Showing posts with label Death Metal. Show all posts
Showing posts with label Death Metal. Show all posts

Thursday, January 13, 2011

Best of 2010

First things first: Warpaint's The Fool was this year's best record. I'm a punk at heart, so most of my friends gawked at my love for them. Whatever, you don't get a Rumours every decade, so when it comes you have to take notice.

That said, I still had my eye on a lot of punk this year. From my list you'll see my pallet is quite Canadian-centric. Well, it's not my fault that we have some of the best punk and metal bands around.

Hoser-shit aside, I was blissfully impressed by Early Graves's debut record Goner. That came viciously close to Agnostic Front's Victim In Pain, for many, myself included, the pinnacle new-age hardcore record. On the other end of the spectrum was Jam frontman Paul Weller's solo record Wake Up The Nation. Chock-full of dubs and delectable garage-to-anywhere guitar, he approached filling Joe Strummer's shoes.

Anyway, enough of my rambling. Here's my favourite records, in the genres I have the right to judge, of 2010.


PUNK

1. Fucked Up - Year Of The Ox
2. Germ Attak - Death to Cops EP
3. Little Girls - Concepts
4. The Business - Doing The Business
5. No Age - Everything In Between

HARDCORE/METAL

1. Fuck The Facts - Unnamed EP
2. Bison BC - Dark Ages
3. Early Graves - Goner
4. 1349 - Demonoir
5. Madball - Empire

INDIE/GARAGE

1. Warpaint - The Fool
2. Myelin Sheaths - Get On Your Nerves
3. The Sadies - Darker Circles
4. Best Coast - Crazy For You
5. Weakerthans - Live At The Burton Cummings Theatre

Tuesday, September 28, 2010


The Acacia Strain
Wormwood
4/5



Listen To: The Impaler
Skip It: Tactical Nuke


Massive drop-tuned guitars resonate over a slap-happy double bass foundation on Wormwood, The Acacia Strain's fourth studio album. This record's heaviness warrants a backup set of speakers, it's a start to finish firing range of hardcore tinged death metal.

Living up to its name, album opener "Beast" (featuring Hatebreed's Jamey Jasta) is a muscle shirt shredding inspiration. After an eyebrow raising intro with an alien-like voice insisting When someone needs to be killed, there's no wrong, you're bludgeoned with slow-paced war-drum stomping and max-distorted guitar chugs. Vincent Bennett intensely assaults with his fire-breathing, vocal chord snapping microphone punishment.

Track two, "The Hills Have Eyes,” continues the workout. Driving along a straight ahead triplet beat, the song is more hardcore punk than deathcore and the like, a sound consistent on other faster tracks like "Ramirez.” Fans of Raised Fist and other metal-hardcore will fly ass over tits for these circle pit-triggering songs.

The Acacia Strain, aptly labeled deathcore or not, dabble in untreaded zones on Wormwood as well. For example, intriguing you in the forefront of the entire record is an array of delay guitar. "The Carpathian" and "Terminated" play around with the strobe effect tastefully, allowing contrast to cease judgment of this, upon first listen, categorical band. But "The Impaler" takes the cake with the slipperiest guitar lead around. I don't know what produces this possessed hyena shrill, perhaps better described as a cathedral window shattering over a hell-demon's headstone, but it impresses. Yes, there are many times when Wormwood is that good.

Track Listing:

1. Beast
2. The Hills Have Eyes
3. BTM FDR
4. Ramirez
5. Terminated
6. Nightman
7. The Impaler
8. Jonestown
9. Bay of Pigs
10. The Carpathian
11. Unabomber
12. Tactical Nuke

Published by Tangible Sounds Magazine

Sunday, September 12, 2010

CD Review: Kataklysm

Kataklysm
Heaven's Venom
3.75/5

Listen To: Determined (Vows Of Vengeance)
Skip It: Nothing.

Kataklysm's eleventh studio release, Heaven's Venom, is a hard-hitting disc blasting through ten songs of equal parts black, death, and thrash which come to embody the band's self-attributed "Northern Hyperblast" sound.

A low crypt-keeper voice insists Go out and get what you're worth, but you've gotta be willing to take the hit before Kataklysm punches out album opener "A Soulless God.” More voice samples infused into other songs uphold the band's 1984 inspired picture of society, and twenty year singer Maurizio Iocano solidifies the message by tearing against the usual suspects of war, religion and oppressive government.

A riffmeister's dream, Heaven's Venom also cycles through technical guitar structures with non-stop velocity. "Faith Made Of Shrapnel" displays Jean-Francois Dagenais's ability to sweep through drawn out, drop-tuned monstrosity in tried and true death style.

"Hail The Renegade,” "As The Wall Collapses" and "Numb And Intoxicated" demonstrate Kataklysm's melodic side with classic metal chord structures and harmonizing. The odd squealing thrash solo helps bridge the array of varying techniques and ranks Dagenais in the area of metal guitar God.

Between crashing breakdowns and frantic blastbeats, Heaven's Venom sits high on the intensity level with Max Duhamel's relentless double bass backdrop. Steadfast followers of Kataklysm will adore this record, and the average seeker of classic death metal will not be disappointed.

