Puritanical Euphoric Misanthropia Dimmu Borgir Rar Extractor
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Was there any discussion of the Nokturnal Mortum record 'The Voice of Steel' in the '09 thread? (I think it came out late '09; I still can't find a version of the album with English-translated titles, so it may not have worldwide distro yet.) If so, I apologize for bringing it up here, and for any redundancy, but man it is a MONSTER. I resist even using the words 'folk-metal' because they totally destroy any of my old associations with that term, but yes, there are strings and synths and Ukranian folk elements. But it's insanely brutal and epic and expansive and even catchy. Can't say enough. Thing absolutely destroys. Listening to the new Through The Eyes Of The Dead right now and just not hearing anything new.
Borrowed riffs, standard-issue attitude, the same ol' typewriter drums.how is anyone supposed to be excited about this album, this band, this genre? Even when I try to take the standard metal-fan approach of appreciating tiny incremental change within an overall landscape of structural sameness, there's just nothing here for me to grab onto and say, 'Okay, this is Through The Eyes Of The Dead's unique little patch of ground that enables me to tell them apart from their peers and appreciate their contribution to the metal gestalt in 2010.' Hey, i finally got around to falling in love with the Avenger album, Feast of Anger, Joy of Despair which J0hn on the 2009 thread. Thanks for another great recommendation, dude.It took a few listens for this album to really sink in, but now that it has, I can't seem to listen to anything else.
The first song is flat out amazing - I almost wish it would go on for another minute or two at the end instead of fading out so quickly. It struck me on the train this morning that you could actually dance to a lot of the songs on this album - I don't mean manic mosh pit stuff, but like some kind of actual dance, maybe around a big fire or something. The drummer is great, I will never get sick of slow tempo double-kick style playing, and the kettle drum things, though overbearing at times, really add a lot of atmosphere and uniqueness to their sound. I love the way the vocals sound: blackened with a touch of reverb and delay on them. And then the rhythm guitar playing - maybe I'm high but some of the chord progressions almost remind me of stuff George Lynch might come up with if he were in a black/death band. J0hn is way better at explaining the appeal of this than I am, so if you missed his posts on this, click my link to his post.
Did anyone else ever get around to listening to this? I haven't checked the best of 2009 threads, but this should definitely be on there. Listening to the new Through The Eyes Of The Dead right now and just not hearing anything new. Borrowed riffs, standard-issue attitude, the same ol' typewriter drums.how is anyone supposed to be excited about this album, this band, this genre? Even when I try to take the standard metal-fan approach of appreciating tiny incremental change within an overall landscape of structural sameness, there's just nothing here for me to grab onto and say, 'Okay, this is Through The Eyes Of The Dead's unique little patch of ground that enables me to tell them apart from their peers and appreciate their contribution to the metal gestalt in 2010.' Well, half the time I'm with you on this kinda thought, and the other half I'm like: is it really your position that the point of metal is Make It New a la the Imagists or whoever?
Like, I dig Coffins. Coffins are breaking exactly zero new ground. But that's cool, because the ground they're working is awesome.
I love Coffins too. But even when they're doing their most old-school-Swedish grinding, I can tell them apart from, say, Grave.
Same way I can tell Grave from Unleashed from Entombed even though they're all working off the same template - they do little things that reflect the desire to be recognized as individual creative spirits. But TTEOTD don't do that. They are totally indistinguishable from, say, Whitechapel or Suicide Silence.I think a lot of it has to do with modern studio techniques, honestly - with digital recording and drum triggers and such it's possible to walk in and tell the producer/engineer 'make me sound like Band X' and if you punch in the right codes, you can sound exactly like Band X. When you're working with live instruments in a room and recording to tape with air between you and the microphones, there are too many variables for ultra-precise cloning to take place. Xpost: glad you dig coffins, j0hn. Got the impression you weren't much of a fan from some old posts. The other side of blasphemy is such a hugely satisfying listen every time I throw it on.and yeah, digital recording/drum triggers/etc.
that stuff is easily one of my least favorite things about modern metal. Nothing against these techniques per se and I honestly don't know a hell of a lot about it all. But the antiseptic drum sounds, bass mixed down so low that you wonder why they even bothered someone in (tbh this really isn't anything new and is maybe my least favorite thing about metal now that I think about it), coupled with some dude yelling at you for an hour just makes this stuff exhausting to listen to. And not in a br00tal way, either. It's just so tedious. I interviewed Erik Wunder while McSorley was on a tour of duty in Baghdad and he was rolling stupid fruity swag drunk is what he was.He was amazing. I only had to do a 500 word piece but I had to interview him for ages because he'd just want to talk about other stuff.
I'd ask him about blacked metal and he'd say 'Hey man, do you like 'Empires and Dance' by Simple Minds? I love that record.' Then I'd ask him about war metal and he'd start telling me about how he'd just seen a guy drive a car into the front of his house trying not to hit a fox in the road. And when I asked him what being in Cobalt was about he said: 'Being in Cobalt is about being the kind of man who stays up all night drinking gin, reading Hemmingway, smoking cigarettes and writing stuff on typewriters.' Then he started having an argument with someone about a cigarette lighter and then made me stay on the phone and talk to him about Killing Joke for an hour while he got even more blasted.What a guy. I don't know much about metal beyond Metallica, who used to be my favorite band, but I'd like to get into it more. So far, I've picked up the most recent Mastodon record and a few black metal records after reading some stuff on an ILM thread or two.To that end, could someone tell me what are considered the 'reputable' metal magazines, sites, and blogs?
