Features Interview with Impending Doom
CD Reviews of Between The Buried And Me, Impending Doom, As I Lay Dying, Zao, Maylene and the Sons of Disaster, Nodes of Ranvier, and The Warriors.
partII is forthcoming to celebrate our one year anniversary and will have many giveways from our very gracious record label friends. And will feature up and coming metal from Finland, to end the epsiode with "It is Finnished!"
Special Thanks to the labels who have supported us for this portion of the Episode:
http://www.metalblade.com/
http://www.facedownrecords.com/
http://www.ferretstyle.com/
http://www.victoryrecords.com/
Also thanks to Gerfried of Pesticides band of Germany for his guest commentary in his native German language.
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INTERVIEW 2, IMPENDING DOOM (U.S.A.)
HMT: So who is Impending Doom?IDOOM: Impending Doom is Brook Reeves, Manny Contreras, Greg Pewthers, David Sittig, Andy Hegg.
HMT: What is the purpose of the band?IDOOM: The purpose of Impending Doom is to bring praise to our lord and savior Jesus Christ and bringing his name to the masses.
HMT: Where does your inspiration come from?IDOOM: Our inspiration comes from God. But musicially comes from band such as: Nile, Cannibal Corpse, Devourment, Behemoth.
HMT: Your new album is close to it's release date, what is called and when can we expect it?IDOOM: The new album is titled "Nailed. Dead. Risen" released in stores september 4th 2007
HMT: Are there any singles from the disc that will get airplay?
IDOOM: There are a few radio stations that will be playing our album titled track Nailed Dead Risen
HMT: Is Impending Doom a christian band?IDOOM: We are a christian band before anything, we are a ministry to the people at our shows.
HMT: What are your thoughts on all the negative, dark imagery, lyrics that many death metal/black metal bands have? So who is Impending Doom and what are they about?
IDOOM: My thoughts on that are just that its evil, we take death metal music and christian lyrics together bring a christian death metal band
HMT: We know for some bands, it's a gimmic and a sales tactic, but what do you understand this to mean: 1 Thessalonians 5:21-23, specifically verse 22, "Avoid every kind of evil"?
IDOOM: None of this is a gimmic to get record sales, not at all! We do NOT and will NEVER do that.
HMT: Excellent, then you are the genuine article.
HMT: As far as touring, is your focus just the US are are there plans for ventures into Canada and Europe?
IDOOM: We are currently on tour with WhiteChapel and mychildren mybride. We are doing a afew u.s. Tours first followed by europe around may of 2008.
HMT: Is Impending Doom currently seeking endorsements, if so, what kind?
IDOOM: We will be sending out packs for endorcements very soon.
HMT: Facedown is your proud new record label, how did you come across the record deal with them?
IDOOM: Facedown persued us after hearing us from a friend eric gregson of xdeathstarx, jason loved it and we signed with them.
HMT: If you could jump on a tour for the new album, who would be the bands with whom you would want to share the stage?
IDOOM: I would love to tour with nile or behemoth
HMT: Life can be tough for anyone and everyone. When on the road, how does the band keep itself out of temptation's way?
IDOOM: _________
HMT: How does extensive touring wear on your stamina and mental capacities?
IDOOM: Sometimes you get annoyed of everyone but over all its a blast and we love it!
HMT: What do each of you do when not touring?
IDOOM: When not on tour we are all at working and hanging out.
HMT: Any final words for the readers of this all ages music review?
IDOOM: Yes, please check out our myspace for tour updates and news at www.myspace.com/impending
--davidoom
HMT: Thanks for your time and godspeed.
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CD Reviews:.
Band: Between The Buried And MeRelease: "Colors"
Label: Victory Records
Genre: typically outside our area of focus, but too good to pass up. The lyrical content is recommended for age 13+.
