Tag Archives: Lorraine Lysen

Primitive Race – Primitive Race

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Primitive Race is a supergroup consisting of, among others, Chris Kniker, Mark Thwaite, Graham Crabb, Erie Loch, Tommy Victor, Raymond Watts, Dave Ogilvie, Kourtney Klein, and Mark Brooks, and thus this self-titled album (Metropolis) consists of parts of very nearly every great Industrial band that there is or has been. Consequently, the album does not have one single sound, but bounces around between various forms of the Industrial style, from the bluesy sound of ‘Cage Rattler’ to the catchy rock riffs of ‘Taking Things Back’, to the dark recesses of gothic rock of ‘Below Zero’.

One of the songs that makes a good impression is ‘So Strange’. It is nicely electronic but happily industrial. The vocals are clean, but with a slightly constricted sound that is actually quite nice as an effect making the overall thing very catchy yet non-intrusive. ‘Cage Rattler’ is also very good, although the backing vocals are monotonous to the point of annoyance. The riffs are excellent, nice and bluesy, with good solos even, but the vocals are less impressive. The screaming at the end is the best vocal performance of the song.

‘Addict Now’, ‘Give Up The Ghost’, and ‘Taking Things Back’ are very different songs, but they are all solid and effective compositions. However, the best song on the album may well be ‘Below Zero’, with its incredible vocals and lovingly depressing style; reminiscent of Nine Inch Nails or Lacrimas Profundere, this is a very pleasing sound.

Not all is fun and games on this album, however. While ‘Acceptance of Reality’ has some good riffs, and enough variation to be interesting, the solo is abysmal – even for an eclectic solo there are rather few notes in the proper key. ‘Platinum Balls’ is rather boring, and ‘Follow the Leader’ is grating as the vocals are not mixed in to the music, but are layered over. The worst offender is ‘DJFH’, which has terribly annoying synths coupled with terribly bad vocals. There are just too many dropped or downright dissonant notes.

On the one hand it is great to have a lot of different styles, on the other hand, the album lacks cohesion. It bounces around from totally awesome to rather unpleasant, and with such an experienced bunch of musicians it really ought to be better.

 

6.0/10

 

LORRAINE LYSEN


Goat Torment – Sermons to Death

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The Belgian trio of Goat Torment is unleashing their second full length album upon the world. Sermons to Death (Amor Fati) comprises about forty minutes of unholy racket in its blackest form. With extreme Black and Death Metal bands you can’t quite be sure whether the musicians take the genre too serious or not very serious at all, and with a title such as ‘The Defloration of the Holy Cunt’ it can still go either way. Regardless of the spirit of the album, the music is dark and heavy enough to satisfy any black cravings you may have.

While the intro has quite a rich sound, the two following songs start out with such a lot of crunchy distortion that the music seems to lack any sort of tone. In fact, I found myself checking my earplugs for damage. Luckily both ‘Bones Aligned’ and ‘Rising Dominion’ pull themselves together at some point, after which the riffs are very satisfying and the drums actually support the music rather than overcrowding it. Because the vocals are added in in the background rather than the foreground, they mix into the music really well.

Other highlights of the album include the joyous guitar solo in ‘The Domineering Profane’, the outro to ‘Of Fire and Brimstone’, and ‘Death is Crowned’. This last song is quite varied, and the slower section with squealing guitars really opens up the composition.

Most of the other songs on the album actually have a good sound from the beginning. ‘Hierarchy of Negligence’, for instance, makes a very good impression. The riffs are solid and although the drums could maybe have done with a bit more variation, the whole is quite agreeable. The blast beats are on point, and the galloping bass adds a touch of fun to the ensemble.

 

6.5/10

 

LORRAINE LYSEN


The V – Now or Never

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The V is the solo project of Veronica Freeman, and Now or Never (Frontiers Music) is her debut album. Freeman has been storming her way through the music scene for ten years with Benedictum, and now brings forth a Hard-Rock album supported by a lot of big names in the scene. Not the least of these is Tony Martin, formerly of Black Sabbath, who appears in the duet ‘King for a Day’.

