Andrew Danso

Powerplay: The Birthday Massacre - Imaginary Monsters

2011-12-09T11:25:00.000-08:00

Though their music may say otherwise, The Birthday Massacre aren’t coy by any stretch of the imagination. While it’s easy to rule out what the band create as balderdash, as a collective they are smart enough to recognise a demand, which justifies their own means when it comes to an output – a very cynical one indeed (you can’t honestly believe that they enjoy making this guff). Imaginary Monsters is the follow up EP to Pins and Needles, flaunting a handful of new tunes as well as a couple of remixes for fans to sink their teeth into.

Like most follow ups, the material on here is reactionary; a collection of demos that would otherwise be kept under wraps, should the previous album perform poorly in the market. Surprisingly, some of the material here merits a great deal more patience than that of Pins and Needles, with the remixes giving a different flavour by way of moodiness and rhythmical power, which was never unearthed in the textures of the heavy synth’d originals.

Yet, it all washes off quite easily. With Pins and Needles being the EPs source of life, this is a band now standing still, squeezing every penny out of a contemptuous following who rule their parent’s moneybags. Imaginary Monsters is a release made for a fan base, endorsed in the colour of cynicism. Worse, it’s played by a bunch of musicians, who appear to only speak one language, through their chosen instrument.

4/10 Powerplay issue #138

Album Review: Russian Circles - Empros, 2011

2011-12-09T11:22:00.000-08:00

With today’s records becoming more and more complex, it’s not surprising to see heads being turned to the more stripped down voyeurisms of instrumental rock – without doubt a trend has been developed. The fad surely soon to die out (as soon as this well fed audience find something else pretentious enough to hang their coats on). But phenomena it might be; musically it’s easy to disregard as tasteless, and stale, but artistically, it’s as rich as ever, with challenging concepts for fans to mull over and newcomers to enjoy the rhythmic simplicity.

Russian Circles aren’t much different to most post-rock instrumentalism; they’re content on building an atmosphere with whatever instruments they have (which on playback doesn’t make for a huge production at all, being a trio), and clamour on riff after riff, with the occasional loop splattered on top of the chaos.

Stylistically, they’re a clever bunch. Often living within the sludge akin to Celtic Frost, they climax to speeds as bold as Tool, and jam out within spacey lulls, littered in ambient guitar effects, with the occasional percussive boom. Better yet, in their meticulous structure, the undercooked production on the album makes the band feel spontaneous, as if they’re making the racket in the room right next to you. It all makes up for a concrete (and first) full-length, if unremarkable.

7/10 Powerplay issue #138

Album Review: Shield Your Eyes - Volume 4, 2011

2011-12-09T11:15:00.000-08:00

Shield Your Eyes shoot themselves in the foot. So wrapped in their disharmony and discontent, when they decide to put their minds to structure and tune, they tend to produce moments of magic. Mellow numbers Glad and Crowd work excellently, because they have simple explanations, but more importantly they have the inner workings of heart, and tangibility, something that the listener can really touch, and get their hands dirty with. Alternatively, the more hectic, math-orientated material rubs off as something incoherently predictable. It precisely washes into nothing, despite its crashing, whacking and scientific zaniness. A more indie approach to Dillinger Escape Plan, Shield Your Eyes are difficult to understand, but encroach a sense of arrogant appreciation and misplaced pomposity through their mathematic romance.

It’s easy to be churlish in a discourse about the math genre, and there are a few tricks Shield Your Eyes pull throughout playback. Their production is clever, by way of spontaneity – it’s all been taped in a hotel room, which gives the band a vintage gradient to mix into their hyper modern vibe. The tunes themselves recall bluesy and American licks, which contrast radiantly with the menacing nature of the tracks. Another is the precision of the albums pacing, which batters you to begin with, but fleets into dreaminess and idle, before plundering manically down the spiral.

6/10 Powerplay issue #138

Album Review: Taste Of Tears - Once Human, 2011

2011-12-09T11:10:00.000-08:00

It’s very rare that we come to enjoy acts who aren’t academic by their own standards. Often it takes reassessment through each album before one sticks within public domain, and should it be the case with Taste Of Tears, they haven’t got much to learn despite Once Human being their full-length debut.

The album flows in melodic metal, with progressive flights and complex rhythm work sketchfully plotted throughout its length. This is certainly a frayed effort, feeling like ones reckless rush of blood at work, instead of the balance in adrenaline and thought - it is a cry for a producer, a hierarchy, to reign in a lot of the whimsy impulse on show, and make do with whatever edits need to be made.

Potential is what Once Human carries in abundance. Usually debuts never avoid the rough around the core, and getting a feel for an act is just as important as what’s heard sonically on the disc. In this quartets case, there’s something very amiable about their enthusiasm and wealth of ideas, which sets up an album based on a strong set of fundamentals, and powerful spirit.

6/10 Powerplay issue #138

Album Review: David R Black - Secret City, 2011

2011-10-24T11:42:00.000-07:00

For all of their artistic claims, David R Black tend to stick by a classic formula, building a tune on basic premises (for example, an opening guitar riff chugging on one side of the stereo field, before the other instruments gradually fill the gaps), and letting rip into the chorus. It’s old, tried and tested, but they make it feel effective, especially when the choruses whack, zing, and crunch. It’s not meant to stand the test of time, but it resonates enough for a suitable headbang.

It’s not all basic rock; Secret City does have a trick up its sleeve, bar a power chorus or two. The vocal performances of both David R and Sarit Black are wispy and ethereal, giving the record an air, and a sophistication which contrasts radiantly with the chugging guitars. It’s a highpoint, not just on a production level, but on a technical one too, that will help push the trio’s identity outside of the many accomplished acts which have been swimming around forever.

7/10 Powerplay issue #137

Album Review: Obrero - Mortui Vivos Docent, 2011

2011-10-24T11:35:00.000-07:00

It’s easy to discount retrograde remakes as nothing but laboured nostalgia, but it’s incredibly important for fans to feel that sense of time warp every now and then – not least to remind them how far their chosen genre leaps forward year after year. The genre in question is doom, with Obrero being a Swedish stoner rock band, focused on recreating that 70s sludge which helped define a trendy blueprint, decades on. Mortui Vivos Docent (the dead teach the living) is obviously not meant to be an innovator, but in reliving the past, it conveys that smoke-filled, grimy atmosphere, which characterised 70s rock sensationally. It’s also crammed full of well-crafted arrangements, that are executed with as much edge as one could squeeze from a late 90s tweed amplifier.

7/10 Powerplay issue #137

Album Review: Planet Brain - Forecasts (EP), 2011

2011-10-24T11:31:00.000-07:00

With a Muse perspective on progressive rock, this Italian quartet are certainly worth their salt throughout Forecasts. Often laced in rhythmic guitar jigs, along with a fleeting vocal performance, tracks Forecast #1: Why Bother and Forecast #2: Send Me A Souvenir chime with degrees of sophistication, while Yesteryear is much more buoyant on rocking out with twanged indie chugs, and an energetic vocal. The key with progressive music has always been making repetition become enchanting, yet Planet Brain feel unnecessarily long-winded and tepid, when they decide to hit on a few proggy extensions – however, this is a pithy remark, as the four-piece are often indulged in artsy rock, rather than all out prog. An example of this is the comparatively short track length, averaging at around four minutes. Ultimately Forecasts is a display of excellent talent and promise – one can only think of bigger and better things, come the full length.

7/10 Powerplay issue #137

Album Review: Sort By Title - Independent Process, 2011

2011-10-24T11:28:00.001-07:00

Of the hardcore trash type, Sort By Title are content in throwing many styles at the wall, and hopeful that one or two of its nuances stick. It all whims by fairly quickly, with each number flying in an adrenaline packed three and a half minutes – at the very least an assault on the ear. The most captivating element throughout the EP is the vocal performance, dynamic enough to give the tracks that archetypal aggression, so often lost within the muddies of melodic guitars and thud of punkish drumming. This is a scrappy humane effort – and it’s all the better for it.

7/10 Powerplay issue #137

Album Review: Greenthief - Retribution, 2011

2011-10-21T07:51:00.000-07:00

Alternative rock is probably one of the most vague, misconstrued attempts at putting together a genre. Greenthief tag themselves ‘alt’, so how on earth does that relate to their sound? Rock but a little bit different? Isn’t that what every new rock distro breaks their back over claiming?

Greenthief are alternative by way of being adventurous. Through fancy, sophisticated progressions and a layered production, the Aussie four-piece meander across their coloured plain of rock more artistically than the moody taboo which alt-rock often carries. Track “Vultures” is put together like a progressive tune, yet it only runs beyond the four minute mark. It contains jump up and rock choruses, with calm and space in between, coloured by Steve James' (Sex Pistols, The Jam) production, aligning fizz and whirls enchanting the mix.

7/10 Powerplay issue #136

Album Review: SYFT - New Beginning, 2011

2011-10-21T07:46:00.000-07:00

Emerging from the grunge laden Seattle, SYFT do the kind of hard-rock which packs a punch live, but struggles to find its way in the form of a full length album. The commercially ready New Beginning certainly won’t fail to find an audience, because they’re definitely not breaking any ground – sounding akin to Slipknot, Creed and Pod may be no bad thing, but straight imitation is another, and SYFT’s latest, pushes to the bone on being another copycat. The album feels dirty and hard edged, but the repetitive (notably in-same-key vocal) labours through the entire release, thwarting each tune into becoming something predictable. New Beginning would make for a strong EP, but as a full length, it’s as predictable as a wasp on speed.

6/10 Powerplay issue #136

Album Review: The Square Hippies - The Square Hippies, 2011

2011-10-21T07:42:00.000-07:00

Is it ever too late for potential? Is there a time when potential finally expires after its sell-by date, and becomes nothing, or frankly, failure? Perhaps, and it best coins The Square Hippies, who have lots and lots of promise, but are slow burners when it comes to realising their wealth of dreamy, quirky rock. Past their sell-by date because of the age of the personnel in the project – it’s difficult not to feel the poignancy of their self image and refuse to put that together with their sound; depressingly it begs the question “if you can’t make it now, how long do you really have left?” According to the band webpage “leaving music behind for our grandchildren” sounds a great deal bleaker.

6/10 Powerplay issue #136

Album Review: Atriarch - Forever The End, 2011

2011-10-21T07:33:00.000-07:00

A Sloth is the slowest moving animal on earth - it travels at a speed of thirteen feet per hour. Which means that if Atriarch were an animal, they’d more or less move at the same speed as a Sloth – maybe point-five of a foot quicker, being general. Indeed, Forever the End is slow, very slow.

This project is a doom and black metal affair, with wails of noise and discontent throughout, dragging the listener through an uncomfortable audio portrayal of hell. If provoking emotions of discomfort is Atriarch’s main focus in the business, then with confidence, there’s not much to fault – but if musically, you look at their lazy song structures, and their noisy incomprehensible riff patterns, then there’s a whole lot wrong with the entire release.

5/10 Powerplay #136

Album Review: Children Of Doom - Doom, Be Doomed Or F*** Off, 2011

2011-10-21T07:24:00.000-07:00

It’s one thing to be an angry razor-sharp doom band, expressing your outward vitriol against whatever aspect of life may be troubling you (in Children of Doom’s case it means flicking 'v's at the camera, and dressing up as if the 70s never left us) and another to actually make the listener angry, because of the poor quality of the doom played back.

The French trio’s message, lyric and image are really a smokescreen to what they actually sound like on playback, which is a tepid stoner band, with a handful of tepid punk ideas put about. Emphasis on tepid, as Children of Doom struggle to find much, if any groove in their stoner predicament - and are candidly tame during the punkish progressions too. CoD’s vocalist who goes by the name of ‘B.B.F’ does his best to tear apart the entire experience with ghastly wails over the progressions, giving them little substance and a frustrating character. Aptly tagged ‘stoner-doom-punk’ because you have to be inebriated in clouds of illegal chemicals, to actually appreciate the material. Get a grip.

3/10 Powerplay issue #136

Chatting with Soltidue Aeturnus John Perez: Interview, Powerplay Magazine

2011-09-13T03:14:00.000-07:00

In Times Of Solitude by doom veterans Solitude Aeturnus, is not long released. It features a collection of rare tracks, showing off early demo material, and unreleased studio recordings, that more importantly, bridge mysterious gaps in their discography. One question which penetrates the hype surrounding the album, why now? The Justice For All cassette has been bandied about for a decade (well, twelve years in fact) that includes most of the material on this new compilation, yet, bang in the middle of 2011, we’ve finally been granted permission to open our ears to such rare treasure, in all its re-mastered glory.

Speaking with Solitude Aeturnus guitarist and main songwriter, John Perez, he echoes our impatience, “I’ve actually wanted to release this collection of older material for quite some time now, in fact several years. I just felt that we needed to pay respect to the early days of the band, and I know a ton of die-hard SA fans that would like to have a glimpse into the beginnings of the band. I emphasise, this is not for the casual fan.”

Our question still remained somewhat unanswered, why now? Perez gave us no giveaways, suggested no marketing upside, no particular timing to coincide with a different release. He remained valiant that the album was to be released simply because, right now, it feels right.

Their most recent and consequent sixth album “Alone” garnered much success. It sent ripples throughout the doom community, gathering critical acclaim, heralded as ‘the strongest release since their debut’. So, just where on earth have Solitude Aeturnus been? “Playing live shows mostly. We’ve done some overseas festivals and a few over here as well [USA]. In the meantime I’ve slowly been writing songs for another release. It just takes forever these days, simply because we don’t have as much time to devote to the band as we’d like to. We all live far apart, and we all work our day jobs, as well as having our own lives to lead”.

Looking back throughout the early eras of rock and metal, Solitude Aeturnus’ writing process back in the day must have been as complex as today’s technical metal bands, who do their best to come up with something innovative through every string they pluck. Like all of their previous work, In Times Of Solitude swims in much more diverse waters than simply being an all-out doom or sludge affair. It demonstrates, that in the late 80s, putting together a doom release was incredibly forward thinking, and by no fluke was it necessary to incorporate progressive elements into the genre. Solitude Aeturnus’ progress would eventually serve as a template, for any hopeful band to write from.

John, when you first started writing for SA, was the kind of complexity which is in your song writing, something that you were consciously aware of? "The answer is both yes and no. I was very aware of writing more complex song structures, and I felt that we needed to explore this to some degree, although at the same time I didn’t want and still don’t want to get carried away with the ‘progressive’ aspect of metal. It has to be melodic and catchy enough for anyone to get into, but it also has to be forward thinking and more involved, keeping it interesting for the musicians. Hah, progressive to my mind, really means to challenge the norm and do things different than what would normally be done. We stay outside of trends to keep it genuine - and yeah, we’re not afraid to do things differently."