Eight tracks of rich warmth virtuosic character. "Colors" equals an unprecedented approach to metal, the musical dark horse, an all-encompassing sensory challenge, a neurological face-off, the gold-standard. Track one sugar coats the palate with a sweet reflection on Queen's "Bohemian Rhapsody" style piano and vocal stylings. Top it off with a lead in that only an apprentice of Brian May could pull off, and crescendo paced drumming that reflects Phil Collins/Genesis, and solid driving bass e.g. Billy Cox/Band of Gypsys, track two is really a continuation of this track - hence the run on sentence. Brutal blasting vocals rain down. Guitar and bass downtrodden pace, bring you up to the breakneck drum pacing. On occasion cautiously used arpeggios adds spice between the low-end change ups. Keyboard in this track infuse the song with a airy atmosphere, adds space as a trait, not as a filler. Bass guitar slides down the neck tempered with clean arpeggios sound just right. Just when you think you have the song figured out, BTBAM change it up again with an injection of jazz, and improvisational technique. There are sing along chorus lines that ice the cake. Track three resounds with the humming of an amp vibrating from one open string accompanied by the pounding Egyptian-like percussion a la NILE. I suppose a contemporary statement can be made that there is a Tool influence, but not for long. Almost symphonic in structure the song does not leave much room for dead airspace. There is constant movement and fierce vocal lashing on this. There is even a chorus-intro that last a few short seconds - long enough to address the Moody Blues-esque vocal arrangement. Not only do the pronounced bass lines have a string change up, but so do the drums, high/fast pedaled drums and cymbal clanging but also use of the full drum set (all toms, snare, all cymbals, double bass). I would love to see the making of, on this CD. It's one that I am very excited about and know any metal fan of any type will enjoy the full length, depth and breadth of this disc. Again, track four just turns off the unamped mics on drums into microphone amps into the mixing console. Fast, drum rolls all over the spectrum. This one brings to mind the first time I heard BTBAM, magma flows of heaviness and unrehearsed change ups. Post acoustic guitar segue, the drums just go off and then you are dropped on your ear for a funny sounding "la la la" bridge. Then bam, you are on tossed on the other ear as it's laden with intense cross-fretboard work and classical influences, id est Johann Sebastian Bach. I'm not saying I know exactly what their influences are, but I just call it like I hear it. Track 5, nice stride and pace, good memories of Metallica ("Kill 'em All", when they were metal), Cliff Burton-like bass, racing guitars, and small keyboard interlude that surfaces one of my favorite MET tunes, (Motorbreath or Orion). This is the metal version of Pachelbel's "Canon in D". Immediately into track 6, this is what I would call theme music. It has a resonant chord progression that is melodic and deep with bass guitar and matching drums. Also, there's a hint of Amorphis (Tales..disc), old school black/progressive metal. Downtuned change up with lots of china splashes and channel switching drum rolls. Guitars are a-typical hardcore, catchy, thick and unlike any other hardcore band. BTBAM is the RUSH of Metalcore, intrinsically intellectual, border-challenging, genre defying, catch you by the shirt music tinged with precision-driven musicianship. Accordions lay waste in this sucker, makes me smile, reminds me of the dreams I have of going to Paris on an extended vacation, eh! The vocal range holds no mercy, just raw talent and sirening screams. With the recurring theme of what I call black metal dust, the guitars and drums and bass soar to blaring new speeds - then only to descend into the slower tempos of life. Song seven introduces itself with clean tone, bluish-jazz harmonies and even tempoed bass lines walking alongside the high-hat taps. Lastly, track eight is the culmination of all this effort, a lathering of clean vocals singing in rounds, guitar tone ala Blue Oyster Cult's ("(Don't fear) The Reaper"). Somewhere in the song are vocal ranges with tones similar to Kansas & Yes morphed together, a classic rock era throwback ending in piano. Thanks to Victory for this disc, grab it while you can!
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Band: As I Lay Dying
Release: "an ocean between us"
Label: Metalblade Records
This audio engraving is infused with saw-like guitars, enveloping drum rolls, firm bass lines, and charismatic yet severe vocals. Lyrically, the words are articulate and the meanings are deep as the Grand Canyon. As I Lay Dying are the ever-desirable plethora of enigmatic meaning, unbridled energy, influential tone, the foundational powerhouse of metalcore.
When Pluto Record picked up AILD I knew they were onto something good, and so did they. With their first releases on Pluto, AILD gained world renown and then were discovered by the highly-reputable Metalblade Records. The Metalblade investment has paid off, yet again.
AILD as of this recording is comprised of:Tim Lambesis - vocalsJordan Mancino - drumsPhil Sgrosso - guitarNick Hipa - guitarJosh Gilbert - bass recording
CommentaryTrack 1-static feel of muscle-esque guitar duo, reminiscent of the classic Scorpions lineup of Rudolf Schenker and Matthias Jabs.
Track 2-a springboard from Metallica's "blackened", but only the first few seconds. Then after that is clean serrated guitars. Tim's voice is well laid out at just the right mixed in volume. Drums are well composed, not over or underplayed, nicely placed. In as much as there is a Metallica feel, there is also the vibe that calls to mind, In Flames circa Tokyo Showdown.-spiritual impact, the first climax of the Holy Scriptures, the arrival and the Christ child, his growth, his healing, and his saving power.
