CD Review: Lamb of God – Hourglass
July 9th, 2010 Filed under: Reviews - Music by admin
CD Review – Lamb of God
Hourglass
Epic Records
Before getting into the gritty, pre-Lamb of God, Burn the Priest material, Vol. III kicks off with 5 bonus tracks- “We Die Alone,” “Shoulder of Your God” and “Condemn the Hive” from their most recent full-length Wrath (2009), “Another Nail for Your Coffin” from Ashes of the Wake (2004) and “Nippon” from New American Gospel (2000). Starting off with these 5 is a good lead-in for those primarily interested in the Lamb of God era especially considering the strength of these tracks and their potential to have been included in the official releases in the first place.
Following the bonus tracks are demo cuts of “Now You’ve Got Something To Die For”, “Hourglass”, “More Time to Kill”, “Dead Seeds” and “In Your Words.” Here is where things get interesting. For a band known for releasing albums with flawless production it’s quite a shock to hear the real, bare bones rehearsal versions. In large part it feels like a privilege to get a peek at the before and after, to witness what was scrapped and/or altered to make the final versions. What’s interesting also is the similarity of the tracks to the final versions (besides this version of “Hourglass” which is pretty sketchy vocal-wise); proving that LOG don’t rely on production to make them sound good, what they bring to the table stands on its own right.
The last 8 tracks of Vol. III first appeared on Burn the Priest’s tour tape and 7” respectively. Like the rehearsal tracks, these have a raw feel and though differ in style from the later LOG material, reveal the foundation on which the “Pure American Metal” sound would later be built. Certainly cherished by die-hard fans, the inclusion of this lesser-known material with the other, more recent but equally rare tracks is what gives Vol. III- The Vault its charm and what makes it a worthy addition to any metal album collection.
By Alxs Ness
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CD Review: Nevermore – The Obsidian Conspiracy
June 2nd, 2010 Filed under: Reviews - Music by admin
CD Review – Nevermore
The Obsidian Conspiracy
Century Media
The Obsidian Conspiracy is the seventh full-length release for Seattle-based four-piece Nevermore. This release is a departure from the course they set out with their groundbreaking This Godless Endeavour. While the 2005 hit release was a lesson in technical ability, showcasing the superior guitar skills of Jeff Loomis and Steve Smyth, The Obsidian Conspiracy sees Loomis focus primarily on riffs that support what Warrel Dane is doing vocally. That’s not to say that there’s a lack of impressive guitar work on this one- it is Nevermore after all- but the guitars are less flashy then previous releases.
What’s interesting about this new approach to their songwriting is how it’s allowed Loomis’ riff-writing skills to come to the fore along with Dane’s vocals. It’s no secret that Loomis is one of the best shredders in the world; the Nevermore discography and his solo album Zero Order Phase hold testament to that. This is however, the first release that highlights his riff-writing abilities as well. That being said, because this is such a different approach from their previous efforts, there is sure to be a mixed reception.
Longtime Nevermore fans will most likely appreciate the band for accomplishing what they had set out to do with the Obsidian Conspiracy. They had an intention when creating these tracks and the end result reflects that. Likewise fans of Warrel Dane’s vocal style will most likely approve of how he has been placed front and centre, not only by how the music has been written and arranged but also through the mix. On the other hand, those who have followed the band through the years with a primary interest in the guitar work may have a hard time accepting the change.
As with all Nevermore albums, this one takes a bit of time to fully appreciate. In the grand scheme of their discography The Obsidian Conspiracy should be seen as a continuation of their drive to push their sound beyond its own borders. They are a band that has always avoided creating identical records and this one is simply the next step in their evolution.
By Alxs Ness
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CD Review: Bleeding Through – Self-titled
May 11th, 2010 Filed under: Reviews - Music by admin
CD Review – Bleeding Through
Self-titled
Rise Records
Bleeding Through is one of those bands that fans and critics alike often try to categorize using terms like “hardcore,” “metal-core”, “death metal,” etc. While these terms reference some of the band’s more apparent influences, they don’t come close to defining their overall sound. Throughout their discography, Bleeding Through has managed to merge each member’s various influences, evading oversimplifying categorization. While this can be a piss-off for those that like everything to fit neatly into a box, it’s great for fans who crave something new, something that’s constantly pushing the boundaries.
As with their previous album Declaration, Bleeding Through starts this one off with an instrumental. Titled “A Resurrection,” it’s less melancholy than “Finnis Fatalis Spei,” sounding somehow more like the first rumblings of war than the gothic/romantic theme of its predecessor. The abrasive “Anti-Hero” sets the tone for the album which is definitely a lot angrier and forceful than Declaration. Where lyrically and musically the latter seemed to come from a place of anxiety, abuse, regret and vindication, the former doesn’t hesitate to go straight for the jugular. If you are unsure, follow “Anti-Hero” with “Fifteen Minutes,” “Breathing in the Wrath”, “This Time Nothing is Sacred” and “Slow Your Roll.” While this album does carry on the emotional depth that Bleeding Through is known for, it’s a lot more aggressive and pissed off then previous releases.