Incredibly, Solitude Aeturnus have been juggling in the same style throughout such a sustained period of time. Understanding that they’d alienate a huge amount of their following, by going on another direction – yet at the same time acknowledging that Solitude Aeturnus are well known to make music for themselves – I asked how they had been able to stay so focused on doom for such a long time. “By only releasing 6 albums in our entire existence! Haha! Actually it’s somewhat true. If we would have released twelve albums already, I think the quality would suffer. Our sound is diverse but at the same time familiar. We try to always keep the listener in mind and since we’re listeners as well, then we try to keep it interesting for ourselves as much as possible. Our style is actually very diverse and although doom is a foundation, it’s not the complete picture. We pay attention to song writing detail and we don’t let anything we feel is mediocre, slip by us. I’d rather do fewer albums with greater quality in each, rather than twice as many lacking in quality.”

We’ve heard nothing about a new release, and history tells us that Solitude Aeturnus take as long as it takes to put a release together, not least because of Perez’s own view on quality control. Added to that, the follow up to “Alone” carries a huge weight.

Any future plans? “Of course, and I do apologise to our fans for not working faster, but again, we’d rather release quality than quantity - I’m not a fan of releasing a mediocre product, with my name on it. We are working on new material now, and I have about 5 songs nearly done. They range from heavy metal that is kind of Iron Maiden or Fates inspired, to extreme gloomy doom. My goal is to get us into a studio by the start of next year, so I’m working hard now to get us together and finish the writing and rehearsal process. Importantly, no live gigs will be planned until we can record a new album.”

ANDREW DANSO

My review of In Times Of Solitude

Full interview available in Powerplay issue #135

Album review: Solitude Aeturnus - In Times Of Solitude, 2011

2011-09-13T03:01:00.000-07:00

It smacks at a surprise, just how far doom has progressed over the past two decades. The style of the genre inside of the eighties and nineties wasn’t much slower in tempo than its post-Sabbath rowdies, it was simply much more progressive throughout the era - doom back then wasn’t lauded for its lack of energy, but how everything put together was done with a greater intelligence, than something fronted with speedy guitar heroes and daft haircuts.

How does the critic judge what was back then genius, to now be old, shrivelled and stale? Is it churlish to assume that Solitude Aeternus have never bothered to release the rare Justice For All cassette of '88, until now, because it wasn’t that great? Since their strong reputation follows in 2011, does it nervously have a leg to stand on? DVD extras can be charming, but there’s good reason why they never made the final cut, and after all, this is a remastered demo – like a movie director showing us the final version of his or her film stuck in the pre-production stage.

Accentuating the past for oldies is In Times Of Solitude’s only triumph, as offering newcomers nothing fresh or radical other than different arrangements of a brand of metal that’s been laid to rest - for good reason – is an obvious disappointment. This late eighties demo has very little gold tucked away; much more of a history lesson than something of hidden treasure.

6/10 Powerplay issue #135

Album review: Menendez - Apple for Teacher, 2011

2011-09-13T02:56:00.000-07:00

Looking for unorthodox rhythms, as well as complex song structures? Deep lyrical undertones, saturated in a near scientific production? Why not have it all? Fully realised “Apple For Teacher” should be all of these things, but in reality it’s neither. A folk-indie-rock experiment, it toes the line on something as soft and airy as Wye Oak, to the rigor of National Sunday Law – certainly, it’s an album spanning every genre you can say in thirty seconds. This then tells you it’s the kind of album that’s very easy to chortle at and discard pretentious, without giving a thought to its great intentions. Menendez are trying to make something zealously expressive and honest inside of an experimental production. Certainly no easy feat, but one which isn’t done very well.

It’ll test your patience, be demanding and pretend a little far too much, “Apple For Teacher” may prove unrewarding for many, but it’s difficult not to feel enchanted by its artistic nuances, even when the whole thing has been put together in a clumsy, sheepish way.

6/10 Powerplay issue #135

Album review: Anterior - Echoes Of The Fallen, 2011

2011-09-13T02:46:00.000-07:00

Echoes of the Fallen lifts and cuts around those huge releases, which have elevated Arch Enemy, Children of Bodom and Dying Fetus to dizzying heights in the metal world. They then have used various parts of their heroes graft, to put together an album resembling something of a slick and accomplished package. You’d think it’s simply difficult to not hate an act, which looks at their pioneers work, and snobbishly concludes ‘put this beside one another, we can do all of you much better’. No inspiration to colour the sound with, no punchy album concept - yet, it’s an incredibly polished piece of work, one that cynically resides little heart, but tons of knowledge and effort.

Echoes of the Fallen isn’t a ground breaking exercise in melodic metal, but it certainly raises more than a few eyebrows with its water-tight technical performances, and solid structure.

7/10 Powerplay issue #135

Deconstructing Deconstruction & other Ghostly thoughts

2011-08-21T12:50:00.000-07:00

This was just a bit of note taking I did before I planned to review the said albums. Since then, I've never got my finger out and put together a working piece.

This is entirely meant to be subjective - from my own point of view – and since that’s no different from pulling a search off a fanzine, at the very least, I can say that you have been warned.

So, how best to define DTP without the press release? What does it mean to me?

Essentially what the Devin Townsend Project is, is a cathartic release in the form of music to the aftermath of drug addiction and an emotional reaction to a long-term band break up.

In many ways the concept is its limitation, yet Townsend claims a fervent freedom in the yin and yang of the projects idea; the limitations I’m thinking off, are when something heard is more like the old, instead of the new (the entirety of Addicted! as an example).

Notes I took on listening to Deconstruction

THINGS I LIKED

In all its complexity, I felt Townsend was falling out of love with his expressive metallic medium. I thought this was cool.

Its size, passion, intention, ideas, complexion. Most of all, because of its honesty it’s an extremely brave record.

Its powerful beginning and ending (tracks: Praise The Lowered & Poltergeist).

THINGS I DIDN’T LIKE

I feel that Deconstruction wants to display a thwarted stream of consciousness (e.g. an awareness of being a little angry and thinking about it) through the form of metal, but unfortunately I think it’s closer to proving how limited the genre can be, in its failure to do so.

For sake of genre bashing, I think the album has more in common with power metal, than it does progressive, death metal, etc. It wants to be heavy in its zillion progressions, but with so much going on, it's flimsy than weighty.

Its misdirection. If every action has an opposite reaction, then it’s OK to laugh at the silliness dotted throughout the album. Despite the records best attempts at taking itself seriously, the humour (or intended mania) doesn’t stick. Deconstruction proves the opposite; many of his fans are finding the album hilarious, when it's meant to be plugging a sense of derangement.

Notes I took on listening to Ghost

Ghost is a cathartic lullaby to tune out the four album concept. I find the ideas here much more rich and complex than that of Deconstruction, and better yet, I think Ghost & Ki prove that Townsend is better in doing something neurotic than all out metal. He’s much better writing with his age in mind, than something he would build upon twenty years ago. He’s great to listen too when there’s a straight-jacket applied.

I feel that Ki & Ghost (specifically in that order) are his greatest achievements.

Metal Mayhem UK: Interview with At The Soundawn's Andrea Violante

2011-07-29T16:32:00.000-07:00

On a label crammed full of metalcore, death metal and post-hardcore rowdies, it’s a bizarre site to read through a press release drawing on language such as ‘ambience’, ‘atmosphere’, and ‘fragile grace’. Despite the statements subtlety, it leapt out with much greater force, than something leathered in the usual ‘demolition’ ‘chaos’ and ‘rage’ – but more important than simply standing out, it was honest. At The Soundawn’s second release, Shifting, lived by its written definitions; it was l’atmosphère, a red herring, and ultimately a breath of fresh air.

Lifeforce looked to be taking a gamble with ATS. After all, the label had brought through the likes of Heaven Shall Burn, Caliban, and Trivium - not the kind of acts associated with grace and delicacy. Yet, it was the simple process of dovetailing several contacts, and then mailing out a record or two which got them onto Lifeforce Records radar. Guitarist Andrea, begins.

“The story is pretty simple. Right after we recorded our first album, we sent a CD to Drew Juergens, who was in charge at Lifeforce USA at that time. He digged it and sent it to Stefan Luedicke, who was and still is running Lifeforce EU. Stefan loved our tunes, and they offered us a deal”

All looked well. At The Soundawn release Shifting to widespread critical acclaim and then embark on a live show roundabout climaxing in a European tour. Only, the bands blog suggested otherwise. It implied that the reality of being an underground act specifically based in Italy was something of an uphill battle.

“Playing underground heavy music in Italy means a struggle. A struggle against your everyday life, a struggle against your job, against promoters and venues; sometimes against other bands and even we could turn on each other.”

The lack of transformation began to take its toll, when they took into consideration the work which they put into promoting the act, not just in their home town, but across Europe. Staying connected with their following, At The Soundawn kept correspondence with fans through open and sincere blog posts, even letting us into problems in their personal touring routines. This wasn’t about marketing, witty professionalism, or plotted naivety (nor was it a skittish way of trying to flog an extra CD or two). This was a human reflection of how life as an underground act unfolded.

“Before I even thought about running a blog for ATS, I used to spend some time reading other bands blogs. I read about great concerts, great tours, great record deals, great endorsements, great everything, and I was kinda excited. I thought ‘Wow! This or that band is doing such great things!’ This then on reflection, made me pretty mad at myself, and my bandmates. How the hell are we the only ones, who have to fight with our boss to get free days to tour? Why the hell did we travel for 2000 km to play a gig in a filthy club with no P.A. and no crowd, while other bands are playing in great clubs with hundreds of people attending their shows? Why do we have to fight so hard, while everything appears so easy for these other bands?”

“90% of those bands were just lying. Not in a bad way, but they were obscuring the worst part of the job, focusing on the positive side of it and adding a little bit of spice to it, like avoiding saying that there were ten people attending the show and instead they just talked about the great lights the show had - social networking is great at doing this! Another 5% delivered a balanced and true report of their activity but gave a really boring picture, no great success nor great defeats, just a pretty plain life in underground music. And the other 5%... well, those are the lucky ones who really made it, so horns up!”

“The point is, I realized that the very fight ATS has been living through, is the fire which keeps us alive. It’s that struggle that pushes us to do more. It’s the pleasure and unpleasure to have a small but enthusiastic crowd at our shows which gives us the strength to follow our path, to write more music, to write better music, to discuss with my bandmates about a riff, to struggle with my boss to get holidays to tour in, to waste all my money on pedals and gear, and finally, to keep on running the show… And if this is the real point of playing in a band, why don’t I tell it? Why would I keep it in the background? Why am I not sharing our whole experience? I think that every single band out there is facing our same problems. Simply they don’t share it with their fans. We do.”

Andrea’s genuine acceptance brought home the stark reality of being lassoed in the underground – especially when on the surface many make it look gullibly rosy.

Realising that the band had been able to lug their problems around with them, I asked if they had eclipsed any difficulties. Had they found resolutions? “Yes, there have been resolutions – but we’re still living in it”. He also admitted “We’re writing new music and somehow it has changed – but it’s too early to understand how our experience has affected it.”

An undisputed positive was their European tour, which garnered a buzz wherever they choose to play. Explaining the nooks and crannies of the tour, as well as Italian misconceptions, Andrea was both upbeat and modest.

“As far as I can recollect, we had such a great response everywhere. The real matter while touring, as I told you before, is: “How many people will be in the crowd tonight?” We’re not a popular band yet, plus we are Italian and usually Italian bands are not really well received by the audience”

“You know, when you think about Italian music you picture the sea, the sunset, a couple kissing on the beach, some classic guitar notes and a sorrowful vocal fading in. The thing is… how can I blame anyone? That is a big part of Italian music!”

“Anyway, sometimes concerts are pretty bad, usually they’re fine and once in a while they are really great - like the opening show of our last tour, when we played at Progresja in Warszaw, in front of three hundred plus and Shifting sold out in half an hour.”

When I asked about a new album, Andrea was privy to detail, not passing on any information other than that there was something already in the pipeline. He also mentioned a possible tour before the new album launched, hinting at a few shows within the UK.

It was difficult not to feel enchanted by Andrea’s transparency. Here he was, letting us into the core of what the band and himself had experienced, refusing to accept that what they had achieved was enough, even throughout the bands relatively short lifespan. As is often the case, bravery follows honesty, and At The Soundawn carry this in abundance.

“Thank you so much. Keep in touch guys - come to read and discuss our blog here: http://www.atthesoundawn.com”

ANDREW DANSO

Article found at Metal Mayhem UK

Album Review: Norbert Krief - Nono, 2011

2011-07-29T16:27:00.000-07:00

American, rock, blues, it’s easy to gloss over that Norbert Krief is in fact a French musician, set out to make a simple bright rock album, engrossed in personality. Krief is marketed as an old school hard rock distro, but Nono is a much more complex record. This is a light and airy rock album laden in quirky vocal and manic production, along with Krief sounding like an unhinged Christer Ortefors; which suggests that Nono really is that manic quirky record it isn’t meant to be. It’s not like he’s set out to be a Zappa l’artiste, he just is.

It’s a rarity that you’re able to jive, headbang, and ponder all within the same track, but Nono gives you no choice. Eccentric, daft, complex, fun; hello Norbert Krief.

8/10 Powerplay issue #134

Album Review: The Living Fields - Running Out of Daylight, 2011

2011-07-29T16:23:00.000-07:00

Perhaps we’ve been made immune by the quality of Scandinavian progressive metal over the past decade, the formula being the Holy Grail for successive song writing on an epic scale. Surprisingly this lot are based in Chicago Illinois, that to any unassuming would swear this was the product of the Nordic plains. The Living Fields are convincing.

Layered in piano, violin, cello, acoustic guitar and electric guitar give it the kind of depth that such big ideas need for realisation. On the other hand their production, necessary for the entire piece to work as an epic lets them down – for all of their instrumentation the record simply doesn’t sound big enough. In another light it makes the checklist for anything progressive with a Nordic spin – no surprise then, to see Candlelight have fiercely hunted them down.

7/10 Powerplay issue #134

Album Review: Rhode Island Red - Kerosene, 2011

2011-07-29T16:20:00.000-07:00

It’s the kind of rock that’s played during a crummy American drama, as the credits begin to roll after a loony remark of wit, humour or general triumph. Rhode Island Red is a super smooth, light production, that’s meant to be listened too while sipping a few margaritas with your date. Made up of three tracks, this single floats within the boundaries of pop rock, relying on front woman Lyla D’Souza to carry the band through uplifting choruses, and massive key changes. With that said it’s difficult to fault Kerosene; laden in great musicianship, catchy tunes, and solid production. Their definition will ultimately be down to D’Souza’s vocal, and the question still remains unanswered - can she carry them through an entire full length? In any case, this is a very promising, accomplished preview.