Track 3-A many splintered drum roll induced into neck breaking jolts of up beat tempos and fretwork. There seems to be an element or two of alternative metal in having the clean vocal choruses, but this is defined to be good use of the word - alternative. Minute marker 2.42 the musical bridge builds again into a heavy, stereo panned guitar and bass mix. -spiritual impact, a strong reckoning with the book of Ecclesiastes.
Track 4-Now here is a thrash attack for all the metal heads out there. This is the new Bay Area sound, it is sort of a rediscovery of sorts, from what Death Angel, Exodus, Testament, Metallica, and Megadeth brought up from the underground in the early 1980s. But this is a polished, thicker, meaner, tighter, relentless pounding of the eardrums. Arpeggios midway through are just the right touch, before the heaviness drops in again.-to me this speaks of John 3:16-18, specifically verse 17. "Therefore, there is now no condemnation for those who are in Christ Jesus," as penned by Paul.
Track 5-AILD have redefined themselves, yet again, a fuller sound to their song's introduction make this another welcome tune to reply in your memory bank. The drum work is fast, head-on, dead-on. AILD accomplishes what others try in clean vocalization, a captive audience, a drawing in and screaming out. One thing you will enjoy is the muted bass guitar, a blistering controlled hum in the mute section of the song.-spiritually speaking, to me, this describes the struggle of each believer not to deny the saving power of Jesus, the love he has for us, the fight against the flesh. A good summation of this is found in the book of Romans as penned by Paul, chapter eight.
Track 6-A static edge to what seems sharper than ever. Each new track brings with it the low end drag of metalcore and seamless genius of the Parris Mayhew (Cro-Mags). The drumming at times doubles as a third guitar in that every riff breakdown is mirrored in the percussion. -betrayal is one of the strongest themes in the Bible, yet not the strongest. We've all been betrayed, even by those closest to us, and we have done the same. So what do we do about it?
Track 7-For a temperamental song, this is arranged very well. Essentially the lyrics capture the emotions of Tim's yearning for change. Moreover the musicianship shines through with well-tuned guitar/bass/drum arrangements. -the spiritual quest for simplicity and freedom from vices and temporal gains, the book of Acts 20:24 However, I consider my life worth nothing to me, if only I may finish the race and complete the task the Lord Jesus has given me—the task of testifying to the gospel of God's grace.
Track 8-The riveting drums just stop the pulse, a strong delivery to match the other instruments. Both types of guitars nicely integrate with the drums and gently drag the thrashy tone in midway through the song. Solos accentuate the vim and restless attitude of this track. As always, Tim's vocals are rooted in stability as they lunge through the speakers.-perhaps are two layers here a spiritual battle (the daily struggles with problems, issues, the fighting of your own insides, the emotional eruptions that are unending), and the truth that is going on today in many parts of the world, many christians are being persecuted for their faith, even murdered. Mothers, fathers, children, orphans burned in buildings, left for dead, because they want to share the light and salt they have received. Things brings to mind the preachiness the world sees, we are not about beating you down to make you believe, we just care about you.
Track 9-The intro guitars bring to mind the uniqueness of AILD, a flare for almost renaissance era music type rhythms and leads. The vocal duos of scream along with clean chorus ring aloud. The bass guitar is concrete as it mirrors the pace of the guitar duo. Not only are there solo sections, but also true-to-the-core guitar rhythm sections that compliment the soloist work. Firmly played are the drums, with some drum runs on the higher end of the tom scales. Likewise the cymbals are in great standing.-spiritual impact, live the life.
Track 10-purely instrumental. Arpeggios fill the equalizer monitor and trill simultaneously. The accompaniment guitar work adds atmosphere as the airy-ness and whispers of emotion gently lay upon your brainwaves, a picture of war.
Track 11-I don't know whether to say shazam or wholly crap. Tim's vocals just run you right through with an ever-piercing fire. Guitars of all kinds, and drums barrage the listener with AILD Trademark of blizzard-like rhythmic punches, infused with high-velocity and listener-beware attitude.-spiritual impact, book called Ephesians, first part of chapter two, 'made alive in Christ.'
Track 12-Come in gather around, while I tell you a story of intrigue, mystery, and a love that no one fully understands. AILD culminates this disc with full AILD muscles flexed, guitars, bass, drums and vocal harpoons. Before you turn your ears on to this track, may I suggest a seating in an upright chair, strapping in with the five point racing harness, the best Bell helmet you can get your hands on, and an inch thick set of driving gloves. -the impact is that God's love through Christ is matchless, unmatchable, unfathomable, unending, forgiving, constant, forever the same-yesterday-today-tomorrow, come join us.
