Sonny's Forum Replies
I quite enjoyed In Absentia Christi, but it did present significant obstacles for me, not all of which I was able to overcome. Firstly, there was the male vocals. I initially took against them as they appeared to be no more than those Anne Rice, melancholic, gothic-romantic -(anti)hero male vocals, that are more pantomime than emotional expression to my ears. However, repeated listens softened my stance towards them as they actually felt like they has a bit more to them than the Pete Steele / Aaron Stainthorpe faux-emotional stylings. The nearest comparison I could think of was the vocals on Celtic Frost's Into the Pandemonium on tracks like Mesmerized and although they are somewhat theatrical, it is in a more Shakesperean way. My second major problem and the one I couldn't surmount, is with the truly awful cover of Steve Strange's excellent synthpop classic Fade to Grey being is placed so early, and hence predominantly, in the album that tries to destroy any positive feelings I felt after the earlier tracks. My issue with the cover itself is that the original is a truly great example of effective minimalism in synthpop that few managed to match (Gary Numan maybe), but what we have here is more icing than cake that just ended up making me feel sick.
The album starts off with a couple of innocuous instrumentals before we get to one of the best tracks on the album, Consuming Jerusalem, with it's Middle Eastern vibe and I really loved the backing vocals, they are similar to those employed by Lindy-Fay Hella on Wardruna's Grá and the track as a whole has a nicely effective atmosphere. Unfortunately this is followed by the previously discussed Visage cover and the band were in danger of throwing away all kudos gained to this point.
The more exotic-sounding tracks are the ones that score the highest with me here - Consuming Jerusalem, ΣελυνηΣ ΑγγελοΣ and Nephtali in particular I enjoyed massively. As to what genre to file this under, well I'll be fucked if I know to be honest. There are a few doom riffs, but are there enough to even qualify as a metal release? I'm not convinced. The vocals definitely come from gothic rock or metal, but is there enough gothic metal? Maybe - there's certainly more than there is doom, From These Wounds in particular sounds like gothic metal to me, albeit with some darkwave bells and whistles - nice track though. I think I'll leave the genre identification to those better qualified than me to decide.
All in all I think this was an interesting release and a somewhat flawed gem that may reveal more of itself the more listens you are prepared to give it. It is yet another in a long line of Italian metal(?) releases that colours outside the lines of conventionalism. I just wish they had left that cover off and saved it for an EP or something and did we really need the last three-and-a-half minutes of the last track, La noia?
4/5
Is it possible to talk about essential Guardians tracks and have nothing from Black Sabbath, Judas Priest OR Iron Maiden?
I do enjoy these kind of exercises, but this is probably not what you are looking for Saxy, as I am not as steeped in The Infinite as some other members so I can only provide a list of tracks that I personally think merit inclusion. As to whether any are truly essential, I'm afraid I can't say, but these are the tracks that I enjoy most.
1. Opeth - "Deliverance" (from "Deliverance" 2006)
2. Venenum - "Trance of Death - Part III: There Are Other Worlds..." (from "Trance of Death" 2017)
3. Oranssi Pazuzu - "Vasemman käden hierarkia" (from "Värähtelijä" 2016)
4. Enslaved - "Roots of the Mountain" from "RIITIIR" 2012)
5. Ne Obliviscaris - "Forget Not" (from "Portal of I" 2012)
6. Persefone - "Seed: Core and Persefone" (from "Core"2006)
7. Altesia - "Reminiscence" (from "Paragon Circus" 2019)
8. Blood Incantation - "Awakening From the Dream of Existence to the Multidimensional Nature of Our Reality (Mirror of the Soul)" (from "Hidden History of the Human Race" 2019)
9. Queensrÿche - "Operation: Mindcrime" (from "Operation: Mindcrime" 1988)
10. Ihsahn "Scarab" (from "angL" 2008)
Damn, another conundrum I just seem to be unable to solve. I know the problem lies with me, but I really can't hear what would attract anyone to this album. It has a very respectable 3.48 rating on RYM, indicating that it is reasonably well thought of, but for the life of me I can't tell why. I am in no way adverse to a bit of medieval folk music but I hate it mixed with metal as it just sounds super-cheesy. There was even a point during In a Pale Moon's Shadow where I couldn't help being reminded of the bit in Spinal Tap where the elves are dancing round the ludicrously tiny Stonehenge - not a great comparison for a real metal release I think you'll agree! The vocals here are also pretty dire - the death metal growls are, quite frankly, shit and the female vocals aren't anything to write home about either. The actual metal sounds like fairly average MDB worship and no amount of medieval folk or symphonic window dressing can raise it any higher than that. I agree with Daniel that, musically, it sounds more at home in The Fallen than The Guardians because if you strip it all back it is just gothic death doom with a few bells and whistles.
At the end of the day, I've just got to admit that I don't get it and that's on me, but to be honest, I'm not going to be losing any sleep over it. We can't all agree all the time and it would be a very boring world if we did, so I'll just leave it there.
1.5/5
Messa - Close (2022)
Released 11-03-22 on Svart Records
I've been a fan of Italian doomsters Messa for some time now and it gave me great satisfaction to see how well-received their Feast for Water album was when I nominated it as a feature release toward the end of last year. It was around that time that news of a new album leaked out and I have been greatly anticipating it's release since then and now it's finally here did it merit all that anticipation? The answer has got to be a resounding yes from me. On Close Messa have taken what made Feast for Water the release it was and have expounded on it, yet they haven't lost touch with their roots in doom metal and, if truth be told, their doom sounds even heavier here than it did previously. I will be very surprised if Close is not involved in the conversation when we talk about the 2022 Fallen clan award.