7/10 Powerplay issue #134

Album Review: Dekapitator - We Will Destroy... You Will Obey!!! 2011

2011-07-29T16:17:00.000-07:00

In the spontaneity of it all, speed metal shouldn’t be dissected into hashed out sections of dextrous power chord progressions – it’s just meant to be energetic, angry fun. So, while Dekapitator flimsily whizz on, riff by riff, the entire thing is glued together with the bands tight individual performances and a belching vocal akin to Paul Baloff of Exodus – as gathered, this is an invitation down memory lane, with no attempt to change the speed formula, but play on it. With that said, this will tear apart most headbangers because of its shear speed and brutality. It’s a snappy collection of songs too, each clocking out on average two and a half minutes. Brace yourself.

We Will Destroy… You Will Obey!!! is the reissue originally put together in 1999, and 12 years on, the scooped nineties production has more charm in its age, than something shrivelling in longevity. Indeed, this is only limited to fans in the niche, and they’ll be gloriously satisfied.

7/10 Powerplay issue #134

Album Review: Grinspoon - Six To Midnight, 2011

2011-07-29T16:08:00.001-07:00

Usually putting a red line through a commercially viable band like Grinspoon is an easy task, but they touch base with so many different artists it’s difficult to highlight a precise definition – one thing this serves to do is push into the fore what Grinspoon should be: a creamy rock ballad act. Six To Midnight tries with the edge, the brashness and anger, but it never comes to fruition – it’s more part of the process of getting to the softer ballad tunes, which is a real shame, as the record only contains two sing-along ballads.

Perhaps it’s insecurity or a lack of faith in their own abilities, but they’ve clearly got the know-how on ballad-craft, with everything else going by the wayside. With that said, there are two tracks that’ll be adored by your sister; but for the men amongst us, you’re left with a fledgling look at Blink 182, Limp Bizkit, and Weezer. Flex those guns, or don't.

5/10 Powerplay issue #134

Album Review: Last Known Addiction - One Left Standing, 2011

2011-07-29T15:59:00.000-07:00

It’s the kind of southern hard rock that has more akin with contemporary pop than it does with the likes of BLS, and the hardest pill to swallow is that Last Known Addiction want to be edgy, scruffy, beer swaggering Texans (excuse the stereotype). The main problem lies with vocalist Stephen Cairns, who sounds far too clean to be in front of the edge which the guitars do their best to provide. It’s not a necessity of vocal range – after all the man can sing – but his pretentious performance is like your funny uncle grabbing the microphone at a family wedding, who starts to yell over a Bryan Adams sing along for a laugh. Sure, these guys can write southern hard rock, but performing it is another matter.

With that said, there’s no attempt to try anything different in the genre, as Last Known Addiction are happy enough to flex their muscles inside of the bubble. It’s a valid contribution, but one that doesn’t cut its teeth in personality, and is far too safe in imitation.

6/10 Powerplay issue #134

Album Review: Noctisdark - The Roots of Dreamers, 2011

2011-07-29T15:53:00.000-07:00

Everything from The Roots of Dreamers structure, pacing and ideas are completely workable inside of its genre, but for what positives it builds upon, it severely lacks in basic production qualities, such as performance, and layering. Added to the damning, this is a progressive record, littered in bridled piano playing and guitar melody, yet it falls flat because each instrument does its own piece in isolation. Why haven’t the sections been cut on top of another?

This being a mash-up of progressive and doom dirge, its intentions are clear with well thought track planning and coherent song structure - if the only beef resides with production and performance, then they’re on the right track.

6/10 Powerplay issue #134

Album Review: Giants On Jupiter - Embrace The Unknown, 2011

2011-06-28T09:04:00.000-07:00

The term ‘cut & paste’ never so readily applied to this lot – as if it were a sub-genre they’d been attempting to create, while inadvertently mimicking all of their heroes, riff by riff. Everything has just been cut side by side with no tie, or trail to interlink with the previous section – it’s just stuff played back with a lot of quasi UFO sounding samples layered within the mix. There’s no attempt to bring you to a certain point in each track; you’re simply thrown in to a lot of half baked ideas, which create the deception of chaotic-cum-planned songwriting - on closer inspection it’s a load of crayons in the wrong hands.

Giants On Jupiter must know what they’re up against. They understand the risks, citing past masters Kyuss, Opeth and Tool as influence which they’ve honestly drawn from. However, envisioning these greats as some sort of new found formula, (lifting all of their favourite parts made by their heroes, and then bundling them alongside one another to make up a track), is completely daft.

It’s much like an overly zealous DJ turning up to a corporate event. He’s only got 30 minutes, and has 30 artists which legally have to be played back. Each minute, the tune entirely changes, skipping from genre to genre. From rock to jazz, euro-rave to classical. Embrace The Unknown veins in something similar. This is therapy for poor chaps suffering from antsy strains of hyperactivity.

3/10 PowerPlay issue #133

Album Review: Cynthesis - DeEvolution, 2011

2011-06-28T09:03:00.000-07:00

DeEvolution wants to be more intellectual and zany, than it does heavy and ballsy - but to little surprise it pulls apart on both substances. On the one hand you have gifted musicianship, with the guitars being used more as weapons by means of free hand arpeggio sweeping at every gasp for air, or to bridge a gap before a chorus kicks in. And on the other you have song structure and a vocal to bed in, that if planned and executed correctly, will make theses tracks feel as if they’ve got substantial depth, and not just the shallow fancy bonnet. There are almost two sides to everything in life, and thus the obvious con which follows technical brilliance is the disregard for heart. Cynthesis bold technical exploits serve to highlight that beyond the shredding, and fancy drum rolls, they don’t have much else to say.

The problem with DeEvolution is that Cynthesis haven’t been honest with themselves. They’ve tried to make this into a progressive package, packed full of thoughtful philosophy, and plotted story telling. But in reality the faux philosophical rambling, is simply a way to break up the instrumental brilliance which the band really want to crack on with. The result is a wooden record, packed full of pompous instrumentation, and no soul to go with its brain.

6/10 PowerPlay issue #133

Album Review: Barn Burner - Bangers II Scum of The Earth

2011-06-28T09:01:00.001-07:00

Looking back on an era that was by all means closer to the cusp of perfection than we’re at now, and then wanting to change that takes nothing but Dutch courage. Barn Burner don’t necessarily roll of the tongue as a stoner infused classic rock act, but that’s exactly what they’re trying; imitating that 70s era in rock, with a far greater emphasis on chugging, and edgy riffing, that either starts fights, or just adds to an endless homage of beer drinking for the night.

Yes, it’s accessible, much beyond what the band themselves would like you to think. There’s nothing challenging, or complex as the press release indicates, and furthermore Bangers II: Scum of The Earth doesn’t flaunt a new trend in genre. This is simply stoner rock with a little bit of 70’s sprinkled on top. It’s very much in the usual vein – which is fine. But for a band to blow so much hot air and then play something which is complete generic, beer swaggering stoner rock, makes their world fall flat. This is a tall order for rock lovers, and a must for the drugged infused zombie bangers amongst us.

6/10 PowerPlay issue #133

Album Review: I The Witch - Nagual, 2011

2011-06-28T08:59:00.000-07:00

If the feeling of torment is to be met upfront on Nagual, then certainly, there’s not much it could do wrong. It wreaks havoc on the listener, cycling through space rock, droned guitar, and sludgy metal riffing – not to mention vocal samples throughout, that are not even in sync with the albums sound. The vocal is often used as an instrument, added for atmosphere, instead of simply spearheading the tracks by means of a lyric. Yes, the story is very much in its atmosphere. Nagual does its best to carry you from section to section, but no doubt, the feeling of malnourishment soon kicks in, as there’s nothing to frantically clinch onto.

I The Witch’s vision is in here somewhere, but there is so much editing, so much lunacy in its production, it’s too difficult to decipher the record the band envisioned it to be. However, our ears tell us that this isn’t meant to be enjoyed, but connected with – it no doubt succeeds in the former.

4/10 PowerPlay issue #133

Artwork for my new EP

2011-06-21T02:10:00.001-07:00

This is the confirmed artwork we're going ahead with on Find. I'm very satisfied with the result, and I feel it resonates really well with all of the material on the project. This was designed by Maarten Kleyne, who has been a massive inspiration to work with, especially this time around. We went on a bit of a creative journey to try and collect all of our ideas, and over the past few months this is the final output.

Album Review: As We Fight / The Psyke Project - Ebola, 2011

2011-05-27T13:57:00.000-07:00

Ebola is an effort by both entities, As We Fight and The Psyke Project. They’ve put this together feeling a need to get in touch with the more oldschool elements of hardcore, they may have inadvertently distanced themselves with, through previous ventures. These guys are fairly familiar in the extreme post-rock genre, solidifying themselves in more often than not mind bending and complicated expressions, thus it’s nothing more than refreshing to hear their own reductionist approach. That’s not to suggest a laid back affair (Ebola certainly clenches up when The Psyke Project get going), but things are closer to the bone of what hardcore riffing used to be in its babysteps.

Ebola is an album divided into two parts. As We Fight play through the first four tracks, with The Psyke Project finishing the album on five tracks. It’s easy to consider this a jumbled compilation album, with two different bands placed on the disc, heard through two different recording approaches - but thankfully this isn’t the case. They’ve been able to blend both their sound and ideas evenly across the board, giving this release a particular assorted flavour that would otherwise be lost through a single artists vision.

7/10 PowerPlay issue #132

Album Review: The Sound of the Mountain - The Child of Stereo in Mono, 2011

2011-05-27T13:53:00.000-07:00

Post-rock, soundscapes, instrumentals, it’s all becoming a rather familiar expression. The Sound of the Mountain sling very much in this vein, attempting to create an ambiance accessible in a rocky context, as well as leaving the door open for the artisans amongst us, who might gaze on this as cinematic claptrap, and vice versa.

All things considered, this is in fact pulled off very well. There’s an edge, an atmosphere, and a vibe about its entirety, which punches beyond the usual hype surrounded by dextrous riffing, or quantum time signatures. It maintains its feeling, and most of all, it feels natural.

Problems reside in its muddy ambiguity and length. Muddy as once you’re taken out of a groove, it’s very difficult to latch onto the next one, rubbing off as poor planning on the bands behalf. It’s also too long, with chunks of tracks repeating themselves for good reason, but little effect. Certainly, there’s nothing here the band can’t fix next time around, and no doubt they’ll be back with another twisted offering – this is a safe investment for anyone earthed in post-rocks artistic mumbo jumbo. Not many debuts pan out so promising.

7/10 PowerPlay issue #132

Album Review: Sancta Sanctorum - The Shining Darkness, 2011

2011-05-27T13:49:00.000-07:00

You’d be mistaken for thinking that Sancta Sanctorum are some sort of psychedelic afterthought through the albums cover art. Themed more like an Ozric Tentacle tribute than something veining in hard rock, the deception is washed away briskly as soon as playback is initiated. The spiritual backdrop behind the name also lends wobbly preconceptions, with Sanctum Sanctorum meaning something along the lines of ‘holy of the holies’. For a 70s themed hard rock band, it’s at best odd, when you hear what’s meant to be related to all of the spiritual psycho babble.

Veining inside that 70s rock thing, there’s a great amount of density about the record. Grainy distorted guitars are constantly chugging away, a growling bass drones in its undercurrent, chorus is mapped onto the distant vocal, and the drums lethargically clatter and bang along. It’s very much the usual set-up, reflecting on what times where a few decades past. Highlights usually come from Steve Sylvester’s vocal, as he does his best to lug the thing on, occasionally belching, and groaning, adding the needed muscle essential to the production. There’s nothing necessarily great heard, but nothing here is on the poor side either – and nostalgic rockers will find accessibility within the graininess of its sound. We’re left stuck in between that horrible mark of apathy.

5/10 PowerPlay issue #132

Album Review: Dead Letter Circus - This Is The Warning, 2011

2011-05-27T13:46:00.000-07:00

Dead Letter Circus are certainly on the up from 2010. Their debut album This Is The Warning hit number 1 on the ARIA (Australian charts). In context, that might not mean as much as the band would like to draw toward, but recently supporting the likes of Muse and Linkin Park certainly confirms that the booms ripples are felt elsewhere. They’re an alt-cum-pop-rock bunch, which, forcefully do the kind of commercial pop rock thing, music lovers, love to hate.

This Is The Warning carries all of the melodrama a commercial emo rock production usually weighs in with, along with trying to play it all down, inside an alt rock bubble. Yes, it’s easy to dismiss the hysterics, and its nagging commercial viability, but it takes a kind of brazenness, a kind of schematic to knit together a 17 year old sensibility, with something much more adult. Think Muse, with a much harder shell, and a softer, creamier centre.

7/10 Powerplay issue #132

Album Review: Pylon - Armoury of God, 2011

2011-05-27T13:43:00.000-07:00

Armoury of God is a Christian rock album of sorts. Lyrically the themes are religiously explicit, that’ll alienate a following otherwise interested in what usually comes with the genre. Oddly enough they’ve put all of their ramblings on top of a sludgy doom format that does its best to confuse. Musically, similarities can be drawn with the likes of Celtic Frost and Count Raven, with sections as sloppy as Black Sabbaths earliest work. It’s easy to be scared off by the Christian element, but sonically you wouldn’t know otherwise – just try and convince neutral customers to go along with the packaging. In relation to its limited accessibility, this is intended for doom specialists only, with the raw gloomy sludge easy to overlook for headbangers who would otherwise flock to something a little more paced. For fans appreciative of gloomy doom trails, and a view, that might not be best held as their own. Not many? Who’d have thought?

6/10 PowerPlay #132

Album Review: Legacy of Emptiness - Legacy of Emptiness, 2011

2011-05-27T13:38:00.000-07:00

It’s the sort of progressive metal that makes you leap in joy and thwack your head around in all delight, and the Scandinavians do it no better. Legacy of Emptiness are a Norwegian bunch, playing that brand of metal pioneered by Immortal and Emperor, which they gleefully mix up into byte-size proggy sections, along with jagged black extremities - indeed it’s all very familiar.

But certainly, deceptively difficult to pull off, and to an extent everything heard is accomplished with a fair amount of verve if lacking in originality. It sticks so rigidly by the tried and tested formula, it will eventually kick the bucket in apathy. Simply put, their masters can do what they’ve done much better. Perhaps they’re seeking an apprentice’s recognition, and at the very least, they’ll be given that.

6/10 PowerPlay issue #132

Album Review: Wolverine - Communication Lost, 2011

2011-04-21T05:37:00.000-07:00

“Communication Lost” is sharply defined. It’s meant to appeal directly to your emotions with a moody, atmospheric subtext, and lyrics, written as mementos drawn from the quartets own personal experience, through the four years it’s taken to put the record together. It’s a refreshing outlook. It has no pretentious overhanging backdrop, no huge ‘based-on’ concept. Wolverine are backing an audience to read between their lines, and think with them into a world of cathartic language. Simply put, if one can relate, one can become enveloped.

