Issue #7 – March 2003
Album
of the month:
Strapping Young Lad;
SYL
Century Media
(Provided by Nordic Metal)
Just the
choral-arrangements that start this album had me banging my head against the
wall like a freakin’ lunatic, and quite frankly, the rest of the album didn’t
make this reviewer react any less strangely. Ok, it’s not true, but if any
album this month would have me acting wildly, it would certainly be this one.
Strapping Young Lad with Devin Townsend under the helm are back with their
fourth album after nearly five years, and “SYL” is actually one of the best
metal albums to come out in that period of time. Strapping Young Lad has more
melody than most melodic death metal acts, more atmosphere than most black
metal bands, more aggression than most thrash bands, more brutality than most hardcore
bands, more concentrated noise than most industrial bands, and an attitude that
makes just about any nu-metal band-member wish that they’d never even touched
an instrument. And just for the record, Strapping Young Lad doesn’t fall into
any of the previously mentioned categories, but in Strapping Young Lad’s case,
words are unnecessary. Enough said. This is a must have. (JJJJJJ)
Other
cool albums this month
Furthermore; She and I
Tooth and Nail Records
Most of you
probably see Tooth and Nail Records as the label that paved the way for
mainstream signings for bands like The Juliana Theory and MxPx, or as a label
having put out punk-records by the truckloads lately, but very few people
indeed say the words hip hop and Tooth and Nail Records in the same sentence.
Well, that’s unless the conversation topic is Furthermore, the only hip hop
band in the Tooth and Nail family. One should think that a band like
Furthermore would be signed to Tooth and Nail’s sister-label Uprok Records, but
that’s not the case here. Having released an album previously, “She and I” is
the sophomore album from what once was a trio but now goes as a duo.
Furthermore is not quite like all the other hip hop bands out there right now,
but as Lee, the mastermind behind Furthermore, says: “Though our music is hip
hop, out personality is more punk-rock, although that sounds kinda cheesy.” But
even though Furthermore isn’t your average hip hop band, they’re not quite your
typical Tooth and Nail outfit either, which must have made it a bit funny
seeing them play alongside punk-bands such as Shorthanded, The Dingees and All
Wound Up. The production on “She and I” is handled by Barry Pointer, who
recently has produced such extreme acts (at least compared to Furthermore) as
Zao, Living Sacrifice and Soul Embraced, but once again with a stunning
production-work, he proves himself to be fully capable to be producing the best
of hip hop acts. If I am to choose a favorite track on this record, then I have
to go with the title-track, “She And I”, which actually is the most commercial
and radio-friendly song on the album. It’s modern hip hop with a very appealing
female-vocal R&B-like chorus. Other than that I find myself enjoying the
more experimenting tracks the most, for instance when the bands decides to slow
the tempo all the way down into trip hop territory, but also when adding Drum
& Bass beats to their otherwise melodic hip hop sound. Yeah, I admit it, I
like this record a lot, and did I mention that there’s a somewhat different
version of the R.E.M. song “Fall On Me” at the end? (JJJJJJ)
Mad Caddies; Just One More
Fat Wreck Chords
It’s a
long time since I listened to the previous Mad Caddies album “Rock The Plank”,
actually I haven’t listened to it since I reviewed about the time it came out,
and even though I remember liking it, I certainly don’t remember liking it as
much as I like the new album “Just One More.” This one is just straight up fun
from start to finish, featuring songs that simply won’t go away after hearing
them. Mad Caddies is one of the few bands who, after the ska-genre came
crashing down in the late 90’s, still to this day manage to write good ska/punk
songs, and they prove it with adding danceable swing, reggae and rock-a-billy
elements that actually work to an a already entertaining cocktail. This one
will have you jumping up and down the couch. That’s why my wife doesn’t want me
to listen to Mad Caddies, but what the heck does she know about it, anyway? (JJJJJJ)
Soul Embraced; Immune
Solid State Records
The
rumor has it that the mystical and anonymous Solid State band Demon Hunter who
released their debut-album a few months back is made up by Living Sacrifice and
Project 86 members, and after hearing the new album by Soul Embraced, another
band featuring members of Living Sacrifice, it seems like some of the same
people easily could’ve been involved in both projects, but of course, this, as
anything else, is just guessing. Soul Embraced is Lance Garvin (Living
Sacrifice) on drums, Rocky Gray (Living Sacrifice) on guitars and Chad Moore on
vocals, and with this their second album on Solid State they are heading for
the stars, and while last years “This Is My Blood” was one of the best death
metal album of the year, “Immune” is clearly a step in the right direction for
the band, which to some degree producer Barry Pointer (Living Sacrifice, Zao
etc.) should be credited. The straightforward and at times melodic death metal
of the previous album is still present here, but this time around Soul Embraced
have added quite a few modern riffs and melodic choruses to the overall sound,
making this a record that is even easier to get into than “This is My Blood.”
At the same time this is also a record with a better chance at getting songs
played on modern-metal radio, but this ain’t no sellout though, because there’s
still enough dangerously hard-hitting and heavy death metal going on here to
please even the hardest of metal fans. (JJJJJJ)
Terror; Lowest Of The Low
Bridge Nine Records
After September
11th, I though that the last thing the world needed was more Terror.
Well, after hearing “Lowest Of The Low” I’d say bring on the Terror, because if
this is Terror, then there surely can’t be a lot of things better than, well,
Terror. No, this isn’t a column on terrorism or anything like that, but a
review of a freakin’ awesome hardcore-album. Terror lay down nine tracks
featuring some of the most brutal and angry hardcore imaginable, and they do it
with passion and conviction. Fans of Hatebreed should definitely check this one
out, because this could easily be the band that, in the future, will deliver
even when Hatebreed doesn’t. I think that says it all. (JJJJJJ)
Zao; All Else Failed
Solid State Records
Those of
us who though we’d heard the last of Zao when they released their “Parade Of
Chaos” album last year were wrong, because even though all Zao fans know that a
new Zao release titled “All Else Failed” has to be a re-release of the bands’
debut-release from 1996 on Steadfast Records (also re-released by M8
Distrobution in 2000), we’re in some way offered a new and last chance to hear
our favorite evil-core band, and even though this is a re-release, it is also
so much more. It’s also a brand new rerecording of the debut-album featuring
the line-up that played on the “Parade Of Chaos” album rather than the original
line-up, and this has made for a totally different result of the exact same
material. While the debut-album was a straight-up old-school hardcore album
with a punk-vibe to it, the re-recording is something totally different.