Another change in the band’s sound has come as a result of the departure of guitarist Jona Weinhofen and subsequent replacement by Dave Nassie (ex-No Use for a Name). With the addition of Nassie has come a new dynamic in the form of guitar solos. While he shreds alongside Brian Leppke (guitars) throughout the album, he also throws down some wicked solos from time to time. This is another great example of how Bleeding Through continues to evolve over the years, all the while maintaining their signature sound.
By Alxs Ness
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CD Review: Warbeast – Krush the Enemy
May 10th, 2010 Filed under: Reviews - Music by admin
CD Review -Warbeast
Krush the Enemy
Housecore Records
Krush the Enemy is a strong debut for thrash metal behemoths Warbeast. Having inked a deal with Phil Anselmo’s Housecore Records label, they were also able to secure the legendary front man as producer for this release. Though members Bruce Corbitt (vocals, ex-Rigor Mortis), Rick Perry (guitar, ex-Gammacide), Scott Shelby (guitar, ex-Gammacide), Alan Bovee (bass, ex-Gammacide) and Joe Gonzalez (drums, ex-Demonseed) are not newcomers to the metal music industry, for a band relatively newly formed (2006), it is clear that their determination and skill is helping them advance in a game where many quickly fall behind.
As one of the strongest tracks on the album, “Krush the Enemy” is a solid choice to open with. A quick drum roll sets the pace for the main riff which kicks in almost immediately, foreshadowing the chorus to come a bit later. “Krush the Enemy” is one of those songs that begs to be heard live. It does not take much imagination to guess how great this track would sound at a show, especially from the centre of the pit. Another solid track, “Unleashed” follows, laying down a consistently faster tempo that carries enough groove to incite frenzied head banging throughout.
As a debut, Krush the Enemy is a strong pronouncement of Warbeast’s potential as a top contender in the ranks of thrash metal. Highlights of the style they carve out on this album include technical guitar work comprised of a healthy does of face-tearing shred, heavy groove and killer solos, dynamic vocals and an overall tight sound that would easily cause a riot in a live-scenario.
By Alxs Ness
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CD Review: Periphery – Periphery
May 8th, 2010 Filed under: Reviews - Music by admin
CD Review – Periphery
Periphery
Distort Records
The self titled debut by Washington DC’s Periphery probably confused the hell out of all the people who were smoking their faces off that day. Periphery is far from stoner music. On the contrary. It is polished so brightly it would burn the unaccustomed eyes of basement dwelling pot heads should they so much as throw it a sideways glance. But correct me if I’m wrong at this point because it is indeed possible that the members of Periphery themselves dabble in the mildly hallucinogenic world of marijuana. The album is riddled with quips and exclamation marks, and song titles like Jetpacks Was Yes!, and Ow My Feelings. It’s clear these boys are putting a silly spin o’er their otherwise crushing, vivid and sincere musical and lyrical work. So, friends, do not be fooled by the clown faced icing on some of the titles listed on the packaging. Periphery delivers a progressive metal mix that fuses the intensity and inventive guitar work of Meshuggah with the melody of Sikth.
The band has 3 guitar players (how they manage to squish all that combatant riffery into the compositions is a feat of physics) that create a rippling depth amazing finger-work, on top of which they have inserted some glitchy, rhythmic noise to keep you twitching. Lyric writing has been shared amongst the band members and guests, but is brought forth primarily by vocalist Spencer Sotelo. Sotelo hits some outrageously high notes for his timbre. The melodies are always soaring, though not overtly infectious.
Topping off the wonders of this album is the fact that it was produced, engineered mixed and mastered by the guitarist Misha “Bulb” Mansoor in his bedroom. Welcome to the wonders of the new universe. Gone are the days of reliant musicians, the world is their oyster. Impeccable job gentleman, tight as fuck.
By -ninjoelspy-
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CD Review: Slash – Slash
May 8th, 2010 Filed under: Reviews - Music by admin
CD Review – Slash
Slash
Roadrunner Records/Universal
Former Gun’s N’ Roses legendary guitarist, currently of Velvet Revolver, Slash, has released his true debut endeavour as a solo artist entitled “Slash.”
As pretentious as this album could have been considering the array of musical genres that are literally all over the map, it is a perfect paradigm of what can happen when creative individuals work collectively to produce a work as a cohesive whole. Some of the guest artists involved were heroes to Slash when he was younger – Ozzy Osbourne, Iggy Pop and Lemmy Kilmister. He brought contemporaries on board while including a few of the younger throng such as M Shadow from Avenged Sevenfold. Other guest artists include, Ian Asturbury, Chris Cornell, Dave Grohl, Fergie, Duff McKagan and Izzy Stradlin to name a few. Bassist Chris Chaney and drummer Josh Freese carry the powerful rhythm section while Slash provides the… well, Slash.
The album was recorded on now-rare analogue tape by producer Eric Valentine (Queens of the Stone Age, Third Eye Blind). Valentine takes full advantage, creating tones only possible through the analogue medium which is conducive to the rich and full sounds, while being fluid and organic. “Saint Is a Sinner,” the acoustic track on the album is a flawless example.
Even though “Slash” is a giant side step away from Guns N’ Roses, this album will fill your appetite with plenty of tone bending, note defying Slash solos. Easily one of the best songs on this album is the raucous “Doctor Alibi” featuring rock god Lemmy Kilmister as guest vocalist and gnarly distorted bass playing.