With all of the subtlety touted to be in “Communication Lost”, Wolverine are tame throughout its playback, perhaps relying on atmosphere and quirks to do most of the dirty work. All of the tracks – while sounding different - have the inner workings of a classic rock ballad, cantering through restrained verses, and elevated choruses, all of course extended on a progressive template. The ballad structure may tag along with their moody vibe, carrying effect - but a variation in style would add much more flavour; it’s a bizarre oversight by the experienced Swedes, not to recognise such an obvious red herring. Indeed, every track is put together in a microscopically similar way. Sombre and bridled piano playing often starts, then the vocal, then the kick of the overpowering distorted guitars, and then the wind down. Enchanting at first, but tedious over the hour.

This is very much an incidental addition to Wolverines discography, which should be overlooked, not least because of the bands own deadpanned inattention to change.

7/10 PowerPlay issue #131

Album Review: Monsterworks - The God Album, 2011

2011-04-21T05:34:00.000-07:00

“The God Album” is based around a criticism toward religion and faith, somewhat in controversial circumstances, from an atheist point of view. It’s certainly always been in rock and metals veins to be the natural channel for social and political angst, but Monsterworks are hell bent on near dissecting various movements of faith in a clumsy intellectual approach, that really ought to be left with the actual intellectuals. More opinion than narrative, the lyrics come direct from the big book of atheist argument, “everything you believe is a lie”, “stigmata is a fraud”, “a false miracle never performed”, “God has abandoned you”, “Is it faith or running free?” you get the idea.

Whilst the concept may come across with a slight juvenile cynicism, thankfully their sound is raw, hungry, and complex. They’re able to combine thrash, progressive, and metal elements with fluidity, balancing time shifts with simplistic power chords, and blast drumming with chordal guitar progressions.

Time will tell if we’ll see Richard Dawkins, Christopher Hitchens or Sam Harris carrying this around in their back pocket, in preparation for a debate. Regardless, this is punchy stuff, with the music carrying a hell of a lot more weight, than the outspoken views held by the band.

7/10 Powerplay issue #131

Album Review: Torchbearer - Death Meditations, 2011

2011-04-21T05:30:00.000-07:00

Torchbearer is a super-group of sorts. They’re handpicked from The Few Against Many, Solution .45, and Unmoored; somewhat an elite group based on technical merit, more so than success, but that’s by the by. “Death Meditations” is really on the cusp of perfecting a brand of Scandinavian prog, part-speed metal, that’s meant to be every bit invigorating as it is accessible. Indeed, it is.

Notably, this is a concept album, based on the thoughts and ideas on what it is to be a samurai. Apprehension should fill the lungs, but it’s the very philosophy Torchbearer are only interested in, not the waving and clashing of swords. In any case, it’s difficult to notice through the belching, and chugging guitars – and it’s always refreshing to listen to artists bang on about something other than themselves, or political agendas.

Intricate, ambitious and impenetrably rocking, this is the sound of a band stretching themselves in every way imaginable. A fearfully beautiful release, chock-full of ideas and styles, making it accessible across the board.

9/10 PowerPlay Magazine issue #131

Album Review: D - Vampire Saga, 2011

2011-04-21T05:26:00.000-07:00

“Vampire Saga” is the third instalment from Japanese power rockers, D. Its backbone is conceptual, based on the journey of a vampire – that’s as vague as it gets and more so if you’re not fluent in Japanese. While we’re awaiting the English dub, it’s reassuring to know that language never gets in front of their sound, as they’re able to pull off a brand of metal littered in industrial rock, pop, and power references accomplished with a huge amount of polish. It all translates with extreme coherence, which retains enough personality of its own, making it accessible to even the most modest rocker.

“Vampire Saga’s” light-cum-manic sound, and daft concept has to be taken as the sum of its parts. Much like eating the ingredients of a stew separate, picking this apart would make little sense, as “Vampire Saga” simply tastes far better in complete combination, rather than its overly zealous, individual elements.

7/10 PowerPlay issue #131

Album Review: Pitch Black - The Devilty, 2011

2011-04-21T04:16:00.000-07:00

Despite the striking crime photography spearheading “The Devilty’s” art direction, along with its themes based on free speech, racism, murder, and school shootings (the list goes on), this Danish quintet sound rather light (all things considered). Pitch Black work off a thrash template, and combine occasional death-cum-progressive elements to the party - closest to the bone with Slayers, “God Hates Us All”, albeit in an increasingly modern vibe. Other than that, the group speak out against subjects, which have been addressed time and time again throughout the medium, and their brand of metal isn’t a whiff of fresh air – this is a copied template, with little personality of its own to claim for.

6/10 PowerPlay Magazine #131

Album Review: Burden - A Hole In The Shell, 2011

2011-04-21T04:07:00.000-07:00

Burden’s debut EP received a fairly warm response when it came around, several months prior to their albums release. Such a response should grow, now that their full length is upon us “A Hole In The Shell”. Most of the moments within these thirteen tracks, are aromatic of Kyuss, Black Label Society and Mastodon, but by no means does this mean averse mimics. One of the most excellent things about this record is how Burden go against the grain of simplistic desert rock, introducing a progressive ethos, and often mashing up the power of tooth-grinding rhythms inside of the stoner-metal bubble. Notably, this is all fronted by inflamed belcher, “Rhorsten”, groaning over their bluesy tones, adding a further dynamic for the listener to hook onto.

7/10 PowerPlay issue #131

Album Review: The Rabbits - Lower Forms, 2011

2011-03-26T03:41:00.000-07:00

The red line between being messy by nature and the mess being purposeful couldn’t be wider. The Rabbits press notes indicate an instinctive carelessness. Aligning them with a dirt-rock individualism, placed on top of a reckless production, which exists to flaunt their ‘musical nous’, pushing out the grains of muddy low end distortion and lost subby percussive undercurrent. It’s all quite untrue. Sure, they sound bonkers, raw and unhinged, but every inch of this record has been schematically planned, chock-full of direction, barriered into one stylistic genre. They say punk; we say lo-fi, sludgy doom.

Musically, Lower Forms is a fairly intense experience, that’s far more extreme than ‘dirt-rock punk’ lets on; far more dark and edgy, than careless and messy. Throughout its length, there is little melody involved, with a downtuned assault placed on emphasis, rumbling along like a hornet of tanks crossing a bailey bridge. Passages nod toward the dirt-rock revival spin, albeit very briefly and when The Rabbits decide to add a coherency to their sound (which means slowing down a little) it rubs off weightless and dull, lacking an impact the grumbling had. The Rabbits can crawl, get on all fours, and run. They can’t walk, and when they try, thankfully the leash is often right around the corner.

7/10 Powerplay issue #130

Album Review: Symbolic - Scarvest, 2011

2011-03-26T03:30:00.000-07:00

Tuning out after two minutes into the album is something to be said for short attention span, but you can relate the same antsy demeanour to Symbolic, as they simply whiz from riff A, to B, to C, to D, and so on. It’s really very difficult to keep up, as in short bursts, the tracks alone feel incredibly overbearing on the ear. More importantly Scarvest completely sidesteps on the point of melodic metal, in that there’s simply not a hook or familiar tone you can latch onto, since so much goes off at once. It’s a shame, because while the hooks are certainly present the German quartet never choose to stick with them, opting to rampage workmanly through a bottomless spiral of riffing, before gasping for air at the finishing line. There’s an ignorance for melody, song writing and key change which contrastingly opens up on the overly zealous detail for how many notes one can play at once on their instrument, or the cyclical difference in time signature. Who honestly longs for number crunching? Detail has always been in the heart – and Scarvest has none of it.

4/10 Powerplay issue #130

Album Review: Call Off The Search - What Doesn't Kill Us, 2011

2011-03-26T03:25:00.000-07:00

What Doesn’t Kill Us does what it says on the tin, (it certainly doesn’t kill you) it pops, thwacks its head around and screams “it’s OK!” at the end. Throughout the duration it lives by its inspirations, sticking rigidly by the tried and tested New Found Glory and Blink 182 formulas. The commercial appeal should come in spades for Call Of The Search, as everything is pulled off extremely well, something that their peers would congruently nod in approval with, but more importantly the end result is an irresistible release for any fans specific to the genre.

For everyone else, it’s difficult to care, because it simply sticks inside that commercial bubble, replicating the big guns with zero of ones own personality present along with no statements forged in an identity. Usually bands which walk the tight rope with their inspirations keeping them in balance, sound like cover bands, albeit dressed under a different title. This one should be no different.

6/10 Powerplay #130

Album Review: As Likely Not -Stand Up And Nerve, 2011

2011-03-26T03:20:00.000-07:00

There’s a deft amount of craft present on Stand Up and Nerve. It toys with the idea of imitating their pioneers straight off the bat, but throughout its length this Swedish death metal mock-up ooze personality, standing rightfully on their own two feet, playing a brand of DM that’s strong enough to paint themselves into their own corner. There’s a colourful mix of their own ideas coupled alongside the old Scandinavian template, which not only gives the album an individual flavour, but displays a youthful ambition, a kind of brazenness, with a self conscious pretense throughout. There’s no afterthought of intelligence throughout its length either. It constantly asks the listener to keep up, as the progressive changes are ever-present, chopping and changing in clear vision, that’s effective and really keeps you hot on your toes.

A not so generic experience even if first impressions wavered; this is brutal enough for angry teens, intelligent enough for the grown ups amongst us.

7/10 Powerplay issue #130

Album Review: Drowned In Flames - The Ascension Chorus, 2011

2011-03-26T03:13:00.000-07:00

Drowned In Flames, ambition blighted, attempt to mesh together an odd coupling of Alice In Chains, and Deftones on their debut EP. Ambitious in a sense that rekindling such acts is a burden of huge proportion; blighted on a mere reflection that it’s just not done very well. Moreover, not only do you need vast elements of craftsmanship to write in the same vein as Alice In Chains, you need a production that goes hand in hand with a project as fuzzy and seismic as the old grungers. It’s obvious DIF don’t have that resource, and in context they’ve had to resort to Studio B generic sound, which doesn’t give credence to a small EP based on a big idea. Musically, the entire release rubs of a little muddled. It feels like a demo, waiting to be sliced up and experimented with, as toying with the warmth of AIC beside an extremity highlights a raw idea, with little direction.

5/10 Powerplay issue #130

Album Review: Twilight's - Embrace, 2011

2011-03-26T03:07:00.000-07:00

Reflections is another debut which lacks a lasting impact because of its unoriginality, and more precisely, its lack of ability to open another door in a proggy landscape. It mulls around Paradise Lost, Katatonia, and Green Carnation, toward the point of simply lifting their hero’s favourite track sections and cutting them side by side. In another light, Twilight’s Embrace are technically excellent. They flaunt an instrumental nous, weighty production, and confident songsmithing to knit their progressive batch together – but it’s these very talents which leave you wanting more. Heaps and heaps of promise, and a few kinks to iron out.

6/10 Powerplay issue #130

Album Review: Bloodiest - Descent, 2011

2011-03-26T02:40:00.000-07:00

Bloodiest’s Descent takes the form of a progressive, artrock journey, attempting to create soundscapes enveloped in a cinematic nature, to hard chuggy metal. They’re a seven piece based in Chicago, that illicitly use all sorts of quasi layering with the guitars and keys to make up the perceived scape. Perceived because most of the time you can only hear two guitars, drums, some keys and a reverberated vocal on playback, which is a complete mishap for a band earthed in the idea of atmosphere. It relies on what’s going on within its meandering background, and if that’s not present – which it isn’t – then the entire wall of sound whimsically crumbles, or ceases to exist. It renders the record a moot flat.

Musically Bloodiest is incredibly artistic and portentous. It fleets quietly and usually ends up crashing and banging, with the occasional amount of metallic edge. This is an album which dances and dances and dances around the point, and when they get there, it’s unfortunately difficult to give a hoot.

6/10 Powerplay issue #130

New album roundabout

2011-02-26T12:43:00.000-08:00

Yep, we decided to hold back on the original release date of the new album. Amongst other things it simply never felt finished. Since then, I’ve used the time to go back, iron a few kinks out, and make additions to the record. It’s turned out to be something much different in comparison to Blue Hat. I would say far and away calmer, progressive and spacious – but I’d hate to be screening everything on top of PR jargon. I really wanted to delve into making something lovely before heading back into heavy technical material. Anyway, we’re almost there.

The project has been renamed, and it’s getting a facelift art wise too. It’s called “Find”, which with smooth planning should be out early to mid Spring – Summer. I’ve been working with designer Maarten Kleyne very closely, and we’re planning on documenting the creative process that we’ve been through online. I’ll also be moving from MySpace & Blogger to my own website – more on this as we plough on.

As for live shows, I haven’t decided. “Find” features quite a few friends and musicians that I’ve grown with over the years, but I haven’t assembled them as a band. Technically it’ll be a tricky gig to pull off live too. We’re not sure yet.

My Top 10: Best Rock & Metal Albums of the Decade

2011-02-16T14:38:00.000-08:00

1. Devin Townsend Project – Ki (Hevy Devy, 2009)

2. Cynic - Traced In Air (Season of Mist, 2008)

3. Meshuggah – I (Fractured Transmitter, 2004)

4. Celtic Frost – Monotheist (Century Media, 2006)

5. Opeth – Deliverance (Koch, Music For Nations, 2002)

6. Virus – The Black Flux (Season of Mist, 2008)

7. The Faceless – Planetry Duality (Sumerian Records, 2008)

8. Steven Wilson – Insurgentes (KScope, 2008)

9. Jimmy Ågren – Various Phobias (Garageland Records, 2008)

10. Decapitated – Organic Hallucinosis (Earache, 2006)

My most anticipated for 2011: Devin Townsend Project - g h o s t

Powerplay issue #129

Album Review: Off The Archangel - The Extraphysicallia , 2011

2011-02-16T14:36:00.000-08:00

It’s one thing to boast fancy production as a selling point for your album, but when it backfires, those preconceptions are catastrophic. This was mastered at the Cutting Room, Stockholm Sweden, (the big boys such as Opeth, Paradise Lost, and Gorgoth all go here for mastering too) yet the entire album sounds cluttered, the vocal is muddled inside guitar frequencies, the guitars themselves sound muddy and the drums feel sticky, as if a machine has just been plotted to rhythmically accompany the riffing.

The music itself is a mash up of progressive death metal. Of the Archangel claim exotic metal an appropriate tagline, but this is far more of the icy uninspired Scandinavian type, than anything of South American origin, and therein lies their problem. All of this misdiagnosis is relevant to the entire release, in that it’s supposed to be something completely different. This is supposed to be an artistic, emotive, punchy and atmospheric conceptual album based on a spiritual book, but on playback this is just another metal album based on a spiritual book, and that’s about it. The Brazilian quartet sound ideas right the way through, but they’re only ideas and are in need of some sort of post-production input. They lack the nous to pull off the widescreen landscape sound, they desperately want to achieve, and slump into a brand of metal that doesn’t have anywhere near the bite it ought to.