Thanks Metalblade for sharing this prized possession with us.
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Band: Impending Doom
Release: Nailed.Dead.Risen
Label: Facedown Records
This recording is a dry mix resembling similar mixes and trends in metal industry mixing and production, a move to a dryer mix such as Nile's "Ithyphallic" or August Burns Red "Messengers."
Thank goodness this is a new release that does not sound like nor resemble Job for a Cowboy. Don't get me wrong, that band is great at what they do (and I love them by the way), but too many copycats. This Impending Doom is unique and genuine.
A breath of fresh air in a stagnant dulling sense of metal music scene.
Track 2, Unearthly vocal strains, the fast clean sweeps of the guitars remind me of Jesse Pintado/Napalm Death. Unexpected guitar pinches add a delightful flare to what seems an overwhelming heavy song.
Track 3, A torrential down pouring of metal shrapnel and audio pillaging. the mammoth has landed and is taking your name, as well as your buddies beside you. Uncanny bass and brutally thick vocals.
Track 4,Does a good job at showcasing the bass guitar notes, another heavy as lead song.
Track 5, Quick paced neck stretcher for sure. The tone of the title track lends credence to the depth of being nailed. dead. and risen, an ultra-heavy experience. No glamour, no glitz, no lies, just the truth. The pick slides on the guitar add a change in the pace of the song in between what seem to be vocal fires. the Bridge section slows the song a little but just hooks the listener enough to stay tuned - while the last few seconds just pounce the darkness out.
Track 6, I remember the first time I heard Cannibal Corpse and thought "oh my goodness, and these are vocals..." Well scoot over Corpse, a new heavy weight has entered the ring and swiftly snatched the crown. Believe it or not there is a bass line that sounds like the hilarious comedy "Seinfeld", you know the little bass blurbs in between suspenseful scenes. I don't know how they do it, but the guitars are loose in unison, yet in lock side by side. I think it is the dryer mix down on the guitars. I would love to hear this song in a Marshall stack!
Track 7, Another catchy track. The channel switching performance is groovy and caustic. this brings back some of the energy that Slayer duo have brought to metal, except Impending Doom take it in another direction, North of Hell.
Track 8, If you put the guitars from Saint Vitus and downtuned a step or two (or three) you would have another classic Saint Vitus record. If you liked "Heavier Than Thou", double release from SST, you will love this track. A meshing of unlikely forms takes shape, doom, death, and grindcore well placed in the disc, a pleasant change of pace.
Track 9, This sounds like the younger, more aggressive brother band of HateEternal. If they were related, you will hear how. Probably the differentiating factor would be that you can hear the bass in this song, where as HateEternal songs are difficult to outline the bass.
Only thing I wish is that the mix had a tiny reduction in drums mix and a little more guitars and bass. Other than that wish - you have got yourself a new heavyweight champion. Ding ding ding.
Thanks Facedown Records for sending this to us!
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Impending Doom – „Nailed. Dead. Risen.“ (2007)
11 tracks – 34:43 min
Impending Doom ist eine relativ junge Band aus den USA, die mit „Nailed. Dead. Risen.“ ihr Debutalbum abliefert. Schon vor 1-2 Jahren sorgten die 5 Jungs auf myspace mit einigen Demo-Songs für Aufsehen und sind somit längst kein unbekannter Name mehr in der amerikanischen Metal-Szene.
Betrachtet man das Bandfoto auf der Rückseite der CD fallen sofort einige T-shirts, getragen von blutbespritzten Bandmitgliedern, ins Auge: unter anderem Suffocation und Cannibal Corpse, und im myspace-Profil sind unter der Rubrik „Einflüsse“ des Weiteren noch Kombos wie Nile und Aborted aufgelistet. Diese Einflüsse finden sich hundertprozentig in der Musik von Impending Doom wieder. Das Album beginnt sehr ruhig und besinnlich mit einem Gebet und Gewittergeräuschen im Hintergrund, aber gleich danach wird klar: hier wird ultra-brutaler, extrem schneller, sau technischer und sehr präzise rübergebrachter death metal der amerikanischen Machart mit zusätzlich einigen grindcore-Elementen praktiziert, und das Ganze noch mit einer Hammerproduktion und Sound. Auch rein optisch lässt das Werk keine Wünsche offen: das Cover überzeugt mit seiner düsteren und makaberen Atmosphäre, es zeigt eine Kathedrale, vor der sich menschliche Überreste häufen und aus denen eine in schwarz gehüllte Gestalt mit erhobenen Händen emporsteigt. Auch zu beachten: das krasse Logo, sehr gelungen, alles passt perfekt zur Musik.