Style-wise it is not very different from Zao’s latest material, which to
Zao-knowers will mean that it is a brutal assault of evil-sounding metalcore
with black-like vocals from start to finish with an occasional spoken word
moment thrown in for good measure. So, is it worth getting this one if you
already have the debut? Well, as I said, this is much more than a re-release,
so when seen from that angle, I’d say yes. The current, or should we say the
latest broken up Zao line-up, has also improved upon the original material,
making this a way a better record in every way. However, I still think “Parade
Of Chaos” would’ve been the perfect swansong for Zao much rather than this, but
I am still grateful to get to hear Zao one more time, because, really, even Zao
rerecording old material is better than most of what other bands come up with
on new albums. (JJJJJJ)
The
Rest of this month’s albums
Aborym; With No Human Intervention
Code666
Aborym
had an a pretty good song on the Code666 sampler that was reviewed in last
months issue, and sure, there are even a few on their new full-length, but
honestly, there are not enough of them. “With No Human Intervention” features
14 cuts, and most of them are extreme as Hell. We’re talking insane black metal
mixed with just as insane industrial, which would be fine if only there were
more ideas that would stick with you a few minutes after turning the CD off!
Ok, sure, some of the more techno/industrial-oriented moments are actually
quite memorable, but in the long run this one is too easily forgotten. If
you’re looking for chaos, however, then you may just as well stop right here:
you’ve found it. (JJJJJJ)
Archetype; Dawning
Lucretia Records
(Provided by Intromental Management)
Some of
the readers might have noticed that there’s a review of an album called
“Dawning” by a band called Archetype in our archives. Well, It turns out that Archetype
wasn’t pleased with the final result of the original, self-released release of
“Dawning,” so now they’ve decided to re-arrange it and re-release it, only this
time it’s on a label, namely Lucretia Records. Sure, they might have made the
sounds of the material a little shinier around the edges, I don’t know, but I
don’t see why they should spend time on re-arranging this material, especially
since this hasn’t become a overtly great record or anything. I think Archetype
should’ve focused on writing new material. (JJJJJJ)
Atom and His Package; Attention! Blah Blah Blah
Hopeless Records
To me Atom and
His Package is humor more than anything else, and, really, where do you find
anyone who comes up with song-titles like “Dear Atom, You Do Not Want Children.
Love, Atom,” “I’m Downright Amazed At What I Can Destroy With Just A Hammer,”
“Does Anyone Else In This Room Want To Marry His Or Her Own Grandmother?”,
“Possession (Not The One By Danzig)” (yeah that’s a song-title, sir) and “The
Palestinians Are Not The Same As The Rebel Alliance, Jackass.” But even though
this is funny stuff, musically there’s a lot to be desired. Atom just has been
down this road before. This is for fans of pop/punk with synthesizers. The
Ramones meet Depeche Mode then, huh? Yeah, something like that, just not quite
as convincing. (JJJJJJ)
Adeem; Sweet Talking Your Brain
Syntax Records
Over the last
year Syntax Records has proven itself to be one of the best hip hop labels
within the christian music scene, and with recent releases with artists such as
Pigeon John and Luke Geraty, I figured that I was going to have a blast
listening to Adeem. Well, it turned out that I was wrong, because I wouldn’t
exactly say that I had a blast listening to this, even though I didn’t have a
particularly bad time either. “Sweet Talking Your Brain” ain’t a bad record or
anything, but on the other hand it just doesn’t seem to have the same flow as
those previously mentioned artists have on their previous albums. Most of the
stuff on there has been done before and often a lot more convincingly than
here, and the truth is that unlike Luke Geraty, Adeems just seems to be another
face in the crowd within a music-scene that just doesn’t seem to be settling
down. The good news is, however, that “Sweet Talking Your Brain” isn’t wrapped
in any of the clichés commercial MTV-centered hip hop is so full of these days.
(JJJJJJ)
Big Sir; Now That’s What I Call Big Sir
Mootron Records
Wow,
this is really cool. However, I do not know much about this band, so there’s not
a whole lot I can tell you about them. From how it sounds though, I take it
that Big Sir normally go as an indie-rock band, but on this record they are way
more electronic and dance-oriented than anything else, but yet with a strong
indie-pop feel to the overall sound. “Now That’s What I Call Big Sir” is a
remix-album rather than a new album from the band, and it features ten remixes
made by ten different remix-artists of which Hall & Oates and Dan The
Automator probably come across as the most notable ones. But I have a feeling
that it’s not important weather it is rock instrumentations or electronic and
danceable sounds that carry the pop-songs of Big Sir, because when it all comes
down to it, it’s really the voice of Lisa Papineau that is the most impressive
thing present, and while bringing to mind the likes of Beth Gibbons
(Portishead) and Bjørk, she does a wonderful job at putting emotions and
atmosphere into the at times minimalist soundscapes. So, really, if
eletronica-oriented remixes of an indie-pop band with a superb female singer
sounds like something you’d be into, then I don’t see why you shouldn’t pick
this one up. (JJJJJJ)
Steve Caballero; Bandology vol. 1
Sessions Records
Not only
is Steve Caballero one of the best skate-boarders in history, but for years he
has also proven himself to be a talented musician, which this album brought to
us by Sessions Records showcases. As a constant part of the Warp Tour for
years, he has gotten a chance to get on stage as a guest with as popular modern
punk-acts such as MxPx, Blink 182, Goldfinger, Millencollin and Pennywise. On
this recording, however, we’re getting a taste of how diverse music Steve has
been playing during the years. The first four tracks featured here are from the
skate-punk band The Faction and recorded between 1982 and 1985. His second
band, Odd Man Out, whose four tracks featured here were recorded between 1987
and 1989, is actually a quite different experience than The Faction, and while
staying true to the punk-roots, Odd Man Out successfully fused their punk-rock
with straight up classic rock and a goth-like atmosphere. Next up is Shovelhand
(1991-1994), that’s basically classic rock and grunge, while Soda (1995-1996)
is catchy and melodic pop-punk. Finally there are two additional tracks. One of
them, “Hidden Lies”, was originally released as an subscription-giveaway for a
Magazine in 1989, while the other one, “To Have and To Hold,” is a
cover-version of a song by Arthur, which is the side-project from MxPx’s Mike
Herrara. Most of the stuff on this thing is pretty good, but “To Have and To
Hold” shouldn’t have been touched. The Arthur version is ok, but the version
featured here isn’t. It sucks, really, but if you can look beyond one shitty
song among 17 other good ones, then “Bandology Vol. 1” might do something for
you. (JJJJJJ)
Chrome Shift; Ripples In Time
DVS Records
(Provided by Intromental Management)
Danish
newcomer prog. metallers claim to be influences by King’s X, Dream Theater and Pain
Of Salvation, and as a major fan of King’s X this was enough to make me put
this record on top of the ever growing CD-pile on my desk. Unfortunately
though, Chrome Shift do not quite deliver as far as sounding like King’s X
goes, but then again they didn’t quite promise that, did they? Anyways, for
fans of progressive rock and metal there’s still plenty of Dream Theater and
Pain Of Salvation in there to make this a pleasant surprise, and luckily these
Danes have also added their own little footprint as well, making this a
throughout joyful affair. The biggest surprise comes near the end of the album
when lead-singer Rasmus Bak sounds dangerously close to the lead-singer of the
Danish modern-rock darlings Saybia, and believe me, that dude can sing, and quite
frankly so does Rasmus Bak. Enough said. Check them out. (JJJJJJ)
Count The Stars; Never Be Taken Alive
Victory Records (Provided by Nordic Metal)
With one
independent release before this one, Count The Stars, who have played together
since 1995, are now ready with their label-debut, and put quite frankly, these
guys have already accomplished what a lot of bands pop/punk and emo bands want
to do, but never get around to. We’re talking about being able to rock without
having the emo or punk-tags printed on their backs all the time, even though
these guys are obviously passionate about both punk and emo music. But instead
of just following down the same road as so many pop/punk bands did in the 90’s,
and as so many emo-bands are doing today, Count The Stars have been able to
rely on the melody of pop/punk and the emotions of the emo, and by combining
the two of those with something a little more straightforward, and not
necessarily spoon-feeding the listener speedier moments of pop/punk and the
sappier side of emo, these guys have come up with some really good songs. We’re
not talking the best band in the world here, though, and they’re not all that
original either, because, mind you, this has been done before, and last time
was not so long ago, when Too Bad Eugene did it quite nicely, but as I said, a
lot of bands are striving for a sounds like this, but never truly find it.