5/10 Powerplay issue #129

Album Review: Virus - The Agent That Shapes The Desert, 2011

2011-02-16T14:33:00.000-08:00

It’s difficult to understand what Virus are really about. Their first instalment “Carheart” was an art-house auteur, quirky and manic as you like, with the sounds of spoons, crazed yelps and a Toyota Hiace laden everywhere. “The Black Flux” was an insight into doomsday, a reflection that the world was going to hell in a handcart. So, where does “The Agent That Shapes The Desert” sit? It wants to find that middle ground between the manic and depressive, or fleet between the two – and it does this very well.

If you throw enough at a target, you’ll eventually hit the bullseye, and this is exactly what Virus has tried on their third release. It pans off in familiar territory, from quirks to obscurity, mania and humour, dark and light, and it’s not surprising that such a talented bunch can mould all of the said themes, into a coherent avant-garde record. But, because this is the sum of previous parts, The Agent... isn’t near as powerful as The Black Flux, or as broad minded as Carheart, and it’s not meant to be. This is a much more restrained outing, demonstrating that Virus are now comfortable in between their doomsday mania, and it’s nothing short of joyous.

9/10 Powerplay issue #129

Album Review: Central Park - Reflected, 2011

2011-02-16T14:31:00.000-08:00

If you glance at “Reflected’s” album artwork you’ll notice a question mark slap bang in the middle. This may well be a cryptic message from the band themselves, telling us ‘We don’t know what we want this to be’, to which we aptly reply ‘we know you know that’. “Reflected” is an album hopelessly confused. It doesn’t know whether to be artrock for a few minutes, light hearted Saga the next, and the neoproggy Marillion thereafter – it is all these things and none, that’s ultimately a trivialised reflection looking down memory lane.

Despite its progressive stamp, “Reflected’s” direction comes entirely from the vocal, performed by the newly recruited Janine Pusch, and this is the records biggest pitfall. Pusch’s lead role appears to be as free as possible, disregarding key change, track complexion, choruses and energy – it rubs off as if she’s singing in the Tub, with no sense of track playback. The music isn’t great either. If you nitpick, you can find coherency here and there, but otherwise it’s a complete long winded mess, with guitars conflicting against the vocal and wish wash production to match. The biggest thing reflected on Central Park’s second release is age, and confirms that this is a breed of progressive rock, dying out for the better.

3/10 Powerplay issue #129

Album Review: InVertigo - Next Stop Vertigo, 2011

2011-02-16T14:28:00.000-08:00

If you’re a retrograde artist, surely nostalgia should be taken with a pinch of salt, because whilst InVertigo are clearly a very good prog pop bunch, it’s difficult to take this brand of rock that’s so clichéd, so wrapped within 80’s sensibilities, at full face value.

The technical quality of the German five piece is irrefutable, as they ascend and descend from rock progressions and vocally lead choruses to massive instrumentals, something that their pioneers Yes would be proud of. If you could justify that Liquid Tension Experiment’s progressive soap box was in some way palatable, then InVertigo might have a chance. For everyone else, try not to vomit on the way out.

6/10 Powerplay issue #129

Album Review: Katanga - Moonchild, 2011

2011-02-16T14:25:00.000-08:00

Katanga, guilty as charged, are a borrowing act. Borrowing in the sense that they’ve roamed across the goth rock genre, and simply lifted the best parts of said populous acts, pieced these sections side by side, and released “Moonchild” with different artsy track names. Yep, that’s cynical, but nowhere near as cynical as releasing an entire album built on rebooting several franchises in order to sell a couple of CD’s. No doubt, you’ll get this same review next month.

The outcome is obvious: German band does Ramstein, Manson, and Fear Factory, sells a few CD’s and plans the sequel. The worst truth about “Moonchild” is that since Katanga have stuck so rigidly with the source material, it's actually an excellent goth rock record. It has an edge, an industrial swagger, and the mandatory Type O Negative similarities throughout its length, that give these German headbangers a sense of false premise, and copycat exploitation. Don’t expose a goth-rock virgin to Katanga’s second release, they’d instantly fall in love, and that would be the worst crime Katanga could commit… putting copyright aside.

5/10 Powerplay issue #129

Album Review: Broughton's Rules - Bounty Hunter 1853, 2010

2011-02-16T14:19:00.000-08:00

Broughton’s Rules aren’t quite the anachronistic post-rock demons this critic was initially expecting, reading through the press release. Instead of the usual assault on the ear, they’re much more interested in building vast soundscapes with their instruments, (which have a make-up of guitars, drums, pedal boards, the occasional use of a computer, and the odd bit of vocal) that progressively wind up and down as the track counter ticks on.

It’s all extremely coherent with soaring elegance, unexpected turbulence, and unsettling stillness. The warm textures reminiscent of Sigur Ros, the rocky sequences building in climatic nature. “Bounty Hunter 1853” is very much a soundtrack without a picture, an adventure without a protagonist; jump in with two feet.

9/10 Powerplay issue #128

Album Review: Alunah - Call of Avernus, 2010

2011-02-16T14:14:00.000-08:00

Alunah suffer from an identity crisis, with their music much more embedded in classic roots, than what they say themselves to be psychedelic doom. It’s wrong, this is a classic prog rock outfit, which perhaps flirts with the ideas of sludgy doom, and trippy psychedelia - otherwise it’s a label only stamped for effect.

Personality conflicts aside, “Call of Avernus” kicks things off lethargically, but it’s only when Alunah decide to break free of their stuffed shirt genre reservations, do they really find their feet, and the first track “Living Fast In An Ancient Land” is really indicative of this; starting at snails pace before switching through the gears into a classic rock riffathon. Soph Willet nails it half of the time on the record, with a dynamic performance, reminiscent of Kelly Johnson (Girlschool). The other half feels misfitting, crying out for something more powerful and less melodic, something to punch above the muddy wall of powerchords. Whilst this is certainly a prickly debut, it doesn’t quite get underneath the skin, psychedelic, doom, classic, progressive, or whatever category applied.

7/10 Powerplay issue #128

Album Review: Intronaut - Valley of Smoke, 2010

2011-02-16T14:04:00.000-08:00

Intronaut are roundly known as a prog metal outfit, as they tend to blend all of their established mentors into one listenable package. They fleet along the lines of Opeth, Cynic, Mastodon and Gojira; that’s not to detract from this talented bunch, they merely adapt ideas from their masters template and show a lot of brazenness at mimicking in their hierarchies footsteps.

Valley of Smoke is a colourful grab-bag, littered in several visions and executed with great imagination – if over the top at times. There’s the odd jig of time signature in track “Miasma” which then jives into a delayed jazzy prog thrill. “Elegy” is more of a Gojira downtuned assault, and “Sunderance” is far direct in its aggression, layered above the double kicks. Taking into account the above, there’s an annoying flow about the entire release, a coherency missing that has to be expected when laying so many cards on the table. But, ambition is short-sighted, and Intronaut are slowly unravelling the blindfold.

7/10 Powerplay issue #128

Album Review: Smell My Pillow - Off Switch, 2010

2011-02-16T14:00:00.000-08:00

Frisky, fun and frayed best describes Smell My Pillows first full length album. There’s something refreshing, something dignified to be able to laugh at yourself, in light of a congested market; to disregard a self awareness, to just be, and this four-piece from Minnesota really aren’t hot and bothered about making record deals, or attracting a huge crowd. How cool. They racket in the same vein as Cure, Zeppelin and even flirt with the eccentric nature of The Bloodhound Gang, so if their sole goal is to only make decent noise you’d think they’d be imitating the right bunch, and the popularity should follow suit.

Like most of these alt-pop-rock crafts, they make or break it through the lungs of the chosen vocalist, which handled by Mike Matheson showcases a mixed performance, if bordering on the wrong side of tame. The record excels in space and downtempo, and when Smell My Pillow decide to slow it down, particularly on tracks “Kissing The Grand”, and “Katelyn”, it turns “Off Switch” into something much more punchy; more adventurous – shame then the rest of the album trails behind, in wish-washy, rocky tedium.

6/10 Powerplay issue #128

Abum Review: Talons - Hollow Realm, 2010

2011-02-16T13:55:00.000-08:00

The press release may read math-rock, but there’s much more of a soul, a heart to Talon’s than the description of purposeful time signatures, resulting in the splitting of an Atom. This isn’t so dull.

There’s vast energy, complexity, intelligence, and straight-up riffing on Hollow Realm that makes this much more of a muscular affair than something a scholar would sweat over. The seismic production helps sweeping you off your feet every time the sextet decide to go a bit haywire in there controlled chaotic aphorisms. The complementary violins don’t half help too, in not just adding another layer, but a cohesion that would otherwise be missing outside of the strings distinguished maze. Preconceptions away, (and disregarding the acts repetitive repetitiveness) this lot stimulate the sense like a Scott O’Dell novel, and not some equation you were asked to solve at 16.

8/10 Powerplay issue #128

New EP, Blue² released end of November

2010-11-07T14:20:00.000-08:00

I've still to confirm the actual date, but Blue² will finally be live and kicking by the end of this month. Updates to come, and thanks again for your emails. Hurray!

Album Review: The Intersphere, Interspheres >< Atmospheres, 2010

2010-10-21T05:01:00.000-07:00

Formed in 2006, The Intersphere are a German quartet, playing a brand of progressive-punk that’s becoming something of a recurrence for the country, producing the likes of Tokio Hotel which occupy much the same territory. There’s a breezy sense of freedom on “Interspheres, Atmospheres”, an absence of put downs, metaphors, and thinking; it all flows in its eccentric atmosphere, and the German quartet really do steal the limelight from their rivals because of this.

Even though The Intersphere are outside of their native tongue, their sound hasn’t been lost in translation, as when they plunge into dreamy instrumentals, the music speaks for itself. There is an edge to these German headbangers too. “Prodigy Composers”, hits on an energetic, punk-rock plateau, along with track “Snapshot” providing much the same muscle. However, The Intersphere are golden when in their proggy chaos. Tracks like “Right Through Me”, and “I Have A Place For You On Google Earth”, are weightless in full flow, imitating an energetic high of rocky progressions, and lows full of downstream spacey atmosphere, that never reach too deep into darkness, but certainly mellow out.

The Intersphere are close to 30 Seconds to Mars in their pop pedigree, side with Muse in their rock pedigree, and space out like King Crimson among their proggy archives. This is definitely nothing great, but may as well be an essential for any prog rocker, and equally just as important for anyone in the mainstream.

7/10 Powerplay issue #126

Album Review: Rockburn - Red Dress EP, 2010

2010-10-21T04:55:00.000-07:00

Rockburn are a four piece from Scotland, hailing to have ‘the balls’ to play all out rock’n’roll in a society wrapped by the complexity of production. Hats off to them, they certainly entertain in ways only great rock’n’roll can, with none of the same-old blandness this critic was expecting when reading their opening PR line, “classic rock’n’roll with a 21st century twist”. The results of the EP are ballsy, and to a greater degree stellar, when you think of modern rock enthused with ‘the next big production’, hiding behind the pillars that gizmos and producers often place.

As pools of talent go, this one’s deep, as Rockburn flaunt compelling rock’n’roll reminiscent of the 70s period, written in their own likeness. There’s nothing slack jaw whilst the numbers flick by, but this is extremely well executed rock, and a great reflection of the times. “The Last Stop” is a mash up of country and blues, which makes their sound more widescreen than what was initially expected. The vocal sides by the great Robert Plant comfortably, with Rockburn vocalist Stephen Baxter groaning like one of the best in the business.

Rockburn may lack that edge to elevate them into the stars, but enjoy this while it lasts; this is as honest and super-smooth jiving as you’d get, in 2010.

7/10 PowerPlay issue #126

Album Review: Jayce Lewis - Jayce Lewis, 2010

2010-10-21T04:51:00.000-07:00

Jayce Lewis journey to fame was shown on a BBC fly on the wall documentary, “Big in India”, highlighting live performances across India and a repetition of those live gigs only three months later, due to massive attendance. This, along with the release of his single “Icon” has landed him a five year deal with EMI Asia, true to the cliché of bedroom distro to rockstar (well, in Asia, kind of).

The Welshman may be big in India but he’s certainly not of that country, and his record reflects this with a hyper, modern vibe to his sound, so much so that it veins in cyber-rock (otherwise labelled ‘tacky’ in the UK). He combines metal, and electronica throughout the entire album, with enough ingredients either way to side with each genre, and tips the iceberg on an industrial alp. His tracks have much akin to Fear Factory, (minus the angry vocal) and are just far cheesier, with much greater commercial appeal. “Solitaire” is a muscular affair, with guitar chugging, throbbing dance pulses, and a tribal drumming style. With that said, the entire album can live in that description – and it’s redundantly repetitive. “Astral Halo” is an excellently written number, featuring synthetic vocal harmonies throughout, and waters down on the electronic element, which is welcome change.

Jayce Lewis self-titled debut is overcooked for the UK, but will certainly raise eyebrows in its niche. Don’t worry about Asia; it’s going to be kicking back to every second of this.

6/10 PowerPlay issue #126

Album Review: Daggers Drawn, 2010 EP

2010-10-11T12:50:00.000-07:00

Daggers Drawn may be circulating the underground, but their debut will surely elicit a wide spread enthusiasm. There are passages within the six numbers that are reminiscent of Gojira and Machine Head, but that certainly doesn’t mean these Plymouth headbangers are copycats.

One of the most refreshing things about the EP is how it’s full of ambition, right from get-go. DD combine progressive, technical, and death metal influence throughout all of their numbers, though even if sections are rough around the edges, or needlessly haywire, all remains plausible. “New World Order” in particular combines all of their grains together most fluently, and highlights exciting prospects waiting.

7.5/10 Metal Mayhem UK

Album Review: Lord of the Lost - Fears, 2010

2010-09-22T15:57:00.000-07:00

Lord of the Lost are another band which sound like ‘x’ band that’s popular. 'Type O Negative' is that ‘x’ band, as Lord of the Lost play with the same brand of metallic doom and gloom which characterised 'The Drab Four', and feature one of the best Peter Steele imitations heard in recent times. There is a fundamental problem with going down this road of straight imitation; you’re always playing catch up to what’s current in the first place.

Let’s not beat about the bush, 'Fears' is an excellent gothic rock album, with enough dirges, darkness and melodic hooks to satisfy any vamp infused rocker. But while the Steele impression is a brilliant one, there’s a lack of any character to 'Lord of the Lost' on their debut, enveloped in their hero’s vision and missing in their own. Tracks like 'Last Words' and 'Prologue' are great aggressors but lack an individual flavour. 'Never Forgive' is a Marilyn Manson inspired number, that has the strongest impact throughout the album, making their sound more widescreen than what was initially expected.