If you are a Guns N’ Roses fan, this is not a Guns N’ Roses album, nor does it pretend to be one. It is a collective of songs written with specific artists in mind; sounding more like the band each artist represents with Slash ripping it up on the sidelines, showing just how humble the top-hatted guitar shredding fiend really is. This project was well worth the effort clearly showing that he isn’t ready to hang up his top hat just yet.
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CD Review: Bullet For My Valentine – Fever
May 5th, 2010 Filed under: Reviews - Music by admin
CD Review – Bullet For My Valentine
Fever
Jive/Sony Music
The past few years have been very kind to the boys of Bullet For My Valentine. Numerous tours opening for such metal greats as Metallica and Iron Maiden, as well as their own sold out headlining tour in early 2007. Not ready to quit there, Bullet For My Valentine return with Fever; the highly anticipated third album from the Welsh metal core heavyweights.
The album opens with the first single, Your Betrayal; a high energy and dramatic song that builds riff upon riff over heavy rolling drums till the song drops out into a laid back groove ridden, albeit whispered, verse. Once more the energy builds to the harmonized chorus that is a huge part of the bands sound and is evident on every track on this album.
The formulaic nature with which the songs on this album are put together creates two very noticeable effects. Firstly, it does give the album and the band a cohesive sound which is easy to identify. Unfortunately, it also tends to drag on as song after song share similar feels, harmonies and lyrical structure. This last point comes across most noticeably as a great deal of the lyrics follow the same rhyme scheme throughout. Not an uncommon or ineffective musical tool, the rhyme schemes present here seem to take away from the musical prowess the band is otherwise capable of presenting to the audience. Great riffs and high energy can come across as weak if accompanied by lyrics which lack any identity or substance. The two tracks which did display a dynamic departure from the rest of the album; A Place Where you Belong and Bittersweet Memories, are representative of the classic softer side of metal. With personal writing and melodic riffs, these songs break up the album, giving the listener’s ears time to readjust before the next driving harmonic riff laden song.
If it’s energy you’re looking for, look no further. Fans of the band will surely be happy with this newest addition to their collection. You take the good with the bad and in this case there is plenty of good to be focused on. A bright and successful career has been built behind the band and will surely carry them well into the next decade. Look for the guys on tour throughout the United States during the month of May.
By Matt Snow
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CD Review: Brian Posehn – Fart and Wiener Jokes
April 6th, 2010 Filed under: Reviews - Music by admin
CD Review – Brian Posehn
Fart and Wiener Jokes
Relapse Records
There’s one thing that makes Slayer, well….Slayer. They never really disappoint. You know what you’re getting whenever they come to town, or put out a new album: an update of the same sound you’ve come to love and rely upon. The same could be said for Brian Posehn. With Slayer – you show up for demonic imagery and fret sizzling speed, monotone yelling by Tom Araya, and with Brian Posehn, you want fart and wiener jokes….and thanks to this new album out on Relapse Records, that’s what you get, and both will have you yelling ‘Slayer!!”…check the track list to understand that.
The Slayer reference is reason #1 that this comedy album is relevant to you. The second being that he is label mates with bands like Exhumed and High on Fire , (which was a smart move on their part, considering his indie-rock friendly friends Patton Oswalt and David Cross had signed to the Nirvana-funded Sub Pop label). The third would be the final two tracks: the first of which is a sequel to the metal-manifesto from his first album (the hilarious Live In: Nerd Rage), called “Metal by Numbers”. This time around it’s called “More Metal Than You”, and it features Jamey Jasta (Hatebreed), John Tempesta (White Zombie), Scott Ian (Anthrax), Mark Morton (Lamb of God) and Russ Parrish (Steel Panther). While it fails at being funny, it’s cool to hear all of this royalty come together for one common love. The second track is a metal cover of Kenny Rogers’ ‘”The Gambler”.
The hard thing about doing a comedy album is that it has to be fresh enough to encourage repeated listens. This simple fact hurts this record in that a lot of the best bits (such as the aforementioned ‘Slayer’ and ‘Kate Beckinsdale’ have been released before on other compilations). It really is an uphill battle for comedians as compared to musicians based on the fact that a crowd expects greatest hits from a band, but a comedian is scolded for it.
Brain Posehn’s material comfortably sits in the ‘shock-value’ territory of comedy. He works best when you’ve come to see a festival and out walks the ‘Just Shoot Me!’ guy and lays you out with jokes about pulling down 80 year old tang, but when you see it coming and realize how rehearsed the delivery comes off, it feels a bit flat. Saying these things hurts this reviewer, considering I’m a huge fan, but honestly, go find ‘Live In: Nerd Rage’, and then see the man in concert. Don’t get me wrong, he does rule, but consider this record his ‘Undisputed Attitude’, when you could go listen to his ‘Reign in Blood’.
‘Fart and Wiener Jokes’ is in stores April 27th
By Kevvy Mental
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CD Review: Triptykon – Eparistera Daimones
April 2nd, 2010 Filed under: Reviews - Music by admin
CD Review – Triptykon
Eparistera Daimones
Century Media
Celtic Frost fans waited far too long between the Vanity/Nemesis and Monotheist albums, only to have their resurrected hopes crushed when Tom G. Warrior announced the collapse of the band widely hailed as the progenitor of modern black and death metal. Never one to turn his back on those who made him the larger-than-life name he is, Warrior has returned with a new band, Triptykon, and a new album, Eparistera Daimones.
