Category Archives: Reviews

Sigh – Graveward

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At this point, what do you really have to say about Sigh? After being approached in 1990 by Euronymous to be the only Japanese band on his Deathlike Silences Productions label, they proceeded to spend twenty five years releasing experimental, varied, frequently genuinely eccentric albums that have now spelled out their name almost three times. With the exception of 2005’s Gallows Gallery (Candlelight) – which they’ve since admitted wasn’t really recorded with banned WWII sonic weaponry – “Black Metal” in some form has always been part of their sound, but the exact style has often changed wildly between albums.

This time around, the guiding theme seems to be a combination of rawness, progressiveness and symphonic majesty that calls to mind Venom playing Yes songs with Bal-Sagoth’s keyboardist, and works an awful lot better than you might be expecting from that description. The core of the album is a raw, savage but rocking “Black” Metal built on simple catchy riffs and Mirai’s always recognisable acid rasp, but one of the things that makes Sigh so successful is that they don’t simply litter their Metal core with extraneous garnish as so many of their “experimental” peers are content to do. Electronics, progressive and symphonic arrangements and even Pop song-writing is woven meaningfully into the tracks, creating an album which is both sinisterly understated and gloriously savage. In the context of their previous albums, the best comparison would be the band from Scorn Defeat (DSP) playing the songs from Gallows Gallery, but once again they have created something new.

I suspect that this review is largely unnecessary – by this point most listeners have already decided whether Sigh are any of their business or not, and if they are you’ll be listening to this album whatever I say. If you’ve somehow managed to avoid them until now, however, Graveward (Candlelight) is a strong, distinctive album with its own character and some genuinely excellent songwriting and works well as both an introduction to one of the most genuinely interesting metal bands of the last twenty years and an album in its own right.

 

8.0/10

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RICHIE HR


Holy Serpent – Holy Serpent

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It probably says a lot more about my own musical preferences than any kind of emerging movement but I do seem to have spent an AWFUL amount of time during 2015 listening to doom metal. It seems that barely a week can pass without stumbling over another band gloriously in love with Black Sabbath and finding new ways to twist and subvert that great bands art and reputation for new audiences. Whilst I bow to no-one in my admiration for this, it can sometimes feel like deja-vu when another album arrives, replete with sixties styled album cover and riffs the size of ocean liners.

It was with this thought in mind and a degree of perhaps understandable trepidation that I approached the self-titled album from Holy Serpent. Before you assume that I’m about to get all cynical and hyper-critical can I indulge your patience and time a little longer, dear reader? Let me be clear; you need this record. You probably don’t think you do, but yes, yes you do. Holy Serpent are a class act. Trust me on this one – I promise you, you will thank me.

Melbourne’s Holy Serpent are at the very psychedelic end of the doom metal spectrum but what’s compelling about this record is it’s lightness of touch and graceful inspiration. The band’s low-end fuzziness is determined and hypnotic, coaxing the listener into a bliss-laden trance of metronomic brilliance. Clearly, like all doom metal bands, this is a band in love with Black Sabbath; what I was perhaps less expecting was a cumulative effect that was not dissimilar in its trippiness and woozy, aural dynamics that one gets from their fellow countrymen Tame Impala. Don’t get me wrong, these bands inhabit very different universes but their understanding of how to discombobulate the listener is clear and pronounced.

On the obviously drug induced ‘Shroom Doom’ or ‘Fools Gold’, there is a trance-like aesthetic running through the songs that is hard to resist, so we don’t, but more than that, Holy Serpent (RidingEasy) conjures a truckload of creative and innovative imagination and puts it firmly to good and effective use. On the eleven minute ‘The Plague’ you have a startling realisation of how ambitious this band are and then, once you factor in how young these guys are, the level of potential that they have is absolutely jaw dropping.

Holy Serpent are confident without being arrogant, respectful without being facsimile, trippy without being self-consciously arch. It’s a record that you will keep coming back to and a record that will easily sit alongside those from which it has taken its rich inspiration.

 

8.0/10

Holy Serpent on Facebook

 

MAT DAVIES


Infernal War – Axiom

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It’s all been quiet on the front lines recently when it comes to Polish extreme metal band, Infernal War. Forming in 1997, the band took 3 years to produce their first demo, following it on with a small stream of releases leading up to their debut album, 2005’s Terrorfront. For a band that has survived that many years, their releases have always been sporadic with only 2 full-length albums and 2 EPs under their belt since they released their original demo in 2000, but with the quick successive release of their second full length Redesekration (both Agonia) in 2007, it seemed that the band were finally about to start making their mark on the scene.