Ultimately, 'Fears' is wrapped in its title; scared to show its hand in a sea of other hopefuls, by way of being swept aside - and ironically, that’s precisely what will happen.

6/10 PowerPlay issue #125

Album Review: Sometimenever - Father Hope, 2010

2010-09-22T15:52:00.000-07:00

The post-punk, post-hardcore group, Sometimenever, are off-the-leach on 'Father Hope' with their take on writing something far and away different, to prove to us and themselves that it could be done. This comes in the form of aggressive punk, chaotic progressions, and happily, at no expense of a brain. More importantly, what this lofty lot from Cambridge want to portray on 'Father Hope' is that all of the chaos played has a depth and meaning, that so many overlook for the sake of sounding hardcore. This is an attempt to create a less madcap punk, which still has the genres recklessness – and that’s no easy feat.

Refreshingly, the nine numbers which make up their second release don’t have vocalist Adam Powell screaming over each track for the sake of sounding crazy. Instead, melodies and spoken word are often used, which help give 'Sometimenever' an individual flavour. Things often fleet between the progressive, and manic as evidenced in tracks 'Terror (Terror, Terror, Terror)' and 'Narcissus', and in contrast their more punk-ish numbers, 'Two Words, Six Letters Get _____' and 'Wake Up' help mix the albums pacing, outside of its hardcore traits.

Unfortunately there’s nothing here to suggest a great album, or even a memorable one. But this is certainly an artistic achievement, shaken down to its bare bones.

7/10 PowerPlay issue #125

Album Review: Left Side Brain - Rifftrospective 2010

2010-09-22T15:45:00.000-07:00

Rifftrospective is a compilation release from Bristol headbangers Left Side Brain celebrating ten years since their inception. They’ve released three albums prior to this one, and have chosen what they feel to be their best material, which make up the thirteen tracks. But whilst the sound of this quartet is barely blazing in originality, few imitate The Wildhearts and Therapy? so emphatically.

Initially, Left Side Brain emulate the discontent, noisy output of Therapy? on opener 'Exit Route'. However, as the numbers flick by, it’s only then that you realise how big the bands scope is for an alternative metal vision. 'Weaponise' thrills in ghostly vocoded vocals filling the background; 'Almost Had Me' has a fluid blend of crunching guitar riffs with pop-vocal harmonies slapped on top and 'Gifted' goes wild at heart with The Wildhearts. Further more, Left Side Brain claim that all they want to do is play big riffs to blow your socks off – but there’s something much more evergreen to this showcase of work; hints of experimentation and masterstrokes of song depth, which only few achieve.

Don’t be put off by the album title, or the whole celebrating ten years under a rock thing; Left Side Brain have pulled off superbly balanced and written alternative metal, as well as being able to flaunt their instrumental nous, that bubbles underneath.

7/10 PowerPlay issue #125

Album Review: Slaves To Gravity - Honesty (single), 2010

2010-09-22T15:38:00.000-07:00

Slaves to Gravity are a bunch of brit-rock hopefuls, unannounced to the masses, but certainly are on the up. Since releasing their debut in 2008, Scatter the Crow, the band has spent the last two years touring the US and the UK, turning heads at the Download festival, and playing with the likes of The Butterfly Effect, Pitchshifter, and Bullet for My Valentine.

Honesty is the single from the up and coming 'UNDERWATEROUTERSPACE', and it strongly hints at a vast change of direction from the debut. Much was made of the 2008 release, pushing the boundaries of pop rock to post-grunge and alternative rock, but two years on, and Honesty is the exact opposite, opting instead for a slick, polished and poppy taster for what’s to come.

There is one and only track on this disc and it demonstrates a brilliantly put together pop-rock-out tune, with ‘chuggy’ guitar riffs, an uplifting chorus, and a powerful vocal knitting it all together. But Honesty’s lack of experimentation and willingness to do something more cutting edge makes Slaves to Gravity very difficult to distinguish amongst the other pop rock outfits, and further more, easy to ignore. There’s also a lack of flavour to the production, as this time around there is no self-produced aesthetic; instead the band have chosen a commercially carbon mix, alongside producer Bob Marlette (Black Sabbath, Slayer, Alice Copper), which by the sounds of things, has had very little influence.

While Slaves to Gravity have created a terrific piece of pop rock, it’s one all too forgettable.

6/10 PowerPlay issue #125

Dolbro Dan - Talkin' Belfast Bike Crash EP

2010-08-03T14:59:00.000-07:00

This is short, but very sweet from Dan. There's something compelling about how his Dylan inspirations transpire into his own language - it makes for something really special.

His new single, Talkin' Belfast Bike Crash, is available for free on NI Charts. His newly titled EP Talkin' Belfast Bike Crash has just been released (with distribution to be announced, your best bet is to get in touch with him regarding a copy, dolbrodan@yahoo.co.uk).

Dolbro Dan is also to be featured on my new EP, Blue² (more anxiously soon).

Dolbro Dan, Grab It And Run Records

Album Review: Ozzy Osbourne - Scream 2010

2010-07-17T03:26:00.000-07:00

Scream is meant to be blasted through a Sabbath veterans dying ear lobes, and MTV simultaneously, and then also be approved by both audiences. On reflection that’s no easy feat. As sober as Ozzy may be, wondering if the magic has somehow dried up is usually on top of the public's agenda when mulling over another addition. The previous “Black Rain” was a cynical move in the Osbourne franchise, picking your cash strapped pocket for something branded with “The Prince of Darkness”, delivering on not much you’d associate him with, and more importantly nothing we want to associate him with. Each release probes an even bigger response though; how can this man end his career so cynically? Maybe we’re the naysayers for waiting on his eventual downfall, but then again he did define heavy metal in more ways than one. Why are the expectations never met?

Scream itself is another sober check-up on the Osbourne franchise. It rocks as hard as it wants too, but only when it wants. The ingredients are there for a metal magnum opus, but often Ozzy tailors everything to be somewhat radio friendly, with some sort of bang in between the commercial stuff. The content has no more Zakk Wylde on second fiddle, and you’ll be glad to know that that means no more maligned comparisons to BLS. Osbourne’s sound has been freshened up because of this but not to any huge distinction. Ozzy has paid the price for removing Wylde’s class of southern American rock to something extremely generic, and whilst it’s certainly a welcome change (if anyone apart from Ozzy released his previous work they would be regarded as certain “BLS” rip-offs), you can’t possibly recognise Scream from anything else played in a high street store. That’s unless you slap his vocal on top.

His performance on Scream is memorable, and should be lauded whilst everything previously mentioned has cut below the belt. With that said, this is another shallow addition to his discography. Scream rocks when it needs too, pops when it needs too, and that’s about it. Am I the fool to be left expecting more? Definitely.

2/5 Sputnik Music

Album Review: Triptykon - Eparistera Daimones 2010

2010-06-21T04:21:00.000-07:00

Triptykon appears to have identity crises. The project has untested personnel, claims of experimentation, one would think new ground to follow aloft the name much bigger than the project itself. Thomas Gabriel Fischer. Triptykon is his understudy that was announced following the departure from Celtic Frost, and without his well-documented presence, Eparistera Daimones would be torn to shreds with a criticism based essentially on ripping off Monotheist. So, how does one make fair foundations to criticise Triptykon on? If this is the pure successor to Monotheist then why on earth didn’t Fischer simply reassemble Celtic Frost? How can you justify labelling a brand new project with precisely the same envisionment? This is Monotheist Mark II, so why not just call it that? It simply feels hungover, and otherwise exploitive. The saving grace perhaps, Fischer has came out and gave us the warning we so desperately needed, “Triptykon will sound as close to Celtic Frost as humanly possible”. Giving Triptykon an identity when the disc spins though, is more than simple, and the critic should only be asked of what’s heard in front of him. My notes read, Celtic Frost. Monotheist. Different personnel.

And with that, underlining what content is in Eparistera Daimones is very predictable. There’s the odd deviate off the trail from Monotheist to Triptykon’s credit, in adding darker ambient sections to the music, that can at times feel out of place (a bit 80’s too), but otherwise add a different flavour to their sound. Apart from that, this is very much in the same kettle of fish that Monotheist swam in. Expect more of the same.

That does not necessarily mean an entirely bad thing (Monotheist has been a personal favourite since it’s inception in 2006), but perhaps does show a lack of ambition, in starting a new project just to showcase a sequel intended for the same audience; you only need to head to MySpace to find copycats, and without Fischer present, Triptykon may as well live in those same webpage’s. Not that the Celtic Frost legend doesn’t know how to piece together his own music, he just did it much better in 2006. Such a wasted opportunity.

6.5/10 Metal-Mayhem UK

Review Edits

2010-06-02T14:58:00.000-07:00

I did some harsh editing on a few articles a while back. It was mostly part of an experiment to see where my own refinement would lead me. I thought it went well, and it was pretty fun too. Below are two articles which I felt read better.

Devin Townsend Project, Addicted! 2009

My first published attempt: Album Review: Devin Townsend Project - Addicted!

Blue-penciled attempt:

To the cynic, each Devin Townsend Project is simply new personnel with a different focus in its crosshairs. Perhaps part of the ploy, but the announcement of the project and in particular, the release of Ki shook the metal world into recognising how Townsend would react to his post Strapping Young Lad present. Ki was at the very least a success. It spanned of everything deep within the Townsend vein, marvelling a level of unpredictability rarely found in his metallic archive, which even scribed defining nuances into American prog rock. The following from Ki, “Addicted!” was set to be deflation, as the press release indicated a collectively ‘more fun and straight to the point’ record. Addicted! is Townsends most direct reaction to the SYL break-up (as stated in numerous interviews), and he wants us all to know, setting this record commercially humble and to strike worldwide appeal.

If warning shots were fired by Townsend prior to the eventual criticism of Addicted! then we’ve taken two the chest. He’s dead right, Addicted! has no where near the same care or depth associated with Ki. Instead the ethos of ‘let’s rock’ is Townsend’s mantra behind everything on the album. There’s not meant to be any undertones, it’s not meant to have a heavy handed metaphor, it’s just meant to rock’n’roll with enough impact commercially to make a boom. And that it does, very well.

Taking in the guile on the production, first time around however, isn’t exactly rock’n’roll. The amount of layering, and added quirky decals, makes Addicted! Townsend’s wackiest achievement in his chronology. “Universe In A Ball!” goes a long way for an explanation. It begins on a metal hammer, but mid way through adapts a silent-era, circus screen-play, only to throw us back into a wall of heavy metal. Surprisingly this is all pulled off with an elegance of realisation, that these elements swim with each other in the same water comfortably, yet somehow are centuries apart - and it’s a testament to Townsend, that he’s been able to weave it all together. There’s much to say about the others on the record too. “Bend It Like Bender!” claims the pop crown on Addicted! It retains a heavy metal coefficient but at the same time, can side by Weezer for a radio friendly rock-out tune. Whilst the self titled track “Addicted!” maintains a darker, and heavier weight, reminiscent of Strapping Young Lads early work. “Awake!” has much disco jive to it, and industrially fades out the album on a typical dance pulse.
7.5/10 Posted on Sputnik Music

Dioramic, Technicolor 2010

First attempt: Album Review: Dioramic - Technicolor

Blue-penciled attempt:

Technicolor’s press release is riddled with the sorts of hyperbole best described as inextricably pretentious. Language like “Art-core” (not hardcore), “opposing acoustic concepts”, and “scientific law”, already say much about a band with a lot to say, but in the completely wrong way. This not at the very least, proves a massive disservice to Dioramics music (if I’m allowed to mention ‘Dioramics music’ in one swoop without breaking sweat, aligning them with the stars and some sort of theory about the abacus) misleading you every word.

This is Lifeforce Records first 2010 offering. And, whilst the underwhelment doesn’t take long to kick in, it says much for the attitude of the label. That being, a willingness to publish ambitious projects that wriggle far from the conventional, and we can only applaud Lifeforce and Dioramic for their efforts, if even the finishing line hasn’t been quite reached. Notably this is Dioramic’s full length debut, with only uploads and an EP to have completed their otherwise baby-steps to inception. If you feel that’s enough to warrant a sympathised critique, we digress; there’s enough promise present on Technicolor to recognise the trio amongst others, but not near enough nous needed to pull off this technical, progressive and hardcore experiment.

Dioramics meat and vegetables (like most technical acts) is their guitar riffing, fulfilling mostly a melodic component on the record. The shifting flavour of the ‘chug’ and chord progressions throughout the guitar playing, help give Technicolor a diverse complement, as finding both played at the same time (in the said genres), is rare at best. The vocal floats between clean and higher pitched yelps that are reminiscent of Freak Kitchens, Christer Örtefors. It being second seated beside the guitars, it lacks the muscle needed to punch above them, instead creating melodic layers often lost within the guitars mid and fuzzy frequencies or quasi technical plucking. You’ll find a very strong and talented drum performance present, adding the needed flex of a percussive undercurrent, along with the bass throbbing taking the back seat. Samples are often thrown in, adding further depth to the tracks, and invariably Dioramic do experiment with various instruments across the board, which help only to mix things up.

With so many ideas flowing around the mix at once, Technicolor ultimately fails to come to the boil on any of its laurels (its progressive nature, its hardcore nature, and its art). What strikes, as most disappointing is the records broken structure, with each track feeling 50% complete, whilst the other half begins or ends in a complete slouch. The complete material lends a hand at demonstrating the potential for this act, but also reinforces that Dioramic’s ideas have no were near been fully realised. Its artistic ideas overflow genius, but it’s piecing together into one coherent package, is clumsy and ineffective. This is great art, poor execution.

A 2010 reboot by Lifeforce that comes across average at best. 6/10

Posted on Sputnik Music

MySpace Update

2010-05-11T06:26:00.000-07:00

I've finally got around to updating my MySpace page; it really yearned for a spring clean! Anyhow, I'll not bombard with a load of HTML buttons screaming "Buy Now!" anymore. It's not the purpose of the page, nor is it me.

I've also added a track from my new and to be released EP, Blue². I hope you enjoy it.

Album Review: National Sunday Law - The Fifth Ape 2010

2010-05-02T03:38:00.000-07:00

National Sunday Law aren’t in any way, a religious two-piece (in fact, quite the opposite). Throughout our musical history, purposeful subtleties have lived within the fabric of many artists’ names, but choosing “National Sunday Law”, seemed outright odd at first glance, for two atheists. On the flip side their music doesn’t express an uphill struggle against the devout, which is more than refreshing, especially in the said genre (Doom, progressive metal).