Straight out of the gates, you know this is more than just a continuation of Celtic Frost. The opening dissonance of the first track, “Goetia” is instantly reminiscent of “Triumph of Death” from the Hellhammer classic Apocalyptic Raids. This segues brutally into a stunningly harmonic riff that sounds effectively like the roar of bomber planes at cruising altitude. Tom G. Warrior’s vocals have been run through a ring modulator effect that provides just the right amount of evil to his already legendary death grunt vocal style, and lyrically this is the most blatantly satanic Sir Warrior has ever been.
From here the album unfolds at a slower, more crushing pace. Once the guts of the album begin to unravel, the concepts of earlier Celtic Frost finally begin to show. The song “Abyss Within My Soul” is a very good example of this- it fuses a slowed down, de-tuned riff that isn’t a million miles removed from the intro to “Morbid Tales” (the song, not the album), and we see a return to the tragic vocal style first used on tracks like “Babylon Fell” or “Sorrows of the Moon” from Into the Pandemonium.
Before we get too far along thinking this is a plodding doom metal release, we must look at the fifth track on the album. “A Thousand Lies” is an absolutely skull-crushing track that reminds one (via lead-pipe cruelty) why Tom G. Warrior sits high on a throne overlooking the genres of death and black metal. This is music to murder by; unrelenting, unrepentant, and absolutely malicious in its intent.
The production on this album is massive. The guitars are absolutely monolithic, and the vocals are perfectly mixed in, to complement the wall of sound; many audio engineers have a hard time getting this one aspect of metal production down to a science. The bass and drums are present, although both lack personality. This seems more a matter of performance than recording acumen though.
Tempting though it may be to call this an instant classic, there are moments that overstay their welcome (‘The Prolonging’ is a 20-minute long testament to this). There are also times when the ideas have clearly been overworked past their vitality. The nod to dark ambient experiments on prior Celtic Frost releases also falls short of the mark- “Shrine” just isn’t long enough to mature into its potential.
However, when all is said and done, Eparistera Daimones (“To my left, the demons”) is everything rabid fans of Celtic Frost could have hoped for. Gone are the unrestrained experiments of the Apollyon Sun project, yet at the same time this is so much more than just a rehashed album for the fans only. This is a distilled potion; a discordant liturgy from a long-established master of the form.
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CD Review: Jimi Hendrix – Valleys of Neptune
March 27th, 2010 Filed under: Reviews - Music by admin
CD Review – Jimi Hendrix
Valleys of Neptune
Sony Music
Buried in the myriad stories of celebrity death last year in the back pages of the daily newspapers was a headline that seems to have escaped the notice of most music fans, and definitely that of the Jimi Hendrix estate. Believe it or not, but the physician who attended Jimi at the time of his demise finally came forward nearly forty years later to confess that, in his professional opinion, Jimi Hendrix was in fact murdered. He reported that the incredible quantity of red wine that Jimi had vomited up was such that it would be impossible for him to have drunk it himself – the fluid was literally filling not only his stomach but his lungs as well. It would seem that a pair of dark suited men had entered Jimi’s trailer and most likely forced wine down his throat until he died, a fate that was easy enough to blame on his flamboyant lifestyle.
Forty years later and James Marshall Hendrix is still a mysterious figure, with an obviously fake sex tape released last year and unreleased recordings now coming out of the woodwork. The first, the visceral and incendiary “Valleys of Neptune”, represents work recorded around 1969, during the transitional period between The Jimi Hendrix Experience and The Band of Gypsies. More Bluesy and funked out than the balls-out psychedelia of “Electric Ladyland”, the twelve tracks of “Neptune” give a brilliant window into the worried mind and troubled soul of the greatest guitar player who ever lived. With impeccable production from the Legendary Eddie Kramer, Janie Hendrix and John McDermott, these tracks have even more sound substance than ever before.
Hendrix staple “Stone Free” kicks the disc off with a blistering ode to breaking free from the chains of society. The title track transports the listener to one of Jimi’s altered realities of vast space and strangely beautiful landscapes. “Hear My Train A Coming” sizzles with Jimi’s wailing blues licks, echoing his vocal lines. The cover of Cream’s “Sunshine of Your Love” rivals the original in acid drenched improvisation, while the classic “Fire” is treated to a scorching rendition, with Mitch Mitchell’s thunderous drumming propelling Jimi along on a roller coaster of sound. Closing track “Crying Blue Rain” is a slow blues number that further documents Jimi’s psychological despair.
Just what was eating at Jimi Hendrix’s heart as he wrote these songs? As one of the most successful popular musicians of his time, his was a world of endless drugs and women, and also endless demands and bullshit. The expectations of others and the burning desire for freedom seem the most common themes of his work, while at other times he truly saw himself as a musical messenger transmitting a new way of thought and being to an ignorant world. For those that find it difficult to believe that he was in fact killed by sinister agencies for the message he brought, might I recommend watching “The U.S. Versus John Lennon” for a briefing on the influence of popular music on politics in the 1960′s – just because these artists were always high doesn’t mean they weren’t taken seriously, in fact perhaps more so for their potential to alter people’s consciousness. R.I.P. Jimi Hendrix, a man whose work continues to inspire and mystify to this day.