Anyways, I particularly like catchiness of a song like “Right Behind Me” and
the emotions of the a little slower “All Good Things.” (JJJJJJ)
The Dreamside; Faery Child
Dancing Ferret Discs
“Faery
Child” is The Dreamside’s fourth album-release, but it’s not really their new
full-length as such, but rather a best-off compilation featuring tracks from
their previous three album and the single “Nudas Vertitas,” and the fact that
this band has released three album prior to this proves that they’re not just
another female-fronted goth-rock band ripping off Lacuna Coil, the Gathering or
even Madder Mortem, because even though this is gothic rock and metal in its’
purest form, it really doesn’t sound much like any of the aforementioned bands.
The sound of The Dreamside is even more melancholic and depressive, but at
times also even more romantic than in the case of all previously mentioned
bands, even though, in the end, this reviewer probably would prefer listening
to a Lacuna Coil recording rather than this. All in all though, this is a good
record for gothic rock and metal-fans, and especially those who won’t mind a
few 80’s new wave influences thrown in for good measure every once in a while.
While this is a best-off compilation, there are still a few new surprises along
the way, making this a release fans of the band will have to invest in after
all. The title-track, “Faery Child,” is a cover of a song by The Cruxshadows,
while “Fear Of Being” is a re-titled version of “Mirron Moon, and finally
you’ll find “Ce Soir” as a brand new track that unlike all their other material
is sung in French. (JJJJJJ)
Elsesphere; Blind Leading The Blind
Lucretia Records
(Provided by Intromental Management)
“Blind
Leading The Blind” is the debut-album from this new, talented Swedish
progressive metal-act. The press-release states that Elsesphere deliver a
perfect mixture of Dream Theater and Fates Warning, and to me that’s actually
the biggest problem, because even though the sound is good, the musicians
technical and skillful and the lead-singer has one of the better voices in
progressive metal these days, compared to their hero’s they still have some way
to go in order to reach the same heights. For the most part the material on
“Blind Leading The Blind” doesn’t sound very different from what’s being played
by thousands of progressive metal bands these days, either, which makes the
listener long for a few melodies that tend to stick around after Dream Theater
and Fates Warning have gone to rest. The problem is that there aren’t any. So
what’s the conclusion? Well, that Elsesphere is a bunch of great musicians in
need of better songs. (JJJJJJ)
Epicycle; Swirl
Circle Records
Epicycle
is a project that was born when Ellis and Tom Clark weren’t busy recording and
touring with their other bands. “Swirl” is the second album from the duo, and
even though this isn’t exactly music that’s going to sell a million copies, it
is music that tends to get good reviews, which the fact that their previous
album was chosen as the #19 best album of the year in UNCUT Magazine speaks in
favor off. Ellis and Tom Clark aren’t just two guys who decided to start a
band. They know what they’re doing, and they prove it on “Swirl.” Just check
out all the instruments the two of them have played on this record, and when I
say play, I don’t just mean playing on the same level as when Robbie Williams
or Jon Bon Jovi pick up a guitar every once in a while in concert. They play
them all skillfully. Ellis Clark: Vocals, piano, electric/acoustic/slide
guitars, bass, farfisa organ, harmonica, recorder, vibraphone, synth &
banjo. Tom Clark: Vocals, drums, percussion, trombone, trumpet, synth, piano,
vibraphone and insane noises. That should make for a whole album or two, right?
Not quite so here, though, because besides Tom and Ellis there are ten guest
musicians appearing on “Swirl” adding even more instruments to the otherwise
rather full sound. Style-wise we’re in the psychedelic pop-department nodding
heavily back to the pop-scene of the sixties. You’ll hear traces of Pink Floyd,
The Beatles, The Beach Boys and Simon & Garfunkel, as well as a few newer
sounds as well, and to top it off there’s also a quite good cover-version of
David Bowie’s “Rubberband.” (JJJJJJ)
The
Forms; Icarus
Threespheres
If you ever
get a chance to check out this record, don’t give up on it after the first
listen, or even the first few listens, because chances are that you’re not
going to get it right away. A lot of the stuff on there isn’t very memorable,
really, and quite frankly, there are times when this seems a little too
monotonous, but when giving a fair shot, though, and a little extra time in
your player, it has a way of getting more and more accessible as it finds its’
way to grow on you. The disc is recorded by the almighty Steve Albini, and that
fact alone is bound to bring a little attention to the band. Musically they
remind me off an a little less emotive version Sunny Day Real Estate. All in
all we’re talking pretty good stuff here. There, I am the first reviewer not to
mention how cool the packaging of the CD is. (JJJJJJ)
The Furnace; Beyond What’s Become
GoodTimes Music
These Canadians
were recently awarded as the best hard rock/metal act of 2002 by the Dreams Of
Reality awards, and while “Beyond What’s Become” is a pleasant enough album, it
doesn’t come close to being the best hard rock or metal album of 2002. The
album features 12 songs that all fall into the previously mentioned categories,
and it’s quite obvious that, at least, some of these guys have a few Metallica
recordings in their collections, as influences on “Beyond What’s Become” most
of the time vary from either old Metallica to new Metallica, even though The
Furnace never come close to the aggression and brutality of old Metallica. This
ain’t no copy-cat performance, though, but at the end of the day, there’s
nothing that’s really ground-breaking or original on here either. However, if
you’re looking for some hard rocking metal with a few Metallica-influences
thrown in for good measure, then The Furnace might be a band to check out. (JJJJJJ)
God Dethroned; Into The Lungs Of Hell
Metal Blade (Provided by Nordic Metal)
I’ve
stated my opinion on this band on this page before, but as that was in Danish
I’ll gladly to it again. Well, they’re not very good - there, I said it.