The Fifth Ape continues were their previous entry “La Storia Di Cannibali” left us, deep in a brand of post-rock and doom metal. This E.P’s notable change from its precursor is that it’s a much more muscular affair in comparison. The song structures are directly laid out, carrying you from riff to riff in a quicker motion than previous. And whilst the material here is similar stylistically, it twists and rocks with you in an immediate urgency, instead of the progressive layering heard on their previous record. The biggest merit on The Fifth Ape, is that it’s somehow, still an occult of doom metal, designed to sludge and carry the weight of the universe on its shoulders with the said combined.

What makes NSL’s tribulations that more interesting is their sheer modernism, fusing both progressive and post-rock movements into one doom image. “Joshua The Anchor”, begins cordially, but capsizes on doom hooks, that are patterned and aggressive. “The Last Flight Of The Dodo Bird”, is a rhythmical jig that lapses into progressive territory. Soundwise this diversity comes across as modernism, layered on top of a genre aged, suffocated and surely crippling. The level of imagination present deserves recognition, even if it’s not particularly earth-shattering.

NSL’s case in point is their refinement and fat trimming. Rarely is it found that acts so early in their careers, possess the nous to make an excellent debut album sound meeker, in light of a follow-up E.P.

8.5/10 Metal-Mayhem.co.uk

Final Session: Blue² drum takes

2010-03-23T12:37:00.000-07:00

Special thanks to Ben Simpson (drumming), and Mark Kernoghan (engineering) for their help. Also, a thanks to SERC for letting us in!

An exciting few weeks are ahead, as the project wraps up.

Pushback on Blue²

2010-03-15T07:59:00.000-07:00

I'm having to pushback Blue² for a few more weeks. I did expect the material to be finished around the beginning of this month, but at the moment, that is simply not the case. Other than that, I feel it's materialising quite nicely.

Many thanks for your emails on the project, and I can assure the reservations will be sent to you.

If you're interested, feel free to send me an email.

Album Review: Dioramic - Technicolor 2010

2010-02-07T13:49:00.000-08:00

Technicolor’s press release is riddled with the sorts of hyperbole best described as inextricably pretentious. Language like “Art-core” (not hardcore), “opposing acoustic concepts”, and “scientific law”, already say much about a band with a lot to say, but in the completely wrong way. This not at the very least, proves a massive disservice to Dioramics music (if I’m allowed to mention ‘Dioramics music’ without breaking sweat, aligning them with the stars and some sort of theory about the abacus) misleading you every word.

This is Lifeforce Records first 2010 offering. And, whilst the underwhelment doesn’t take long to kick in, it says much for the attitude of the label. That being, a willingness to publish ambitious projects that wriggle far from the conventional. We can only applaud Lifeforce and Dioramic for their efforts, if even the finishing line hasn’t been quite reached. Technicolor’s content shifts between the hardcore and progressive genres. Their guitar riffing is more of the ‘chug’ nature than chord progressions (mind you, both are present). The vocal floats between clean and higher pitched yelps that are reminiscent of Freak Kitchens, Christer Örtefors. You’ll also find a very strong and talented drum performance present, with the bass throbbing taking the back seat. Samples are often thrown in, adding further substance and depth to the tracks, and invariably Dioramic do experiment with various instruments across the board, which help only to mix things up.

With so many ideas flowing around, Technicolor ultimately fails to come the boil on any of its laurels (its progressive nature, its hardcore nature, and its art). What strikes, as most disappointing is the records broken structure, with each track feeling 50% complete, whilst the other half begins or ends in a complete slouch. The complete material lends a hand at demonstrating the potential for this act, but also reinforces that Dioramic’s ideas have no where near been fully realized. It’s artistic ideas overflow genius, but it’s piecing together into one coherent package, is clumsy and ineffective. This is great art, poor execution.

A 2010 reboot by Lifeforce, that comes across average at best.

6/10 Metal-Mayhem.co.uk

Album Review: At The Soundawn - Shifting 2010

2010-02-07T13:45:00.000-08:00

Another expansive journey into progressive territory. That’s the simplest way to coin Shifting, ‘progressive’. By its very nature, Shifting is an intricate experience, filled with melancholies, metal sections, ambient soundscapes; subtleties often deaf to the ear of the metallic listener. Providing a reference to lean upon usually helps, but this description certainly won’t. The only real similarities are Tool, Ephel Duath, Isis, and Mogwai. So, whilst diffusing the material mentally may be a challenge, sonically it’s nothing short of superb. The song writing is coherent, solid, and has much fluidity moving in and out of its rich progressions. There’s an unreserved creativity within Shifting, as At The Soundawn incorporate percussive and electronic elements to the production, heightening the experience, which would be woefully diluted otherwise.

In an ocean of ‘obvious’, ‘nearly’ and ‘no cigars’ At The Soundawn appear to find land on Shifting, with their brain of post-rock and progressive metal. Not nearly a perfected album, Shifting does have its faults (melodrama plagues parts of the experience, overly long winded writing style in periods) but none often memorable. On the contrary, each track present is memorable and distinct, to where it is going, and where it wants to take you. Every ingredient heard has had the breadth and scope of experienced and talented artists. Shifting is At The Soundawn’s defining record, so far in their otherwise short-spanning career.

8/10 Metal-Mayhem.co.uk

There and back...

2010-01-25T17:03:00.000-08:00

I've been away for the best part of this month working mostly on a new project. Named Blue², it is a complete shift in direction from the previous album, that is very much far away from my metal influences. I have it que'd for release within the next two months, that'll span of 5 tracks (not entirely concrete). However, I'll be trying a pay-what-you-want scheme, letting you pick up the EP for absolutely nothing, to how much you want to give me (this will hopefully work with most of the digital retailers too).

I'm taking reservations for anyone that might want a copy held. Just send your name, email, and shipping address to my email address (andrewdanso@live.co.uk), and I'll let you know as soon as I can, when a copy will be out to you -- this alternatively can be digital too. Remember, you don't need to give me a penny.

Blue² is to be the first of two EP's hopefully released in a couple of months. Red is the other project, which is planned to span of much more heavier and darker material.

I'll be sure to keep an update, thanks again.

Album Review: Devin Townsend Project - Addicted! 2009

2009-12-12T11:42:00.000-08:00

New personnel with a different focus in its crosshairs; this encapsulates the ‘Devin Townsend Project’ with only two records in. It’s an obvious ploy made by Townsend, to not least further his career but to keep us (and himself) guessing on the eventual output. Ki was a success. It spanned of everything deep within the Townsend vein and some. Following on from Ki was sure to be deflating. Branded a collectively ‘more fun and straight to the point’ record, Addicted! is infinitely that PR line and less.

If warning shots were fired by Townsend, prior to the eventual criticism of Addicted! then we’ve taken two the chest. He’s dead right, Addicted! has no where near the same care or depth associated with Ki. You’ll be dosing on disco and pop, fused with his typical industrial metal (think a minor SYL) or you’ll be listening to incredibly straight to the point, heavy, metal. However, everything presented is expectantly polished. The ‘to the point’ material is very effective, that even outdoes a lot of his better productions under SYL. The pop or disco implementation is unpalatable, and so are the shoddy but necessary choruses. Interestingly there are about five core tracks the album manoeuvres around, (which are very much accomplished) with the commercial beef intertwining between.

Of the four ‘Devin Townsend Projects’ (four announced, two complete) it doesn’t take half a brain cell to know that Addicted! will be on the bottom of Townsend’s barrel (mine too), when it comes to rating the albums one by one. That’s not to say this is a bad record (in fact it’s the very opposite), but suffers considerably from the negative clichés that greatness indirectly spawns. What next though, for Townsend - we can’t wait.

7.5/10 Metal-Mayhem.co.uk

Album Review: Steven Wilson - Insurgentes 2009

2009-11-15T15:07:00.000-08:00

If one of Wilson’s many efforts were to suffer from the negative backlash of hype, Insurgentes was it. Promising guest appearances, shifts in stylism and a reflective documentary meant much to live up to, and upon listening to the single “Harmony Korine”, labelling the record a ‘flop’ wasn’t out of question if very arbitrary.

Everything from the first and last track on Insurgentes confirms that Wilson is really out of his progy comfort zone. No longer are you hearing swaths of the late 60’s with a specific nod to the Floyd but computer sequencing, reflecting a desire to get off the traditional progressive hovercraft, and more importantly, amplify change.

Porcupine Tree underwent a renaissance many years back (In Absentia, 2002) shifting toward a progressive metal approach. Insurgentes is of personal evolution for Wilson, and the records moody but captivating substance proves this. Shoehorning the record into ‘prog rock with a leaning toward metal’ is not only a disservice to you, but entirely false. You’ll find that Insurgentes marks uncharted territory for Wilson, as he explores themes never to be associated by previous works. Track “Abandoner”, filled with electronic sequencing ends with ‘bit crushing’ that eventually scales to nearly be painful on the ear; if not, at least very uncomfortable. Similarly the haunting climax to track “Get All You Deserve” ends in discomfort. Purposefully easing someone into discomfort is simple with sound, but to make it compelling is nothing short of masterful. Wilson achieves this, easily. The riffing and atmospherics present are also worth a mention, as not only do they provide an excellent backbone to the record, but are so varied that coined criticisms toward ‘obvious and repetitive song writing’ go out the window. The massive degree in mood swings, create a dark and sombre undercurrent that is touching and felt with unease. The blend of the aforementioned makes Insurgentes, ultimately timeless.

The 55 minutes are so rich in detail, that when Wilson decides to throw a curve-ball (and he throws many) the impact might not be as greatly felt. However, in a sea of superlatives these kinds of criticisms have never felt smaller.

9/10 Metal-Mayhem.co.uk

Album Review: The Few Against Many - Sot 2009

2009-09-26T08:59:00.000-07:00

It’s difficult to not think that The Few Against Many would be little else, without their symphony in backround. Often they’ll play through progressions with the odd keyboard stab thrown in for layering – or some quasi production value argument, the band would immediately bark at you. Needless, and wasteful, the used symphony isn’t an aid to their cause. However, "Sot" being incredibly dull without isn’t far from the truth.

A decent, if not worthy addition to the Scandinavian archives, dismissing "Sot" like it was Arch Enemy’s Doomsday Machine would be extremely harsh and unfair. This will be enjoyed by any Scandinavian fan, or occasional user. Its songwriting has more depth than your average cup of Sweden, and coupled with powerful punchy choruses, help add impact to what is a very normal Scandinavian effort. The symphonic addition to The Few Against Many undermines much of the latter. It adds a panel of tackiness often invoked with Children of Bodom; best described as a plethora of Botox, into a space that hardly needed filling.

Blessed with excellent musicianship, "Sot" is a record that initially feels as solid as Bloodbaths “The Fathomless Mastery”. The symphonic undercurrent left us baffled, questioning its existence over such firm foundations. Why the plastic?

Archaic-Magazine.com

Album Review: Tandjent - No One Will Hear Us 2005

2009-09-13T18:24:00.000-07:00

Have you heard everything here already? Nearly. The underlying discrepancy with everything Tandjent have presented on “No One Will Hear Us” is that it is straight imitation. Yet it’s done in a manner that is somehow fresh. For all of the wrong reasons, Tandjent’s debut is solid, worthy enough of their hero’s recognition (if they embrace copycats) and likewise of their main influence, technically sound. Meshuggah’s “Destroy Erase Improve”, and Fredrik Thordendal’s scientific “Special Defects”, are no easy feats to emulate, let alone weave together; but somehow, they’ve done it.

Everything from the shotgun guitars that Hagstrom phrased in relation to Destroy Erase Improve, to Thordendal’s jazz-like-Allan-Holdsworth lead guitar, to Haake’s mechanical grooves have been layered anew amongst different riff progressions. You could swear their final number “The Path Of True” is “Soul Burn” when your eyes are closed, if only for a brief moment. The margins are really too close on periods of the album to applaud; but applaud you will, at the sheer technical know-how and brazenness of it all.

The same concoction thrown into different, if lesser test tubes. This embodies Tandjent’s plagiarised formula as if it were something they had been born to do. But even as you try to wave notions of theft in front of the project, their regurgitation tastes just as good, and just as technical. Perhaps the critic must learn to unlearn to fully appreciate “No One Will Hear Us”.

Tandjent’s debut is packed full of technical nous, but is artistically a moot point. At Metal Mayhem UK, we can only see a vast potential and lend a thought that they’ll find their feet, come the second release. Here’s hoping.

7/10 Metal-Mayhem.co.uk

Album Review: Virus - The Black Flux 2009

2009-08-30T13:28:00.000-07:00

Sometimes album reviewing is very tricky business and more to the point it’s difficult to not make The Black Flux article into a full blown press release. It really is that good. And whilst perfection is an unattainable score, Virus without a doubt, have
never been closer to it.

Beautifully discordant, dark, sombre, and majestic often at the same time encapsulates The Black Flux. The music itself is challenging because of the intense atmosphere made by the above. You’ll not hear blistering technicalities on the instruments (nor do you need to) but the steep learning curve many will have to undertake to fully understand the project is a tall order. Placing The Black Flux into the progressive metal category may spark debate, but it’s definitely an accuracy whilst being loose (more so heavy metal, experimental and progressive metal in one pot). One of the bigger aspects present on the record is the vocal echoing Ian Curtis from Joy Division. It is certainly controversial when thrown in, and will conflict with most listeners assumptions on harmony (not to be mistaken as a discordant vocal, it’s just another surprise when layered on top of the other elements in the music). Saying that, it’s certainly suitable, that adds to their sound richly and beautifully; it’s near enough a defining touch. Finally, Virus aren’t scared to draw out a guitar riff or two, and this is a huge characteristic amongst the tracks.

A twisted and haunting masterpiece that should change many perspectives in the genre. Virus have not just made a progressive leap with The Black Flux, but metal itself.

10/10 Metal-Mayhem.co.uk

Album Review: One Without - Thoughts Of A Secluded Mind 2009

2009-08-15T11:35:00.000-07:00

Whilst the security of merchandising and record sales is often enough for any musician to show their hand in the industry, it too comes at a creative price tag, one that “One Without” simply can’t afford. “Thoughts Of A Secluded Mind” is a pop rock/metal effort. Placing it within the metal genre is only a given because of the heavier ‘chug’ guitars present. You’ll also find clean vocals, drums, and synth at the heart of the experience.

The music itself is firm, well written and well executed. Everything has been done in binary fashion (chorus, verse), that echoes themes from the later works of In Flames, Megadeth, and Evanescence. With it being radio, nightclub, youth club and hard rock café friendly, popularity to be gained and sustained is a mere certainty.

Such assurance is creatively expensive. “Thoughts Of A Secluded Mind” is very plain, and very, very stale. There’s nothing on the record that claims a ‘unique selling point’, it’s just an emulation of the acts previously stated. The album lapses into repetitive territory with each track guaranteed to contain a power chorus (or five), a key change and a melodramatic guitar solo.

