With Photoshop from the pirate bay,
anyone can design an album cover. Try your skills today!
A new slab of modern thrash metal today. Mutant, who formed just back in '04 and with a discography consisting of a mere 2 EP's, these guys are pretty fresh in the game. This does not seem to be a hindrance for the Brits in Mutant.
Kicking at high speed, with the feel of many modern thrash bands this may seem a bit "normal" at a cassual first listen, but all the details make this album so much more than just another thrash revival disc. The riffing has a fair amount of melodic qualities, and structurally this EP has a fair deal of progressive influences.
The guitars are about 60% Thrash revival riffing, 30% melodic/technical thrash riffing and 10% awesome solos. this is all you need to know.
The vocals range from classical shouts, to a more guttural growling (unlike about everything else i've put up to review here). They are well exceuted, and fit the music well. thumbs up.
The drums have their moments, and have a few proggy moments. mostly in bass/snare patterns, but steady as a rock, and varying the patterns a fair deal. no complaints here.
Apart from in the basssolos, you can't hear the bass all that much. it's just below the guitars in unison, not doing all that many licks, but when you hear it, they are good, and a pleasant surprise. decent day at the office.
This piece of music is defiantly something of the better stuff to come out in the last few years. it should be checked out. 8.5/10.
A relatively new band, formed in 2002 with a mere 2 albums to show for it yet, Vektor is a you and promising band worth keeping an eye for in the future. Even though their primary genre affiliation would be thrash, they hardly mix with the other retro-thrash bands. Their prog-inspired and blackened blend of thrash is unlike any other thing i've heard.
The riffs span from fairly technical thrash riffs to moody black pieces. most of the time i'd call the riffs a mix, with a blackened tonality and thrashy style. The variation presented keeps one interested through the entire album. The one thing i could wish for was more solos. the ones that are present are melodic and directional. They lead the music into new directions with their short bursts of high-pitched melody, Most Notably on the longer songs ending the album: "Dark Nebula" and "Accelerated Universe". Both of witch are highlights on this album with their respectively blackest and "thrashest" songs
The vocals are the most Blackened Aspect of this Album with a rasping shriek-ish style dominating the output. Worth noting are the incredibly high pitched Shirline on the chorus of the album closer: "accelerated universe". his vocals are not my cup of tea but they are well done and pleasant listening to if you take kindly to his style.
Bassmanship is pretty good on this album, but nothing that stand out as a big achievement. A few licks of counterpoint is used, (Black Future is the most prominent example), and to good effect, but nothing special.
The same mostly goes for The drums. intense, with lots of blastbeats and doublebass. Thigh and well performed, but not something that strikes me as noteworthy.
Songwriting is of a high calliber and the most striking aspect on the record. All transitions feel natural and works well. The moodscape is strong and done at a reasonable rate.
The eye, the snake, hands, a couple and lots of dark grey,
It seems like the symbolicism her is that if humans don't
watch out, we might create gentically modified snakes with
hands, that will kill us all.
There was a request in the comments some time ago, to give my view on Death, or "Chuck will turn in his grave man"
caring for my readers i try to oblige all requests. do give me more of them, i might find something new i like.
I will also want to apologize for not updating for a whole week, but i have been extremely preoccupied with preparations for a show, and i may be busy next week, too, can't promise an update before next Tuesday.
The annihilator Concert review is a project I've started to write, but lain off, since i don't have the pics that my buddy snapped. The review goes up as soon as i get my hands on the pics.
Now, Death. Easily one of the most important names in the death metal genre. Innovating and almost inventing the death metal genre, including naming it, these guys are essential in the collection of any fan of extreme metal. Debatably releasing the very first true death metal reccord in 1987 with "Scream Bloody Gore" and with constant renewal of themselves, "evil chuck" and crew come of as musicians with high ambitions and considerable skill.
1995's symbolic has taken the band to a far more progressive, melodic and emotional style.
The albums focus is not on the brutality and/or technicality that most other DM bands of the time did, but rather on taking the listener on a journey of feelings and moods. the use of tempo changes and a few changes of time signatures around the album keep things interesting throughout, and at times, wondering what will come next. In structure and songwriting this album is absolutely top-notch. Very few albums have this level of thought put into composition.
Vocally, chuck has put a greater emphasis on making the lyrics distinguishable, and the articulation of the semi-growling vocals is great. If you put emphasis on distinguishable lyrics, this album is a pleaser as there is little effort needed to decipher the lyrics. Despite the clarity in chucks voice, he still manages to sound angry. there is a definite aggression to his hoarse voice.
Rifficaly speaking, the album is not the strongest DM album in existence, without being bad by any standards. The variation is good, and a lot of the guitar parts convey emotion well. But few riffs truly stand out as truly excellent DM pieces. (The opener/titletrack has a few dam good parts though.)
The solos have tons of direction and work very well, and are of the highest quality. A true highlight of the album.
Percussion on this album is perfect. While there are more speedy & technical drumming out there, and more progressive amazingness in other genres, the drummer here knows how to only attract attention when he does something extraordinary. His work is also amazingly tight at all points in the album. the drum sound is slightly dry, with little reverb or "fall-off" noise. Here credit is due to the producer, as this dryness gives the tight work an even tighter sound.