What sets Messa apart, however, is their willingness to incorporate other, often non-metal, styles into their doom material. Yes, other bands hybridise their doom with other genres like blues or gothic and black metal, but Messa incorporate even more diverse musical genres like dark jazz, middle-eastern music and even, dare I say, on the album's penultimate track Leffotrak, grindcore! One of the reasons I like Italian metal so much is that Italian bands are never scared to try something different with what can be quite basic genres and progressive music seems to be very much part of the Italian rock and metal scenes and Messa fully embrace this quintessentially Italian ethos. Sometimes, however, it falls that some bands' ambitions outstrip their abilities to fully realise them, this is most definitely not an issue for Messa as they are consummately skilled in delivering their auditory vision. In Sara Bianchin they have arguably the finest female vocalist in doom metal (if not all metal), the power and quality of her singing leaves most other doom vocalists in the shade, if you need convincing listen no further than opening track Suspended and tell me I'm wrong!
The opener is one of the more straightforward doom metal tracks on offer, but it so expertly paced and performed that it actually feels more complex than it is. It is here where it also becomes obvious that Messa haven't compromised their heaviness either for an increased diversity and complexity, as is further illustrated on Dark Horse which is a little bit bluesy initially, at least until it's Miserlou-like speedy breakdown around halfway through. This brings us to Orphalese that begins with a Middle-Eastern sound, reminiscent of some of the tracks from Hans Zimmer's Gladiator soundtrack, conjuring images of a Lebanese or Egyptian market scene, with Sara Bianchin's bluesy vocals soaring over it for a truly evocative and atmospheric track.
I don't intend to give a track-by-track rundown of the album, but if any album deserves one it's probably this. Whilst listening for the first time, I was genuinely excited to hear where each track would go as I had absolutely no idea, such is the variety of ideas on offer here. The performances throughout are excellent, whether it be Alberto Piccolo's guitar solos, Sara's vocals, the tightness of the rhythm section or the wind instrumentation of guest Giorgio Trombino and the production is crystal clear so that nothing gets in the way of the band's expression of their multifarous ideas. If there is any sense to the world then Close should propel Messa into the upper reaches of the metal universe and could well garner them exposure beyond metal circles. In truth I could spend all day heaping superlatives upon the band and this latest Meisterwerk, but why would you waste time listening to me when you could be listening to this instead?!
A resounding 10/10 (the album against which all others will be measured this year).
Konvent - Call Down the Sun (2022)
Released 11-03-22 on Napalm Records
Konvent are an all-female four-piece formed in 2015 in Copenhagen, releasing their debut, Puritan Masochism in 2020. The debut comprised almost fifty minutes of sludgy death doom and was pretty solid, albeit lacking in variety. To be honest, this follow-up, Call Down the Sun, is very much in the same vein. The riffs have a Celtic Frost kind of vibe, being quite bombastic they invoke the atmosphere of a fading empire facing it's last days and are my favourite aspect of the album, the riff to Grains in particular is imperiously menacing-sounding. The vocals are alternately harsh sludgy barks and deep growls, the former being the most successfully employed, the latter I am not too sure about in all honesty, they lack the gruffness and abyssal depth of truly convincing death doom vocals. The tracks are quite samey and I sometimes found my attention wandering, which is never a good sign is it?
All in all Call Down the Sun is OK, but I couldn't really go any further than that. I would like to hear the band incorporate something a bit more diverse into their sound because, to be brutally honest, there are several others who do this sort of thing better.
6.5/10
Messa - Close (2022)
This is why I like the monthly features so much, since this may have flown under my radar had I not listened to Feast For Water. Instead, I was pretty excited to check this one out and it definitely delivers. Messa are a bit more experimental on this one and it pays off for them, fusing doomy riffs with more jazzy melodies and powerful as ever vocal performance. 2022 has been pretty slow for me so far so this one is a major standout, can't wait to see how it evolves after more listens.
4/5
Just given this an initial spin and am extremely impressed. Sounds even more diverse than Feast for Water, yet heavier too. I agree that it's not been exactly a vintage year for metal so far but maybe things are starting to look up.
Hey Ben, do you have your selections for April's playlist as I would like to get started on it soon?
Ihsahn (b. Vegard Sverre Tveitan), as I'm sure everyone already knows, was the mainman behind black metal legends Emperor. Even before Emperor had been put to sleep he had formed a progressive / avant-garde outfit called Peccatum, playing alongside his wife, vocalist / keyboard player Ihriel (who, incidentally, is also the sister of Einar Solberg of Leprous). At this point Ihsahn was way more interested in the progressive and avant-garde than in continuing to recycle the same old material in Emperor and so the band split in 2001. Five years later and Ihsahn was ready to release his first solo album, The Adversary which he put out on his own Mnemosyne Productions label in April of 2006. Now, personally, I was a massive Emperor fan at this time (and still am) and, to be honest, I really wasn't ready for Ihsahn's new direction and never really engaged with The Adversary at all, so despite giving it cursory attention I rapidly dismissed it.