“Thoughts Of A Secluded Mind”, is an accomplished record, setting out to do what it means to do; yet falls very short because of this. On one of your better days, this effort can sound as vibrant as an early Megadeth record. On a different day, as tedious as Madonna.

6/10 Metal-Mayhem.co.uk

Album Review: As You Drown - Reflection 2009

2009-07-25T05:22:00.000-07:00

Apart from the blindingly appalling title, As You Drown are very focused about their business on "Reflection". Sharing common ground with pioneers Decapitated and even more so Oceano, has sensibly made AYD make key decisions based on their influences formulas and not there own. There are no melodramatics to be thrown around, spontaneously cried with, and be tucked away into the deeper hierarchies of ones brain. Instead, an emphasis is placed on (overwhelming at times) sheer down-tuned brutality, and demonic chord progressions. No complaints.

The music itself is comprised of 'chunkier'-than not guitar riffing, that floats in and out of majestic chord movements, with a blasting or death metal applied drum style in its undercurrent. AYD’s major fault is their own approach being too similar to acts previously mentioned, and the other ten thousand that follow.

“Reflection” presents a group with solid intentions, firm foundations, and excellent song writing. However, the prompted question “Is the modern death metal reiteration on the verge of becoming stale?” rings much louder in the aforementioned chaos.

Archaic-Magazine.com

Band Project: Tera

2009-06-30T04:39:00.000-07:00

Hello friends!

We've spent over a year writing & recording our debut, and now, it's finally online and ready to be heard. Tera are a prog metal outfit, consisting of four members.

Taken from MySpace.com/teraonline (you should go there!):

Tera formed in early 2008, are an ambitious outfit, lapsing into progressive and uncharted territory. They elegantly blend the charms of their influences into a single innovative and cohesive package. With the release of Forerunner, Tera mix the intensity of progressive metal with their own modern agenda that refuses to play ball with the conventional acceptance of modern song writing. (Tera 09, Press Release)

Get to http://www.myspace.com/teraonline, to listen to the projects works, and get further information.

Many thanks,

Andy

Album Review: National Sunday Law - La Storia Di Cannibali 2009

2009-06-25T04:47:00.000-07:00

With a focus being very much instrumental along with guitars and drums at the fore of the experience, you might be forgiven to judge this book by its cover. However, National Sunday Law are remarkably fresh in their approach and song writing. Completing there entries in a progressive and doom fashion, they also create atmospherics that are rich and help add a real sense of depth to the production. NSL are also a 2-piece.

The song writing itself is broadly influenced with many other genres and stylistic approaches added into the equation. It’s repeatedly refreshing to hear production techniques tarnished by the mainstream, rejuvenated in such vibrant, energetic and uncharacterised ways. Think a meandering soft guitar riff, then clapping, and therein begins another section. NSL feature a memorable recording as the production quality is fine; the music itself feels spontaneous, live and within the moment. The vocal doesn’t enter the crosshairs as a centrepiece, but is used as an atmospheric tool. Disappointments may lay with the testosterone fuelled “To Hell With You,” but all is easily forgiven, as the track counter changes. We can’t wait to see what’s next for Donley and Tambascio.

8.5/10 Metal-Mayhem.co.uk

Album Review: The Yellow Sign - Ancient 2009

2009-06-11T15:42:00.000-07:00

The Yellow Signs “Ancient” showcases a band with a leaning toward the DM extremities of Oceano. What’s different in comparison are the more progressive, melodic and doom sections that unfortunately don’t quite make the focus of the record. The tracks themselves having the above in their undercurrent are excellently put together that tether the drum and riff work subliminally. The vocal is not acumen to The Yellow Signs work, but does shift into the crosshairs from time to time. It’s a disappointment mixed into the depths of the EP, that marginally hinder the experience and this is due to the performance on the mic not being quite as cemented as the other instrumentation. Think, Decapitated’s “Covan” with a minor throat infection, which makes his vocal even drier. The assisted high-pitch yelps are tasteful in liking but certainly work better when layered on top of the main vocal (it’s almost as if both are two halves of the same walnut).

The Yellow Signs biggest hurdle lays in their ability to produce material that’s more definitive than mashing their favourite influences together. The tracks on display through the EP are no-frills, hands-down worth departing every penny for; they just lack that memorabilia which help define the likes of Oceano and Decapitated. Even if “Ancient” isn’t that accomplished, it certainly reveals a band very much worth their salt.

7/10 Metal-Mayhem.co.uk

Album Review: Eureka - Shackleton's Voyage 2009

2009-06-02T16:31:00.000-07:00

Heavily focused on the influences of Mike Oldfield, Shackleton’s Voyage is a record echoing the theme of Sir Ernest Shackleton’s journey to the Antarctic. Treated to an arsenal of instrumentation with narration thrown in for good measure, lend a hand at creating a powerful atmosphere to encapsulate the Voyage. Whilst being rooted to a more prog rock template, Eureka do mix symphonic, synthesised, and Celtic themes into the affair, that help give their concept an interpretation so clear it can be visualised. This is were the concept becomes alive, as picturing such events before your eyes are at the very least moving and pay tribute to the quality of the atmospherics present.

However, on closer inspection, the albums compositions would be dead without the concept. The tracks themselves are very lean without their storyline and to truly absorb the albums fruitful atmosphere, a brush up of knowledge on the expedition wouldn’t go a miss. That’s not to say Shackleton’s Voyage isn’t accessible through casual listen (in fact it’s quite the opposite) but understanding the concept will guarantee an increased hit whilst listening. The records pacing is dynamically excellent, as the album drives and cascades through rocky progressions, and atmospheric hazes. If all else fails, Eureka may raise awareness of the historic event amongst the unfamiliar.

Archaic-Magazine

Album Review: IQ - Frequency 2009

2009-05-30T05:27:00.000-07:00

Frequency is gripping, tasteful and all the more memorable. Consistency is easily found on each number, with enough proggy up and downs that keep things moving.

There is no ethic to push the genre forward with radical forward-thinking on the album, but the twists and intricate musicianship displayed best on tracks “Frequency”, and “Life Support”, certainly add depth to the record. Rooted to a more dated, classic prog-rock approach, without attempting to break any ground raise an awareness of detracting ambition. IQ have played it very safe on Frequency, and even though each track has its marvelling moments, other passages are all too stale, with the cobwebs of archaic song writing being very present. Nicholls vocal work on Frequency is particularly impressive, adding an important dynamic to IQ’s music, that command and tether progressions together effortlessly.

Frequency is certainly not a just release geared toward the fan, as from the get-go, headbangers that make an acquaintance, will note a package evocative, solid and worthwhile.

7.5/10 Metal-Mayhem.co.uk

Album Review: Nightrage - Wearing A Martyr's Crown 2009

2009-05-25T16:24:00.000-07:00

Comprised of everything Scandinavian, "Wearing A Martyr’s Crown" is made up of melodic guitars, belching vocals, double kicks, and its fair share of acoustic guitar passages. For the fan, the record may saturate for years to come, but for the neutral, Wearing A Martyr’s Crown sounds dangerously close to early Arch Enemy, Inflames and Children Of Bodom – actually it initially appears to be an arranged "Black Earth". In 1996, and still to this day many herald Black Earth as a Scandinavian masterpiece, and with partial reiterations in 2009 still happening, this point is further cemented. This also highlights the genres biggest problems. Much like London’s drum and bass scene, Scandinavian metal has never had the ability to progress from the late nineties, without becoming something entirely different. Herein lays Nightrage’s biggest problem. They sound specifically the same as their precursors.

However, there is credit were its due. As you would expect, song writing is solid with enough twists that’ll certainly retain attention spans. The performances are among some of the most mesmeric heard in years. Production values are kept suitably high, that help showcase their compositions clearly. It’s just such a pity that Wearing A Martyr’s Crown is just another addition to the obese genre, and almost a non-respective one at best. To add, you wouldn’t have been surprised to see Nightrage add the masterstroke to push the genre forward; which makes Wearing A Martyr’s Crown that more disappointing. Maybe we’ve been listening to cover bands for the past 13 years?

Archaic-Magazine

Album Review: Inferno - Pompa Magna 2009

2009-05-19T04:32:00.000-07:00

Initially, Inferno appears to have more in common with the pretentious IDM faithful than the metallic hardcore. The introduction to Pompa Magna, “bar / bar / bar minimizer,” is almost entirely electronic, that hints at what’s to come and glints at Inferno’s electronic capabilities. Newcomers to Inferno might find worth in noting that this introduction has little in common with the remaining numbers; except for the remainder having restrained synths, odd time signatures, noisy vocals and hectic song structures. The majority of the release combines all of the above, along with distorted guitars and energetic drum takes, that loosely reminisces, “Sonic Syndicate,” and “Dillinger Escape Plan”.

Inferno’s experimental backbone tailor the act to be an assault on the ear, rather than a group bolstered delivering on great song writing. What’s unfortunate on Pompa Magna, is Inferno’s lacklustre song writing with depth untouched and riff progressions non-cohesive. This quintet will throw themes familiar and mostly unfamiliar at you, but do so with little construction and cement. That’s not say that this isn’t a valiant effort; it’s just parried by other innovative artists too easily.

6/10 Metal-Mayhem.co.uk

Album Review: Nahema - A New Constellation 2009

2009-05-15T16:07:00.000-07:00

“A New Constellation,” is a mish mash of many themes. The belching vocal, padded synth and progressive guitar are just at the heart of the experience. At times, there is a fusion psychedelics that formulate into a metal entry. Other times, Nahema will catch you off guard with a saxophone line breaking into a rock chorus. The genius of “A New Constellation,” is how such elements appear to blend with ease and elegance. The problems? The record has potential to be masterful, but it just isn’t.

With such depth musically, it’s easy to point out highlights on each track as so much riffing is present. “A New Constellation,” tends to stay very safe progressively, as it showcases a very conventional watered-down approach to prog song writing. And whilst this does point to a detracting ambition, Nahema’s more ‘simplified with different instrumentation’ philosophy appears very solid and albeit, very fresh. There are very memorable moments on the record and equally, there many worth forgetting. “A New Constellation,” is a much more than average release that will raise a few eyebrows, only to be brushed aside by others.

Archaic-Magazine.com

Album Review: Hand To Hand - Design The End/Follow The Horizon 2009

2009-05-14T04:11:00.000-07:00

If there’s one chip lying on the shoulders of emo rock/metal, it’s that the vocal and lyrical melodramatics often lack a dignity found in anything beyond the genre. Hand To Hand’s latest, “Design The End/Follow The Horizon” is a traditional emo-metal entry, that’s unfortunately not as deep or cryptic as the title states (unless you’re undergoing the similar harmonic stress as a pregnant woman). Nonetheless, some of the antics are plausible, if only for a brief moment, as they do showcase an ambition for a more mature approach to the genre, whilst not breaking any new ground.

The album consists of 10 tracks that are written in typical fashion. Production values are retained to a high commercial standard, which ultimately helps tether their song writing superior, compared to what’s available. You’ll also find the usual melodic vocal and guitar to be at the heart of the experience. This too, is were most of their problems are felt. With no sense of atmosphere to lend a hand, the aforementioned vocal and guitar need to capture the subjective themes expressed. Unfortunately with such immature lyrical values, and obvious clumsy guitar riffing, “Hand To Hand” fail to seduce. Furthermore, the albums commercial aesthetics help it become so repetitive, that there is no value in repeat play. A worthwhile miss, unless you’re a no-sensibilities fan.

4/10 Metal-Mayhem.co.uk

Album Review: Faceless - Planetary Duality 2008

2009-05-09T13:34:00.000-07:00

"Planetary Duality" arrives, and the promotional sticker reads “For fans of Cynic, Meshuggah and Necrophagist” (not in that particular order). It’s unfair; if only too brief a glance at what’s really within the record. Sure, there’s a flirt with the vocal vocoder (like Cynic), the sweaty dexterous guitar riffing (like Necrophagist) and odd time signatures (like Meshuggah). However, we would be doing you a great disservice if we mentioned that, that’s about it. You’ll find when scratching the surface, the Faceless are pulling strings in such an organic way, that "Planetary Duality" feels unique even when all of it has been heard before. The album sets a benchmark for their German (if otherwise) counterparts, with a technical mastery that’ll easily make the competition blush.

"Planetary Duality" is a brisk affair with the entire record wrapping up in just over 30 minutes. That’s not to detract or defunct in anyway – it’s difficult to imagine such detail in technicality exceeding the 35 minute barrier. Straight off the bat, you’ll soon discover that the Faceless aren’t simply a technical distro using guitar hero histrionics to boast their blindingly talented musicianship (as you probably did discover listening to their previous, “Akeldama”); they also merit extremely detailed song writing that even the progressive diehard would applaud. And yet, there are about a thousand acts one could reference that are in this regurgitation. It’s how well all of these sophomore’s have been put together which make the Faceless very different, and albeit, very unique.

Archaic-Magazine.com

Album Review: Saga - The Human Condition 2009

2009-05-04T03:48:00.001-07:00

There are no gimmicks, no ethic to evolve the genre, just a pure focus on old fashioned prog. Saga’s latest “The Human Condition”, is a generic entry spanning pop, rock, metal and neo progressive influence (Marillion and IQ). Containing such idiosyncrasies it’s clear, that straight of the mark "The Human Condition" is meant to appeal to their nostalgic fans than to the neutrals brain. And whilst this really does read dull on paper, things do move fast enough for the inane amount of depth to never sink in.

With vocalist and founding member “Michael Sadler” departing in late 07, “Rob Moratti” (Final Frontier) has taken responsibility of handling his vocal in the aptly but overdone symphonic power metal approach. The majority of the numbers being vocally lead is acumen to why those big shoes need filling, in the correct manner. The well executed vocal harmonies along with Moratti’s strong performance throughout the record confirm that Saga did find the right man; even if his voice is bound to the realm of clichéd – which suitably epitomises the album. Qualifying this to be a rock experience are the guitars being at the fore of the mix, with typical powerchord progressions and not so typical “Rush” played arrangements, along with the keys taking a backseat. It’s a solid, no frills approach underlining, that not much if anything has really changed since their heydays of the early 80’s. You can’t help but feel that this is for the worst, as "The Human Condition", sounds tired and ultimately showcases Saga to be an overly read story of the past. Thankfully, there are just enough memorable progressions to make the record worthwhile, even when it is incredibly stale.

With old commercial watermarks, “Guns N’ Roses”, “Marillion” and “Metallica” releasing records in the past 12 months, negativity has been hurled toward them on a basis of going backward within the very genres they helped innovate. Similar feelings bubble, surrounding Saga’s latest. Is this raw expression coming from the nostalgic purist, or a regurgitated commercial cash-in? This is a fun release, that’s intended for the dedicated fan – but nobody else.

Archaic-Magazine.com