Daniel's Forum Replies

Excellent. I'll add them to the list for consideration. :)

Hmmm.... interesting. I just checked out the Dataclast tracks on the "The Day The Machines Took Over The World" compilation &  I'd actually suggest that they're a pretty good example of a subgenre known as cybergrind which resides in our The Horde clan. I've included a few cybergrind tracks in the August & September Metal Academy Radio "The Horde" Spotify Playlists so if you dig that sound then you might wanna check those out.

Boris with Merzbow - "Rock Dream" (2007)

Sonny, you will definitely wanna check out this double live album collaboration with Tokyo noise legend Merzbow that sits somewhere between post-metal, noise rock & drone metal. I rate it second only to "Feedbacker" in Boris' back-catalogue these days.

An epic drone metal collaboration from Tokyo, Japan.

Nice notes Andi. No thoughts on the tracks you didn’t submit? I’m always interested to know if my selections are hitting the mark or not & I already know you love your own submissions.

Basic Channel - "Quadrant Dub" E.P. (1994)

This one is more of a dub techno affair & far less dancefloor oriented than "Phylyps Trak". I used to use "Quadrant Dub I" as an opening track when I was playing the early opening sets early on in my DJ career & I'd use "Quadrant Dub II" when I needed to go to the bathroom & get a drink mid-set as it's a bit housier & is 20 minutes long! These days I use this E.P. to get my kids to sleep in the car  as it's highly repetitive & trance-inducing.

To be honest, this sits a fair way outside of my comfort zone as the guitars are held too far back in the mix with the electro-industrial beats & samples being much more dominant. During the best moments I sometimes find Strapping Young Lad popping into my mind but these are generally too brief which is the nature of these sort of releases & they're inevitably cancelled out by cheesier tracks that remind me far too much stuff like of Linkin Park anyway. Overall, I'd suggest that I only enjoy around 45% of the tracklisting so I can't justify the healthy scores this release seems to draw from the video game audience. Fans of Neurotech, Deathstars & Sybreed may find something of interest here but it doesn’t do all that much for me personally.

3/5

Sometimes you can stumble over a release that shows you in no uncertain terms just how much your taste can change over time & how your current mindset & environment can influence your opinions & Converge's eighth album is fine example of that for me. When I first gave it a few spins around the time of release I found that I quite liked it but wouldn't have suggested that it was anything all that special however after this week's revisit I think it might just be my favourite Converge release. I can't believe how much energy & virtuosity this band maintains throughout the entire tracklisting & their sludgier moments are nothing short of crushing. I've never been a fan of front man Jacob Bannon's vocals but this might just be the record to turn that opinion around as he's got a lot more intelligibility & power here. And then there's drummer Ben Koller who is utterly mind-blowing & has been one of my favourite musicians for many years now, only this time he's reached another level altogether. Unlike some of the band's earlier classics though, "All You Love You Leave Behind" never sees Converge needing to extend themselves into mathcore territory for too long because they're far too efficient at their craft for that now & have ultimately transcended the requirement. This is rabid, classy, monstrous metal-infused hardcore based on controlled chaos & intelligent violence. Amazing!

4.5/5

Basic Channel - "Phylyps Trak" E.P. (1993)

High quality German techno including the trademark dubby, analogue atmosphere from the originating godfathers of the sound. These three tracks all floated around my DJ sets back in the mid-to-late 2000's however "Phylyps Base" was probably the mix that got the most play time from me as it's a touch darker. For fans of Maurizio, Cyrus & Plastikman.