So a couple of years passed and Ihsahn released a follow-up entitled angL, again released on Mnemosyne in May of 2008. I decided to give Ihsahn another go at this point and actually bought a very nice slipcard-enclosed CD copy which I still have. Sadly, I still couldn't really get to grips with this Ihsahn music that wasn't Emperor and the CD was put on a high shelf to be forgotten... until now that is. Thankfully, and in no small part due to the influence of my membership of Metal Academy, I have become more open to music that pushes boundaries and leads me out of my own personal comfort zone, which Ihsahn's music most definitely does, and listening to this afresh, I now have a much more positive connection to it than I had previously and, indeed, derived a great deal from it and some idea of why Ihsahn felt he could no longer be confined by the limits of Emperor.
Despite saying this, angL actually opens with a track (Misanthrope) that could easily have been released on an Emperor album without raising any eyebrows. However, second track Scarab reveals more of what solo Ihsahn is all about, a song that is far more progressive metal than black metal, despite his typical black metal vocals, with several twists and turns that also illustrate how his songwriting had developed and illustrate why he was unable to stay within the confines of a purely black metal outfit. The next track Unhealer has a guest vocal performance from a certain Mikael Akerfeldt, a musician whose quest for ever more complex musical expression is something I'm sure Ihsahn could identify with at this point. This is quite a melodic little number and suits Akerfeldt's vocals beautifully, with a nice light/dark contrast between gentler, clean sung parts and the heavier sections complete with Mikael's distinctive death growls that makes for a track that will sound familiar to Opeth fans.
Emancipation is a weird track, it is another melodic number, but it's verses sound, in a weird way, a bit like David Bowie and Robert Fripp and another nice melo-prog number. Malediction is another more black metal infused track, in similar style to the opener, Misanthrope that is reminiscent of some of the material on IX Equilibrium such as Curse You All Men! or An Elegy of Icaros. The Alchemist is another track that contains Ihsahn's clean vocals and I'm sorry, but he really does remind me of David Bowie with his intonation (and I don't think this is a bad thing - I love Bowie!) Some great guitar work on this track too that makes it a bit of a standout for me, although everyone else seems to hate it.
Elevator is a dark, disorienting track that feels like a journey into another dimension where up and down, left and right are indistinct as Ihsahn's crooning, cajoling voice anchors the song and provides a stable focus. Next up is Threnody and this starts off sounding very much like Benighted from Opeth's Still Life before opening up with some more nice guitar work. Closer Monolith is once again a more straight-up melodic black metal offering, although it does have a softer proggy centre, and it's weird that all three of the more black metal tracks on angL are the ones that begin with the letter "M" - not a coincidence I'm sure.
Mikael Akerfeldt's presence on angL is no coincidence either I don't think, as it feels like Ihsahn was trying to take a similar kind of direction with his own music as Akerfeldt was doing with Opeth at this point (Watershed was released the same year) and may have been keen on swapping ideas with Opeth's creative mastermind. This is certainly nothing like as difficult a listen as I remember it being, it is probably still 30-40% black metal and quite a bit of it is exceedingly melodic and, dare I say, even catchy, with the avant-garde being (thankfully) non-existent.
I've really got to thank Xephyr a lot for nominating this as it has given me a chance to re-evaluate a release I had initially dismissed and found it to be a hugely enjoyable experience. I'd better move the CD from it's position on the highest shelf to a place where I can reach it much more easily as I think I'll be coming back to this one pretty damn soon!
4/5
Wow Ben, that is an impressive and much appreciated improvement. Loads almost instantly on my tablet now.
This get's a massive thumbs-up from me too, Vinny. I've let it be known on several occasions that I struggle with a lot of death metal - brutal dm, slam death and tech-death all leave me a little bewildered to be honest. But honest-to-goodness, old-school, filthy-sounding death doom is a style I love at least as much as any other and a damn sight more than most. I love metal that creates tangible atmosphere but whereas atmo-black and atmospheric sludge tend to summon visions of vast, open spaces, the atmosphere of old school death doom is more cloying, sulphurous and subterranean. I think it would be cool to rename the genre Cthulhian Death Metal, as well as it being an extremely apt descriptor. The early nineties were undoubtedly the heyday of this type of death metal, but it never went away and there are still some great practitioners of the art such as Coffins, Atavisma and Totengott. To that list I must now add San Francisco's Vastum. Fifty-five years ago SF was at the epicentre of the hippy culture and the Summer of Love, but what the fuck those hippies would have made of an album like this emerging from their own back streets I can only imagine.
I enjoyed Vastum's 2019 Orificial Purge album very much, but it is the only one I had heard prior to this month's feature. Evidently that was no great departure from 2015's Hole Below, the subject of said feature. There is nothing new on offer here of course, downtuned death metal riffs that are periodically slowed to a seeping crawl that speaks of dank caves, miasmic fumes and unsettling growls that set the hairs on the back of your neck standing up. The chugging riffs of tracks like Amniosis or In Sickness and in Death are perfect headbanging material when the band up the tempo a little and I find myself unable to keep still when listening to these tracks! Daniel Butler's acrid growls are perfectly pitched to sound menacingly demonic, but not so deep or buried in the mix as to be indecipherable, which can sometime happen when bands are going for that really filthy sound. I would like them to have gone a bit more heavily into the doomy side of things if I was being especially picky as that is the aspect of the sound I personally enjoy most, but even as is, there can be no meaningful complaints from me and I thoroughly enjoyed this immensely.
4/5
I see that "The World's Shittest Ever Thrash Metal Album" is 35 years-old today. It's probably now older than it has sold copies!!