After Redesekration however the quintet seemed to return to their old pattern of smaller releases, putting out just a handful of tracks across a number of different records, including a split with fellow Polish black metal band Kriegsmaschine. Finally, 2015 sees the return of the band with their third full-length album, Axiom (Agonia).

Where Axiom differs from the previous albums is not a change in sound, but a redefining of the old style into something tight and succinct. Blasting its way though 43 minutes of chaotic drums and staccato riffing, their music takes on a frantic urgent feel, racing through the song as vocalist Herr Warcrimer barks their hateful mantra. While Axiom has its moments, ‘Into Dead Soil’ pausing in the middle for flying guitar solo or the dropping back to half time for sections of ‘Nihil Prayer’, it fails to carve out any kind of lasting impression.

Axiom may have taken on a new level of togetherness in terms of sound but in between the blasting it’s hard to find anything particularly interesting or unique about this band.

 

5.0/10

Infernal War on Facebook

 

CAITLIN SMITH


Spitfire – Fuel To Burn

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Norwegian rockers Spitfire are back with their second full-length album, entitled Fuel to Burn (Indie Distro). Describing themselves as “high power and performance, just like the famous fighter”, this album definitely proves that statement wrong. If you were expecting fast-paced and furious riffs then you were definitely misinformed as Spitfire are another so-called ‘70s’ classic rock band, with more innuendos than you can… shake a stick at. Sigh.

Opening track ‘Fuel to Burn’ starts off with an impressive bassline which you think may lead into something exciting, however, once the lyrics kick in it is easy to see that it is not going to go anywhere. The repetition of ‘come on baby, light my fire’ is easily reminiscent of a Take That song, and it is safe to say that whoever writes the lyrics is definitely obsessed with cheesy sex references; ‘Friday night in my home town, looking for a girl. Got a rocket in my pocket, welcome to my world’ and ‘Let me see those long legs honey, wrapped around the stick’. It’s enough to make any girl, feminist or not, shudder, but if you are into Steel Panther style innuendos and cheesy rock music then you would definitely love this song.

‘Dogfight’ sounds almost like an early Bullet For My Valentine song, with added sexual innuendos. It’s hard to take a band serious when they talk about ‘jerking back’ their ‘stick’. Spitfire are an extremely confusing band to listen to, as you are unsure whether they are deliberately trying to be a comical band or if it is just coincidental.

Haunting riffs and lyrics greet you in ‘Far Away’, which is possibly one of the most interesting tracks on the album. Steering clear from the cheesiness, Spitfire prove that they can actually create a catchy and exciting song, rather than sticking to immature and silly innuendos. The vocals are impressive and the guitar solos are both technical and unique.

Final track ‘Down’ is hard-hitting and heavy, definitely making an instant impression on you.

It’s difficult to understand why they did not open the album with this track, as it is much more exciting and well-written than the sexually charged nonsense at the beginning. There are some definite hits merged in amongst the comedic songs, however, if you have never listened to Spitfire before then you will not know whether they are deliberately trying to be comical or not… Even after several listens I still have no idea.

 

3.0/10

Spitfire on Facebook

 

JULIA CONOPO


Nightrage – The Puritan

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Originating in Thessaloniki, Greece, under the fleet-fingered generalship of Marios Iliopoulos (the bands only stalwart and ever-present) and six-string superstar guitarist Gus G. (Firewind/Ozzy), Nightrage have had a fair few well-known faces bolster their ranks and raise their profile throughout the years, including, amongst others, Per Möller Jensen (The Haunted) and Tomas “At The Gates” Lindberg. Yet, despite the constant turn over, through the sheer force of Iliopoulis’ will and personality, the band has maintainted both its sound and style.

And so to opus number six, The Puritan (Despotz), and yet another line-up change with Ronnie Nyman grabbing the poisoned chalice-shaped nettle of the microphone stand, his early Anders  Fridén stylings slotting in seamlessly with an assured and aggressive voice snarling over another dose of the confident melodeath we’ve come to expect from Nightrage. Steeped in the fast riffing, melodic leads and off-beat snare snaps that define post Slaughter of the Soul (Earache) Melodic Death Metal, The Puritan displays all the expected genre trappings, with Nightrage comfortable in laying out a heavily In Flames and At The Gates influenced sound.

Yet, this was the sound of the late 90’s… in the lead up to the turn of the millennium, you couldn’t swing a cat without it picking up the print ink of review upon review comparing bands to the main protagonists of the NWOSDM sound and nearly two decades on it’s disappointing to hear respected outfits slavishly reproducing a style that belongs to yesterday. There were too many bands doing it back then to need any more doing it now.

Iliopoulos knows how to do this melodeath thang til his fingers bleed, and The Puritan is an effectively crafted slab of Gothenburg jagged riffing, harmonized guitars and throaty vocals. For a band that has rubbed more than shoulders with some big hitters and genre-definers, while the proficiency is there, that extra dose of depth of thought and invention in song-writing that would move Nightrage from just A.N.Other band to genuine players, is lacking.

