Category Archives: Reviews

Meek Is Murder – Onward/Into the Sun EP

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When a band describes themselves as “music for troubled weirdos”, it’s pretty safe to assume we don’t have the next incarnation of Mötley Crüe on our hands. Brooklyn-based trio Meek is Murder look like they would be happier engaging in a mammoth World of Warcraft session then doing blow with hookers on the Sunset Strip but that’s not to say the music they make won’t get one hell of a party started, for new double EP release Onward/Into the Sun (Rising Pulse) is one of the most exciting things you’ll hear all year.

Known for their blink and you’ll miss it song lengths seemingly tailor made for the ADHD brigade, Meek is Murder play a raucous style of mathcore that will have fans of early Botch and Converge foaming at the mouth with wide-eyed delight. It’s no surprise that the band has previously worked with producer extraordinaire Kurt Ballou, for his influence is all over the brief tracks that comprise first EP Onward, from the lurching dissonance of ‘Foreword’ to the manic violence of ‘Downward’ which features some seriously heavy drumming and a devastating false ending that will have circle pits erupting in any sweaty basement it is dropped live.

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The other EP in this release Into the Sun actually came out in 2012 so the re-issue here is a welcome one to those who missed out the first time. A tribute to classic 80s sci-fi flicks Aliens and Back to the Future, this effort is a tad more emotive and plays around with slower tempos than Onward, but is still madder than a box of frogs as the hyperactive ‘Doctor Emmett Brown (Endless in Our Fleeting)’ demonstrates.

This kind of hardcore works best in short, sharp snippets and Meek is Murder have clearly done their homework. At only fifteen minutes in length but with more going on than it’s possible to mention, Onward/Into the Sun shows a band bursting with ideas and incapable of sitting still.

 

8.0/10

Meek Is Murder on Facebook

 

JAMES CONWAY


Six Feet Under – Crypt Of The Devil

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In the twenty years since Chris Barnes first brought his Six Feet Under project to zombiefied life with the cult classic Haunted (all 6FU releases are Metal Blade) he has seen opinion of his outfit swing from much anticipated to laughing stock with the release of their Graveyard Classics series (particularly Part 2) before clawing back credibility with some decent, if unspectacular Death Metal fare, culminating in the stronger Unborn in 2013.

Since then, though, in true Six Feet Under style, line ups have altered nearly as often as Mr. Barnes has skinned up (well, probably not…), and considering his views on hailing the leaf, it is perhaps not unsurprising that his backing band for studio album number eleven (!) Crypt Of The Devil is comprised of Cannabis Corpse, with guitarist Phil Hall working closely with Barnes on the compositions, and the rest of the band laying down the rhythm tracks.

However, any thoughts that (another) new line up and writing team would be injecting anti-coagulants into the bloodstream of the lumbering cadaver that is 6FU and producing a thinner, quicker, revitalized sanguinity are churlish as it is rather the case of meet the new blood, same as the old blood, as Crypt Of The Devil churns out more serial killer rhetoric over chugging churning Death Metal.

What you get is a set of very listenable, very competent and very safe Death Metal tracks. You’ll nod along, there will be bits that will snap, and some that will bite, but in the main this is a very unobtrusive and, with the exception of ‘Broken Bottle Rape’ (are we really doing this still? Fuck sake, man), inoffensive album. ‘Open Coffin Orgy’, in particular, is catchy and ‘Gruesome’ kicks things off with twisted intent, but beyond that, the rest of the album is comprised of stock chugging and predictable tracks that merge together.

It may come as very little surprise to learn that, while nothing is particularly wrong with Crypt of the Devil, it won’t change your life, nor demand your attention enough to justify picking it up.

 

6.0/10

Six Feet Under on Facebook

 

STEVE TOVEY


Kamelot – Haven

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Haven (Napalm), American Power Metal band Kamelot’s eleventh studio album and second since the departure of Roy Khan, is an album that sounds like a musical at heart, like it was fastidiously crafted to be performed on Broadway. Its stylings and symphonic groundings and Tommy Karevik’s leading man performance all point to it, and so effective is their dramatic voice, perhaps taking their work to the theatrical stage is the next step they need to take to fully realize a legacy that has been consolidated by consistency.

Historically, the Floridians have always been walked on safe, and not the wild, side. A touch of fantasy, a host of symphonics, with soaring, immaculate vocals on top, they have always delivered and always sounded utmost in their professionalism and musicianship, but never truly excited; a band that, while most definitely best in class (though perhaps by default), are at times too slick and lack the insanity/genius of a great.