Demoniac - So It Goes (2021)
Continuing my travelogue through Chilean thrash I have arrived at Demoniac. Well, this album has completely blown my mind. I thought that Parkcrest's ...And That Blue Will Turn to Red album was good, but this is insane! It takes the amazing aggressive thrash metal of Parkcrest and adds a further layer of technicality and diversity - we are even treated to some dark thrash-jazz which is simply incredible-sounding. The nearly twenty-minute title track is a thrash metal classic make no bones about it. I see you have heard this Xephyr, but Daniel and Vinny you really should give this a spin - I seriously doubt you will be disappointed. I've ordered the CD off Bandcamp and I will have to work up a review to try and do it justice, but for now I'll just give it a 5/5.
Hi Ben, could you please add the new Deathbell album, A Nocturnal Crossing.
I enjoy war metal so much because it encapsulates all that I originally loved about metal. It is the antithesis of commercial accessibility and is the flag bearer for a no-fucks-to-give attitude that I'm sure many other metal fans can identify with. I don't want metal to be in the mainstream, I want it to be the black sheep, the outsider, the thorn in the side of the music industry. Those bands that pander to the mainstream and compromise their integrity as a result will never sit entirely comfortably with me, no matter how good they sound.
Bestial Warlust were a short-lived, but influential Aussie war metal outfit, birthed from the ashes of death metal band Corpse Molestation, who delivered two classic war metal albums, debut Vengeance War 'Till Death and follow-up Blood & Valour, during their five year reign. The debut is a great album, but Blood & Valour is my all-time favourite war metal release (although Teitanblood's Death has been giving it a run for it's money over recent months). I posted a review a while ago, so here it is:
Fuck grindcore, deathgrind and brutal death metal. Playing with dismembered body parts and brutalising women, what the fuck's that all about?! No, when real men want to get extreme, then they go to WAR!!
But seriously folks, I don't generally care for super-extreme death metal. Apart from the music not greatly appealing to me, I sometimes find the whole aesthetic around extreme death metal and grind problematic. Of course, I completely understand that it's depictions of gore and sexualised violence are not to be taken seriously but they just don't appeal to me at all. War Metal, however, is just so fucking insane it's impossible (for me) not to get sucked into it's madness. Being derived from Black Metal rather than Death metal (although it certainly has Death Metal influences) makes it more palatable to me as well, as I am much more inclined to BM than it's deathly cousin. I also find the predominantly black, white and red aesthetic of the hand-drawn artwork much more appealing than the graphic nature of a lot of the more gory death metal covers. Naturally, as with any extreme genre, it isn't for everyone (or even most people) but there is something about the cacophonous nature of war metal that I really love.
Now I'm not trying to come across like some trve kvltist - I am mostly only familiar with the more established War Metal acts like Blasphemy, Beherit, Archgoat and more recently Crurifragium and Antichrist Siege Machine, but I had really enjoyed Bestial Warlust's debut, Vengeance War 'Till Death when I heard it a few years back. However, it is only now, more than twenty-five years after it's release, that I have got round to the Aussie warmongers' follow-up, Blood & Valour which has acquired the distinction of being my first five-star-rated War Metal album.
The Spanish film Intacto (great movie) has an opening scene where several people are running full pelt through a forest blindfolded. When I first heard Blood & Valour I had a sensation akin to how I think those people must have been feeling, of hurtling headlong at breakneck speed just waiting to be smacked in the face by a fucking huge piece of wood! Indeed on the first couple of listens it does sound a bit like uncontrolled chaos, but when you start to really listen to it properly then BW are revealed to be a really tight outfit and this is one hell of an accomplished album of sonic brutality. There are some fantastic, exhilarating riffs that remain defined and varied and are not just bludgeoning rehashes of the same idea over and over. The vocals are suitable demonic with shrieks and growls that come from the charnel pits of hell, but the drumming of Marcus Hellcunt (not his real surname I think) are what keep drawing me back, his assault and battery as blastbeat follows blastbeat is a thing of wonder to behold.
This is one of the most savage and visceral of black metal releases, at times it sounds like someone took a vinyl copy of Reign in Blood and played it at 45 rpm, complete with Jeff Hannemann-like squealing guitar solos, with songs slashing by like flailing sabre cuts. Possibly one of the most enervating albums it has ever been my good fortune to hear. If you love extreme black metal then you really need to listen to Blood & Valour.
5/5
Hi Ben, could you please add UK death thrashers The Bleeding.
A killer of an instrumental from Parkcrest's 2019 album ...And That Blue Will Turn to Red.
Parkcrest - ...And That Blue Will Turn to Red (2019)
I know shamefully little about Chile other than it is very long, has a lot of mountains and is home to the world's driest desert, The Atacama, where there are many space observatories. The other thing I know is that the Chilean thrash scene is one of the more vital and vibrant iterations of the genre in these early decades of the 21st century. Bands like Demoniac, Critical Defiance and Ripper are but the tip of the Chilean iceberg and Parkcrest are another extremely talented bunch of thrashers. It does seem like quite a tight scene however, with Parkcrest guitarist Diego Armijo and drummer Nicolás Villanueva also playing in Ripper and vocalist/guitarist Javier Salgado playing in Critical Defiance and Hellish amongst several others. Formed in 2011, Parkcrest didn't release their first album until 2016's Hallucinative Minds hit the metaphorical Bandcamp shelves. Whilst being an energetic and raw album, Hallucinative Minds is far from the finished product, but did show some promise. So did the follow up, ...And That Blue Will Turn to Red deliver on that promise? Well, I would have to say that, by and large, yes it has and it is a massive leap forward when compared to the debut.