They’re just so predictable, you know. Even before you put a CD with God
Dethroned in the player, you pretty much know what you’ll be hearing, both
musically and lyrically. I once read in a Danish magazine, that one of God
Dethroned’s goals as a band was to be banned or at least censored for their
lyrics, and from the sound of it, these guys should have had all the success
they could possibly bare, cos, really, if Satan himself was throwing a party,
God Dethroned probably would be playing at it. This time around, though, it
seems like God Dethroned have an excuse for their ridiculous, God-hating lyrics.
Why? It’s easy: Because of the terrorist bombing made in the name of Allah,
that’s why. Yeah, once again they go down the road of killing organized
religion, and even though I don’t like organized religion any better than they
do, I’ve got to say that none of what God Dethroned has to say makes any sense.
It didn’t before, and it doesn’t now either. Because, let’s face it, it wasn’t
Islam that killed those innocent Americans, just as little as Christianity in
itself killed all the thousands of people in the past, being put to sleep in
the name of God, by people who did not act upon the believes of their religion
by doing such an act in the first place. But I guess you can say that lyrics
like these tend to come with the territory, which in this case is playing death
metal. Anyways, I’ve said that I hate the lyrics of this band, but how about
the music? Well, while not quite as bad as the lyrics, it certainly isn’t
anything to wet your pants about either. We’re talking the same tired death
metal type of thing that they’ve always done, and it doesn’t seem to get any
better with time. I just can’t see why these guys have been placed at the
forefront of death metal for so long. I mean, try and compare them to any
number of melodic Swedish death metal bands, and even though they’re probably
not quite alike, you’ll see what I mean. There are better things to do than
spending time on God Dethroned, even for death metal fans. (JJJJJJ)
Gordian Knot; Emergent
Sensory Records
(Provided by Intromental Management)
90% of
the times when I receive an instrumental CD in the mail, I either find myself
listening to some troubled souls trying to be weird just for the sake of
weirdness, or I find myself listening to some progressive rock band that has
way to much show-off attitude and way to little soul. Gordian Knot are among
the other 10% that don’t fit into the aforementioned categories, even though
they’re both progressive rockers and instrumentalists, and, yeah, sure there is
a little soloing going on at some points, anything else would be way off for
progressive rock-music, but the key here seems to be team-effort much rather
than the typical “see-what-I-am-capable-off” kind of thing. Ok, I know a lot of
progressive rock fans will want to hang me for saying stuff like that about
progressive rock-music, and, of course, a lot of bands do not come across like
that, but even as much as I’d like to say that there weren’t, there still are
tons of progressive rock bands who’ve left the heart for the show-off. And just
for the record, yeah, I am a progressive rock fan too. Gordian Knot are
actually really easy to like. Maybe not at first, but after a few listens,
their fusion meets progressive rock and metal becomes really appealing, and it
doesn’t hurt that they can just as easily play totally relaxing music as they
can do the rock-thing. This one will find its’ way into my player again. (JJJJJJ)
Hellion; Will Not Go Quietly
Massacre Records
(Provided by Nordic Metal)
American
metal outfit Hellion started their career back in 1982, but that has been away
for a long time now. A lot of people probably have forgotten everything about
them over the years, or even worse they’re not even listening to metal anymore,
but to music that’s safe to have around the house, the kids, the dog etc. So
the question here is to how many people will this comeback-album mean anything?
To tell you the truth, I couldn’t care less if an old, forgotten 80’s band like
this one made a comeback or not, because most of the time when this happens,
they’re just wasting our times anyway. To be fair, though, I must admit that
I’ve never even heard a Hellion song before, so I can’t really say anything
about this album as a comeback, but I can commit on it as a new album from a
band that I’ve never heard before. And as that this album is actually quite
good with its’ power metal-like melodies combined with a thrash-like aggression
that is bound to get metal-fans out of the chairs. I suppose metal-fans who are
old enough to actually remember Hellions earlier stuff will be all over this
one. (JJJJJJ)
Hemi Cuda; Classics For Lovers
Pop Sweatshop
Even
though Hemi Cuda actually is a trio on this disc, consisting of drummer Scott
Padawer, Bass-player/vocalist Karen Exley and guitarist/vocalist Anika Zappe,
Hemi Cuda really do come across as more of a duo than a trio. Just take a look
at all the pictures inside the inlay-card or even on the cover-art, and you’ll
see what I mean. Now, however, it turns out that the drummer isn’t part of this
band anymore, which leaves them as the duo they so obviously wanna be (a
drummer will be needed for live-shows though). Karen and Anika come across as
somewhat bitch-like on “Classics For Lovers,” dressed in short, hooker-ish
mini-skirts, high leather-boots and pink, blue and white wigs. The lyrics do
not offer any less rock n’ roll and “fuck-you” attitude than the outfits do
with sex, drugs and violence being the themes of choice here, and neither do
the gritty, straightforward and punk-inspired, three-cord rock n’ roll songs.
Hemi Cuda sounds like a slightly more cool version of Norwegian girl-punk
outfit Mensen. Unfortunately, Hemi Cuda’s biggest problem is just the same as
Mensen’s, as both Karen and Anika aren’t exactly the best vocalists around, but
just like in Mensen’s case in the end that’s part of the charm. Looking for
girl-power? Look no further. (JJJJJJ)
Holding On; Question What You Live For
Bridge Nine Records
Holding
On is the only Bridge Nine band reviewed in this issue that fails to impress
me. Not that they’re bad or anything, I guess it’s just that I am not quite
feeling them, as their new album, “Question What You Live For,” is the only
Bridge Nine album this month that doesn’t have me reaching for the remote, so that
I can turn the volume up. However, this is aggressive hardcore, perhaps not
quite as brutal and hard as Terror and No Warning, but it’s quite aggressive
nonetheless, even when leaning a little over unto the punkier side of things at
times. Even though I’ve already said that Holding On is the Bridge Nine band
that I care less about this month, they’re actually the band that has the most
varied songs, bringing in a melodic touch every once in a while, showing that
they’re capable of being more than just a bunch of angry one-dimensional
hardcore-madmen. (JJJJJJ)
Left Hand Solution; Light Shines Black
Mass Produkion
Wow,
this is pretty cool. Metal that doesn’t really need growls, screams and shouts
in order to hammer the point across, and while metal without any or all of the
above often is wrapped in a nu-metal package these days, this doesn’t even
contain the slightest hint of rap-vocals or modern grooves. Rather the
guitar-heavy compositions have a way of building themselves bigger and stronger
after each listen without really fitting into any of the boxes we reviewers so
dearly want to put all bands into. The coolest thing about this band, however,
is probably the fabulous vocals of female lead-singer Mariana Holmberg (no,
this isn’t a gothic metal act a la Madder Mortem either!) that fill the bands’
otherwise quite diverse metallic sound with atmosphere and emotion. People
who’re getting tired of the endless list of bands chasing the nu-metal dream,
and people who think that extreme metal has become boring should definitely
check this guys and girl out. And if it won’t be for the things I mentioned
earlier, then do it for the fact that there’s a metal-version of the Eurythmics
song “Missonary Man” on there. Now, isn’t that something? (JJJJJJ)
Little Fyodor; Dance Of The Salted Slug
The Elephant 6 Recordings Co.