The heady mix of Savatage, Dream Theater and Queensrÿche coupled with effective symphonics and Andrew Lloyd Webber musical theatrics is near-perfected in opening duo ‘Fallen Star’ and ‘Insomnia’, up there with the best tracks of the bands’ career, but it is with ‘Under Grey Skies’ and the addition of Charlotte Wessels’ (Delain) dreamy vocals and Troy Donockley (Nightwish)’s tin whistle that matters bloom and the full epic musical scale of the vision for the album begins to be realized. It sails close to the Eurovision ballad wind, but it’s a beautiful song fully suited to a soundtrack or a musical. Elsewhere, downtuned staccato rhythms underpin grandiose unveilings and Karevik dispels any notions that the band can’t succeed without Khan with an assured performance; actor, narrator, singer, frontman and further proof that the line between Kamelot’s albums and musical theatre is a thin one.

All the previous criticisms can apply: this is a slick, professional band, but on Haven Kamelot have once again verified they are best in class, and have found an emotional connection. No longer cold to the touch, they are bringing to life their vision most effectively and with genuine zest. While retaining all the expected hallmarks, it is most definitely meticulously put together (if the devil is in the detail, then Haven is positively Satanic) but there is something more to it; something exuberant bubbling through. You would expect a band entering their third decade to have the requisite chops, but you wouldn’t necessarily expect them to be injecting such vitality and vigour into the mix.

 

7.5/10

Kamelot on Facebook

 

STEVE TOVEY


Blur – The Magic Whip

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When Blur reactivated in 2008 with founding member Graham Coxon, it was a cause for great celebration among fans and the music press. Coxon was really the author of the sound of the band at their pinnacle, along with front man Damon Albarn’s chameleon voice, that put the band on the map during the Brit-Pop explosion of the 90s. But twelve years between albums can be a killer prospect for many artists, especially these days. The band found inspiration to churn out a new album after a chance extended stay in Hong Kong after a canceled tour. That experience is all over the finished result of The Magic Whip (Parlophone) and it’s brilliant.

While every band and other mother is jumping on some sort of revival bandwagon, Blur is not tripping on their own toes. They have turned in a thoughtful and passionate album that furthers stretches out their legacy, rather than repeats it. From the introspective opener ‘Lonsome Street’, and the sleepy ‘New World Towers’, to the electro-folk pondering of ‘Ice Cream Man’, Coxon and Albarn still have a knack for slick songcraft. ‘Go Out’ rocks with a twangy chord progression right out of the work of Carl Perkins. There is more terrific guitar work here as well as the ultra catchy sing-a-long ear-worm part under the chorus. ‘Thought I Was A Spaceman’ might be the album’s centerpiece, philosophical, patient and rewarding. With deft dynamic elements and post-trip hop beats, this track just burrows into your chest and holds your heart.

And it still rocks in spots too. ‘I Broadcast’ and ‘My Terracotta Heart’ don’t rage with the vitriol, but are driving tracks that demand your attention. Other ones such as there ‘Are Too Many of Us’ and ‘Ghost Ship’ sounds as if the late 70s Rolling Stones met up with New Order in 1988 to write some jams. The balladry of closing song ‘Mirroball’ is not a dirge, nor a celebration, but a memory made to last in you, long after the final guitar lines reverberate and dissolve.

Blur is back ladies and gentlemen, and showing us all how a band makes a comeback album without trying too hard at all.

9.0/10

KEITH CHACHKES


Von Hertzen Brothers – Black Wolf – Ulysses: Live at The Dome, Tufnell Park, London

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The Tufnell Park Dome in darkest North London has had a bit of a resurgence of late with its mid-sized entertainment room  being more regularly frequented by touring bands that Ghost Cult readers would heartily approve of. So it’s here we schlepp off to, catching up with our favourite brothers in rock music, the Von Hertzens. Tube delays and refreshment catch ups mean we miss most of the set by the charming and sprightly indie/glam/rock stomp music of Ulysses for which, if the last few songs were any indication, we are very sorry about. Next time, gents, I promise.

Black Wolf play muscular heavy metal, reminiscent of Judas Priest or Iron Maiden or – well, insert any number of hard rockin’ bands here – and they are pretty decent if you like this sort of thing, which, judging by the enthusiasm of the crowd here tonight, many people evidently do. There’s not much that you haven’t heard before but they do a decent set that leaves you warming to them and wishing them well. Given the crowded market place within which they have decided to play their art, it is important you get people on your side: they certainly did tonight.

We are all here for the Von Hertzens though and the room seems to fill almost instantly with less than five mins to their arrival on stage. A loud and almost valedictory opening of ‘New Day Rising; sets the bar at an astonishingly high level which, to their credit, they not only stick to but,on ‘Flowers and Rust’, they move into another league altogether; its swooning harmonies and melody leaving many wondering whether they had, ahem, something in their eye. ‘Black Rain’ has a larger sense of brooding and foreboding than perhaps original listens on record would suggest and ‘Let Thy Will Be Done’ is funkier than a funk convention. Or something. ‘Freedom Fighter’ is full of verve and panache and makes you feel a little bit better with the world; a bit like the band themselves to be honest.