Aber nun zur Musik selbst. Besonders das Schlagzeug kommt sehr kraftvoll zur Geltung, gekennzeichnet durch eine ausgezeichnete spielerische Vielfalt und Präzision. Sei es in pervers schnellen blast-beat Abschnitten oder langsameren mosh-Teilen, der Kerl leistet Top-Arbeit an den Kesseln.
Begleitet wird dieses wahnwitzige Spiel von zwei schreddernden und tiefer gestimmten Gitarren, die beide einen ultra-technischen highspeed Riff nach dem anderen runterbrettern, um irgendwann in einfachere stampfende Rhythmusteile überzugehen, was stark an Dying Fetus erinnert. Begleitet werden sie von einem Bass, der die ganzen rasanten Riffs im Hintergrund mitrumpelt und den Songs so den notwendigen Druck verleiht. Solis finden sich absolut keine auf dieser Platte, was aber absolut keinen Mangel darstellt. Ich fürchte sie hätten sich auf das brutale Ganze nur negativ ausgewirkt.
Die Gesangsleistung verdient besondere Beachtung. Hier gibt es hauptsächlich zwei Arten von Gesang, zum einen der normale aber sehr kraftvolle tiefe death-growl, und zum anderen der sehr unmenschliche pig-squeal (Schweine-Schrei), der sich sehr oft im grindcore-Bereich wieder finden lässt. Sehr krank, im positiven Sinn. Phänomenale Arbeit.
Nach 9 heftigsten Songs ohne wirkliche Verschnaufpausen bildet ein kurzer langsamer, sehr düsterer track den offiziellen Abschluss der CD. Hier stechen besonders die krassen Schreie im Hintergrund heraus, die sehr an die schwarzen Drachen in „Herr der Ringe“ (Nasghul) erinnern. Nach etwas mehr als 2,5 Minuten Stille folgt dann noch eine witzige Studiosession, in der der Sänger wild umherbrüllt und dann vom Produzenten gebeten wird, einen bestimmten Satz auf eine bestimmt Art und Weise auszusprechen. Beschreiben ist eigentlich sinnlos, hört selbst, sehr unterhaltsam.
Textlich hat Impending Doom auch einige Kuriositäten zu bieten. Sie reden nicht lang um den heißen Brei rum und bekennen ihren Glauben zu Jesus Christus ganz offen und ehrlich. Die Texte sind sehr vielfältig ausgefallen und handeln z.B. vom Verfall der Kirche, dem christlichen Sendungsbewusstsein, dem Sieg Gottes über den Teufel, dem Verlust nahe stehender Menschen, von Christen, die der Gesetzlichkeit verfallen sind usw.
Zusammenfassend kann man sagen, dass diese CD ein extrem starkes, hochqualitatives Debutalbum ist und mit Sicherheit jeden Liebhaber von derbster Musik begeistern wird. Fans von Gitarrensolis und Melodien sei hier somit besser abgeraten. Mit diesem Album ist die Band definitiv in die Liga der ganz großen im death metal aufgestiegen und kann sich problemlos mit „weltlichen“ Vertretern des Stils messen. Es bleibt nun abzuwarten, was Impending Doom zukünftig noch für heilige Brutalitätswerke auf die Menschheit loslässt.
Rough English:
Impending Doom is a relatively young American band that is releasing their debut album with “Nailed. Dead. Risen.”. They already caused for attention 1-2 years back when promoting some of their songs on myspace, and thus they’re no unknown band in the American metal scene anymore by far.
When looking at the bandpic on the back of the CD some T-shirts catch the eye instantly: Cannibal Corpse and Suffocation, amongst others, and in their myspace-profile there are bands like Nile, Aborted listed under “influences”. You can find those influences 100% in the music of Impending Doom. The album begins very quietly and consciously with a prayer and thunderstorm sounds in the background, but instantly afterwards it becomes clear: they make ultra brutal, extremely fast, really technical and precisely played death metal in the American way with some additional grindcore elements, and everything with a killer production and sound. The album also feeds all wishes optically: the cover convinces with its sinister and macabre atmosphere, it shows a cathedral and piles of human remains before it, out of which a figure shrouded in black arises with hands held up. Also note the crass logo, very well-done, everything fits the music perfectly.
But now about the music itself. Especially the drums come across with lots of power, with a remarkable playing diversity and precision. No matter if perversely fast blast-beat passages or slower mosh-parts, the guy does a top-job on the drums.