Well, for starters I’d like to state that I think Venom are one of those bands that would have had much more of an impact on me if I had of been there at the time. It was only seven years after its release that I first encountered "Welcome To Hell" however a lot had gone on in the metal world during that period & my ears were already accustomed to a more sophisticated & mature sound by that stage. To be fair, I've never really gravitated towards your more tongue-in-cheek approaches to metal either. Having said that though, I’ve always had a soft spot for Venom due to their catchy song-writing & addictive energy & that attribute has never been more potent than it is on “Welcome to Hell”. It’s an extremely consistent record & I have some time for every song on the tracklisting but I’m not sure that the highlights are strong enough to elevate the album into the higher scoring brackets for me personally though. Much the same as Motorhead, Venom don’t play a style of metal that will have them sitting in my all-time favourite albums but they do enough to give me a general fondness of the time I’ve spent with them over the years. To me “Welcome To Hell” was more of an important release in the continued maturity & development of metal than a genuine classic in its own right.

As far as its credentials for inclusion in The Pit go, I'd suggest that “Welcome To Hell” was the closest anyone had come to a genuine speed metal record up to that point in time although I don’t think it quite gets there & I'd prefer to see it residing entirely in The Guardians. Venom took the dark atmosphere of Black Sabbath, the theatrics of KISS, the proto-thrash riffage of “Stained Class”-era Judas Priest, the rock ‘n’ roll infused speed metal elements of Motorhead & the raw punk electricity of the Sex Pistols & combined them in the ugliest fashion possible. The punk element shouldn’t be underplayed. There are a couple of songs that are closer to punk than metal but the band never fail to incorporate the catchy & memorable hooks of rock ‘n’ roll song-writing & that’s really the key to Venom’s success. Even at their ugliest there is an undeniable catchiness to these simple songs. The package might not be glossy but it has an accessibility beneath it’s rough exterior. Motorhead would seem to be the primary influence & you can hear it throughout the record. The most important & influential elements of “Welcome To Hell” are a) the raw & noisy production, b) the flat out speed metal approach to the riffs & c) the more aggressive vocal approach. Those are the elements that most influenced extreme metal & why the band is so often spoken of as the root of the entire movement.

My favourite Venom release is the slightly more ambitious "At War With Satan" these days but "Welcome to Hell" comes in a close second over "Black Metal".

3.5/5

Here's a excerpt from my review:

Upon first listen I was immediately pushed onto the back foot in no uncertain terms. I had recently been listening to a release that must have had a fairly low volume level because no sooner had I pressed play than I received an involuntary physical direction to throw my headphones off in self-defence. I actually can’t describe just how loud the wall of noise that came bursting out of those speakers was however let’s just say that I’ll be lucky if I don’t experience any long-term effects. After drastically reducing the volume I was ready to give it another shot though & on my second attempt I was presented with a slightly less voluminous but only marginally less confronting audio assault. My first impression was that the production job is actually very bright & electronic sounding which is not something I would usually relate to metal music. It’s much closer to something you’d hear in electronica. Particularly on the more industrial end of the spectrum. The high end electronic noises have an ear-catching vibrancy about them however you won’t get much time to take them in as everything flies past in a matter of seconds before moving onto something entirely similar. The artificially produced snare sounds aren’t to my taste much which is a real concern given that there’s about twenty zillion of them in the ten minutes. They just sound really cheap. Kinda like one of those wind-up monkeys banging away on their little drum. They’re very much in the style of your entry level midi-keyboard sound but in all honesty, most of the nuances are completely irrelevant because everything is dwarfed by the huge, bulbous, throbbing mass of noise that engulfs everything throughout pretty much the entire ten minutes. The levels have very clearly been thrust up to eleven to make sure that there is as much distortion as possible & that everything is as loud as humanly imaginable. I’d imagine that the wave file for each track would simply be a solid bar from top to bottom.