I don't know anything about the critical discourse surrounding the genre, so if someone could tell me what the big publications are, and which of those are the best, that would be very helpful. Anthrax, Atheist, Cretin, Darkthrone, Dillinger, Dimmu Borgir, Down, Electric Wizard, Fear Factory, Genghis Tron, Hate Eternal, High on Fire, Holy Grail, Intronaut, Ludicra, Meshuggah, Nachtmystium, Origin, Pig Destroyer, Salome, the Sword, TorcheHeard the Dillinger; can't judge it yet. Heard the High on Fire; it's awesome.
Got the Fear Factory yesterday; not all that excited, to be frank. Looking forward to Atheist, Dimmu, Intronaut, Meshuggah, Nachtmytsium, Pig Destroyer, the Sword. Don't really expect the Anthrax album to come out. No bullshit Satanism or sensationalism, just pure honest hatred for religion, capitalism, politics, sheep mentality and typical human behaviour. We wanted to write simple, memorable, and truly hate-filled metal anthems for ourselves and all the other blue collar, working poor, and generally unsatisfied people who are looking for something raw and classic as soundtrackto rise up and fight the status quo around them in any way they see fit to do.
Whether you decide to speak up or just completely turn your back on the world, this is for us and all the other people out there that know we've been lied too, and no matter what may have been promised, know that we're all still being lied too. There is no hope.From another blog press release about Wolvhammer. Man, I don't know. There is some subtext in there that could go one of two ways, kinda hesitant to get on board with these guys just yet. Maybe I'm reading more into it than they intend.
The Rotting Christ album sounds awfully silly at times.I haven't decided whether I actually like it or not.The new WOLD album, meanwhile, is nuts. Like Metal Machine Music if it was designed as an aural equivalent to William Burroughs' and Brion Gysin's Dreamachine. One thing I always like about WOLD albums is their lyrics, but this is an instrumental record, so there's no eloquent prairie poetry to fall back on. It's an intriguing listen, but also very trying, basically three heavily, heavily, heavily distorted & filtered loops over 35 minutes, the most abrasive stuff I have ever heard them do. The trancelike effect they're going for does kind of work, but wow, there aren't many people who would want to stomach this. Was sippin whiskey and listening to magma when I decided that I wanted something a little slower and lower.
So, I threw on some neglected thou splits that I had lying around.thou / leech cassette - leech side didn't impress. Black metal demo city, whatever. Thou side rules. Two sludgy epics bookended by two effective mood-setters.mohoram atta / thou lp - had never heard of mohoram atta before but they seem pretty killer. Crusty his hero is gone-style metalcore (the good, 90s kind) with a bit of a black metal influence.
Thou side kicks off with an up-tempo track about two party system apathy. ('don't vote') kind of a bummer during these dark days of health care reform but the song is great. Double bass and even some riffs that bring remission-era mastodon to mind. Nice to see them stretch a bit. Two sludgy songs follow (the second kinda drags) and their side finishes with a minor threat cover. ('screaming at the wall') apparently thou are also feminists. I'm into this.
Thanks for putting that up there Phil, I'll be curious to see how it unfolds.I think the dude from Cobalt is a completely different case. He comes from a sense of 'duty' (however misguided and weird that may be to me) and not from a place of hatred. Big difference, imho.
I see what you are inferring, but if that were the case I'd have to ignore quite a few of my relatives who've fought in various wars, I'm not going to do that. But I'd have no problem ignoring a racist uncle that spouted hateful shit.Hopefully that makes sense, I'm still a little tired this morning. Maybe they and the hammerskins just really liked 'The Wall.' It could be an age difference thing (i have no idea how young these dudes are), but i can guarantee you anybody involved the music scene in MN in the late 80's/early 90's is going to recognize that image immediately.
First Avenue was a racist skin vs. Anti-racist skin bloodbath most nights back then anytime something heavy came through.frankly i am hoping to be wrong, but even if i am they are going to want to 86 that logo because i wont be the last dude to have an immediate reaction to it. Are these the '16-17/hardkore & buffbunker,' 'when all else fails' and 'gyatso' reissuesYep.
Ordered 'em from the label a week and a half ago or so, was wondering why it was taking so long and then I get 'em today and the envelope is stamped France. Whoops, my mistake.Anyway, just got an email from Wolvhammer's publicist who says the band is 100% not racist, that she's contacted them for a response (which I will post on the blog as soon as I get it) and that she'll be issuing a press release herself. She also jabbed me on Twitter. I told her at the very least they need to get a new logo. Went out to the Nokia Theater tonight.Mutiny Within were pretty good power metal w/occasional DM vocals, somewhere between Trivium and DragonForce.