This insanity is accompanied by two shredding and down-tuned guitars, which thrash one ultra-technical highspeed riff after the other, in order to change into stomping rhythm-parts somewhen, which strongly reminds one of Dying Fetus. A bass, which rumbles all the speedy riffs along in the background, accompanies them and donates the necessary pressure to the songs. There are absolutely no solos on this album, but that’s no lack at all. I’m afraid they would just have damaged the brutal whole.
The vocal performance deserves special attention. There are mainly two types of vocals, the usual but powerful deep death metal growl and the very inhuman pig-squeal, which you can often find in the grindcore genre. Very sick, in a good way, phenomenal work.
A short slow, quite dark track creates the official end of the CD after 9 intense songs without any real pause for breathtaking. In that track the most remarkable thing are the extreme screams in the background, which remind a lot of the black dragons in “Lord of the Rings” (Nasghul). Then after 2 and a half minutes of silence comes a funny studio session in which the singer growls like mad and is asked to say a specific sentence in a specific way. It’s actually senseless to describe it, listen for yourself, very entertaining.
Lyrically Impending Doom have some curiosities too. They don’t talk around a lot and confess their faith in Jesus Christ very openly and honestly. The lyrics are very diverse and talk about the corruption of the church, the consciousness of being sent into the world which Christians have, God’s victory over Satan, the loss of close people, Christians who became legalistic etc.
Summing up you can say this is an extremely strong, high-quality debut album and it will surely please any lovers of brutal music, I wouldn’t recommend this to fans of melodies and solos. The band definitely advanced into the league of the biggest in death metal and can compete with the secular representatives of the style without any problems. Now we have to wait and see what other holy works of brutality Impending Doom will release upon mankind.
-=Gerfried/Germany/www.myspace.com/pesticidesband
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Band: Maylene and the sons of disaster
Release: "II"
Label: Ferret Music
Now this is what I call southern rock. The sound and genuine sense of pride shines through in this piece of rock. If you took the best of Mountain, Thin Lizzy, and Lynrd Skinned and added some punch to it - this is what you would have. In its entirety, in summation, "The Anthem of the South".
Track 1occasionally you hear the drum tip on the empty glass bottle (or at least it sounds like it), oh the simple days of coca-cola and nothing to do on the farm.
Track 2The band lays it all out, driving riff age, hard hitting drums, sing-along and strong vocal presence.
Track 3This one delivers the cowbell and the whole package. Clean cuts of guitars without allthe processing signals and overproduced guitar licks. The bass and drums attack with stop on a dime delivery and punchy drives into the chorus sections.
Track 4This brings back the soulful playing Sammy Hagar he had on his VOA album and song 1-2-3lockbox. Hyper fuzzy guitar tone and well defined drum tones. The bass guitar is present, but I would have hoped for a louder dryer mix of it. Needless to say, anotherhook in the ball cap.
Track 5Picture the Allan Brothers and Thirty-Eight Special swaying to low tuned guitars, bass, and one drummer (at the throne of it all). Here you have a fuzzy peachy sound that is awelcome change, a sweet-refreshing earful of joy. A mouthful of juice in a dry musical landscape, an shady oak tree under the hot Texas sun, nice work guys.
Track 6A younger Eric Clapton, a fiery Steve Ray Vaughan, and kidlike Ginger Baker, and more pronounced Jack Bruce, plus the American counterpart of Udo Dirkschneider - gently play this bluesy rock tune. No it's not the members of Cream nor SRV come back from the dead, nor special guest performance by the singer of Accept, but the contemporaries - the new breed of rock-n-roll.
Track 7Massive chop-chop riffage funnels this track into your rock-n-roll deprived earstream. It's alive, clean air, the smell of the salty sea, the breeze on the Mississippi, the pines of Alabama...
Track 8This is what I think Metallica wanted to accomplish with Load, Re-load and whatever else they wanted to call rock or metal. Pressing arpeggios, multi-layered drums, driving bass, burning sore throat vocal announcements - tie this piece in a nice red bow.
Track 9How can you forget Black sabbath, you can't. This would have served as the last track, a hidden track if you will, on the "Paranoid" disc by Black Sabbath. No high-tech stuff, just pure, pure, methodical southern rock with a sprinkling of spicy blues.
Track 10Swampy steel top ballad or sorts, acoustic break ins with electric featherings. Clean tone singing on this one and well pronounced bass guitar. Scattered across this song you hear the glass guitar slides and firing up of the drums, the small rumble into thegiant percussive roar.