Unlike Benedictum, this album falls in the Hard Rock or Hair Metal categories, and as it turns out, these work very well with Freeman’s very strong vocals. The subjects vary from empowerment to love, and in the absence of love, sex. Musically, the album opens and closes with a very classic hard-rock sound, while everything in between has the same modern quality and feeling as Jorn Lande puts into his album. However, it has even more clichéd riffs and far more clichéd lyrics.

Of the more classical songs ‘Now or Never’ is probably the most exciting, with funky guitars and bass and that same unapologetic rock-vibe that Gotthard excels in. Of the more modern songs ‘Line in the Sand’ is the catchiest, although the modulation gives a certain cheesy quality to the thing. The real highlight of the album is ‘Kiss My Lips’, which has a lot of variation in vocals and music, but keeps it all together. The mysteriously soft pre-chorus contrasts nicely with the heavy and driving chorus.

Although the album is very enjoyable in places, the overuse of echo and somewhat unoriginal lyrics and music in some places is a bit of a let-down. It is certainly not a bad debut, but hopefully the focus on the next album will be a bit more on the writing of the songs and a bit less on the production value.

 

6.0/10

 

LORRAINE LYSEN


Xandria – Fire And Ashes

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With the EP Fire & Ashes (Napalm), German Symphonic Metal band Xandria releases their second work to feature vocalist Dianne van Giersbergen.

Only the first three songs on the EP are new and original works. Opening number ‘Voyage of the Fallen’ is impressive with its use of orchestra and choir, but it lacks features that set it apart from other symphonic bands. In fact, it sounds like After Forever, Epica, and Nightwish rolled into one. ‘Unembraced’, however, has a much more unique feel with some guitar riffs and synths that feel more like NDH (Neue Deutsche Härte). This is new and interesting, and is something they should pursue if they want to really stand out from the crowd as the prospect of more high operatic vocals over NDH is very exciting. The final original song, ‘In Remembrance’, is very pure and small, and coupled with the theme and classical style this brings to mind ‘When I am Laid in Earth’ from the opera Dido and Aeneas.

The EP also features two re-releases of old songs, namely Ravenheart, previously on Ravenheart and ‘Now & Forever’, previously on India (both Drakkar). They are both good songs, but neither have enough individuality to really set them apart from other Symphonic Metal bands.

Then there are the two covers. One is Meatloaf’s ‘I Would Do Anything For Love (But I Won’t Do That)’, and that actually works really well once they really immerse it in their own style. The other shows a serious lack of judgement, because it is Sonata Arctica’s ‘Don’t Say A Word’. Since this is the same genre of music, everything but the vocals is identical to the original. And the operatic vocals miss the sting that Tony Kakko gives to a line like “Open your blue eyes, tell me that you love me, whore!” Only the bridge is done in a very original manner. This would have been great as a live performance, because Xandria fans are bound to know Sonata Arctica, but it doesn’t have enough that’s recognisably Xandria – or at least, that’s not Sonata – in it to earn its place on an album.

With only three new songs, two old songs, and two covers, it is not clear to me why the band actually made this EP. The new material is good, and has a little more individuality than the older material, but it would be much better suited to an album of its own.

 

6.5/10

 

LORRAINE LYSEN


Symphony X – Underworld

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The ninth studio album by Symphony X, titled Underworld (Nuclear Blast), is not a concept album, but thematically deals with the journey into the underworld, specifically as pictured in Dante Alighieri’s ‘Divine Comedy’, which is reflected in titles such as ‘Underworld’, ‘Charon’, and ‘To Hell and Back’.

The album opens very nicely with the instrumental ‘Overture’, which, while not an actual overture, has a nicely bombastic classical feel and flows right into ‘Nevermore’, the first single of the album. It is a very heavy progressive song with fast guitar riffs and a slower cadence to the vocals. In similar vein, ‘Underworld’ features some very heavy vocals and even screams from Russell Allen; this contrast between the primal vocals and a more ethereal, clean voice gives a great deal of depth and energy to this song, though the placing of second single, ‘Without You’, straight after – a much softer song that features acoustic guitars and a Country feeling mixed in with the Symphonic Prog – is rather jarring.