Track Listing:

1. A Soulless God
2. Determined (Vows Of Vengeance)
3. Faith Made Of Shrapnel
4. Push The Venom
5. Hail The Renegade
6. As The Wall Collapses
7. Numb And Intoxicated
8. At The Edge Of The World
9. Suicide River
10. Blind Saviour

Wednesday, August 4, 2010

Exclusive Interview with Mikael Stanne of Dark Tranquility

Gothenburg, Sweden holds a special place in metal listeners' hearts. In the late 1990s, Gothenburg is where melodic death metal was born, notably with Dark Tranquility, alongside other seminal Swedish melodic death metal bands At The Gates and In Flames. These troupes cut the path for today's major death metal bands like Skyfire, The Haunted, Arch Enemy and Children Of Bodom.

All metal-lore aside, Dark Tranquility singer Mikael Stanne recalls the whole melodic death metal phenomenon starting out twenty years ago with a tightly knit group of friends. "We all grew up on the outside of the city, pretty much. Upper middle class families. So, you know, our music really came from frustration or anger about society and the way that we live," Stanne explains to me over the phone while hanging out in Quebec City for the band's first day off since embarking on their recent North American tour. "We were all very comfortable, but at the same time, music was something that we bonded over [. . .]. We started getting into metal, it was a tiny little scene, you know, a couple bands, cool friends that we hung out together with, drank beer, and listened to death metal demos."

From those scarce demos, the first of their kind, being circulated by early Swedish death metal bands, Stanne and his local drinking buddies thought they would give heavy metal a stab. Their first show was in the same tiny little place where they grew up seeing their heroes play, like Grotesque at their early shows, and Kreator in 1988, as Stanne remembers. "We were nervous as hell, and we sucked, but it was fun."

After a couple years of performing as Septic Broiler, a thrash band that only made it as far as recording two demos, Stanne and fellow guitarist Niklas Sundin recruited three more guys to head in a more melodic direction with Dark Tranquility. Inadvertently helping to conceptualize the now infamous ‘Gothenburg sound,’ Dark Tranquility released their first full-length, Skydancer, in 1993, to mass critical acclaim. Twenty years later, Dark Tranquility has their ninth studio album under their belt, entitled We Are The Void, and has once again sought to rejuvenate the band's musical output.

"We celebrated twenty years last year, so we figured this has to be the first album of the next twenty years, you know," Stanne explains to me. "We really tried hard to make sure that this is something kind of like a fresh take on whatever it is that we do together, when it comes to writing. We put so much effort into it [. . .]. Every guy in the band worked way harder than we've ever done before, and the result is, without a doubt, the best thing we've ever done."

Stanne dawned a fresh take on lyrical inspiration for We Are The Void, delving into subject matter of life, death, and the afterlife, topics strayed from on previous albums. He acknowledges it is "the ultimate cliché if you're a death metal band," but that after twenty years he is ready to take it on. "I never really touched on it before [. . .]. The whole album is really about the meaning of death in a way. How we deal with it, how we can work as a driving force, knowing that you're not immortal, whatever [. . .]. That was kind of like the overall theme that I wanted to go with." Stanne says this theme shines through on the album's title, which the band hopes to ask of listeners "Why are you still here? And how [do] you feel about the fact that you're not gonna stick around forever? Either it be faith or, you know, whatever, there is something that keeps you going, and what is that?"

Apparently my original understanding of the phrase "We Are The Void," probably shared with other Dark Tranquility fans, is that the band, and the whole death metal genre represents a style ignored by mainstream music. I ask Stanne if he thinks death metal should get more commercial radio recognition, to which he quickly replies "Nahh, I don't think so. I'm kind of old school when it comes to that. I like the fact that it's an extreme form of music that is not for everyone [. . .]. As for playing it on the radio all the time, or MTV, I kind of need the obscurity sometimes."

Within the extreme underground, Mikael Stanne sees death metal's popularity growing recently, especially in Sweden. He cites Within Y and Marionette as a couple of favourite up and coming bands from his homeland, who are playing to an ever growing scene of new metal supporters. "It's like a new generation of fans coming out to the shows," he explains, "a way younger audience nowadays than what we usually have. So it's really cool to see, like a lot of new kids from [ages] fourteen to nineteen that are getting into this kind of music. It's amazing."

Stanne also knows that death metal, and of course Dark Tranquility fans are breeding worldwide. "It's been amazing so far," he tells me about Dark Tranquility's tour through Canada and the US. "We have a fantastic show that we are really proud of, and the audiences that come out to all the shows... it's been really, really amazing." As for what you should expect if you are catching them somewhere soon, take it straight from Mikael: "I think we've found a great balance between new and old stuff, you know. Obviously we're focusing on the latest album, but we also have a lot of old stuff in there too, so it's a really, really good mix."