They were kissing the audience's ass in a big way - 'This next song is on our MySpace page, so check it out when you get home!' ; 'We're gonna be at the merch table all night after our set!' - and it seemed to work; they got a good round of applause despite going on at 7:30.Arsis' new songs are like a cross between Arch Enemy and early Metallica; their tech-death back catalog stuff didn't fit that comfortably alongside stuff from the new album and We Are The Nightmare, and they only had a half hour anyway, so they didn't do much Willowtip-era material, but they did close with a ferocious version of 'The Face of My Innocence.' The problem was, their sound was all fucked up; their intro tape was louder than their actual set. The guitars were ridiculously quiet, the bass was inaudible, the background vocals were louder than Malone's vocals, the snare and bass drums sounded like typewriter keys, while the toms were thunderous. But they must have been getting a good monitor mix, because they didn't make any mention of it. So even with all of that, their set was really good, and the crowd dug them.I left after that, though.
I saw Exodus in 1990 and didn't care to see them again, and the prospect of watching Arch Enemy deliver an ultra-slick, totally efficient and professional 70 minutes of melodic death metal for the fourth time (I saw them in 2003, 2005 and 2007) just didn't get my blood pumping. Heard the new Rob Zombie album last night too. It's shockingly good, and I say that as someone who put Educated Horses in my Top 100 of the decade.
It's his most stripped-down, hard-rock album since White Zombie's Make Them Die Slowly. Sure, there are still movie dialogue samples, and keyboards on a couple of tracks, but the techno-metal sound he beat into the ground for a decade is almost totally gone.
There are riffs that could have come off a Rose Tattoo album - John 5 is just killing it all over the disc, and the drums are played by a live human being. Know how you can tell? There's a five-minute drum solo at the end of the last song. Some of the songs are a little short, and they're almost always dumb, but his lyrics have always been empty-headed, so who cares? The exception, believe it or not, is 'Werewolf, Baby,' which isn't just a string of disconnected one-liners like his lyrics usually are - its a Danzig-esque tale of becoming a werewolf. Seriously, if you've written off Rob Zombie as just a clown who's maybe worth seeing live but not listening to at home, this album might change your mind.
I thought he was moving to Roadrunner's Loud & Proud sub-label because he was tired of working and just wanted to coast for a few years before announcing his retirement from music, but if this is the album he's making his debut with, I don't know what to think. Listening to more Helcaraxe this morning, their 2007 album Triumph and Revenge. This is a seriously great band, I would guess that a lot of rolling metal regulars would dig them. Kind of like a more Nordic-inspired Mastadon maybe? Epic songs, melodic guitar-slinger progressions, pick-up-change fast parts but broad sweeping slow parts.maybe we already talked about these guys but anyway I got hip to them in December off a split with Father Befouled on Enucleation (which is incredible) and got the rest of their stuff - I would be really surprised if people didn't dig them. Maybe they're known already I don't know but I had completely missed them and they kind of rule. I like MTDS, believe it or not, but i hope someday they find some well-recorded demos for it.The last three songs are pretty good in a second-tier '80s thrash kind of way, but the first four are straight-up awful.
And they're all too long. When the WZ 4CD/1DVD set came out I interviewed the four core bandmembers and they said they recorded that album three times, the third of which was the Laswell version. No idea what happened to the other two sets of tapes, but I really wish some enterprising bootlegger would get 'em out there, or even post 'em on a blog.
So is the Arch Enemy/Exodus/Arsis tour worth going to if its at a club i kind of hate?Yes. I actually saw some video of Arch Enemy's set in NYC (viewable ) and regret having left early.And speaking of Discordance Axis, I got the new four-song Hayaino Daisuki EP (former DA vocalist Jon Chang's new band that's not GridLink) in today's mail. Sounds about like the last one, maybe a little more melodic. Gotta listen to it more carefully, but I'm spending much of today listening to the 2CD deluxe edition of From Elvis in Memphis.
Noone on DFFD is signing up for it, I cant see anyone outside the USA buying it because they get charged extra AS WELL AS FULL SHIPPING CHARGES ON TOP. I could understand it if the extra charges were for the extra shipping and all shipping charges were the same when you get to checkout, but that isn't the case.They've put up how much shipping is nowUSA$170.00+14.20 shippingCanada$200.00+14.35 shippingMexico$200.00+22.15 shippingEurope$225.00+26.02 shippingPacific Rim$225.00+26.02 shipping. Slept-on 2009 death metal alert: I'm listening to the fourth Lost Soul disc, Immerse in Infinity, right now, and it's totally fucking crushing. It's their fourth album on as many labels (they went Relapse/Metal Mind - Osmose - Earache and are now on Witching Hour Productions), which is probably why nobody pays attention to them.
But 2002's Ubermensch (Death of God) and 2005's Chaostream were both awesome, and this one is their best yet. They're the hidden treasure of the Polish death metal scene, easily the equal of Vader and on par with a slightly less over-the-top Decapitated. If you like having your skull blasted into shards, you need this. I reviewed the Van Canto album for AMG; here's what I said:Van Canto's gimmick can be summed up in one sentence: they perform a cappella power metal. These Germans have five vocalists - a male and female lead, and three backup vocalists who make the sounds of the instruments by singing things like 'dundundundunrakatakatakatakadundundundun' behind them. Anyone familiar with the harmonies created by barbershop quartets, doo wop groups, or show choirs will understand the principle, even if hearing it applied to power metal - with all its lyrics about dragons, fire, and glory - is a little weird. The vocalists are extremely skilled, though, and it winds up not being nearly as laughable as it could be - it's desperately earnest in a way only German power metal can be, but by the third or fourth song that becomes appealing rather than stupid.