Chances
are that the people behind Little Fyodor really felt like shit after hearing
the result of their recording of album-opener “Oh God I Feel Like Shit” for the
first time, and quite frankly, so did the rest of us. And we still do. I mean,
yeah, it’s that bad. And when they start the next song on the album with the
words “get a job”, you can’t help but think that these people should too,
because so far this is really bad, and I don’t just mean bad, but unbelievably
bad. Luckily, though, when hearing “Too Many People”, this all just seems to be
a joke, which kind of gives Little Fyodor an excuse for being this bad. The
only problem is that they’re not funny either, and even though you thought these
people already hit rock-bottom with “Too Many People”, it’s all just continuing
in going downhill from there. I don’t think I’ve anything else to say about
this, really, or at least what I have to say won’t be good, so why don’t I just
stop here. Best avoided. (JJJJJJ)
Magstatic; Country vs. City
Pop Sweatshop
Before
this release, Magstatic have released two full-lengths and an EP on Sub Pop, as
well as having been on one of the popular “Emo Diaries” from the Deep Elm
label, but now they’ve switched to the somewhat smaller label, Pop Sweatshop.
After hearing the first song on this release, I though this would be my
favorite of all release I’ve heard from the Pop Sweatshop label, but after
hearing the whole album out, I kind of changed my mind. Sure, it’s still a
pretty good album, and it features some cool songs. It’s just that the quality
doesn’t seem to hold the same level throughout the entire CD. There are a few
songs on there that simply are too anonymous to make a lasting impression.
Luckily, songs like the title-tracks and opener, “Country vs. City,” and a few
others still made this an overall pleasant listen. If this came as a single
with the title-track and one or two of the other best cuts on there, then I’d
have given Magstatic five smiley-heads. As off now, though, they’ll have to
settle for three. (JJJJJJ)
Mohodisco; Kaloomith
Self-released
The
brainchild behind this project, Brian White, is nothing short of an idealist.
For starters he plays bass, guitars and synthesizers, while writing, recording
and producing all the material present, but even while doing this, he calls in
13 other musicians in order to give the eight songs on “Kaloomith” the life and
atmosphere they were originally intended. Mohodisco isn’t a one-dimensional
“big band” though, but rather a one-man project with various guest taking
influences from a vide variety of things. Mostly though, this is progressive
rock fuelled with techno-beats and jazz-fusion, that at times ends up sounding
somewhere between a less advanced version of Mezzaforthe and a lighter version
of progressive rock meeting techno acts such as Ship of Fools and Qwestion. But
even though Brian White, who obviously is about to burst with ideas, has a lot
of hidden talent in him, both as a composer and musician, and even though all
music throughout this thing is technical and played skillfully, the final
result of “Kaloomith” isn’t always as great as one might expect. Don’t get me
wrong though, for the most part this is good stuff, but at times there’s just
too little variation to make this stand out of the progressive rock world as
something truly essential. (JJJJJJ)
No Warning; Ill Blood
Bridge Nine Records
I’ve
been blown away by how many good records I’ve had a chance to listen to this
month, and this one is no exception. No Warning are a smashing hard, aggressive
and angry hardcore band, and they’ve no desire to sugar-coat their sounds with
modern-hardcore stylings. Instead they take it back to the basics in a typical
New York hardcore kind of way, and coming across like a fusion of Madball,
Cro-mags and Six Feet Deep, “Ill Blood” is bound to spread joy throughout the
hardcore community, while terrorizing the MTV-generation halfway to death. (JJJJJJ)
Paralysed Age; Into The Ice
Dancing Ferret Discs
These
Germans have managed to combine the gothic atmosphere of the 80’s with the
gothic metal-sound of today, and actually get away with it. Sure, this is not
the best gothic record around, and it probably won’t be one of the albums
reviewers will remember when they are to compile their “best off” lists at the
end of the year. It does, however, feature some quite good atmospheric and
extremely dark gothic songs with a metallic edge as well as a lot of danceable
beats and keys thrown in for a good measure in a lot of places. Songs like
“Your Coldest Smile” and “Into The Ice” are really memorable and extremely
catchy. In the long run, though, it turns out that Paralysed Age can become a
little annoying, as the lead-vocalist sings his English with what I think must
be a German accent, and it takes a little off of the overall charm of this
band. And, really, it doesn’t at all sound very English. It’s kinda like
listening to the Finnish goth-metalers The Prophet, but like The Prophet these
guys have made some good songs for this record nonetheless. (JJJJJJ)
Peace 586; Generations
Uprok Records
Rene
Vasques aka Peace 586 has been apart of the hip hop and rap-scene for more than
15 years, in the early days playing in Freedom Of Soul, and later in his own
solo-projects Risen Son and Peace 586. I wasn’t overtly impressed with his last
album, “586,” that was released in 2001. This time around, however, I tend to
enjoy the songs Peace 586 has recorded more, but I think it is a shame that he
has to bring guest-musicians in on every track on this record. It’s a trend
that is so overused in hip hop these days. I mean, if you turn on MTV and watch
a rap-video, then you can be certain that it’s with a big-time rapper featuring
one or more other rappers, and even though it can lead to good things, as many
of the songs featured here, at times it takes a little focus off of the artist
in question. On this recording Peace 586 brings in well-known artists like Jon
Gibson, Sub The Chemist, Dynamic Twins, LPG, Pigeon John, Raphi, Sev Static, as
well as a few a little lesser know artists. I like most of the stuff on
“Generations”, but unfortunately I think that the track chosen as the first
single is a load of crap. It’s a R&B meets hip hop kind of song that
features Jon Gibson on vocals, and you just wouldn’t believe how freakin’
boring it is. But don’t let one bad cut spoil the rest of this otherwise great
hip hop album. (JJJJJJ)
Pigeon John; Pigeon John… Is Clueless
Syntax Records
Even
though this has just been released, it doesn’t really feature any new music.