This evening’s performance is full of charm, warmth and energy; they have a brilliant talent that they showcase with a level of insouciant charm and brilliance. This is a band who have gathered their mojo up and twisted it gloriously – they are a fine group of songwriters with not just a cracking new album to promote but a back catalogue of enviable riches. As my companion said to me, tonight felt like a bit of a privilege seeing them. Well said. Glorious, glorious stuff.

 

The Von Hertzen Brothers on Facebook

 

MAT DAVIES

 


Beyond Dishonor – Generations EP

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Before you dismiss Beyond Dishonor as just another metalcore band, you need to look at exactly how far they have come without any record label or management help. Just a simple ‘google’ will show you that they played over 70 self-funded shows a year and that they have previously supported big names such as Whitechapel, Emmure and Chelsea Grin. Their hardworking attitude is something that many bands nowadays are lacking, and it is safe to say that their efforts have paid off in their latest release Generations (self-released).

Opening track ‘Heisenberg’ instantly proves that Beyond Dishonor have managed to nail all aspects of the metalcore genre; heavy music greats you from the first second of listening to it and the guitar riffs are very technical, which creates a unique pace for the song. Reese Dunlap’s vocals are extremely brutal and it would be interesting to hear how he manages to perform live.

‘What Clayton Bigsby Doesn’t Know’ is hard-hitting and furious, featuring angst-filled lyrics which merge perfectly with Reese’s vocals. The breakdown is anything but tame, appealing to head-bangers from all across the metal genre. Final track ‘God’s Greatest Gift’ is the perfect end to such a powerful EP but talent oozes out through every single song. The fast-paced and heavy riffs continue, making every song as impressive as the next. Despite only being six tracks long, this EP manages to showcase some of Beyond Dishonor’s greatest work and it proves exactly why you should give their music a try.

It really is hard to call Beyond Dishonor anything but talented, even if you are not a fan of metalcore music. Their hard work and effort shines through in Generations and it is easy to see exactly why they have previously supported or been on tour with so many popular bands.

 

8.5/10

Beyond Dishonor on Facebook

 

JULIA CONOPO


The Poodles – Devil In The Details

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There’s a certain je ne sais quoi about The Poodles image that borders on hipster irony, and/or a touch of Steel Panther parody, though at the same time, it could just as well be a plain old “wacky” sense of humour. Either which way, the band have racked up ten Top 10 hits in their native Sweden, and swagger into album number six, Devil In The Details (Gain), on the back of a rising popularity that has continued to grow since their début Metal Will Stand Tall (Lionheart) in 2006.

While the album opens in the symphonic power rock vein of a less metal Kamelot with the dramatic ‘Before I Die’ and its bombastic chorus rising from a considered, dark verse, (‘Crack In The Wall’ has a similar feel), The Poodles true sound lies in a rockier, glammier sound, and sure enough ‘The Greatest’ is a hit single with a Bon Jovi meets 30 Seconds To Mars stamp all over it.

The Poodles are a Hard Rock band who are at home in the Power Metal market (indeed guitarist Pontus Norgren left to join Hammerfall), and, as such, aren’t afraid to incorporate a more epic bent to their music – ‘Need To Believe’ nods to Tony Martin era Black Sabbath – as well as some versatility ‘(What The Hell) Baby’ funks along (and actually has a chorus that it’s not unimaginable could have been written for Britney Spears).  However, consistency is a bit of an issue, as is stamina as things dip towards the end, with final four ‘Stop’, ‘Creator and Breaker’ and ‘Borderline’ being bone fide plodders, while a ‘Life Without You’ is saved only by a great chorus that demands a fist up and a grin on the face all tacked onto a tepid toil.

While not the strongest release of the bands’ canon, there is no need to be negative, as there is plenty to appeal to their existing fans, plus those of acts like Europe and Stratovarius.

 

6.0/10

The Poodles on Facebook

 

STEVE TOVEY


TAPED – [Empires]

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TAPED is a metalcore/hardcore band from a place in the world rarely considered when it comes to heavy music: Lichtenstein. For a group that comes from such a small country, they have grand ambitions. [Empires] (Redfield Records) is their attempt to reach a bigger audience.

Opener ‘New Chapter’ is a piece that is meant to pump up the listener and slam into the next song ‘Turn the Page.’ The energy dies off after a while though and it all starts sounding like any average American band in the metalcore and hardcore genres. One wishes that ‘Turn the Page’ was a twist on Bob Seger’s classic instead.