The first difference is that the production this time round is much improved from the debut and sounds powerful, yet has an impressive clarity that allows all the band member's contributions to distinctly be heard. The rhythm section of bassist Cristoffer Pinto and Villanueva are the particular benefactors of this improvement in production values. Pinto's bass throbs along, providing a super-solid foundation from which the others can weave their magic. Villanueva's drumming is possibly the biggest revelation for me on this record, it is furious yet controlled and is much more than just straightforward pummelling. His work here is reminiscent of Dave Lombardo and praise for a thrash metal drummer doesn't get much higher than that does it?
Of course, what we all turn to thrash metal for is the riffs isn't it and here Parkcrest certainly deliver, firing them off like they're going out of style from a seemingly inexhaustible supply. There may not be quite as many as on, say, Time Does Not Heal, but they certainly come thick and fast. Guitarist Javier Salgado doubles up as vocalist and his harsh, barking vocal style is particularly reminiscent of Kreator's Mille Petrozza and, in fact, I have seen several plausible comparisons to Kreator, Slayer and early Sepultura and while they do take inspiration from these more aggressive purveyors of thrash, their sound is distinctly their own with a degree of technicality coupled with the aforementioned aggressiveness, this being a hallmark of the "Chilean sound" it would seem.
The songwriting is fantastic with several really great tracks on here, the opening duo of Impossible to Hide and Darkest Fear are a killer opening salvo and the instrumental Dwelling of the Moonlights may be my favourite thrash track since the early nineties. This is an album with a surfeit of riffs coupled with searing, meteoric soloing and a tempo that is unrelenting. I don't say this often but this is a modern thrash offering that is more than capable of holding it's own against all but the very best the genre has ever produced and Parkcrest comfortably sit in the vanguard of the latest thrash metal revitalisation.
In truth I had only heard the album once before this, so for transparencies sake I must confess that the main reason I chose it for this month's feature is that Hellfekted are from my home town of Stoke-on-Trent and as there is such a dearth of metal bands in the city I wanted, in my own small way, to help give them some exposure. The band are a three-piece and p!y their trade in the area of aggressive blackened thrash. This is a style that has reinvigorated the thrash scene in recent years with, in particular, a number of very good bands and releases coming from Latin America and especially from Chile. So anyway, Woe to the Kingdom of Blood is Hellfekted's debut album and is one of the few blackened thrash albums to hail from the UK, Craven Idol being the only other real exponent of the style I am familiar with that hail from these shores.
Firstly, I've got to say, that cover is horrible but to be fair keeps well within the thrash aesthetic. The second problem I have is that there is something not quite right with the production. I have no technical knowledge of music production but the top end just doesn't sound right to me as if it's clipped or too compressed and the guitar tone and the cymbals seem to suffer markedly as a result. That said, the bottom end is great and Chris Brownrigg's bass in particular benefits from this, it's growling, crunchy rhythms often dominating proceedings. It is an exceedingly aggressive-sounding album, with a breakneck tempo for most of it's runtime and Liam Stubbs' savage and ragged black metal-styled vocals which sound like they are shredding his vocal chords to ribbons with sheer spite and hatred. I would like to have heard a few more solos as they are in fairly short supply here, although soloing don't seem to be Liam Stubbs' strong point - the one during Fractured for example is quite poor, the extended one during Omen of the Antichrist is a little better but is still subpar when compared to the thrash masters. There are, however, riffs aplenty and pretty good ones they are too in the main. Hellfekted sound better the faster they play and aren't quite as convincing when they throttle the tempo back, such as on the title track where they just sound a bit off.
Overall I would say it's a decent, albeit flawed, slab of blackened thrash with two or three really good tracks such as Tower of Life, Stigma (DSBMthrash?) and Fire at Will that doesn't rival the leaders in the genre, but is still solid enough to warrant the occasional spin. I will look out for the follow-up with great anticipation and hope that they can iron out their technical issues and produce a blackthrash album good enough to put the UK back on the thrash metal map!
3.5/5
Here's my suggestions for April Vinny:
Dekapited - "Contra iglesia y estado" (4:03) from "Contra iglesia y estado" EP (2011)
Grave Desecrator - "Insult" (3:53) from "Insult" (2010)
Parkcrest - "Impossible to Hide" (8:04) from "...And That Blue Will Turn to Red" (2019)
Insane - "Four Magicians" (4:37) from "Wait and Pray" (2005)
Sodom - "Blasphemer" (2:59) from "In the Sign of Evil" EP (1985)
Celtic Frost - "Circle of the Tyrants" (4:36) from "To Mega Therion" (1985)
Municipal Waste - "Nailed Casket" (1:36) from "Hazardous Mutation" (2005)
Total runtime: 29:48
Insane - Wait and Pray (2005)
Wait and Pray is the sole album from Italian thrashers Insane and is blatant Show No Mercy worship as well as being pretty damn awesome. I love this album, there's not a weak track on it and it's a travesty that the band never released anything else.
Daniel, Vinny I suggest you give this a listen when you can.
Could you add early nineties' Italian trad doom band Requiem please Ben.