Actually, “Pigeon John… Is Clueless” was originally released by Pigeon John
himself some time ago, and all material present recorded between 1997 and 2000,
which, today, perhaps makes it a bit old, but nonetheless I don’t think it ever
gets dated throughout the nineteen tracks. Pigeon John has proven himself to be
a talented and skillful rapper as a part of the successful christian hip hop
band L.A. Symphony, but now on his own, he truly proves that he has got what it
takes, even when being apart from the other guys of L.A. Symphony. This record
as a whole though, might not level with most of the L.A. Symphony material, but
it still is a good record that easily will satisfy fans of hip hop with a
positive message. And while the lyrics are positive and extremely serious at
times, there has also been made room for something a little more relaxing,
entertaining, and, well, down-right funny. Just check out titles such as “Beautiful
Little Sharp Chicks” and “Cheerleaders” and you’ll know that there isn’t only
God-talk here, but also a homey, or should we say the new James Bond, claiming
to be in the mid-twenties and still dating cheerleaders. Yeah, there’s fine
line between entertainment and seriousness on this one, but also some pretty
decent hip hop and rap-music. (JJJJJJ)
Poisonblack; Escapexstacy
Century Media
(Provided by Nordic Metal)
On paper
Poisonblack is bound to get the side-project tag on its’ back with the
Sentenced front-man, Ville Laihiala, being the driving force behind the band,
but Poisonblack swear that this is not just a project. With Poisonblack Ville
has taken up the guitar-playing for a change, and after playing the guitar for
17 years, just not in Sentenced, it comes naturally to the man. Also the
low-key singing of L.P. Leppaffuoto is pretty good, and at times even sounding
a little like Pete Steele of Type O Negative. Overall Poisonblack doesn’t sound
quite like that though, but rather like a cross between Sentenced and
Moonspell, and while they might not blow Moonspell out in the water just yet, I
think that “Escapexstacy” is a better album than the Sentenced album of late. I
don’t see why all gothic metal fans shouldn’t be into this. (JJJJJJ)
RPWL; Stock
InsideOut
(Provided by Nordic Metal)
Starting
as a Pink Floyd cover-band in 1997, RPWL are now ready to release their third
album – an album that isn’t really new, as it features songs that stylistically
speaking didn’t quite fit on the previous two albums. I haven’t heard the two
first albums by this band, but I have a feeling that they probably were a
little more up-tempo and rocking, as this one is quite laid-back and relaxing.
It’s a good progressive rock album with a lot of poppy moments reflecting moods
not unlike those of The Beatles, Pink Floyd and Marillion. I like it, but it’ll
only be pulled out of the sleeve whenever I am in the mood for something a
little easygoing. (JJJJJJ)
Snapcase; Greatest Hits, Slashes and
Crosschecks
Bridge Nine Records
For
hardcore-fans I suppose Snapcase don’t need an introduction, but if you do need
an introduction, then you’ll probably find the best introduction in this
best-off disc. This isn’t just your ordinary best-off CD, where a record-label chooses
their best cuts, puts them on a CD, releases them, and then waits for some
quick money. No way, this is hardcore, so that simply won’t do, man. Instead
Slapshot have recorded 20 classic songs for the release, while also writing to
new ones. So basically this isn’t just for people needing an introduction to
this bands’ back-catalogue, but just as much for die-hard fans of the band. I
mean, come on, 20 re-recorded songs and two new ones, that is something you’ve
got to have, right? I am glad I have it. (JJJJJJ)
Snuff; Disposable Income
Golf Records (Provided by Nordic Metal)
Even
though this band got together way back in 1986, I can’t say that I have much
knowledge about them or their previous releases. I am quite happy about their
new one, “Disposable Income”, though, because I’ll tell you ash much as this;
it’s one heck of a catchy bastard. It’s contemporary, memorable, melodic and
extremely easy to fall in love with, and it has even got just enough aggression
in there to keep the old-school punks happy too. Not perfect, but still very
enjoyable. Whatever. I’ll just shut my mouth and leave you with this. Enjoy. (JJJJJJ)
Swingin’ Utters; Dead Flowers, Bottles,
Bluegrass and Bones
Fat Wreck Chords
It’s not
that much to say about it, really, Swringin’ Utters are back with another
album, and as always they’ve done a good job. As the title implies this isn’t
just punk rock, but punk rock and a lot of other things. Just as before there
are some Celtic influences thrown in there: Heck, there’s even a little folk,
country and bluegrass to make the melodic-punk-vs.-Celtic-music thing even more
interesting. You may think I am kidding, but there were times when I thought to
myself: “This almost sounds like something taken from the “Oh, Brother Were Art
Thou” soundtrack, and as you know, the music on that soundtrack is just
awesome. But listen up punk fans, there’s no need to worry, Swingin’ Utters are
still as punk as the next band, and they’ll prove it with “Dead Flowers,
Bottles, Bluegrass and Bones.” (JJJJJJ)
System81; Invasion
Sector19
Here’s another
record that took me off guard. A record that turned out to be yet a pleasant
surprise this month, and even though there’s probably nothing fans of the genre
haven’t plenty of times before on “Invasion,” it sure has been some time since
I’ve got a record of this kind that was this appealing in the mail. Don’t get
me wrong, though. When I say appealing, I do not necessarily mean something
that everybody else finds appealing, or something that’ll be finding its’ way
unto the mainstream radio-charts – not in this case, I don’t. However, we are
talking dance-oriented music here, with the bas-drum pumping its’ way through
most of the songs and everything, but it still won’t come across any average
discotheque favorites. Instead you’ll have to settle for a few combinations of
industrial, gothic and darkwave, but spiced up with an occasional a bit more
eerie techno-feel. Well, if this sort of music sounds like your thing, then I
guess System81 just might be what you’re looking for. (JJJJJJ)
Total Eclipse; Ashes Of Eden
Limb Music Products (JJJJJJ)
Oratory; Beyond Earth
Limb Music Products (JJJJJJ))
(Both provided by Nordic Metal)
Even
though metal from the San Francisco Bay Area may mean Metallica, Slayer and
Testament to you, it means quite a different thing to the guys in Total
Eclipse, who on “Ashes Of Eden” experiment with melodic power metal. The album
has got pretty much everything an album of its’ kind should have to succeed:
good arrangements, stunning musicianship, clean production, and even great
vocals. However, it falls a little flat in uncovering its’ inner souls. Total
Eclipse are at their best when giving a sad twist in “Tears For The World” and
in the somewhat memorable “Frozen In Time.” On the other hand they didn’t
succeed in covering “Heaven On Their Minds” from the Jesus Christ Superstar
musical. With tons of new albums of this kind released every month, Total
Eclipse is pretty much your average power metal everyday scenario.
But what
Total Eclipse lack in content, the Portuguese label-mates in Oratory have in
spades. Oratory are in possession of all the things mentioned about Total
Eclipse above, and then some. However, the most pleasing thing about this band
is the wonderful voice of female lead-vocalist Ana Lara. Oratory stick to the
traditional side of melodic heavy metal, while adding a contemporary touch with
a few big, hook-filled, catchy and hymn-like choruses. I believe this one is a
keeper.
