I have gained somewhat of a reputation for rarely liking the lead-off from any new disc because CHANGE IS BAD, GRAH!, though “Cauterize” is pretty alright), there was still reason to be excited. Continue reading »

OKERA: “A BEAUTIFUL DYSTOPIA”

 Album Reviews  1 Response »
Sep 202012
 

(I originally wrote this review as a guest piece for Metal Bandcamp and am re-posting it here, just in case Metal Bandcamp collapses under the weight of all the words.)

When MaxR asked me to write a guest review for Metal Bandcamp, he said he wanted to give me something a little out of my usual comfort zone, and specifically, something connected to the realm of doom. When I agreed, the album he picked was A Beautiful Dystopia, released earlier this year by Okera from Melbourne, Australia. I’m afraid Max failed in his mission. Not only am I comfortable in the company of A Beautiful Dystopia, I’m ready to marry it and have kids.

As a genre term, “doom” is a big tent, encompassing a wide range of music, particularly when it’s joined through a hyphen with other styles of metal. A Beautiful Dystopia is one of those hybrids. All of the music is wrapped in the blanket of night, moving in an atmosphere that is often suffused with sensations of melancholy or even the energized bleakness of agony. But the music is also heavy and compulsively rhythmic at the same time as it’s wonderfully melodic. To varying degrees, depending on the song, Okera meld together melodic death metal and doom to produce dramatic, memorable songs.

Every one of the sevens tracks share certain hallmarks: Most of them are long, with three of them lasting more than nine minutes and three others ranging between almost seven minutes and eight — which means they depend on changes in pacing and intensity. Okera establish core melodic themes and then weave them through a course that drops and rises, with soft, contemplative, occasionally acoustic passages and sudden enormous crashes of might and power. The music ebbs and flows, and ultimately the songs build toward an almost overpowering surge of emotion. Continue reading »

KATATONIA: “DEAD END KINGS”

 Album Reviews  1 Response »
Sep 202012
 

(In this post DGR gives us the second of our two reviews of the new album by Sweden’s Katatonia. The first one is here.)

Katatonia are fast becoming a cornerstone around these here parts. Despite the fact that the band are pretty much completely clean singing, we’ve still covered them quite a bit. Aside from the fact that we here at No Clean Singing have excellent music taste, I am also a massive fan of the group, coming into the fold during a time just prior to the release of The Great Cold Distance and riding that wave of darkness ever since.

Katatonia are even reaching the point when they aren’t just a really great underground band, a trsnaformation that has been excellent to watch as more and more people discover just how good their music is. When you’re receiving shout-outs in main quest lines on million-selling video games, your profile tends to increase pretty dramatically.

It was a little hard to speculate about where the band would go with the impending release of their latest disc, Dead End Kings, as they began slowly to release songs to the public. Were they going to try to return to the fuller, more band-oriented sound of their earlier works or were they going to continue with the sparse, cold, and vocally driven music that they revealed on Night Is The New Day?

The song “Dead Letters” hinted at some really strong potential, but coming into the full album without having followed every step the band have taken, I have found Dead End Kings to be a pleasant surprise. It’s an excellent combination of everything I’ve heard from the band before, with the quality cranked up as high as the band could make it, and nary a stinker on the whole disc. Continue reading »

SYBREED: “GOD IS AN AUTOMATON”

 Album Reviews  5 Responses »
Sep 192012
 

(DGR reviews the new release by Sybreed.)

Sybreed, the four-piece hailing from our favorite land of neutrality known as Switzerland who manage to combine elements of groove metal, industrial, electronica, and melodeath into one package are back again. Three years removed from the group’s album The Pulse Of Awakening (written about in an incredibly ridiculous manner here), we find ourselves ready to dive headlong into another four-word titled album God Is An Automaton.

If there is one thing that we can gather from Sybreed’s discography so far it is that although the band have some unifying themes, each disc has sounded different. Antares was pretty heavy the whole way through, and Pulse Of Awakening whiplashed back and forth between a catchy pop-oriented sound and some the more violent metal aspects that lay at the heart of Sybreed. God Is An Automaton is a different beast from these two because it is a heavier, more vicious album than what Sybreed have done before. If you’re one of those people who have been aching for the band to get back to beating the hell out of everyone, then God Is An Automaton may just be your cup of tea.