Even seventeen years ago this would have sat as one of the pack alongside your Withering Surface’s, A Canorous Quintet’s and Crown of Thorns as follower, not leader. 

 

6.5/10

Nightrage on Facebook

 

STEVE TOVEY


Antigama – The Insolent

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Hailing from Poland, Antigama are an absolute wrecking ball. Their breed of Grindcore is relentless, and has been since their inception way back in 2000. Now with the release of The Insolent (Selfmadegod) they’re looking to launch another assault within the scene.

The make-up of the band has certainly been very tumultuous since 2000, with only two of the four in the band still original members, but it doesn’t seem to have affected the tightness and fury in the music as formula wise this is very similar to their previous output. They’ve got a system and they pretty much stick to it – a series of short, punchy and breathless tracks.

What makes Antigama a bit more interesting than some of the others in the Grindcore scene is the fact that they’ve clearly got other avenues of influence which they’re keen to explore. Some of the tracks display an erratic series of time signatures and an all around neurotic level of chaos, with influence possibly coming from the Math-y side of heavy music.

This is most clear in the tracks ‘Used To’ and ‘Foul Play’ which both smash by in less than three minutes. Frankly though as the album progresses it all becomes a bit tiresome. Each track feels like they’ve been melded in to one, so unless you’re actually looking at whatever device you’re listening from, you’ll struggle to pick up on track changes. That is until we reach ‘The Land Of Monotony’, the final track on the album. Ironically you’ll feel that your experience getting through the album has become rather monotonous when this track hits, but this seven minute song showcases what exactly the band are capable of if they move away from their standard formula. The track is atmospheric, heavy and chaotic all at the same time and only leaves you wondering why there isn’t more of the same across the album. As good as they are at thrashing their instruments into oblivion; this song alone shows that there could be so much more to this band.

Overall then, a lot of this album is largely forgettable. If you obsess over a good blast beat and chaotic two minute tracks, then you’ll absolutely love this but with this being a seventh studio album the fact that there are only glimpses of different and exciting things being explored is a bit of a shame.

 

6.5/10

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TOM DONNO

 


Elderoth – Mystic

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Mystic (Elderoth Entertainment Inc.) is the second album by Canadian Prog project Elderoth. While there is a live line-up, the album is entirely written, played, and produced by Collin McGee. He aims to mix exotic instruments with the Western progressive style.

From the first notes to the last, this music is very in-your-face. There is usually a scale being played by some instrument somewhere, possibly by several at once. At the start this seems like a minor quirk, but as the album progressed I found myself becoming more and more agitated. There is too much of everything.

‘This Shadow By My Side’ has a very busy intro, which sounds all right, and then a total change to the rest of the music. The change at 2:10 is really well done, but a mere 20 seconds later there is another ill-fitting change. Changes in prog are cool, but make them fit the music, rather than just stopping and starting at random every so many bars.

‘My Future’ has a really strange, almost disco-like feel at the start that is weird but not entirely unpleasant. The vocals aren’t necessarily bad, but they often sound constricted. He needs to sing more towards the end to the sentence so that the final word doesn’t just fall into an abyss of mumbling. This song has a very nice symphonic interlude that is really well balanced and is probably my favourite section on the album.

And then there’s ‘Falling Star’. Musically this is far from the worst song on the album, although it would definitely have been better off without the synths in the intro, but this song does feature some of the worst lyrics I have heard all year. Note to any songwriters: if your chorus sounds like you took your rhyme from ‘Twinkle Twinkle’, you’re doing something wrong. It was the most cringeworthy part of the album and I had to skip the rest of the song at some point.

There are a lot of really good elements and that for me is where the problem lies. There are too many different things going on at once for me to be at all comfortable listening to this, and there are too many changes that don’t work well. Perhaps it is less jarring for those who do not suffer from hypersensitivity disorder. I really hope Collin McGee learns the benefits of silence and calm, because I think he could do so much better than this. He has proven that he can write interesting lines with interesting instruments, now he just needs to not use all of them at once.

 

5.0/10

Elderoth on Facebook

 

LORRAINE LYSEN


Space Probe Taurus – Mondo Satan

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In their 23 year existence, stoner rockers Space Probe Taurus can hardly be described as prolific, having only offered one EP release and a contribution to a Blue Cheer tribute compilation before finally releasing their full length debut in 2008. Whatever the reasons behind their snail’s pace in releases, the follow up Mondo Satan (Ripple Music) quickly follows (for them at least, only seven years later).