Check for our Exclusive Feature celebrating the life and times of Jimi Hendrix with interviews, extensive Hendrix re-issue reviews and more!
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CD Review: X Marks the Pedwalk – Inner Zone Journey
March 27th, 2010 Filed under: Reviews - Music by admin
CD Review – X Marks the Pedwalk
Inner Zone Journey
Metropolis
Once an industrial mainstay, X Marks the Pedwalk were well known amongst the Goths and Rivetheads of the world as a reliably high-octane project that fused elements of trance with European electronic body music. After a 12 year gap in production, the band once described as “Germany’s Skinny Puppy” returns with Inner Zone Journey.
This bands last release was Drawback 1996. After this, Severn and his wife Estefania went on hiatus to focus on their other projects- their two children. Time and parenthood hath wrought change. Mellow, unassuming change. Polite change, the kind of change that will open the door for you, while commenting, “Nice weather we’re having, isn’t it?”
There is an introspective quality to much of this album that may disappoint fans hoping for a return to their well-known frantic pace. That is not to say the entire release is devoid of up-tempo electro-industrial, but dance-floor crushing tracks are in the minority. “Runaway” pops along with gusto, and the first single, “Seventeen”, has a powerful rhythm sure to please the glistening masses of the underground EBM club scene, but aside from these two tracks Inner Zone Journey is a remarkably placid collection seemingly designed for 4am chill-out play.
From the opening words of “Lifeline”, it is clear this isn’t going to be a particularly angry or angsty collection of songs. Severn’s vocal delivery is muted to say the least, a stark contrast to the barely-controlled power of years past. This isn’t to say his performance is weak as such, but he’s actually singing, not howling in key. He is no virtuoso however, so don’t expect to be blinded by a previously hidden eight-octave range.
Speaking of vocals, the weakest element of this album is clearly Estefania. Her delivery on Inner Zone Journey seems lost, as though she can’t quite grasp an effective harmony that blends with the music. She can sing, and powerfully so, but on this album she’s like a sheep without a border collie; directionless.
By contrast, the strongest element of Inner Zone Journey is the production. The entire collection of tracks is crisp, each sound sits precisely in the mix; from a mastering perspective the engineering was done with an ear for quality and not just volume. These songs caress the ear; it’s nigh-seductive.
It would be a mistake to assume that the changes in direction make this a weak album. It’s not, it’s just…different. At the same time, there is a certain expectation that a band or project is dependent on the ardour of their fans, and the need to sate the desire of those fans would dictate to some degree the material. This is a concept largely ignored on Inner Zone Journey.
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CD Review: Black Rebel Motorcycle Club – Beat The Devil’s Tattoo
March 25th, 2010 Filed under: Reviews - Music by admin
CD Review – Black Rebel Motorcycle Club
Beat The Devil’s Tattoo
Universal Music Group
Over a decade has passed since Black Rebel Motorcycle Club released their first album. From extensive touring and countless concerts, these three have proved their worth time and time again so it comes as little surprise that their newest studio effort, their fifth full length release, is full of the same blues fired rock that has kept the club at the top of their game for so long.
The album opens, quite appropriately, with their title track, beat the devil’s tattoo; a rousing grungy rock song that sets the listener’s feet stomping. With gripping lyrics and driving music, this track sets the pace for what is, in essence, a stripped down and raw rock album. There are moments on this album, that seem to be pulled directly from the center of what we know to be classic in rock music. Be it the slow and wrenching “sweet Feeling” or the Petty-esque “The Toll”, it seems as though we are on a road trip through the avenues of all the best classic rock albums.
As this journey continues, the record seems to snowball in depth and energy pulling the listener in with a unique energy. This energy comes to a head with the groovy and mystic track Aya; a relentlessly driving yet mellow experience of aural delight. While it seems at times to stray into a more poppy feel, this is an album centered on riffs and groove; elements too oft left at the wayside. If there is a message in this music it is simple. Forget looking pretty, forget fitting in. Grab hold of life and ride.
In a world of polish and auto tune, it is more than refreshing to hear such a genuine example of great rock, it is utterly necessary; a reminder that a great song can change the world. One turned head at a time.
By Matt Snow
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CD Review: Four Year Strong – Enemy of The World
March 23rd, 2010 Filed under: Reviews - Music by admin
CD Review – Four Year Strong
Enemy of The World
Universal Music Group
Opening track, “It Must Really Suck To Be Four Year Strong”, sets the pace for this record as a high velocity, good-natured, comedic yet inspirational pop-punk-punch-in-the-face. In a world where punk went the way of the wuss, so much so that poppy emo-punk and fruity loops crunk-core took over the Warped Tour, frustrated punk bands are now forced to berate crowds full of dumbfounded kids with shitty haircuts who just don’t connect with the real grit of the old world punk. Four Year Strong are bridging this gap a bit by infusing the melody most kids are into with some heavier and more technical dueling rhythmic guitar work. They have brought with them a posi-core passion that targets with precision the hearts of otherwise shallow and confused kids who need something larger and purer than momma’s boys making generic beats on their laptops and whining about high school house party social politics.
