Cold World – How the Gods Chill


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When a band has as prominent an underground reputation as Cold World it is hard to miss the hype that’s been surrounding the release of their latest album, How The Gods Chill (Deathwish). As a new listener to the band, their reputation certainly preceded and it was hard not to start the album with high hopes. Firmly rooted in their usual hardcore style, this record also mixes influences from the rap scene, collaborating with artists like Kool G and Meyhem Lauren.

Despite not usually a fan of rap, this rapidly pans out as the most exciting part of the album with ‘Hell’s Direction’ beginning being one of the few genuinely enjoyable moments. The main vocals in comparison lack any real depth and, despite switching between shouted and sung sections, fail to add any life or interest to the music. It’s obvious these musicians are proficient, however, like the vocals, the music’s lack of any real variation quickly leads to the album becoming repetitive and boring.

The riffs may have a slightly punk feel but the music wanders too often into the realms of catchy, which is at odds when the band is so busy also trying to be angry. Cold World may be trying to capture the struggle of real life struggles however whatever rawness they manage to capture is quickly counteracted by the polished production sound.

While the band may have a steady stream of followers and continue to build a strong reputation on the underground, there is very little about this album that really inspires. While the hardcore scene continues to produce a wealth of talented artists and exceptional albums, anyone would be forgiven for giving this one a miss.

3.0/10

Cold World on Facebook 

 

CAITLIN SMITH


Gus G. – I Am The Fire


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The early-90’s saw a sea change in the world of rock and metal, and a slew of great albums adorned the mainstream. These weren’t frilly-shirted or leather-trousered types, these were check-shirted and ripped jeans types, bringing some incredible music. Alice In Chains, Nirvana, Pearl Jam, Soundgarden shaped the soundscape. Yes, it meant “metal” had to go and lick its wounds, but it never went away. Indeed, Pantera, White Zombie and Metallica will tell you, it certainly didn’t stop good metal bands being successful or releasing great albums (OK, Metallica’s last great album was pre-grunge, but you get my point, and besides Garage Inc was bloody good).

But while metal burrowed underground and into mainland Europe, “Rock” was mortally wounded. Manowar’s black arrow of death sent straight to the heart of all those who played false metal was actually fired by bands that didn’t play metal at all (though Dirt, for one, is one heavy motherfucker). But, do you know what? That wasn’t a bad thing at all, as it meant the end of hundreds of unimaginative, middle of the road plod rock bands.

As well played as it is, Gus G.’s I Am The Fire (Century Media) is the exact sort of album that it was great that grunge killed. A guitar “virtuoso” proving that he can shred, widdle, and solo with the best of them, but without the distinctiveness or feel of the great (I’d take a Slash or Adrian Smith or Ritchie Blackmore solo over one of Gus’s any day, maybe technically not as proficient but guys who make their leads sing) but has no imagination beyond stock chords for “riffs” and obvious, underwhelming vocal lines when songwriting. It’s like Gus is saying “this album isn’t about how great I am on guitar, it’s about songs”. Yes Gus. Boring ones’

Joined by a cast of proficient if unexciting B-list vocalists, the two best tracks on here are the two instrumentals; ‘Vengeance’ featuring Dave Ellefson, a spiky track that could have been the music under a track off Rust In Peace and ‘Terrified’ featuring Billy Sheehan, a riffier, thrashier number.

 

4 / 10

Gus G. on Facebook

STEVE TOVEY