Some may argue with their lack of commitment to their stylistic choice, given that they have a real drummer - and worse yet, Rage guitarist Victor Smolski plays screaming, shred-happy solos on several songs here, which winds up being disappointing, because what the group members can achieve using only their voices is much more impressive than one more whammy-bar-abusing axeman. Some songs, like their cover of Grave Digger's 'Rebellion,' almost sound like the work of Japanese group Geinoh Yamashirogumi, who recorded the soundtrack to Akira. And their version of Metallica's 'Master of Puppets' is justindescribable.
Man it's Friday in the Triangle and I would just like to state for the record how completely awesome it is that Friday nights on they have the metal show. There is something so special about radio, I know it's super-corny to get all emo about radio but really, when there's a guy playing metal and you're part of an audience listening to the live mix it's really so rad.
Especially when you're driving home or something. Tonight heading home dude busted out 'Raining Blood.'
Now, at home, he's up on some Nightwish. I am 100% down and seriously thankful for my local metal show!! Yeah, I tend to lose patience quickly with uber-technical death metal where flurries take precendence over rhythm, at one end, and brutal death focused on pounding and bellowing, at the other, but Immolation find a good place in between. Not that their purpose is to suit my particular parameters, obviously.Also, this new Gamma Ray album sounds a lot better than I expected. But lately the test of Gamma Ray/Helloween albums is whether I can still stand them the third time, so we'll see.(And this last is not a metal rec, but if your metal tastes segue into Jesu, then over to Mono, then into quieter atmopherics, go look up the Japanese duo Matryoshka.). I'm doing some research into NSBM music and I'm curious if, outside listening to the artists on the Resistance Records website, there's a good place to start - has anyone written about NSBM or other racist/anti-semitic metal movements?
Are there other labels/artists that I should be checking out?Also, loosely related, I'm trying to compile a sizable list of songs/albums/lyrics that deal thematically with concepts of possession, embodiment, exorcism, etc. I'm sure there are tons, but I've only been able to come up with a few (Master of Puppets, maybe?). And on a personal note: my band Witch Mountain (formed in Portland, OR back in 1997) has just finished a new album with producer Billy Anderson. Think Goatsnake with Anne Wilson of Heart on vocals.I'll be shopping it at Scion fest and Roadburn. But meanwhile, any press folks who are interested in this sort of thing, email me at nanotear AT hotmail and I'll get you the mastered sampler.And if you know of any radio outlets that handle this sort of music (like Scott Kelly's satellite radio show for instance), please let me know.
We ended up with a song under 4 minutes that actually has a chorus.It took us ten years to make a second album and it feels so so good to have it done once and for all. Listening to the new Lair of the Minotaur disc, Evil Power. I don't know.I want to love this band, because on the surface they're the ultimate metal band - their name, the fact that their albums have titles like Carnage, The Ultimate Destroyer and War Metal Battle Master, the video for the last album's title track - but I just don't feel like they're living up to their potential.
In my opinion, they peaked with The Ultimate Destroyer. This time out, they've brought in bassist/vocalist Nate Olp from Demiricious, a band I think is really underrated, and the songs have titles like 'Let's Kill These Motherfuckers,' 'Hunt and Devour' and 'Death March of the Conquerors,' but it's just not as awesome as it should be. I'll give it a few more listens and see if it grows on me. Not even all 13 glorious minutes of 'Halloween', Phil? Pre-1988 Helloween is so great. After that, not so much.I like Lair of the Minotaur, but it seems they never go as over the top as they should with this kind of battle metal or what have you.
I'll be giving the new album a listen later.Meanwhile, the new Landmine Marathon album isn't really growing on me much. It's good, but it doesn't feel like the big leap you'd expect from a band expected to get a lot of hype in 2010.
I just like their previous stuff better, I think. Most badass track I've heard in 2010. Ride for revenge, 'no savior no return':sounds kind of like coffins-style death/doom with some tom g. Warrior grunting and growling on top. But just bass and drums and plus some throbbing gristle weirdness thrown in for good measure throughout the album. Rules.there's no quicker way into my heart than a drummer playing the same drum beat over ever track.
Provided it's a cool drum beat.also been listening to the bastard noise/endless blockade split. Been anticipating this one since I heard about the new bastard noise lineup with live drums and bass + electronics. Their side of the split basically sounds like man is the bastard with a production job with a little more oomph. It's really cool. Endless blockade side is the first I've heard of them but I like it too.also keep listening to the cremation demos I mentioned upthread. Nuclear war now just collected most of them for a comp called black death cult. Hey, y'all - I'm part of a new zine called Burning Ambulance.
The first issue is out now. It's only available through Lulu.com, and features mostly avant-garde jazz, but also includes a long and fascinating story on Orthodox, and me reviewing a bunch of punk- and metal-related books including Precious Metal, Joe Carducci's Enter Naomi and Daniel Ekeroth's Swedish Death Metal, among others. You can buy it ($5 for a download, $10 for a physical copy) at. I really hope you'll consider doing so. This is a total labor of love. I'm not sure but whomever he was, he was a beast on the kit. And I have tremendous respect for someone who drums and does vocals at the same time.