Track 11It's a dreary, overcast day in the Louisiana swamp. The wooden porch and the moss hanging down casually cover the old man in his rocking chair from the fierce storm of emotion. This is not rock, this is the fluid shape of emotion taking shape to the airwaves. I think this song has standup bass on it and maybe a banjo - not certain. But if you want to stir things up inside, play this sucker. Otherwise, you may not be up for the emotional torrent. It is the survivor of the Civial War looking for the tombstones or resting places of his fallen comrades and previously known enemies - now realizing all were brothers.
Thanks Ferret!
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Band: Node of Ranvier
Release: Defined by Struggle
Label: Victory Records
Another win by Victory Records. Defined by Struggle is defined by classic hardcore style song arrangments, blended in metalcore roots, with a nice dose of thrash in the mix.
How shall we say it? Life can be beautiful, life can be ugly, and in the middle of it all is the Struggle to stay alive. At the onset you hear the roaring and screaming of a man in a struggle. The guitars are double geared to the thrash influence, bass locked in going head to head and drums pounding your heart out. A flurry of drums, clearly understood gritty verbal blasts, many hypersonic and nimble guitar sections. The thrash metal incfluence is hidden everywhere on this disc. The breakdowns are tossed in for grins and feature the metalcore staccato-syncopation in the guitars. The hyper-speed double bass is well placed and mirrors the rhythm section, while maintaining clear and timely snare smashing fits. Not to mention the bass guitar that is recognizable and actually driving some of the songs, which many metal/core type albums lack. Chop-chop guitar slides make this an emotional disc. Up and down the neck the listener is devoured. This causes a chain reaction on this disc between the drums and bass guitar therefore producing a spectrum of galloping momentum as heard in genre-defining Metallica's "Kill'em All" classic. An honestly shocking message. Wake up and crank it to YOUR core.
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Band: The Warriors
Release: Genuine Sense of Outrage
Label: Victory Records
If you gave Motorhead a high octane boost and took away a few decades, this is the band you would have. The Motorhead descendents. I'll put it this way, The Warriors have used all the best foundational elements of the legends such as Sick Of It All, Cro-Mags, Murphy's Law, The Misfits, and The Bruisers. An amazingly-monstrous work of art. Primo!
Track 1The Good thing about this song is that it immediately gets down to the nitty gritty vocals and thick/chunky guitars.
Track 2 Groovy guitar and low end bass sound just right with the splashing drumwork. Preach it man! Gang style vocals - just deliver that chill down the spine, like when you are getting ready for that plowing through the defensive line.
Track 3Quirky guitar interludes is fun to listen to. Lots of change ups in this song.
Track 4The drums are continuously present and well balanced with the bass guitar. The twin guitars sound rock-n-roll-ish then flip into high gear, like the addition of high octane to a steady fuelstream of fiery sounds. Not the mention the beloved Lemmy on guest vocals. Dude - what can I say, they could not have had a better metal legend representin'. This is your "Ace of Spades"
Track 5The title track meets the high standards set by the legends of hardcore, fast guitars, three-d drums, mirroring bass lines, the formlization of legitimate complaints. The voals are very strong especially in the diminuendo of the song... some static, screams, closing. Nice work.
Track 6Ominous overtones and backbreaking beats. If Rage Against the Machine were a hardcore band, this would be them. Seventy's rock flare riffage, standard bass standouts, punchy - splashy drums carry this well.
Track 7Strong bass lines are prominent in this song. Brings the same feel that Geddy Lee has when he plays live. Fast, apparent, up front, and tighter than a drum. Sling back, long hair sway banging on this one, "New Sun Rising" accompanied by the lovely backing vocals.
Track 8Put your head in a drum head and bang it around a bit. The riffage is thick as steak and heavy as lead, and mean as heck. This is an earthshaker, and I think along with track 4 are the defining moments for The Warriors. Their sound is peerless and unrivaled, a standout in the hardcore scene.
Track 9This is an open road song, plug it in, play, and let it ride. The heavy mutes add the punch needed for this hit, drums, bass, guitars in unison. Not to mention the ear-piercing solo dives in. Voice wise, the tone is thicker and tuning is lower.
Track 10A classic feel, resonant with Murphy's Law, Cro-Mags, and Sick Of It All. The descending strings associated with cracking, smashing, and crashing, not to mention the Harley Flannigan influence.
Track 11what can we say, hardcore out the rear! Check out the early bass rumblings. It's phat!!!
Track 12Bumping bass drums, then an interlude into heaviness. I would not say metalcore, but chugga chugga hardcore.