The riffs on this record are huge, the lyrics potent and straight forward. And while much of the content is nothing groundbreaking to the ears of the jazz snob, the shredding virtuoso, or the elated poet, the band brings their mix to the table without shame, remorse our apology. You can tell they are really behind it, that they are doing what they like and not what they think other people will like. The deeper you wade into the album the more exciting it gets, rife with battle cries and the sound of many hands and voices united in songs of righteous victory. This record is not recommended for the futilely cynical or judgmental metal or punk/hardcore purists.
If you have an open mind and heart, and a taste for spin kicking invisible enemies in the face with your war smile on, this record is for you. I would name a few more notable tracks, but they’ve all got the recipe down pat.
This album stands as a whole, from front to back, and side to fucking side. (PS Go see them live…)
By ninjoelspy
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Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
CD Review: Scorpions – Sting in The Tail
March 23rd, 2010 Filed under: Reviews - Music by admin
CD Review – Scorpions
Sting In The Tail
Universal Music Group
After a music career spanning over forty years, the Scorpions have slated the release date of their final album “Sting In The Tail” for March 23rd, 2010. On January 24th, 2010 the band announced that they would be retiring, but not before embarking on a world tour that will take them from Germany to five continents spanning over the course of three years. Guitarist Rudolf Schenker stated, “The three year tour through five continents is meant to be a huge blowout, where we can party with our fans and say good-bye.”
The production quality of “Sting In The Tail” is decent and the musicianship is tight, which is to be expected from a band that has played together for over four decades. There are also a few gems on what is to be known as their final effort such as “Rock Zone” and “The Good Die Young.” Of course no Scorpion’s album would be complete without at least one power ballad, the best being “Sly”. The album contains several “rock” songs, however most are ballads (without the power); all of which can best be described as “Scorpions Lite”. Moreover the songs sound re-hashed from previous works and somehow, they all seem a bit too familiar.
Vocalist Klaus Meine still has that undeniably remarkable voice; his vocals just seem to be missing the magnetism and power that they once had. The same goes for the guitar work of Matthias Jabs. His playing is dead on, his solos are accurate; they just don’t ever get going. It sounds as if he doesn’t quite have the momentum to get up and over the hill (pun intended). This release seriously lacks the intense energy that the band displayed in the past, whether you liked them or not.
If you think you are going to be rocking out with your air guitar like the good old days, don’t get too excited. Gone are the days of rock classics like “Rock You Like a Hurricane” from the album “Love at First Sting” or even the rockin’ power ballad “No One Like You” from the album “Blackout”. “Sting In The Tail” will undoubtedly get more radio play on the easy listening station. The Scorpions do however, leave their legacy of rock with a question of great importance to every rocker young and old alike from the track “The Best is Yet to Come” which is “How can we grow old when the soundtrack of our life is Rock N Roll?”
It’s admirable that these rockers wanted to give their fans one last hurrah, and true Scorpions fans will appreciate the effort. If you’re a die hard Scorpions fan, buy the album, although you’ll more than likely find that the novelty wears off sooner rather than later. If you just want to check them out because you have rocked with them on Guitar Hero then “Blackout” or “Love at First Sting” are both good choices. Make sure you go and see them on their tour/retirement party and get ready to flick your bic; let’s hope their set will include the classics for which they are best known because chances are you won’t see them kicking out the jams again.
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CD Review: Whitey – The West of Hope
March 22nd, 2010 Filed under: Made In Canada, Reviews - Music by admin
CD Review – Whitey
The West of Hope
Indie
Whitey is a tale of strange and wonderful origin. First off, they are not a bunch of weirdo white supremacists. They got their band name growing up in Chilliwack, BC amongst a predominantly Native population. They got called Whitey because that’s what they were, a little white blob of minority making ska-party-punk like nobody’s business. The West of Hope is their third release, and they’ve traversed such a long and diverse musical road that some may not even recognize them as the same kids they once were.
This record is an infusion of Latin and Caribbean grooves, laid thick and solid by Drummer Paul Clark, with the funk knob cranked. The key-sauce ingredients provided by Pianist Bryce Bennett give this record a one up on past releases with a myriad of multicultural soundscapes. Opening track Funkminister is horn laden sex funk that makes panties squirm all over the dance floor. Fellas, make sure to lie, tell the ladies that the half a chub you’re sporting is for them and not the sexy tunes. Need the 101 on sex with sound? Check out Makin’ Good, featuring MC Fresh Logic. “Music is better than her love…” That’s the level of commitment Whitey has to making sweet, sweet musical love.
They have a raging, trumpeting, tromboner that will fuck the shit out of your ears courtesy of horn tooters Cole Graham (Trumpet) and Micheal Kayser (Trombone). The West of Hope is a big tasty layer cake of vocals. Between dueling front men Joe Matheson and Colin Watchorn baking the goods, Fresh Logic pastes in tasty tongue twisting fudge filler and the horn players’ backups ice the cake. There’s always something new coming from the great white mouth for the funk hungry masses, like a sexy 6-headed mama bird barfing up delicious sustenance for her hungry hatchlings.
Make sure to get versed in multilingualism, Whitey are speaking in tongues on this album like a bunch of religious fanatics ranting about the message of musical love in a frothy mouthed fervor.