That's gotta be real hard coordination wise. There's a second girl in the band on lead guitar but she isn't listed on their facebook page but I'm not sure who she is. Amazing player though.Their set made me realize a lot of metal sensibility.
I mean, metal is still very 'sexist' to a degree. Yea, females have a larger presence than they ever used to be, but I mean often times in these bands they get stuck in the ancillary roles (ie, bass, or 'opera' vocals for a goth metal group). It's still a boy's game.And this set had the potential to draw ire from the fans. They hadn't totally embraced the first opening act, and Liz put her purse on top of the amp gear for the entire show. I'm sure people that didn't know them already didn't know what to expect. Then the lead guitar chick did some crazy insane lead for soundcheck and people starting paying attention. And then they launchedi nto this Sabbathy doom riff to open the song and for the next 30 mins, the floor was crowded and mosh pits broke out.
Everyone loved em.bummer that they had no cds to sell - guessing they are sold out and don't have anymore pressed. I bought it on ITunes though. Haha, reviews for the new Wold on iTunes:'This is not music whatsoever. All three songs sound the same and the album costs $9.99 for 3 s.y songs'All this is is noise. It has no musical value whatsoever. DO NOT BUY'You can't help but feel sorry for all the money the label is about to lose.'
'Ok, I'm not against any music genre (except rap maybe) and I know how many different metal subgenres there are, but what is this? How could you categorize it?
It sounds like black metal when you first listen to it, but black metal is still very technical, so no. All I know is that this is not very good.'
He's back.What a goddamned awful High on Fire record. There’s nothing to like about this fifth full-length, Snakes for the Divine, not even the two-bit fanto cover art. What remains is Matt Pike’s tiresome Lemmy impression, front and center, illuminated by a complete inability to convey anything but passing-a-Mini-Cooper-through-his-shitter pathos. Every song swathed in the same schema: Ball-aching growls “compete” with drummer Des Kensel’s yawning mid-paced blah.The program's obvious intent - huffin’ it over mountains to swipe marauder gold from ice caverns rife with Githyanki and Frost Giants - never materializes. Try to erase the stubborn picture of group therapy sessions full of tatted, steel-haired guys smoking Pall Malls and sipping Folgers, chatting up how long they’ve stuck it out with the methadone. No, I never liked “reality” television.What a moody, cantankerous blast of ennui. Songs take far too long to get their bearing and then flail about listlessly, content with grand declarations of emotional quagmire received in wholly disconnected and unfounded ways – sorta like a dog flipping through a Time magazine photo special on the Haiti earthquake devastation.The greatest crime here is Pike’s guitar.
Long his most appealing weapon, the axe is blunted, inexcusably dressed down by an indifferent and destructive mix. Propulsive, fanged riffs gone fruity is a disease I never figured this guy to present. But the world’s rife with disappointment.
People predisposed to praise this transformation likely cower from Albini’s fist-to-the-nuts production style – and Blessed Black Wings’ (exquisite) brand of tunes. Most folks need another underachieving bullshit band whose total artistic ambition consists in “playing epic tunes, brah.”Stewart Voegtlin. The Devil's Blood - The Time of No Time EvermoreAhem. Those into a weekender “occult” band fronted by an R. Crumb illustration covered in stage blood who whips her band of merry men into able lockstep aping of the impossibly dreary latter half of Blue Oyster Cult’s catalog will find the quasi-Poe titled, and logically impossible The Time of No Time Evermore a pulsing vibe on the clit of aesthetic eureka.
I prefer early BOC, and legitimately rocking, uncool lifer “roots rock” bands such as Witch. Even if The Devil’s Blood somehow managed to wrangle the limitless drumming talents of J.
Mascis into its fold, they’d still be just another inoffensive crit darling playing Praise-Hell-Satan to other weekender skeez in fresh-from-the-biker-trunk leather vests. To quote the venerable Slim Pickens, don’t piss down my back and tell me it’s raining. Coming soon to a Pitchfork Media column near you.I guess they didn't return his emails.legitimately rocking, uncool lifer “roots rock” bands such as Witchhahaha OK buddy.
Now then Piotr,I've got to say that constantly harping on in reviews about how everyone bar you has got it wrong (even if you're right) is deeply unpleasant. The odd occasion I've caught myself doing it I've been thoroughly ashamed. You just can't confidently state why a group of people, maybe numbering in the tens of thousands love a record for the wrong reasons.It amazes me that so many people like Saxon.
I don't think they're doing it because of peer pressure though. And (despite my gut feeling to the contrary) I know people actually genuinely love stuff like Girls and Wavves and Andrew WK and Manowar.
It's not my job to state that they don't unless I've got some kind of proof.Plus going on about how great your taste is and how everyone else bar you and your mates are wrong is the review equivalent of going 'LOL@USERNAME^' - nothing outrageous about it. It's just, well, uncouth and ever so slightly lame. I went and read some more Voegtlin, and Doran, you are correct. Dude's a bit caustic in a sneering, everyone-but-me-is-wrong kind of way.