During this time it is clear however that these Swedes have been fine tuning their craft as Mondo Satan offers an impressive repertoire. Fans of the likes of Clutch and Monster Magnet will definitely find much to love in their brand of fuzzy, stoner rock which veers far from the psychedelic for a more straight forward, gritty rock formula which evokes the desert scene.

The songs are certainly very strong but sadly they are damaged by the weak final production. Of course this style of rock benefits from a raw, grittier vibe than most and its likely this was the aim here; but instead of a classic feel Mondo Satan lacks any impact. The guitar work especially sounds too buried in the mix when it should surely be at the forefront.

They may not quite rival the massive anthems of some of their peers but in Mondo Satan, Space Probe Taurus have proven they can in time become a stand out band on the stoner circuit. In the long time it has taken to release this album they have mastered the art of writing catchy, good times soundtracks; if only they worked on how to record them properly.

 

7.0/10

Space Probe Taurus on Facebook

 

CHRIS TIPPELL


Kings Destroy – Kings Destroy

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Starting a rock album with a song about a Motown legend may seem a curious move, but there’s little Detroit Soul here: initially Kings Destroy (War Crimes), the eponymous third full-length from this New York quintet, purveys some Queens of the Stone Age-style Desert stomp. The band’s second album, A Time of Hunting (also War Crimes), raised serious eyebrows, and the crushing yet pacy riffs and rhythms of opener ‘Smokey Robinson‘ expand on those expectations. Steve Murphy‘s voice has that laconic yet soulful delivery of Josh Homme, reaching some heavenly heights when crooning Robinson’s name, but has the right amount of gravel when required.

At the album’s slow points, such as large swathes of ‘W2’, it’s easy to feel that this is a band merely going through the motions, a prosaic structure surrounding the, albeit pulverising, drums and deep, revving riffs. Taking the critical eye away for a second, however, allows the true emotion to bleed through, the passionate vocals and harmonies augmented by the moving solo at the close. There’s more than a touch of Americana too, heightened in the pensive yet affecting segments of ‘Mythomania’: growling intersections adding an element of steel without dwarfing the soulful beauty of the music.

Unfortunately, as is usually the case with Stoner linked sounds, there are ingredients which belong with a really good pub band; the plodding nature of ‘Embers’ possessing the ability and feeling to bewitch such audiences whilst being devoid of any refreshing or inventive quirks that would ensnare other ears, with only another stirring solo enlivening the track to noticeable levels.  The band are undoubtedly more impressive at a higher canter and the return to a languid Desert groove of the brief ‘Green Diamonds’, with more Homme-style inflections, gets the body snaking. In a disappointing end, however, early sections of closer ‘Time for War’ are dull, lifeless, and appear a little lazy.

Despite its heavy flaws, and the unlikelihood of appeal to many below a certain age,  this is nevertheless an often capable offering for those attracted by easier sounds which still retain a hint of power.

 

6.5/10

 

Kings Destroy on Facebook 

PAUL QUINN


Korpiklaani – Noita

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You could be forgiven for accusing Finnish folk-metallers Korpiklaani of being one-trick ponies. After all, their brand of sozzled pseudo-parody folk metal has been the staple of many-a post midday festival piss up. While enjoyable, the Finns have never really pushed the creative envelope and Noita (Nuclear Blast) is no different. That being said, it would be harsh to assume this lack of imagination directly correlates to the quality of the album. Korpiklaani albums have always brought with them a sense of no-fucks-given entertainment.

Noita feels more like a collection of singles rather than a cohesive piece of music,  some of which are perfect for summer evenings with a beverage and mates, others are just plain daft.  ‘Viinamäen Mies’ is just one example of the latter, as is the frankly forgettable ‘Sahti’ which feels lazy and forced, as though they were struggling for ideas.  ‘Sen Verran Minäkin Noita’ is where it all goes wrong, wandering from the path well-trodden it verges dangerous onto the bland side of metal, becoming wrapped up in its own clichés and failing miserably to bring a new dimension to the bands sound. ‘Lempo’ is one of the few tracks on the album that endures, sonically a traditional Finnish caper soundtrack that is best enjoyed at full volume and with any remaining brain cells left at the door. It sums up the Korpiklaani sound perfectly, capturing the youthful, carefree and slightly eccentric essence that has made the band a festival favourite.

Unfortunately, much of the album feels like lazy and half-hearted, as though the band had completely run out of ideas. Much of the album is a complete rehash of older albums such as ‘Surma’ which saw Korpiklaani at their best, something that they don’t seem to have rekindled since. Still, Korpiklaani have and always will be a band who doesn’t take themselves serious and who will continue having a good time, all the while ensuring their fans enjoy themselves along the way.

 

5.0/10

Korpiklaani on Facebook

 

SARAH WORSLEY