Track 13Ah yes, musn't forget the punk theme song. Speedy, choppy, and happy! Voila, a cheery end to what is a get up off your can and rock the heck out of your head disc. Did I hear Mr. Koller?
Great job with another Victory!
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Band: Zao
Release: The Fear That Keeps Us Here
Label: Ferret Music
Daniel Weyandt - Vocals Scott Mellinger - Guitar & Vocals Marty Lunn - Bass Jeff Gretz - Drums
no barriershave their own lunar landscape, untapped and most of it unseen or in this case unheard.
A few names come to mind in terms of the level of genius by which Zao have acheived, not by sound, but by the untainted audible indulgence:
- Killing Joke
- The Damned
- The Exploited
- The Famine
At first glance, I inserted the DVD to see the making. Recording studios are either a real intense-nerve racking place of judgement or an intensely relaxed environment for freeflow creativity... In the case of "The Fear That Keeps Us Here.", the apparant flow was easy-going. You get to see all the players in action, recording, conversing, screaming and cheering for the end of the Pittsburgh triumph game.
When I heard the disc the first time, I had to think for a moment - the sound is different. The texture was course, crude and taste was organic. This confirms the way in which recording took place, not a lot digital equipment if any. Consequently, you do not hear a doctored up square sounding piece of cardboard music. Many in the metal scene are now figuring out that all the digital editing can be harmful, instead of helpful in terms of sound production and quality. Too much digital editing can kill what would have been a phenomenal work of art. Beware you may need to reduce the bass level on your eq when playing. The disc has its cabinet-rattling fits of rage.
Track 1Cancer is one of the most despicable things mankind encounters. I personally hate it. It's a waste of life and energy, it ruins what it touches, it is hideous. Lyrically I am not able to comprehend the message, but just the mention of cancer brings with it the sorrowful melodies that introduce this track. Dark and desolate, Daniel set's ablaze the speakers with a caustic pounding of the senses.
Track 2From second 1 on this song is full of hooks and and truth. Not sure which hurts more, hooks or the truth. This song can be addressed not only to the technical physicians, but to those who think healing is within themselves. It is not. It comes from God. Lyrically it demands the confession from each of us, that we ought to treat others - how we wish to be treated. I suspect the woman with the issue of blood was treated by one of these at one point in her struggle for a healthy life. Scott's guitar serrates the senses as Daniel launches forth the firey spirit for which ZAO is known. Marty and Jeff pulverizing pulses of bass and drums are speedy, precise, and well complimentary of the vocals and guitar. The change-ups are many and predictable - but predictable in the sense that the listener is ready to bang away at just the right time.
Track 3 Now I do hear some resemblance to the famed song of long ago, The Eighties, but not the same. So what is music if you cannot pick out influences or familiarities - can be foul-tasting at best. Here it is comforting, unexpected from Daniel and team, yet a gratifying encounter.
Track 4A shaky and technically fidgety piece/introduction by Scott and Jeff. Marty's bass overrides the guitar - as he does not replace the guitar - just magnifies Scott and Daniel's lion-esque roars. Percussion work by Jeff is polished through the acoustic/analog recording - reminiscent of The Course of Empires work on "Minions".
Track 5so tell me, who is the Kingdom of Thieves? I'm not exactly sure but I'm for certain Daniel can point the way in a single stride of his lyrical rampage. The riffage takes me back to 1987 and The Exploited's "Death Before Dishonor", specifically Anti-UK song. Like pure cane sugar, ain't nothin' like it. The real deal. Marty and Jeff tag team this musical match and ride the fine line between a percussion led song and guitar driven song. You will hear the "US vs. Them" tone in the work, a fight for balance and dominance, the balance has been struck.
Track 6The commencement is breakneck. One track after the other, this album gets heavier and more disruptive in nature. The only drawback in this song I see is the solo, seems too structured for what I'm used to hearing from Mr. Mellinger. The live feel of this song is tremendous, especially the bridge sections. Marty and Jeff seem to bend along the last half of the song, as if Marty could bend the string on his drums while mirrored by Jeff's strong bass notes. The bends are not symmetrical nor can you forecast how they'll turn out.
Track 8Ominous heavy doom sound. It is not done with much palm muting from, Scott. Marty's bass slides nearing the song's end are "JAWS" image-inducing, specifically monstrous.
Track 10 This one sounds like spiders running up the web. Creep crawly is what I would call this one, but it's fast and full of hybrid blasts of guitar, bass, and drums.
Welcome to Z-End.
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