By ninjoelspy
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Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
CD Review: Shinobi Ninja – Brooklyn to Babylon
March 20th, 2010 Filed under: Reviews - Music by admin
CD Review – Shinobi Ninja
Brooklyn to Babylon
Indie
Hailing from New York, Shinobi Ninja brings an interesting smorgasbord to the table of music. The title track kicks off their debut Brooklyn To Babylon with a full band, reggae party, melodic hip-hop track that aims to get crowds bouncing. They call for the women’s panties of the world! They shout out to their homies and ladies! It seems like the type of track that could get the alcohol thinned blood of a dance floor full of clubbers going, but hearing it on the disc could very well boil the thick blood of a musical purist. There is something that seems a bit too contrived and typical about their jargon. But they are clearly comfortable in their shoes and boots, and they trudge on. They sound like Rage Against The Machine would have if they stopped raging against the machine and decided to party like superstars getting stoned with Scott Weiland and his temple pilots.
Their grooves are good, and the inclusion of a harder edged punk guitar on top of party beats is refreshing. But they strike the judges like a skinny kid gangsta in a psychedelic bedroom lashing out at momma. The second track “NAH NAH” is just that, the childhood memory of taunting belies the otherwise dark beat with a whiny discord. The guitars get heavier on Jump To This, another great party track for a dance floor under attack my headbangers. STOP! is brazenly punk influenced. It really gives the band an edge and gives the record a refreshing dynamic. But the innards of the song are slow and atmospheric, and the STOP! hook is under used. The Rain is a sludgy hip-hop soup thick with guitar, and a solid chorus to match. Back In The Daze pays homage to the old ways, before the 90’s got shitty. The punk meets hip-hop fusion here is a solid reminder of what rap rock could have been had Fred Durst never sucked the wicked out of it.
It seems like the record could include more of female vocalist Baby Girl, who adds a lot with her melodies. She finally gets a full feature at the end of the record for the Superstar Remix but the producers used that fucking auto-tune “Cher Effect” on her voice, lumping the band in with every other canned pop conformist. You would think that after “Dick In A Box” jumped on the auto-tune train people would wise up and stop using that garbage.
All things said, I applaud Shinobi Ninja for doing a decent job of reggae rap rock and taking some stylistic mixing risks that could potentially crush a career. Be brave, Shinobi, be brave and clever, or the music industry Daimyo will crush your rebellion.
By ninjoelspy
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Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
CD Review: Mathematics – Return Of The Wu And Friends
March 19th, 2010 Filed under: Reviews - Music by admin
CD Review – Wu-Tang Clan mixed by DJ Mathematics
Return Of The Wu And Friends
Gold Dust
Here is another mixtape of unreleased material by the Wu-Tang Clan, the New York rap group that needs no introduction. The man behind mixing and producing Return Of The Wu And Friends is long time member of the Wu-Tang family, DJ Mathematics, who has produced Wu-Tang tracks since 1993. The samples are taken from sessions during the recording of the acclaimed album The W (2000) also some are as recent as 2008.
Throughout this album Mathematics shows that he possesses in him the essence of The Wu. Return Of The Wu And Friends has consistent smooth rhythms with edgy hits from front to back. He picks sound effects and manipulates samples which sound like came from themes of fight movies like Rocky giving many of the tracks an epic tone; a tone relatable to RZA’s productions – known for his trademark sampling of kung fu flicks.
The opening track and follow up track are remixes, Mathematics had his own ideas to give Wu’s sound a fresh mix. “Clap” the original was bangin’ but I wanted it to be a lot more harder because of the way they was spitting on it. Rae, Meth and Ghost was coming on it crazy…” says Mathematics. The second remix was “Respect” with the base guitar’s appearance is was a g-funk head bobbin, foot tapper. The base guitar also gave “John 3:16” an offbeat groove on the solo Method Man track. And speaking of Method man, he was a force of dynamism almost stealing the spotlight in every featured song. Maybe it was just good luck for Mathematics to attain a great streak of Method Man recordings because Meth shines on Return Of The Wu And Friends without a word of filler rhyming.
With this 16 track mix only a few (literally 3) tracks didn’t equal up to the rest of this fresh album. “Strawberries & Cream” the unexpected gangsta ballad was sincerely touching until the final verse described vividly what he likes his girl to do to his dick; it’s freaky, raunchy and funny. But overall Return Of The Wu And Friends is a gem of remixes and new Wu, featuring all 9 emcees and more.
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CD Review: Katatonia – The Longest Year
March 18th, 2010 Filed under: Reviews - Music by admin
CD Review – Katatonia
The Longest Year
Peaceville
If there’s one band, who’s single and EP releases you wait for more than full-length albums, it’s indisputably Katatonia. It seems that every minor release they have ever made turned out to be nothing short of genius. The recipe is two to four tracks with mostly familiar ingredients, remixed and twisted with finesse and a mandatory brand new cherry on top. Black cherry that is. Following-up to their latest work Night is the New Day, The Longest Year EP is cooked in the best Katatonia tradition.
If you think back, My Twin, July, Tonight’s Music, Teargas, Saw You Drown, Sounds of Decay and For Funerals to Come are all very different but inherently brilliant records. The Longest Year lives up to the same expectations and in essence is one of the best releases of the year. And it doesn’t matter that the year has just begun. So press play and be prepared to be engulfed in deepest philosophy, abysmal soundscapes and a complete emotional catharsis as “The Longest Year” sucks you dry like a black hole.