It’s actually really hard to look at “Desiccation in Progress (Version II)” from a musical point of view because I’m not sure it actually qualifies under that term. I can see where the grindcore association is loosely drawn from in the continual use of hyper-speed blast-beats, sudden & seriously brutal changes & ultra-deep death metal vocals however this release is much further over towards the harsh noise side of the equation than the metal one. Perhaps in a similar way to some of Darkspace’s later material being more ambient than black metal. I mean you can’t hear anything like a riff here. Is there any guitar at play here? I dunno. It’s simply not possible to identify anything from the wall of noise with even the continuous snare hits being hard to pick up on occasion. The very idea of melodic composition seems almost irrelevant with gorenoise & for that reason it’s very hard for any of these tracks to identify themselves from one another. In fact, ten minutes almost seems too long for the minimal quantity of ideas going on here. I find myself losing interest fairly quickly after the initial novelty wears off so I can’t see myself giving one of these releases multiple listens without a considerable break in between & perhaps it wouldn’t be advisable for your health anyway all things considered.  

The vocals are an interesting topic because it sounds like Big Frog has gone to great effort to actually SOUND like a frog & the amphibian-related effects that are included on many of the tracks would support that theory. I have no idea as to whether there are actual lyrics for these tracks but it’s highly doubtful because it would have taken much longer to write them than to compose & record the entire album. I can’t see anyone sparing the time to read them anyway as these tracks fly past in a heartbeat. I’m not too sure if the vocal delivery employs the use of pitch-shifting technology or not because it’s fucking deep but I find it much more easily palatable than some of your more obviously artificial goregrind exponents & I actually think it’s done pretty effectively.  

At the end of the day, “Desiccation in Progress (Version II)” is a novelty release. Nothing more, nothing less. So if you’re looking for substance here you’ll be seriously disappointed. The sheer abrasiveness of the wall of sound is all that matters & I’d be surprised if most fans of the gorenoise subgenre aren’t really more obsessed with shocking their friends & family than becoming emotionally engaged with the music. But in saying that, I do enjoy the sheer brutality of it all in some way. I can’t say that I’ve ever come across a more brutal style of music & that appeals to me from a purely conceptual point of view. It’s therefore possible that I’ll never be as harsh as I probably should be on an album like this & my score is based on the fact that, even though it may not be my cup of tea, I’d still much rather listen to this than Heavy Load, Helloween or Warlord. 

3/5

Look, let's be honest here... Helloween were never really going to be my thing now, were they? I must have given this record a dozen revisits over the years in order to see if the penny would finally drop however I'm still no closer to finding much enjoyment in its overly cheesy take on European power metal. In saying that though, I do think it's Helloween's best work, mainly off the back of "You Always Walk Alone" & "We Got the Right" which I really dig (probably because they travel closer to traditional heavy metal territory). Surprisingly, I actually find the "Keeper Of the Seven Keys" series to less intolerable than Helloween's first couple of speed metal releases. I guess this band simply isn't for me.

3/5

"Aenima" is unquestionably a classic album as far as I'm concerned however I agree that it could definitely have been better if the band had omitted a couple of those silly attempts at humour. It probably wouldn't have been enough to get me up to a full 5/5 rating however there's little doubt that the inclusion of "Intermission" & " Die Eier von Satan" has tainted my opinion just a touch. Still... just looking through the tracklisting now I can see nine tracks that I regard as genuinely classic which is more than I can say for most band's careers so this is absolutely essential alternative metal. 2001's "Lateralus" is my go-to Tool record but "Aenima" isn't very far behind & has made a significant impact on my life over the years.

4.5/5

I wouldn't say that stoner metal is my favourite style of metal however I've always really enjoyed "Dopethrone". It's usually the groovier aspects of stoner metal that put me off a bit but "Dopethrone" combines that element with ridiculously extreme heaviness in order to draw me in & give me a good ol' fashioned rockin'.  It certainly helps that I've had my days with the weed too with the longer & more expansive tracks like " I, the Witchfinder" & "Weird Tales" hitting me hardest. I definitely prefer some of the Wizard's other releases over this one (particularly when they're directed at a more straight-down-the-line doom metal approach) but I'd be surprised if any fan of stoner/doom metal doesn't dig this release in a major way.

4/5

Very solid mid-80's Bay Area thrash with strong speed metal influences. Heathen kinda sounded like Exodus & Overkill meets Iron Maiden & the first couple of Helloween records on this album.