I guess I just got sick of hearing how the new HoF is awesome and it was refreshing to see someone not feeling it like I don't feel it.I don't mind him not liking the album, I'm all for critical discourse. The problem with that review, is that it reads like he's railing against the same things he's always disliked about the band (the drumming, Pike's singing). There is really very little to tell me why THIS particular album isn't good. He's just bitching about a band he already hated, which doesn't strike me as good criticism when reviewing an album. It's been driving me mental all day trying to remember which band it is.I cannot for the life of me imagine anyone ever actually extracting any pleasure whatsoever from listening to Xiu Xiu.
If you extraordinarily renditioned me to Mordor and then waterboarded me with Phil Anselmo's septic arse broth for 24 hours solid I would still not be able to convincingly tell you that I believed that anyone sane got anything other than deep displeasure from listening to this bunch of twits.But logic (and the trace remnants of human decency) tells me otherwise. It's not for me to say how people consume and enjoy music.I think I once fell into the massive wanker pit of describing someone (probably coldplay) as music for people who hate music but I hope I've become a less shit writer since then because there's just no such thing. If you read the way Douglas Adams writes about Dire Straits you can tell he had a very deep, almost profound, love for that band. You just can't infer anything about a person (in this sense at least) - especially not their love for music - by what music they listen to.I kind of feel sorry for this clown, wanking himself to sleep every night over his original Tank vinyl.Nigel and proud.
Nope, still hate High on Fire. And haven't heard Cathedral yet (but happy to know there are still 'insiders' who have some privileges). And am deliberately waiting on Tryptik Frost until I can hear the whole thing.But in the meantime:- Eluveitie+Acoustic is good, but Eluveitie+Metal is magnificent.- HIM+Acoustic is good, but HIM+Metal would be my #1 if I had to pick one today. Anti-Nihilist Metal.- Watching my 2yo daughter bopping to Immolation while eating a bowl of Peanut Butter Pows is a great way to start a morning.- The Rotting Christ album is so good that the Diamanda Galas collaboration at the end is an anticlimax.- Dark: Dark Fortress vs Dark Tranquillity; Dark Fortress in a walkover.- Ov: Ov Hell vs Overkill; Ov Hell, but it's closer.- Juliana Hatfield: Best album since- oh, wait, wrong thread. Listen up; if I ever get my life together enough to reproduce other life forms, they will not be joining Taylor Nation – they will be brave, creative, inventive, envelope-pushing little monsters who will find a pretty, skinny white blonde girl in a white peasant shirt strolling through nature-themed screensaver-esque fantasylands singing about how “when you’re fifteen and somebody tells you they love you, you’re gonna believe them” not only sappy, but also insulting to their inevitable brilliance. Oh happy day:The Eve Of UFOMAMMUT's Finest Day.Eve - the eagerly awaited new studio album from Italy's most cerebral and mammoth doom act UFOMMAMUT - has been completed, and is eagerly awaiting release onto the masses.
Appropriately titled, Eve is the fifth official album from the obliterating trio. The album - comprised of one 45-minute atmospheric track, divided into five distinct movements - acts as a living homage to the first woman on Earth, and the rebellion to her creator for bringing knowledge to Mankind.Recorded at Locomotore Studio in Roma, Italy by Lorenzo Stecconi (who also acted as sound lord on the band's 2007 epic Idolum), Eve is a new step in the sonic adventure of UFOMAMMUT; another level in the band's research. Rounding out at an incredibly action-packed 44:44, the album passes through the same massive atmospheres as Idolum, layered with mastodonic riffage as heard on the band's Snailking release, yet also bears some of the apparition-like passages the band displayed so well on their Lucifer Songs LP, while still formulating a forward-thinking approach to the release. Check out a video montage of the making of this monstrosity here:.UFOMAMMUT's status as one of the most potent, powerful and artistic contemporary doom artists in existence continues to captivate the masses, and the band's worldwide grasp grows wider with each release. With continual appearances at Roadburn and other notable Euro fests under their belt, and intermittent regional European touring already something the band is used to, the band are set on more widespread actions in 2010. UFOMAMMUT made their American live debut in 2009, when they undertook a west coast mini-tour, coinciding with an art tour bearing works born of the trio's own world famous Malleus Rock Art Lab. More live plans for both continents are imminent throughout the year.To be released worldwide on May 5th via Malleus' own Supernatural Cat Records, Eve is an undeniably infectious and utterly devastating piece of doom metal art that shall surely be a major player for the year.
Watch for more announcements on the band throughout the year. Vocal mix isn't the problem with this (i just got to it today btw)-it's that there's no top end unless a guitar lead is happening and the drums have been COMPLETELY NEUTERED. Like the opening to the 7th track should be majestic and awesome but really kinda isn't cause the snare and cymbals are so fuckin weak.too bad, there's a lot to like: i actually really dig pike playing up the vocal performance, he seems to be having a lot of fun with it. And there's more bass on here than any other hof record. Songwriting seems really sharp on once pass; more so than death is this communion which meandered a lot.
But i think this is always going to sound a little caged to me. Life is short, therefore I try to stay disciplined about ignoring new music by bands I already know I don't like.Try, and often fail. You people here are to blame as often as anybody. No, damn it, I still hate High on Fire, no matter how much anybody raves about it. Why did you make me listen again to prove it? And I will not fall for cheap bait like 'The Alcest is just unreal'.