God Is An Automaton actually opens with a fairly familiar version of Sybreed, one that bounces between a hooked chorus and catchy riffs before quickly taking a turn toward the slower-paced songs that make up a large part of this disc. In the three years between albums, Sybreed have attained a sense for a really heavy groove and sound, more machine-like than they have ever been before. Maybe having Seth design your album artwork two times in a row has rubbed off on them, but God Is An Automaton is a much darker album than its predecessors. Continue reading »

ARKHAMIN KIRJASTO: “TORCHES ABLAZE”

 Album Reviews  3 Responses »
Sep 182012
 

To operate effectively on your brain stem, extreme metal doesn’t require catchy melodies or viral riffs. You don’t have to find yourself humming the songs in your head hours or days later in order to enjoy the listening experience. In fact, as we all know, music in which the instrumentalists deliver nothing but down-tuned brute-force percussion, especially when accompanied by ravenous howling or bear-like roaring, can strike all the right chords even when you can’t reconstruct the songs in your mind a day later.

Yet I think it’s undeniable that clever melodic hooks and instantly headbangable rhythms are a big part of what makes classic heavy metal “classic”. Those are key ingredients (though not necessarily essential ones) that give songs staying power. Match that up with extremity in the vocal department, and you’ve got something that has the potential for real appeal to listeners (like me) who enjoy a memorable, neck-snapping song but also have a thirst for musical bestiality with a seasoning of the occult. And if you discover a band who do that while also delivering surprising variety and lyrical themes involving Lovecraftian horror, then you’ve got yourself a real winner.

And that’s what I’ve found in Torches Ablaze by the Finnish duo known as Arkhamin Kirjasto. They’ve pulled off a neat trick on their virally infectious debut album: combining throwback heavy metal riffs, death metal vocals, atmospheric guitar touches, and Lovecraftian lyrics in a way that’s as interesting as it is irresistible.

In a nutshell, Arkhamin Kirjasto (“The Library of Arkham”, in Finnish) is the project of Jussi Lehtisalo, who manages the eclectic Ektro Records label and has been involved in numerous other bands (including Circle, Pharoah Overlord, and Split Cranium) and solo artist Samae Koskinen. Lehtisalo brought to the project his interest in extreme experimental music as well as hard rock, glam, and punk, while Koskinen was driven by interests ranging from Maiden-esque heavy metal to early death metal. Continue reading »

OKERA: “A BEAUTIFUL DYSTOPIA”

 Album Reviews  7 Responses »
Sep 162012
 

“When MaxR asked me to write a guest review for Metal Bandcamp, he said he wanted to give me something a little out of my usual comfort zone, and specifically, something connected to the realm of doom. When I agreed, the album he picked was A Beautiful Dystopia, released earlier this year by Okera from Melbourne, Australia. I’m afraid Max failed in his mission. Not only am I comfortable in the company of A Beautiful Dystopia, I’m ready to marry it and have kids.”

And that’s how my guest review of Okera’s new album at Metal Bandcamp begins. It ends this way: “By this point it will come as no surprise: I recommend this album strongly.” In between, there is an explanation for why I’m so enthusiastic about Okera’s successful melding of doom and melodic death metal.

I hope you’ll read the whole review and check out the music, too. You can do both at THIS PAGE on Metal Bandcamp.

 

THE DREADED E-WORD

 Album Reviews, Revisiting the Classics  29 Responses »
Sep 142012
 

(NCS guest contributor Mike Yost provides this look back at an album that defeats all resistance to use of a dreaded e-word.  These musings also appear on Mike’s own blog, Remnants of Words.)

As many of you already know, the word epic is used far too often. And not just in metal reviews. Some examples you might hear are as follows:

TV Commercial: “If you’re thirsty, try (insert shitty sugary sports drink here) to quench that epic thirst!”

Movie Review: “Bruce Willis stood in front of the White House in a torn, bloody t-shirt while firing machine guns and bazookas in slow motion with explosions raining down all around him as terrorists were being blown away by the dozens. It was fucking epic!”

A Friend: “So then, we go to (his or her) place and start having sex on the kitchen counter, and (he or she) pulls out this epic glass dildo from the cupboard!”

As Islander has lamented in previous posts, the word epic has proliferated in metal blogs to the point that its overuse has the opposite effect. Epic now equals insipid. Superficial. Commonplace. I become very skeptical about an album when I see it in a review. I can’t help but think it’s being used to compensate for music that’s just plain bad. Or maybe the author of the review was just too tired after a long day at work and passed out at the desk looking for a thesaurus. (I’ve been there.)

This is unfortunate. Because there are a few bands out there who are epic. There are a few albums that are epic. Even a few songs. Continue reading »

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