Heathen - "Breaking The Silence" (1987)

The 1987 debut album from this Bay Area outfit offered mixed results in my opinion. On the one hand you have an incisive production job with an aggressive rhythm guitar sound & some blazing, ultra-shreddy solos. On the other you have some inconsistent vocals, some unimaginative riff structures, a few sub-par choruses & the odd cheesy power metal moment scattered across the tracklisting. I'd actually suggest that only half of "Breaking The Silence" is actually thrash metal to be honest with the other half residing much more comfortably under the speed metal banner. In fact, the title track is pretty much full-blown power metal so the album comes off as a combination of US thrash bands like Exodus & Overkill & more melodic & accessible metal acts like Iron Maiden & early Helloween. Overall, the positives overcome the negatives with the quality delivery & execution carrying Heathen's weaknesses for the most part.

3.5/5

Andi & Xephyr, I'd suggest giving this emotionally-charged post-metal release a crack but please be warned that it will need repeat listens for its charms to become fully apparent.

Thanks Andi. I'll give it a few spins over the next few days.

The godfathers of post-metal flex their atmospheric muscles with predictably mind-blowing results. For fans of Isis, Cult Of Luna & Minsk.

Neurosis - "The Eye Of Every Storm" (2004)

Neurosis eighth album (or ninth if you include their 2003 collaboration with Jarboe) saw them delivering their most stripped back, emotionally charged & atmospheric release to the time. Subsequently, you'll find that "The Eye Of Every Storm" requires a little more commitment from the listener before its qualities start to shine through but, once they do, I can assure you that this is yet another mind-blowing record from one of my all-time favourite artists. The depth & substance on display here is nothing short of phenomenal, despite the fact that the band tinker with self-indulgence at times. It's also another prime example of why we don't need the atmospheric sludge metal tag because this record is a hell of a lot closer to post-metal than it is to sludge. Essential listening for fans of Isis, Cult Of Luna & Minsk.

4.5/5

A storming piece of mid-80's Teutonic thrash for fans of Darkness, Sacrifice & particularly "Pleasure To Kill"-era Kreator.

Deathrow - "Raging Steel" (1987)

The 1987 sophomore record from  Düsseldorf-based four-piece Deathrow is an enjoyable piece of raw Teutonic thrash metal that builds on the decent platform they'd built for themselves with their debut album from the previous year "Riders Of Doom". There's a bit more melody & ambition being shown here although you shouldn't expect any traces of tech thrash at this stage. The vocal performance is a little inconsistent which has effected my score a touch but fans of Darkness, Sacrifice & "Pleasure To Kill"-era Kreator should find plenty to enjoy here nonetheless.

3.5/5

Andi, Xephyr & saxy, I'd highly recommend you give Voivod's "Dimension Hatröss" a few spins if you haven't already. It's a quality piece of avant-garde progressive metal & is probably my favourite Voivod release these days but it's definitely not suited to a casual one-off listen. It's far too complex for that.

Avant-garde progressive metal from Canada for fans of Vektor, Coroner & Watchtower.

Voivod - "Dimension Hatröss" (1988)

The fourth album from Canadian four-piece Voivod is a beautifully realised & highly consistent avant-garde progressive metal excursion that may just be the band's best work. I think the goofy vocal style probably limits its appeal for me personally but it's very hard to deny the sheer ambition & professionalism of this release. In fact, you're extremely unlikely to have heard anything like it. For fans of Vektor, Coroner & Watchtower.

4/5

Welcome Jean. We're very supportive of new &/or undiscovered bands here at Metal Academy so we'd be interested to hear a little bit about your band. It also goes without saying that the more ratings & reviews your album gets, the more exposure you can expect for Okyr so we'd encourage you to invite as many of your friends & fans to register & contribute to the site as possible.

Autechre - "Amber" (1994)

Sensational IDM & ambient techno from Manchester, England. I spent many a morning recovering from all-night benders to this one. For fans of Aphex Twin, Boards Of Canada & The Future Sound Of London.