I didn't like the other Alcest album very much, so there's no way 'big improvements on all fronts' could convert something I didn't like very much into something I like. Not that I can actually remember why I didn't like the other Alcest record. I probably gave it a few weeks of carefully studied attention, and then reluctantly concluded, in full cognizance of its virtues and flaws, that the latter outweighed the former in my personal listening life. Either that or I listened to the first 5 seconds of each of 3:30 samples on iTunes and none of them was what I happened to be in the mood for at that specific moment.
But, you know, close enough.Oh, crap, OK already, I'll download the damn new Alcest one and listen to one song all the way through, while I'm playing Scramble or something. OK, two songs. OK, the whole album, but only because I'm having a good Scramble run and can't be bothered to think about what else to listen to. Oh, crap, OK already, it's fantastic. Much better than that shitty first album, how could I have been expected to know that? His fault for lowballing the debut, obviously. I mean, if you're going to make a crap record and then a fantastic record, what the hell are people supposed to do?
I mean, here, I'll show you what I mean. Lemme download the first one again, obviously I deleted it after those weeks of careful study I mentioned. Now see, listen to how lame this first song is. Oh, actually the first one is great, but it all falls apart on the second one. Third one, I mean.
Second half of the record totally blows, I mean.Oh hell, I don't remember any of this, and it's seriously great. Maybe I was confusing Alcest with Ulver or something.Nobody start on Ulver. Seriously, I don't have the time. It was one of those stores where they keep just the sleeves out front and the jewel cases and discs back in the shelves behind the counter (which I'm generally a fan of for ease in flipping through!) the dude just slipped the sleeve into the latter LotM case. I mean, I glimpsed at it but saw 'Lair of the Minotuar' and figured I was fine. Didn't notice til I was actually looking at the track names and was like. 'wait a minute.'
Any thoughts on the Corrupted disc that the clerk was enthusing about? Curious to hear what you guys think. I won't get to listen to it until tomorrow, because I want to make sure I have the whole 40 minutes for my undivided attention. It was one of those stores where they keep just the sleeves out front and the jewel cases and discs back in the shelves behind the counter (which I'm generally a fan of for ease in flipping through!) the dude just slipped the sleeve into the latter LotM case.Haha, that happened to me in 1988, the clerk gave me Helloween's Keeper of the Seven Keys Part One instead of Part Two. I was so pumped for that album, so I was quite irate when I found out at home.
Plus I had to go back and like a total nerdy idiot explain that there were two parts to this silly power metal thing. So I'm looking through the nominees list for the metal poll, and I see that Antigama's 'Warning' wasn't nominated - if I'd known I would have thrown that name in the hat because I just heard it a week ago and it's fucking insanely good, like Nasum good. Would've been by number 2 pick for sure. Ah well, you always miss something.In other news, for anyone here who gets BBC Four on their telly, the Iron Maiden doc Flight 666 is on tonight at 11pm. It's part of a short Metal Britannia season that features a whole night of metal tomorrow from 9pm (a 90-minute doc thing along the lines of the Factory Records one last year, some live BBC performances, a Maiden concert vid, and the Rock Family Trees ep on Black Sabbath). About bloody time, too.
What kind of 90's metal? Death metal acceptable to include (as that is the brunt of my 90's ownership)?I second Sepultura above, particularly 'Arise' and 'Beneath the Remains' (not technically 90's but close enough).
Below are some 'essential' purchases from various subgenres.Crowbar (s/t or Time Heals Nothing)The Haunted-s/tCathedral-Forests of EquilibriumImmolation-Dawn of Possession, Here in After, Failures for GodsEmperor-Anthems to the Welkin at DuskDeath-SymbolicMy Dying Bride-Turn Loose the SwansNevermore-Dreaming Neon BlackSlayer-Divine InterventionDying Fetus-Destroy the Opposition (ok this was technically 2000 but close enough)Suffocation-Pierced from WithinOpeth-any of the releases reallyCarcass-same except for Swansongetc etc. 'OK, so that Alcest album that converted me to liking Alcest was, in fact, a fake leak!' ― glenn mcdonald, Sunday, March 7, 2010 7:48 PMInteresting. I think I have the fake leak as well, but it wasn't working its magic on me anyway. I noticed the track lengths were different from what's listed on Metallum and was thinking I might not have the right one.I'm really jealous of all those who have heard the new Cathedral.They do have one track streaming on their myspace now for anybody who hasn't yet gotten a taste. That Daughters album is great, indeed.
They keep getting better.Saw the retro thrash bacchanal of Megadeth, Testament, and Exodus tonight, and it was great. 95% of the tunes came from before 1991, Megadeth doing Rust in Peace of course, Testament doing The Legacy (+ 'Into the Pit'), and Exodus playing a fabulous set of 85-89 material. So much fun was had (the RIP deep cuts were the clear highlights, and it was great to see Ellefson back), it was like 1990 all over again, but with a little more grey hair in the crowd. Yeah, Decibel is great. Honestly, the best thing to do to really get into metal? Just start buying shit. I was in your position back in 2004, trying to get back into metal after more than a decade of not really keeping up with it.