Bassmanship has a lot of the same qualities as the drumming on this album. tight, truly excellent at times and well produced, it also has a lot lines that keep unique to the guitar, without being all that noticeable, making the bass a little hidden gem that you can search for and give you a little smile anytime.
Well produced, extremely well composed and with generally very good individual performances. this makes for a great album. If you are not acquainted with death's style of DM, you will need a couple of listens before you truly appreciate it, but when you get there. there is a masterpiece there for you. 9/10.
I wrote this text in Norwegian, and thought of posting it here, but i can't be assed to write it all out again, instead i present you this puzzle, of poorly translated concert review ramblings.
those of you who solve it, all glory to you.
Mercury, as the opening band gave everything to the atmosphere. A touch of humor by reading the poem that was found on the floor, and spontaneous ideas as to set up a lectern to lead singer testified won a stage set and entertainment group. By running at a high tempo from the beginning, and with an incredible live stage performance. Is it nothing more than to reap praise for the Mercury effort.
Sonically, it was no sludge ', which drowned some of the riffs any and all text disappeared in a sump hole of sound.
Musically, the mix of their heavy & power metal, with elements of prog, thrash and core elements interesting and varied. Especially the singer should have praised for its excellent and varied vocal lines.
Purely personal, I could wish that they Tont the "fairy metal" tendencies their breakdowns and did listen to the X-core band to come.
A sleepy audience may be due to the somewhat remote concert venue, the band's relatively unknown, and that the audience sat on chairs. An Experience that met expectations, and a fantastic live show makes Mercury deserves a roll of the dice: 4
Troll entered the scene in total darkness with the grim, grandiose tones accompaniment. The theatrical effect was strong, and put the audience in the mood for what was: raw Norwegian black metal, with elements of symphonic, industrial, death and thrash. There was a high degree of riffing on both guitar and keyboards, and great vocal delivery.
The performance stage to the Troll was just as energetic as Mercury, but less vivid, unless flirting with the audience, but with constant headbanging and windmilling.
Sonically, however Troll had 100% control, with a clear distortion tone, and all the instruments clearly audible. Some of the audience thought the vocals were unclear, but as I sat there with me I got everything.
Troll did a very good concert that could only be improved with even more life on stage.
With good sound, good music, much of the last album, and a strong live performance, merit Troll karrakteren: 5
Review of the annihilator concert yesterday is comming, but i can say, i loved it.
Sweet, sweet acoustic tones. Arpeggios supplemented by a beautiful complex melodic line. Modulations and returns. “Crystal Ann” is one of the best pieces of music written in the history of popular music. It's strong mood, and emotion gets the listener quite ready for the rest of one dam strong album. 1989's "Alice in hell" is one of the best efforts by Jeff Waters, and his crew with Annihilator.
The first song on here, what some would call the title track: “Allison Hell” starts of with a dramatic acoustic, following the intro, but then bursts into a strong melodic riff, with a interesting bassline, to then go completely nuts, and calming down. This is indicative of the entire album. There are lots of changes, and riffs and passages of highly varied nature. All the parts are also of a highly catchy nature, and most parts have a strong identity, and feeling of uniqueness.
W.T.Y.D is a mostly fast paced thrasher with a fairly technical riff. Around the halfway mark, it has a very nice calm interlude, and then a shredding bridge. One of my favorite breaks of the album.
“Wicked mystic” is a heavy song, that never really lets up, and continues to thrash about until the melodic solo starting at a bit past halfway. This is one of the more shredding solos of the album (as opposed to directional solos). Strong track, that will leave your neck tired, should you witness it live.
“Burns like a buzzard blade” tones down the speed and heavyness for a bit, but makes uf for it in a more catchy riff and chorus. The staccato riffing on the verse feels so tight that you'd wish you could stick your dick in it. The solo is not the best on this album, and this song does not count as one of my favorites on this album.
“Word salad” is an intense song, with frequent changes of of speed, and a melodic thrash riff sticking out as one hell of a technical achievement. The acoustic piece in there is also the most creepy of them all. This makes a great contrast to the inspirational and quite directional solo. A nice piece of songwriting right there.
Schizos are never alone. A Fun and highly varied song, the title hinting to schizophrenia is somewhat indicative of the songs structure. Forgetting where it is, and where it is going, but with awesome parts driving it, this song is like a highway to nowhere. You don't get anywhere, but it is a nice ride.
Staccato drumming starts off “Ligeia”. The most important part on this song is it's structure, with its mix of mid-paced heavy thrashing, and breakneck speed choruses. Also worth noting, is the phenomenal bass riff carrying the later part of the song, with nice fills and intense riffing.
Ending the album is the bass heavy “human insecticide”. The bass jumps all over the place, with harmonies and octaves everywhere, fills and unique lines flow out of the lower register at amazing speeds. In general this reminds more of the second albums basswork, and that is a good thing.
The guitars keep up the intense speed too, but allow the bass enough space to shine.
A decent way to end a fairly good album, without any weak points.
This consistent album of good individual parts, and simply headbainging tunes is deserving of a decent 8/10.
I am seeing annihilator, sworn amongst and svölk live in a weeks time, does anybody want a writeup of the consert, or are you more interested in having a more obscure recommendation instead? Leave your comment.