So, you are probably wondering if Mikael Stanne still gets nervous before hitting the stage for thousands of fervent Dark Tranquility followers every night. The answer is yes. "When I was, you know, twenty-five or whatever, I felt like nothing could go wrong, and I didn't care. I just went for it. Now, I'm more concerned that everything has to be perfect. I mean, I'm comfortable in a way because we have the experience and whatnot, but at the same time I still get really, really nervous." He has grown somewhat over the years, making sure to find some solitude before a show so he can warm up and shake out any jitters. But with all the new tricks and avenues for Dark Tranquility, some things can never change: "I don't think it's a secret that I drink beer before a show [. . .] We usually just sit around and talk bullshit" he confesses, alluding to his early days in Gothenburg, hanging out and enjoying what music has to offer. He also says it is important to simply feel good before a performance that most certainly proves draining on the body, and mind. After shows, the band still loves to interact with fans by hanging out backstage, signing autographs, and tossing back a few more beers. I guess that even after twenty years, you just don't change the formula if it still works. And why not? If you are in a band that is often cited as starting one of today's biggest musical movements, you might as well live it up. As Mikael Stanne puts it, twenty bountiful years later, "every day is madness" for Dark Tranquility.

Published by Tangible Sounds Magazine

Tuesday, July 6, 2010

CD Review: Whitechapel - A New Era Of Corruption



Whitechapel
A New Era Of Corruption
3/5

Listen
To: Reprogrammed To Hate
Skip It: End Of Flesh

For a relatively young band, Whitechapel has seen a huge amount of success since starting up in 2006. You can tell by the masses of Whitechapel t-shirts sticking out more and more at metal shows - they are instant fan favourites. With such a commanding presence in the scene, these Knoxville young'uns have a daunting role to fill with their latest album, A New Era Of Corruption.

This is the third album in a line of standard death metal from Whitechapel. Beating double bass and racing blast beat drums support technical tri-guitar battles, and continuous throaty growls coupled with thrashing screams. Along these lines, you can assume Whitechapel has an unmistakably categorized death metal sound.

Aside from some the untraditional death metal delay guitar effects on "Reprogrammed To Hate" and "Prayer Of Mockery" that contrast the rest of the record, A New Era Of Corruption dishes out tell-tale death techniques. "End Of Flesh" is a prime example: demonic growls, elevating guitar leads, and a classic, overworked death acoustic bridge. "Unnerving" opens with a minor note hell-orchestra that we've all heard a thousand times.

There are also treats for listeners on A New Era Of Corruption. The entire disc is a showcase of technicality, like "A Future Corrupt" with its mathematical fills and riffs. And there is a welcomed sense of death mayhem projecting from all angles. However, while punchy, hellish, and understandably ear catching for death metal devotees, this record lacks stand alone originality. When a band captures the scene's attention, there needs to be proof of valour within their musical pudding. For Whitechapel, quickly reaching the centre of the metal sphere, I still don't feel obliged to jump on the bandwagon.

Track Listing:

1. Devolver
2. Breeding Violence
3. The Darkest Day Of Man
4. Reprogrammed To Hate
5. End Of Flesh
6. Unnerving
7. A Future Corrupt
8. Prayer of Mockery
9. Murder Sermon
10. Necromechanical
11. Single File To Dehumanization

Published by Tangible Sounds Music Magazine

Saturday, May 29, 2010

CD Review: Aeon - Path Of Fire


Aeon
Path Of Fire
3.5/5

Listen To:
Kill Them All
Skip It: Total Kristus Inversus

In a 2008 interview with Decibel Magazine, Aeon guitarist Zebb Nilsson explains how the band's Christian phobic lyrics largely stem from vocalist Tommy Dahlström's irritating encounters with Jehovah's Witnesses while growing up. On Aeon's fourth full-length, Path Of Fire, Dahlström's hate for organized Christianity is once again at the forefront of the album's subject matter. In "Of Fire" Dahlström sings Your Jesus means nothing to me in a hellish growl. "Abomination To God" is a straight up manifesto of Dahlström's Christian opposition: I don't care what you say, I don't care what you think, Everything I do I do it for me, Nothing you can do to stop me he explains to the God he hates.

Aside from topping the most atheistic of lyrics, Aeon followers also know that beating their extreme musical technicality is out of the question. Path Of Fire leads you down a road of eleven new songs in true Aeon demeanour. Disc-opener "Forgiveness Denied" immediately races through blast-beats on par with black-metal ferocity and the math-metal guitar lines straying from conventional time signatures on "The Sacrament" are impressive and attention grabbing.

But sometimes the most impressive death metal bands turn you away by misusing the genre's categorizing techniques. After four solid breakouts of violent aggressiveness, Aeon does this with the minute and a half Latin acoustic filler track "Total Kristus Inversus". Guitarists Nilsson and Daniel Dlimi seem like they are showing off by racing up and down the nylon strings, over and over again, like a couple of rookies with something to prove. Frankly, the overall assault of Path Of Fire buries this attempt at a tasteful contrast, and would stand at the same high stature without it.

Track Listing:

1. Forgiveness Denied
2. Kill Them All
3. Inheritance
4. Abomination To God
5. Total Kristus Inversus
6. Of Fire
7. I Will Burn
8. Suffer The Soul
9. The Sacrament
10. Liar In The Name Of God
11. God Of War

Published by Tangible Sounds Music Magazine