TransCollaboration; Re:Cooperation
Dogfingers Productions/Uncle Buzz Records
This project
that has existed for five years has an interesting history actually. It all
started when David Cooper Orton from Wales and James H. Sidlo for USA met on a
forum concerning looping of music and sound on the Internet. It turned out that
David and James had similar musical ideas, which was the beginning of a rather
unusual working-method. David and James started sending tapes with their
musical-ideas back and forth between Wales and USA, giving one another the
opportunity to work even further on what was already being done. And what has
come out of this relationship can be heard on “Re:Cooperation.” So give it up
for the love, then – the love of looping, electronic music and ambience,
because all in all that’s what “Re:Cooperation” mostly has to offer. The best
tracks on this record, however, are the ones towards the end, where acoustic
and semi-acoustic guitar-parts become a big part of the overall sound. Not
perfect, but somewhat impressive no matter what. (JJJJJJ)
200; Tveyhundrað prosent
Tutl
It is
getting more and more frustrating seeing all those young and angry rock-bands
on MTV – bands that really have nothing to say, and much less to be mad about.
They’re kind of rebels without a cause. That is if it wasn’t for one very
important cause: to sell records by the truckloads. And seen from that angle,
200 are quite the opposite. They’re not about selling a lot of records, even
though they’d probably like to do so, but if that was what they were really all
about then they’d probably start by writing their material in some other
language than the Faroese – a language that is only spoken by about 50.000
people. Secondly they’d probably want to sing about something that wouldn’t
piss off just about any Dane if only they could understand what the songs are
all about. You see 200 are in fact rebels with a cause. 200 are from The Faroe
Islands, 18 small islands placed somewhere between Norway and Iceland in the
North Atlantic Ocean that have been owned by Denmark for a very long time, and
apparently 200 do not want to keep things that way. Instead 200 are eager for
the islands to gain independence. Of course, this has been an a lot discussed
issue in The Faroe Islands for years and years, and even though independence
seems a step or two closer today than, say, ten years ago, it’s not something
that’ll be happening anytime soon. For starters it doesn’t seem like the Danish
government is willing to let them go, even though they have to if the Faroese
people choose to part their ways with Denmark. But that’s just it; so far the
majority of the Faroese people hasn’t voted in favor of independence. Yet 200
boldly claim: “Why should we be able to make it on our own. Are we more stupid
than other people.” A good point, and it is in that way 200 continuous
throughout this, their debut album, and even though they’re serious about what
they say, the message often comes across in a humorous way. Musically we’re
talking old-school punk with a few newer rock n’ roll influences thrown in for
good measure, and even though they’re not quite Sex Pistols, they’ve gotten
away with making the first ever full-blooded Faroese punk-album. Sure, the
lead-singers voice can get a little irritating in the long run, but hey, that’s
a minor detail. Actually, 200 is one of a kind. Ok, a lot of bands have a
similar approach at punk songwriting as 200, and while not quite as many, there
are still a band or two singing about the same issues as 200, but when you
combine the musical-style and lyrical content, you can be sure that 200 is the
only band on the planet doing what they do. (JJJJJJ)
Various Artists; 1977-2002 – Plátufelagið Tutl 25 ár: Live 2002
Tutl
Wow, I
had no idea that the Faroese record-label Tutl had been around since 1977, but
that probably has something to do with, that this reviewer wasn’t born until
1978. Anyways, with 25 years of putting quality music in all kinds of genres
out to the small population of The Faroe Islands (less than 50.000 people),
Tutl now celebrates their jubilee with a live recording that, however, most
certainly doesn’t reflect the 25 years of music label has had to offer. I am
not complaining though, because there really isn’t much Faroese music that came
out for over 10 years ago that I am into. On this live album, which was
recorded in January and September last year, you’ll be introduced to some of
the best and coolest acts within the Faroese music-world, even though most of them
probably aren’t among the most popular ones. This isn’t plain Faroese
rock-music though, because somehow Icelandic metallic rockers Úlpa have managed
to find their way unto this recording, as well as world-music duo Pete &
Brian that bring a little variety into the otherwise rather metallic sound of
this disk. Clickhaze, the best rock-band The Faroe Islands has to offer these
days, start things off with the song “Skirvin Flá” from the their EP from last
year simply titled “EP.” The song has sort of a word-beat feel to it with its’
addition of ethnical percussion, djempe and didgeridoo. Not only is this the
most inventive and original song on this whole recording but it’s also the
easiest song to get into, even though it’s pretty far away from what’s normally
being played on modern-rock radio. Hatespeech, who can nearly be referred to as
veterans within the Faroese metal-scene, take things to the next level, while a
few other like-minded bands try to keep up. Unfortunately, no one truly does
until Krit crank it up a little louder with the song “Proud,” and that despise
the fact that the spoken-word introduction to the song is likely to be worst
intro you’ll hear from now on and until the end of time. Anyways, I’ve heard
people talk about Krit and their potential, and it turns out that these guys
have come a long way since I heard them last, which was when they were featured
on another Faroese compilation titled “Rockur Á Klettinum” with a song that was
a total waste of time and should’ve been flushed down the toilet instead of
being released (so should the rest of that compilation for that matter).
Another inventive Faroese group, MC-Hár, then take the listener even further
with their combinations of metal, rap and electronica, before 200, who’ve
proven them selves to be the only Faroese punk-rock band worth the time of day,
give it all they have for a minute and a half. Another Faroese chart-favorite,
Týr, bring a little traditional heavy metal with Nordic mythology and folk-like
influences to the table and do it convincingly, and so do veterans Mold, that
after a period of silence are back with almost nine minutes of pure rock n’
roll emotion, and if only their lead-singer could loose some of those
Vedder-isms, that band could’ve been one of my favorites. All in all this is a
great record. It could’ve been a little more varied, because, as I said, the
label has been known for releasing a lot of other things than hard pumping rock
and metal. And even for metal there probably could’ve been a few other artists
included who could’ve made this recording even better, but isn’t that how it
always is with these things. Anyways, I won’t go on about that... This is a
good record, and you should check it out. If not for anything else, then for
the fact that this is rock-music from a country counting less than 50.000
inhabitants, and, really, what are the odds for a compilation from a country
like that beating the shit out of your favorite international rock or
metal-label sampler? No, didn’t think so? Check out www.tutl.com for more info. (JJJJJJ)
Various
Artists; Ignition Sampler CD
Ignition
Records
I am not quite sure, but I believe this is a free
sampler Ignition gives away from their homepage. Probably when ordering a copy
of their catalogue or something like that. Anyways, it turns out that Ignition
have quite a lot of hidden talent at hand, and this is a perfect chance to
check some of it out. Pretty much every band on this sampler rocks, but let me
just concentrate on a few of the highlights here. Winter In June start things
off with some of the most inventive metalcore imaginable that is sure to bring
a smile on the face of the enthusiastic hardcore and melodic metal crossover
fan. So will xCanaanx that probably deliver this samplers greatest track in
form of “From Blood To Fire” – a song that builds on extremely evil-sounding
metalcore with an occasional melodic vocals-line. Should, at least, please fans
of bands like Zao. Chamberlain are quite different from Death In June and xCanaanx,
but quality-wise they’re actually just as good. “From Infinity To The County
Fair” is an emotional indie-rock tune that literally drips with beauty. Another
highlight is Flywatter and their “Sin Embassy” that combines the best of the
punk and emo side of the fence, and thanks to an unforgettable chorus they
succeed. Finally we have Thirty Seconds Until Armageddon, and it turns out this
band have chosen the right name for themselves, because when you hear them,
chances are that you’ll be thinking that Armageddon is right in front of you,
but with guitar-riffs as haunting and catchy as in “Drone,” you probably just
won’t care. (JJJJJJ)
Various
Artists; Moonlight.Corporation V1.0
Sector19
This is a pretty diverse compilation from
Sector19, featuring cuts from darkwave, industrial, techno, ambient and noise
acts. Of course, there’s some stuff that shouldn’t have been on there, as it
quite simply doesn’t cut it, but there’s also a lot of promise to find among
the 17 cuts. System 81, whose full-length is reviewed elsewhere in this issue,
are pretty good, and so are especially S.M.P. and Jailbird. People looking for
new and exciting acts with the aforementioned genres should check this one out.