Sonny & Ben, I think you might enjoy this one. Some very solid techy US thrash metal with ultra-shreddy solos & power metal vocals.

A ripper of a US thrash metal track from 1987. For fans of Heathen, Artillery & Forbidden.

Toxik - "World Circus" (1987)

The debut album from these New York thrash metalllers who offer a noticeably technical edge to their delivery. The vocals are performed in an operatic Geoff Tate-like US power metal style but Josh Christian's virtuosic lead guitar performance is shredding as fuck & never lets you forget the band's thrash credentials. For fans of Heathen, Artillery & Forbidden.

4/5

This one's for you Andi.

Superb Icelandic post-metal for fans of Agalloch, Russian Circles & Toundra. This particular track shows off Solstafir's black metal roots with a vocal performance that reminds me heavily of Primordial's  A.A. Nemtheanga.

It may have taken me a long time to get around to giving this album a spin but boy was it worth the effort because I absolutely loved it. In truth, "Kold" is probably a little more post-rock than it is post-metal but the professionalism this band is capable of in creating these textured soundscapes is quite remarkable. The emotive vocals sound a lot like Primordial's A.A. Nemtheanga at times & Anathema's Vincent Cavanagh at others. The use of post-rock's trademark long repetitive build-ups moving into immense climaxes technique is beautifully executed & there's a class about everything Solstafir do here. "Kold" is not a single listen undertaking by any means. It's very long & only opens up after several listens however I strongly encourage you to give it a few spins & see if it's for you. For fans of Agalloch, Russian Circles & Toundra.

4.5/5

01. War Pigs

02. Black Sabbath

03. Sabbath Bloody Sabbath

04. Snowblind

05. Symptom Of The Universe

06. Sweet Leaf

07. Iron Man

08. Hole In The Sky

09. Planet Caravan

10. N.I.B.

I accidentally voted YES instead of NO here & apparently Ben can’t easily change it so you’ve got a handy head start here Andi.

Ben, please add the Boris with Merzbow album “Rock Dream”.

To be fair Andi, melodic death metal is one of the more populous subgenres included in The Horde so it isn't really one of the ones I'm referring to.

Chris Van Etten, have you got any track suggestions for inclusion in the September The Sphere Playlist?

Sonny, Ben, Vinny, Chris... got any suggestions for the September The Pit playlist (max three each)?

Sonny, Ben, Xephyr.... got a few track suggestions for the September The North playlist (max three each)?

Xephyr & saxy, do you have a few track submissions for the September The Infinite playlist from your August listening sessions (max. three each)?

Ben, have you got a few recommendations for the September The Horde playlist?

Xephyr, Vinny, Saxy.... any track suggestions from your August playlists for inclusion in the September The Guardians clan playlist? Please keep it to a maximum of three tracks per person.

Sorry Andi. We decided that we're only taking suggestions from clan members so as to keep the playlists clan relevant.

Saxy, do you have any suggestions for the September playlist?

Andi, Ben, Chris Van Etten.... I'm just putting the September list together at the moment. Got any track suggestions from stuff you've listened to in August? Let's try to keep it to a maximum of 3 suggestions each so that we can all get some play time.

With the initial run of playlists I tried to allow for roughly equal inclusions for all clan subgenres in order to satisfy everyone. After listening to some of the playlists & receiving feedback from various members on the topic, Ben & I are thinking I should go for a different approach whereby the primary subgenres receive the majority of the play time & the niche subgenres only get the odd track here & there (perhaps one per playlist for most of them). It wasn't such an issue with clans like The Fallen that have much longer track lengths but was very noticeable with ones like The Gateway, The Horde, The Infinite & The Guardians which include niche subgenres (funk metal, rap metal, gorenoise, cybergrind, avant-garde metal, neoclassical metal, etc.) that not everyone likes.

Does everyone agree with that approach?