OK, so I've relented from and deleted the original vitriolic rant I posted for Demon Hunter's 2010 album, The World is A Thorn, although I still think that's a terrible title. I truly don't like shitting on any metal albums too much because there's always bound to be someone who enjoys the album in question even if I don't and I suppose you have to respect that. Despite that, I didn't enjoy this at all I'm afraid and I know it isn't aimed at me, but that is part of the issue - why should it be "aimed" at anyone?
I think I am so affronted by albums like this that are so obviously aimed at maximising commercial success because they go against the fundamental principles of why I listen to metal. I want to hear bands that maintain their integrity and play music they can justify artistically, not because they want to get played on Kerrang!! TV or get a cover story on Metal Hammer so they can sell hoodies or play bigger venues. This just sounds like an album that is chock full of compromises. There's a few shouty, angsty tracks to get the kids' attention, but there's also some radio fodder such as Collapsing and (even worse) Driving Nails that those kids can play to their mum so she'll think it sounds like that lovely Nickelback guy and buy the album for them, or at the very least allow them to wear the band's merchandise.
Albums like these seem to plague The Revolution and are the reason why I struggle with the clan so much. The rebellion they attempt to illustrate is so contrived and compromised that it becomes laughable. True rebellion is playing what you want with no compromises to the money machine or fashion police and if people like it then great or if they don't then that's OK too. I guess that's why guys like Fenriz have to have a day job too (he's a forest ranger if you didn't know).
Shit, I know - it still sounds like a rant doesn't it? Well that's the best you're going to get I'm afraid. Sorry.
1/5
Whilst I agree with Daniel that the first three tracks aren't metal at all, and in fact I was beginning to wonder how the album got onto Metal Academy at all, I enjoyed them at least as much as the rest of the album and especially the brooding Invocation which comes on like a post-punk Kashmir. I was a massive fan of the band's eighties albums like Fire Dances and Night Time so that's not really a big surprise to me. Still, when Implosion bursts onto the scene with it's whirling dervish of a rhythm then it becomes clear we are headed in a more metal-oriented direction as this head-spinner digs it's hooks in. Metal is still only a component of Killing Joke's music though and is never the be all and end all, their tribal rhythms, gothic rock guitar work and Jaz Coleman's gritty, gruff vocals still give them a significant post-punk/gothic feel. It is interesting to compare Coleman's vocals to Burton C. Bell's singing with Fear Factory as they indicate a possible big influence on Bell.
Hosannas from the Basement of Hell features some of Killing Joke's longer tracks and shows that they were confident enough in their ability to allow the tracks free rein and though they don't feature huge tempo changes, key shifts or progressive flourishes, the rhythms are complex and interesting enough to sustain interest throughout the eight or ten minute lengths of Walking With Gods and The Lightbringer and for me these tracks, along with the eight minutes of Invocation, are the pick of those on offer. I have never listened to Hosannas.. before, but penultimate track Judas Goat sounds exceedingly familiar. Does anyone know if it has been used in a film soundtrack or something because I've definitely heard it before and it's bugging the shit out of me as to where. Well it's still a damn fine song anyway.
Really enjoyed this one as Killing Joke maintain their relevance and prove their longevity is no fluke with terrific songwriting and an original and distinctive style of their own that no one could really get away with imitating successfully.
4/5
One of my favourite of all musical genres. My top ten looks like this:
1. Wolves in the Throne Room - Two Hunters (2007)
2. Drudkh - Blood in Our Wells (2006)
3. Blut Aus Nord - Memoria Vetusta II: Dialogue With the Stars (2009)
4. Burzum - Hvis lyset tar oss (1994)
5. Panopticon - Kentucky (2012)
6. Saor - Aura (2014)
7. Paysage d'hiver - Im Wald (2020)
8. The Ruins of Beverast - Rain Upon the Impure (2006)
9. Winterfylleth - The Mercian Sphere (2010)
10. Ulver - Bergtatt - Et eeventyr i 5 capitler (1995)
Could you add the new Dawn of Solace album, Flames of Perdition, please Ben.
My suggestions for April, Ben:
Emperor - "Cosmic Keys to My Creations & Times" (6:06) from "In the Nightside Eclipse" (1994)
Darkthrone - "Kathaarian Life Code" (10:39) from "A Blaze in the Northern Sky" (1992)
Gorgoroth - "Begravelsesnatt" (2:33) from "Pentagram" (1994)
Total runtime: 19:18 mins
Hey Ben, I see your excellent review of Master of Puppets is featured on RYM's front page today.
Hi Ben. Could you add New York stoner metal band King Bastard please.
Now having listened to the band properly I don't believe there is enough metal here to justify inclusion in Metal Academy. Far more stoner / space rock and only very brief bursts of metal. Please disregard my original request.
Interesting. I have no problem finding both of those Neurosis albums on Spotify from Australia. They must have an alternate streaming service agreement in the UK.
Yeah, Times of Grace isn't on there either. Seems strange that their highest rated albums wouldn't be available. Must be some sort of licensing issue or maybe Neurosis are protesting Boris Johnson (and why wouldn't they).
I'd be interested to know if any of those albums are on Spotify in the US or elsewhere in Europe.
Has anyone had any issues with playlist tracks not being available in their area?
Hi Ben. Could you add New York stoner metal band King Bastard please.
Here are my submissions for the April playlist Sonny:
Ahab - "The Hunt" (from "The Call Of The Wretched Sea", 2006)
Paradise Lost - "Gothic" (from "Gothic", 1991)
Neurosis - "Through Silver In Blood" (from "Through Silver In Blood", 1996)
Seems like Neurosis have some key albums missing from Spotify as Through Silver in Blood isn't on the streaming service (at least here in the UK) along with Enemy of the Sun from last month.