It’s not just four tracks you are listening to. Just trying to begin to contemplate the profoundness of thought put in each and every song will be enough to thank Jonas Renske, Anders Nyström and every other living soul related to this record. Even a full album is usually not enough to show what Katatonia wants to share with the world , so, naturally, the long-lusted new track “Solid Heart” is going to take you by the hand and lead you into a land of sweet melancholy all the way to the gates of despair.
“Day And Then The Shade (Frank Default Remix)” is an interesting interpretation of the original, which feels very strange with electronic samples in it, but at the same time strangely comfortable and soothing in it’s darkness. To end a great record is a monumental task and it’s where Katatonia is best. “Idle Blood” is a masterpiece in itself, but “Linje 14” version is just mind-blowing. The cerebral explosion will take place slowly though (welcome back, Opium Dub) and amidst the uncertainty and in-hospitality of this world it will bring comfort and anodyne numbness.
READ OUR EXCLUSIVE INTERVIEW WITH KATATONIA IN ISSUE 16 – Spring 2010
By KatatArceon
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CD Review: Massive Attack – Heligoland
March 17th, 2010 Filed under: Reviews - Music by admin
CD Review – Massive Attack
Heligoland
Virgin/EMI
In over two decades of shaping trip-hop in every conceivable way Massive Attack have only released four full-length albums. Heligoland is the much anticipated fifth release, which after seven years in the making will rock or much rather dissolve your world. This effect is virtually guaranteed on one condition: if you live through the first track.
Robert Del Naja and Grant Marshall sure know how to do it and almost every record they produce is associated with celebrity musicians. Heligoland is no different. The first track “Pray For Rain” is performed by Tunde Adebimpe (from TV On The Radio) but in itself is an excruciating test of your patience, being utterly unremarkable and forgettable. Massive Attack’s music definitely isn’t on the light side but compared to the initial experience the rest of the record is as bright as a July afternoon.
There are things G & D are indisputable masters at doing, like writing songs so transcendent that they are capable of transporting you to a different reality and at the same time could be perfect soundtracks to mainstream Hollywood movies. “Babel” and “Splitting the Atom” are rather fast tracks, the latter being an example of what trip-hop would be like if it was Rock & Roll. The following tracks though are an outstanding achievement of shifting your perception into a state of complete atmospheric delirium.
As Horace Andy is warming you up (or rather down) on “Girl I Love You” you might miss the point where your room is no longer living a static life. Shapes fly in and out of your mind to the sound of “Psyche” which makes you fall in love with Heligoland. Almost at the point of no return “Flat of the Blade” brings you back online with it’s surreal combination of Kraftwerk-style old-school electronic arrangements and atmospheric rock vocal delivery by Guy Garvey, who actually is your man for this track.
Complete with appearances by Damon Albarn from Gorillaz and guitarist Adrian Utley from Portishead, Heligoland is one release you have to listen to before you die. Preferably numerous times.
By Arceon
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CD Review: Freeway & Jake One – The Stimulus Package
March 16th, 2010 Filed under: Reviews - Music by admin
CD Review – Freeway & Jake One
Stimulus Package
Rhymesayers Entertainment
Coming up under the wing of Jay-Z, Philadelphia native Freeway was blasted into the veins of the mainstream when he made himself known on The Dynasty: Roc La Familia track “1-900-Hustler”. Since 2007’s Free At Last (with production from Jay-Z and 50 cent) and the collapse of Roc-a-Fella Records, Freeway has made his debut with Rhymesayers Entertainment and teamed up with G-Unit beats-man Jake One to create a gritty street savvy masterpiece. The Stimulus Package comes all wrapped up tight in a visually stimulating package that has Freeways face on the center of giant dollar bills as the liner notes and nicely clipped together over a bulging wallet. From the outside Stimulus is just as intriguing as what lies on the inside. With a couple big dogs along for the ride, Freeway give off the impression that he has finally found his place in the rap game.
Sharper than ever with a no bullshit attitude Freeway is not what is regularly expected from Rhymesayers release. Don’t mistake that; tight rhyming style and deliberate lyrical content combined with Jake Ones soul infused beats makes it clear that Free is a fresh addition to the fam. A heavily compiled guest list of rap originals like Beanie Sigel, Raekwon and Birdman doesn’t hurt either.
Jake Ones melodic soul beats mixed to perfection prove reliable and pleasing to the ears while Freeways unique and at times brash style contrasts nicely especially with help from Raekwon on the albums heater “One Thing”. “Never Gonna Change” is progressive and truly showcases the epic union between rapper and DJ while the airy beat of “The Product” has Free appropriately boasting his greatness with lines like “Yes I am the product, I am like the chronic, I got Dr. Dre detoxin’ off me”.
“Follow My Moves” lacks the same radiance heard throughout The Package but nonetheless has Free outshining Birdman like its no big thing. Hard feelings are quickly forgotten with tracks like “Money” featuring Omillio Sparks and Mr. Porter and “Free People”.
While some may consider his style an acquired taste The Stimulus Package is mostly appealing to long time Freeway fans and rap heads alike. This may not be the album to push them heavy into the limelight but Freeway and Jake One haven’t failed in producing an album rich in street soul originality while maintaining a hold on their rap roots.
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