This mood continues throughout most of the album. The interludes: ‘Rise’ and ‘Head Up’ are the most engaging part of it all. They have the most energy of all the tracks. ‘Convictions’ is closer to the end of the album and serves as a break from the monotony of everything else; it offers a glimpse at what could have been. The guitars and vocals sound balanced and infused with spirit. Overall, it is the most developed sounding song. With the next track, ‘Behind the Mask,’ it goes back to the same noise. It feels as though the album was uninspired and that nothing different is being done.

Credit should be given to TAPED for even attempting to break out of their small corner of the world. They would feel right at home in the hardcore American scene, but that is not a good thing when it comes to being noticed. [Empires] may be interesting to those who are looking to expand their hardcore and metalcore tastes beyond America. Otherwise, it may be better to look elsewhere.

3.0/10

MELISSA CAMPBELL

 


Crom Dubh – Heimweh

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Since their previous album, Omnia Mutantur (self-released), was a collection of their demos and EP, Heimweh (Ván Records) is technically the first full-length album by Black Metal band Crom Dubh. This London-based quartet has been writing Viking-themed music since 2003, and show their experience and skill on this album.

Upon seeing the track list I was immediately intrigued by not one but two two-part songs; namely ‘Cutting Teeth’ and ‘Kings’. In both cases the first part is a short instrumental piece that serves as a gentler introduction to the heavy second part. The guitar lines on ‘Cutting Teeth’ have enough variation to keep things interesting, and the blastbeats are on point. The grunts are also quite varied and sometimes the vocal lines combines with the guitars have a little of that folk-metal vibe. That folky feel comes back at several points later on the album but most clearly in the guitar lines in ‘Sedition’.

In ‘Kings I’ the band shows that they are capable of great subtlety, with not only a gentle but dark melody coming through on one side, but also a corresponding echo on the other. I would have liked the intro to have a bit more of a build up to the main event, but because ‘Kings II’ continues in the same chord it at least sounds like it belongs together. ‘Kings II’ shows a much greater amount of variation than the previous songs, and it really works rather well. The sound is still dark, but the alternating melodies of the guitars open the piece up and make it really enjoyable and captivating to listen to.

All in all, this is a very interesting Black Metal album with some hints of folk. I want to mention that the drumming is absolutely phenomenal and carries the music very well. The rhythms are always effective and interesting, and the fills spice things up nicely. Just listen to ‘The Invulnerable Tide’ and you’ll understand what I mean.

A thoroughly enjoyable listen, and the band can take great pride in having this as their first full album.

 

8.5/10

Crom Dubh on Facebook

 

LORRAINE LYSEN


War Iron – Precession of the Equinoxes

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From highly-rated Belfast quartet War Iron comes a morose, ponderous noise infected by the pure evil of Andrew ‘Baggy’ Bagwell‘s nefarious, slurring rasp. Dual leads pluck the heartstrings at intervals through the crushing riff and crawling, titanic rhythms of ‘Bludgeon Lord’, the opening track of third album Precession of the Equinoxes (Independent). A warm, crackling production heightens the sinister feel and prevents the quickening bridges from exploding into a full-on Death assault; instead applying the reins enough to make one marvel at how such a precariously-balanced pace is kept.

The desolate peal of ‘Summon Demon Scream the Abyss’ is initially accompanied by a penitent chorus before that terrible lascivity seeps over the body; a funeral groove, twisting with the slowing power and weight of a dying anaconda. Baggy’s repetitive early vocal has the sneering perversity of ex-Lord Mantis‘ screamer Charlie Fell, the track fizzing and swelling with all manner of sadistic sorrow. The introductory bass notes of the title track cause concussion, some unsettling low growls whispering around the floor before the most fetid scream tightens the sphincter: whilst colossal, almost Blackened riffs make the tension nigh-on unbearable. Oddly-pulsing leads at the mid-section combine with bone-crunching rhythmic gymnastics and brutal chops to the coda, all the while staying close to the Doom template. Closer ‘From Napalm Altar’ sees a return to that funereal hostility: the intermittent quiet moments filled with eerie language, setting the teeth on edge for the forthcoming bludgeon; every chord, note and single beat flung from Thor’s Hammer; the accompanying roars and rasps the embodiment of despair and terror.

Finally, the UK has a contender in the Blackened Doom market. Although the winding noise of an Indian or Coffinworm is absent, it’s replaced by an Ophis-style mournful tolling which adds to the ominous feel rather than detracting attention from it. The resonant, single-kick sequence closing this fine, startling album chills the spine, and leaves the feeling that nothing good will ever happen again. To Serpentine Path: if you want to scare the shit out of people at a snail’s pace, this is how you do it.

 

8.5/10

War Iron on Facebook

 

PAUL QUINN