However, the track Through Silver in Blood is on there as it is on the Relapse 30 Year Anniversary Sampler, so at least this month there is no need to change your selection Daniel.
Sorry, Ben. Another one for you. Could you please add US death / death doom band Night Hag.
Celeste - Assassine(s) (2022)
I am not at all familiar with Celeste, so cannot speak for their earlier releases, but Assassine(s) inhabits the shadowy borderland between black metal and atmospheric sludge metal. The blackened vocals add a savagery to the lush-sounding atmo-sludge that lends the music a desperate edge and the oftimes intense riffing can make it sound rawer than you would expect to hear from the likes of Cult of Luna or Isis. It does lack the extended build-ups and crescendos that some of the more successful atmospheric sludge acts excel in and, in truth, perhaps sounds a bit one-note for it. Although I appreciate the skill on display here and can hear why this could be very popular indeed, it doesn't exactly tick all my boxes and so I can't engage with it on the same level as I'm sure many others may. That doesn't mean it's not a good album, indeed I did enjoy it quite a bit, but only really on a surface level and I must admit that it didn't get under my skin the way I suspect it may for others more susceptible to it's charms.
3.5/5
Discharge - Hear Nothing See Nothing Say Nothing (1982)
Local heroes and inventors of D-beat, Discharge, with one of the greatest punk albums ever released.
March 2022
1. Spirit Caravan - "Dead Love / Jug Fulla Sun" from "Jug Fulla Sun" (1999) [submitted by Sonny]
2. Anathema - "Radiance" from "Eternity" (1996) [submitted by Daniel]
3. Worm - "Empire of the Necromancers" from "Foreverglade" (2021) [submitted by Ben]
4. Cult of Luna - "Cold Burn" from "The Long road North" (2022)
5. Crowbar - "Like Broken Glass" from "Broken Glass" (1996) [submitted by Daniel]
6. Lethian Dreams - "Shades" from "Red Silence Lodge" (2014) [submitted by Ben]
7. Internal Void - "Utopia of Daze" from "Standing on the Sun" (1992) [submitted by Sonny]
8. Melvins - "Vile" from "Ozma" (1989) [submitted by Sonny]
9. Converge & Chelsea Wolfe - "Blood Moon" from "Bloodmoon: I" (2021) [submitted by Daniel]
10. Khazad-dûm - "Transmuted" from "Hymns from the Deep" (2020) [submitted by Ben]
11. Candlemass - "The Well of Souls" from "Nightfall" (1987)
12. Swallow the Sun - "Keep Your Heart Safe From Me" from "Moonflowers" (2021)
13. Abandon - "Pitch Black Hole" from "The Dead End" (2009) [submitted by Sonny]
14. Windhand - "Woodbine" from "Soma" (2013)
15. My Dying Bride - "A Doomed Lover" from "Songs of Darkness, Words of Light" (2004) [submitted by Ben]
16. Ufomammut / Lento - "Infect Two" from "Supernaturals - Record One " (2007) [submitted by Daniel]
Hi Ben, could you add Japanese funeral doom band Fragments of Lost Memories please:
Oh, and the new Shape of Despair album, Return to the Void. Thanks.
Hi Ben, do you think it would be feasible to allow searches on the releases page for albums with multiple genres? What I mean is, would it be possible to select say, death metal and black metal and only show releases that are tagged with both genres, not just either of them. RYM (sorry for bringing them up again) has a tick box for "must contain all genres" thus, in the above example, allowing the search to return results for blackened death metal releases. I feel this would add a degree of flexibility when searching for clearly defined, yet not officially tagged genres: blackened doom, progressive death metal, deaththrash for example.
There are four albums I use as a yardstick to judge exactly how close friends I can become with people. These are Reign in Blood, A Blaze in the Northern Sky, Watching From A Distance and this month's feature release, Still Life. If you love all four of these albums then we are virtually bloodbrothers. If you hate them all then call me Nemesis. Opeth may have made better written, performed or whatever albums, but for me this has an emotional edge over those others that the band never matched before or after. Oh, and Serenity Painted Death absolutely fucking kills! I will try to conjure up a review over the next few days (or weeks) but suffice to say, this is an exemplary 5/5 album for me.
The greatest black metal album ever recorded, A Blaze in the Northern Sky, is thirty years old today - fuck!!
Just look at that cover. This album IS black metal.
At the third attempt, my partner of some 15 years and I will be getting married in October. I proposed back in 2019 in New York and we have had to move dates twice already because of COVID. This is going to be my second marriage and her first with both of us well into our forties. This means that I am currently spending most weekends at Wedding Fayres listening to sales people sell me things - as a sales person myself, this really is hard to digest for me, but needs must - as we try and get prepared ahead of October (providing Putin doesn't kill us all by then of course). Today's fayre attendance saw me hire two casino tables and croupiers for the evening (no real money being used of course with there being kids around). There's only two things left for me to sort, my suits and my stag do. Nice and simple.
A weekend in Edinburgh should cover the stag do. I am not letting my best man sort it because - good mate though he is - he is useless at life in general. Can also see the suit fitting day ending up in a pub crawl around Liverpool - well would be rude not to, right?
Congrats, Vinny. That said, I don't pity you having to get it all organised!