Of course, you’ll have to live with a few misses, but with compilations, when
don’t you? (JJJJJJ)
White
Flag; History Is Fiction - World Tour 2002/2003
Tutl
Having been around in one form or another since
1982, White Flag are continuing touring the world. Over the years the band has
counted members from as noteworthy bands as Bad Religion, Rancid, Hole, Voodoo
Glow Skulls, The Bangles, The Posies and The Melvins, but even though many of
those are or have been pretty big names, White Flag is not your typical bunch
of rock-stars. For starters they recently went to the Faroe Islands to play on
their latest world tour, and not only did they choose one of the smallest
places imaginable to play, but they also wanted the really small Faroese
record-label, Tutl, to release this, their newest live-album that normally is only
being sold at shows. There’s not much rock-star attitude there, right? Well,
neither is it on the actual live-album. It’s a 21-song album that for the most
part goes along in catchy and appealing power pop-punk kind of way, but with
enough power, emotion and aggression to please some of the harder punks out
there too, and while at it they also combine a few softer melodies that will
have fans of bands like The Beatles singing like it was 1962. (JJJJJJ)
Single/EP
of the month:
Rock Kills Kid; Rock Kills Kid
Fearless Records
Fans of modern
punk rock have been waiting for this release even since hearing “Dream” and
“Immanuel” on a Fearless Records compilation, and it turns out that the
debut-EP was well worth the wait. Rock Kills Kid start the EP with “Dream” - a
song that Fearless Records’ fans already know and love for its’ slightly
melancholic punk-rock styling, sounding like Duran Duran teaming up with Value
Pac at a punk-show. The rest of the disc goes a long in kind of the same
melancholic atmosphere, even though it’s also quite melodic and catchy most of
the time, as the obvious influences from emo and pop-punk meet while creating
six tracks of pure modern rock genius. Not quite like most of the other
releases you’ve heard from Fearless Records, and even though the last couple of
releases from the label have been great, this one is probably the pick of the
bunch. This one is easily the single/EP of the month. (JJJJJJ)
Other
singles/EP’s this month:
Anthenora; The General’s Awakening
Self-released
Judging from the cover and the band-name I was
expecting some brutal death metal with this one, but what came out of the
speakers as the four-tracks on this EP went by, was much rather traditional
heavy metal with shades power metal and thrash metal apparent throughout. All
four tracks are technical and well played, and are quite impressive actually.
Truth be told though, there’s still quite a jump from a band like Anthenora to
the best bands of this genre, but I really think that there is some promise
here. (JJJJJJ)
Barata; Regresso
Self-released
Like Lowpoly that is reviewed elsewhere in this
issue, Barata also combine their metal-riffing with hardcore-aggression in a
way that comes across very modern-sounding, and even though the two bands (Lowpoly
and Barata) really do not sounds very much alike, they have one more thing in
common: they’re both fairly good at what they’re doing. There are six songs on
this release, and I can’t say that there are any songs that I don’t like.
Barata have managed to draw fine lines between the extreme and accessible sides
of the metal-universe, which brings in a few extra points. What these guys
could use, however, is one of those hit-single potentials, because even though
this is fairy modern sounding, it won’t be what you’ll be singing the next day
at school after just one listen. (JJJJJJ)
Garrison; The Model
Simba Recordings/Revelation Records
(Provided by Nordic Metal)
Wow, here’s another really good band
that I had never heard off before. Take a little emo, a little punk, a little
melancholy and then add a few (five to accurate) memorable songs, and you’ve
got yourself a Garrison. Only songs like “Let’s Fight” and “The Sound” are
enough reason to go straight out and buy this thing, and let me tell you right
away, that the rest of the songs aren’t too shabby either. (JJJJJJ)
Fairweather; Alaska
Equal Vision
(Provided by Nordic Metal)
For a band having had fourteen different members
in the line-up and two destroyed vans, I suppose it’s pretty admirable that they’re
still at it, and even more so, that they’ve actually pulled off releasing a
pretty decent EP like “Alaska.” You won’t find a bad song on “Alaska,” on the
other hand you won’t find the obvious hit-single either. Let’s just say that
this is good stuff, and worth a notice for emo-loving punk-rockers. (JJJJJJ)
Katatonia; Ghost Of The Sun
(Promo-single)
Peaceville
(Provided by Nordic Metal)
When Swedish goth-rockers and metal
madmen Katatonia released their previous album “Last Fair Deal Gone Wrong,” I
finally started to really get into this band, and knowing that a new
full-length is at the doorstep, ready for release at the end of this month,
gives me feeling of excitement that I hardly ever feel anymore when it comes to
forthcoming music-releases. I haven’t had a chance to hear the forthcoming
“Viva Emptiness” yet, but instead I’ve received a three-song promotion-sampler
featuring tracks from “Viva Emptiness,” and if this is anything to go by for
the overall sound of the album, then I am pretty sure that “Viva Emptiness” is
going to be just as pleasant as “Last Fair Deal Gone Wrong.” After two years,
it’s great finally to hear new material for Katatonia. (JJJJJJ)
Lowpoly; Demo 10.2002
Self-released
Here’s another promising young band
combining elements of hardcore and metal into a little something that comes
across a bit nu-metal-ish, but in a good way. The band from Dallas, Texas has
only put three songs on this demo, which probably is a good thing, as all three
songs really deliver. Oftentimes when new bands release demos, they tend to do
so with too many tracks, when they really should put the best songs on there,
and just leave the fillers be, at least until they’ve been worked on properly.
This thing is done just right, then? It sure is. If these guys can pull more of
the same off, then I suppose these guys are a band we just might be hearing a
lot more from in the future. And did I mention that the lead-singer is really
passionate when he sings/talks/raps/shouts? Well, he is, and in the end that
passion is one of the driving forces behind this band. He kind of sounds like
Sonny from P.O.D. at times, and he should take that as a compliment. (JJJJJJ)
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