I just started sampling from all over, grabbing albums by bands I'd never heard before or even heard of. Heard a lot of horrible shit and a lot of great shit. But it really helped me focus on on the subgenres that did the most for me. Since then I feel like I've developed a definite 'taste' in the metal I love.
You just need to dive in and surround yourself with the music. Take chances. As great as Decibel is, don't let it dominate your selections. Browse Terrorizer, browse BW&BK, browse whatever mags you see at the newsstand. You'll be better off and find yourself exposed to quite a wide variety.Anyway, hope that helps somewhat. Why WASP canceled their NYC gig last night:.An unfortunate incident arose this evening at The Gramercy Theater in NYC that we need to let you know about.
It prevented W.A.S.P. From performing this show, and caused us to disappoint many of our NY fans and friends. About 50 VIP tickets were sold to about 50 different fans for $50.00 apiece, twice the normal ticket price for this show. It turned out that part of that VIP ticket price included a meet and greet with W.A.S.P. These tickets were sold to these 50 or so fans without W.A.S.P. Having any knowledge of this, let alone agreeing to this. Upon learning of this late in the afternoon of the show day, W.A.S.P.
Insisted that the promoter of this venue, who sold these VIP tickets to these fans, return the V.I.P. Portion of those tickets back to the fans. This meant that the promoter would have had to give each of those VIP ticket holders a refund of $25.00 of each ticket. Demanded that this $25.00 be returned to each of these ticket holders in cash prior to the meet and greet, which W.A.S.P was still going to do. The promoter refused.
Then informed the promoter unless these monies were refunded to these fans, in cash, that the band would not perform the show. Again, the promoter refused and W.A.S.P. Canceled the show.We are saddened that it had to result in the cancellation of our performance for this evening, but we believe this unfortunate situation amounts to nothing more than our fans being ripped off. We have never changed a fan for an autograph and WILL NEVER charge any fans for an autograph.To all the fans that came to the show and were turned away, please accept our sincerest apologies. CANNOT and WILL NOT ever stand by and watch or be involved in their fans being ripped off.
EVER.Thank you.Blackie Lawless.It took me about 15 seconds to come up with a better solution - do the meet & greet, have a roadie take everyone's name and address or email address, and have the promoter send them all a check or a Paypal payment or something. That sale started nearly a year ago. I thought it meant they were closing soon, but they are still refreshing inventory with new releases. Pickings are scattered, but I have had good luck with hard rock and metal, such as High On Fire, Baroness, Minsk and Kylesa.
Double CDs and special editions, however, are more than full priced.Shows how often I'm in that area. Like I said, didn't even know there was that store left. Yeah, the 2-disc sets are ridiculously priced.
They had a couple of The Fall reissue special editions, but they were like $27.99 and $31.99 respectively. The 'which W.A.S.P.
Was still going to do part' is a little suspect. I know that being volunteered to do a meet-n-greet & learning about it late is the sort of thing that, to a person on tour, would arrive as a 'don't fuck with my routine, I go crazy when people fuck with my routine' thing - you'd need to be pretty zenned out to go 'wait, I'm meeting a bunch of people & signing shit & saying 'hi' between soundcheck & the show instead of chilling @ dinner? Oh, ok, cool' - most performers I know aren't able to adapt to last-minute change-of-plans like that, and you can't let people force you into changing plans on the fly or people will just sign you up for shit all the damn time knowing that you'll buckle. There oughtn't be any reason to.as a guy who's long been working on the venue side, that's right in principle but not always in practice; i had artists who had committed to doing stuff on contract who knew nothing about the meet/greet or whatever and cases where artists threw massive fits about not having their cristal on ice when that was never on the rider.
Puritanical Euphoric Misanthropia
If a tour manager takes the time to just see what the venue is offering on their website, it puts the artist in the same position as the public so they're less likely to run into these kind of roadblocks.i don't know gramercy or wasp well enough to know who dropped the ball here but the fact that the band couldn't come to some sort of arrangement with the venue on the afternoon of a scheduled show strikes me as a strike against them. John, have you ever walked away from a show night-of because of treatment from a venue? I understand that you don't want to get railroaded but for something as relatively small as this. John, have you ever walked away from a show night-of because of treatment from a venue?No, I haven't. Have really wanted to once or twice, but I feel a pretty intense sense of obligation to people who show up to see me do my thing. But in re: checking the website - this lies with the venue/promoter imo. Whatever he's putting up should be sent, prior to advertising, to the manager/TM/label for OK.
Dimmu Borgir Puritanical Euphoric
That makes a lot more sense than 'artists should be sure to look up the website of the club they're playing to make sure they're not being misrepresented,' doesn't it? The new attempt from Raven to cash in on Anvil's recent success, Walking through Fire, is really, really stupid, but really, really fun. Just total throwback poppy NWOBHM with big hooks and dumb lyrics. The vocalist has seen better days, and the production kind of sucks (which is to be expected), but there's a scrappy charm to it all. Not as good as the new Armored Saint, but Raven were never better than the Saint, even in their salad days. I am, however, looking forward to the next Armored Saint record in 2020, if their current rate of recording continues.