I am no longer a number... I'm a free man!
So that's it, my last day of work completed and now I can get on with the rest of my life.
Quoted Sonny
Congratulations, both my parents retired recently and they've been doing great, so I can see how freeing it is. Keep up those hobbies obviously, boredom is the true killer even though we have so many things at our fingertips nowadays.
Sadly my work's just starting as I have to study for my PE exam (Principles/Practice of Engineering) for the next...8 months or so on top of all my other work. Gonna be a real long process.
Thanks Xephyr. Boredom shouldn't be an issue now I've actually got time to do the things I've wanted to for a long time. The real boredom for me was sitting around unable to start much whilst waiting to go to work.
Good luck with the exam and wishing you much success.
Could you please add another Chilean thrash band, Parkcrest Ben.
Thank you all. Sometimes it seems like a miracle I've made it this far, yet here I still am, bowed but undefeated. Looking forward to spending a bit more time with the monthly features and those pesky playlists now so don't expect me to just fade away!
I am no longer a number... I'm a free man!
So that's it, my last day of work completed and now I can get on with the rest of my life.
I'm free, free I tell you!!
Am I the only one who thinks that there should be more acknowledgement of the two distinct types of death doom metal. There seems to me to be a world of difference between the gothic style of death doom practiced by MDB et al and the more heavily (heavenly) death metal vibes of Cianide, Rippikoulu, Asphyx, Atavisma and Coffins. Is a fan of My Dying Bride, Katatonia, Draconian and Paradise Lost necessarily going to get off on Autopsy and Winter? I'm not saying they wouldn't, but surely there is enough of a separation in overall sound and atmosphere to justify a gothic or maybe even melodic death doom tag. They sound as different to me as black metal and melodic black metal do, so if the purpose of tagging is to direct fans of a certain style to further releases or bands they might like why should these two quite differing styles be lumped together.
Anyway it's just a thought, I'm trying to take my mind off the imminent destruction of the European way of life by focussing on the important issues!
I guess it comes down to the same old question. What is Death Doom Metal? Is it simply bands that mix death metal and doom metal together? Or is it an actual style / sound of metal music? If it's the former, then you could argue that bands like Asphyx might belong. If it's the latter, then they have no place at all under the current death doom subgenre.
Either option has major flaws to be honest. I mean disEMBOWELMENT don't sound anything like My Dying Bride, nor do they sound anything like Coffins. But they definitely mix death metal techniques and doom metal.
I haven't answered your question at all. Sorry about that.
Actually Ben you have answered the question and quite succinctly indeed. So if I understand your reply, the melodic and gothic-toned variant (to use a topical term) should be tagged as death doom as it has a distinct style separate from death metal to a degree and the Coffins, Hooded Menace, heavily death metal based style would best be tagged as both death metal and doom metal separately and the death doom tag discarded for these releases. That actually makes a huge amount of sense. The implication of this for Metal Academy and the clans of course, is that Draconian, Katatonia and the likes would reside solely in The Fallen and Cianide and Ripikkoulu would have both Fallen and Horde residency. I like this solution as it removes confusion and would better serve those looking for music in either style.
So to this end, on the releases page where you can select the clan and genre, if you select multiple choices, ie Fallen and Horde releases or death and doom metal, could we have an option for the results to display only releases that have both the selected genres and/or clans as at the moment it only displays releases that fit either criteria. This would also work for discovering stuff like blackened thrash or blackened death metal etc. and would give the release search function a greater flexibility.
Am I the only one who thinks that there should be more acknowledgement of the two distinct types of death doom metal. There seems to me to be a world of difference between the gothic style of death doom practiced by MDB et al and the more heavily (heavenly) death metal vibes of Cianide, Rippikoulu, Asphyx, Atavisma and Coffins. Is a fan of My Dying Bride, Katatonia, Draconian and Paradise Lost necessarily going to get off on Autopsy and Winter? I'm not saying they wouldn't, but surely there is enough of a separation in overall sound and atmosphere to justify a gothic or maybe even melodic death doom tag. They sound as different to me as black metal and melodic black metal do, so if the purpose of tagging is to direct fans of a certain style to further releases or bands they might like why should these two quite differing styles be lumped together.
Anyway it's just a thought, I'm trying to take my mind off the imminent destruction of the European way of life by focussing on the important issues!
Wow. Sabbath are AOR!! Let's move this one to the "unpopular metal opinions" thread.
Hi Ben, could you please add Chilean thrashers Dekapited.
It seems to be increasingly obvious to me, as we get into the third year of clan featured releases, that my own metal tastes are possibly not as broad as a number of other Academy regulars. A case in point is power metal, or more specifically European power metal. By and large I can't stand it - it literally makes my ears hurt. I guess my preference is rawer when it comes to metal - funeral doom, conventional black metal, OSDM and thrash being favourites, so I tend to struggle with the more bombastic styles such as power and symphonic metal. Hammer King most definitely fall under the european power metal umbrella and while I could stomach a track or two, by the album's midpoint I had had enough and come the end I felt like puking from excess cheese consumption. Too much... too much of everything. I just could not stand another harmonised chorus or neoclassical lead break. I'm not even sure how many songs are on the album as they all just blurred into one coagulated fucking mess. Power metal must be one of the great misnomers in metal because to me it is the musical equivalent of WWE wrestling when all I really want to see is bare-knuckle pit fighting!
I'm feeling generous so I'll give it 2/5.