‘Kiss of Fire’ has another killer intro, but the most impressive part of this composition is the choral arrangement, which delivers interesting emphases in the lyrics. This is also one of the songs in which Russell Allen can really show off his vocal range. ‘Charon’, a song about the ferryman of the underworld, is also very interesting, as the muted riffs set a really interesting atmosphere and the vocal melodies have notes of mystery and suspense.

Elsewhere, Symphony X mesh heavy prog, 70s prog, and classic hard rock, and the album finishes strongly with ‘Legend’; fast paced and heavy, yet melodious, exactly what you want from the X.

Nine albums in, and while there are some absolute killer songs on this album, there are a few bits, such as ‘To Hell And Back’ and ‘Swan Song’ with its clichéd lyrics that break the tension and don’t come together so well, yet overall the bands’ class shines through more often than not.

 

7.5/10

 

LORRAINE LYSEN


God Is An Astronaut – Helios | Erebus

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God is an Astronaut is an Irish quartet that is probably best classified as Dark Ambient Metal. Helios|Erebus (Revive) is their eighth studio album. GIAA’s strength has always been intense soundscapes, which can be soothing even when completely filled with noise.

This album is incredibly varied and complex, varying from ‘Obscura Somnia’, which is almost an ode to melancholy, to ‘Big Powder’, a song which has such a sludgy synth and distorted bass that it creates a delectably gloomy atmosphere. One of the highlights is the combination of ‘Vetus Memoria’ and ‘Finem Solis’: opening with stunning piano lines with dark and sweeping guitar, one song subtly flows into the next, opening up to electronic ambient with a certain romantic streak to it. The romance doesn’t last, however, as it devolves into noise before transforming to a more organic ambient sound.

‘Helios Erebus’ has some of the best guitar riffs of the album. The echo over the muted riffs really breathes life into the composition while the rest of the music is still subdued, and the straight chords that feature later add a sense of urgency. This song in particular really flows to and fro between subdued and ethereal, hard and heavy. The second heavy section is introduced by a bassline that almost serves as a warning, and is followed by some excellent drumming. But the best piece on the album must surely be ‘Centralia’. This stunning composition has some heavy riffs that are spine-tinglingly good, so thick you can almost sink your teeth into them.

In short, Helios | Erebus is a soundscape even more intense than GIAA’s previous works, and is highly recommended to anyone who enjoys dark and atmospheric metal.

 

9.5/10

 

LORRAINE LYSEN


Goblin Rebirth – Goblin Rebirth

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Goblin is back!

Inspired by the 70s horror film icons who brought us Suspira, Zombi, and Tenebre, Goblin Rebirth features the original drummer Agostino Marangolo and bassist Fabio Pignatelli, alongside new keyboard players Aidan Zammit and Danilo Cherni, as well as guitarist Giacomo Anselmion. Together with guest musicians Arnaldo Vacca, Roberta Lombardini, Francesco Marini, and Dorraine Zammit Lupi, they bring us eight tracks of newly incarnated Goblin horror.

The album opens with ‘Requiem for X’, which has a theatrical, atmospheric intro, using bells, piano, synths, and percussion. This flows into a rock song with funky basslines, haunting synths, and incredible dramatic tension. ‘Back in 74’ has even more funk, and through the synths the spotlight is really on the amazing bass licks by Pignatelli. The guitar and synth playing over the foundation of synth, bass, and drums seem to form a storyline in your head, and the music-box outro is also nice and creepy. ‘Book of Skulls’, while also funky, has a very trance-like synth-driven atmosphere, while ‘Mysterium’ has a stable base but very strong and far-out synth and guitar elements throughout it, which makes for a very intense experience.

One of the things that really impresses on Goblin Rebirth (Relapse) is how varied the music is: the changes of pace, key, and dominant instrument within each song, while somehow managing to stay thematically linked. ‘Evil in the Machine’, opens with an amazing bass riff, the use of the vocoder creates a space-horror feel, and the guitar riffs almost give you the physical claustrophobic sensation of being stuck on a spaceship with a rogue AI. In addition is the contradiction between the organic and synthetic in the song ‘Forest’; on the one hand the synths don’t seem to match something as earthly as a forest, on the other hand the vocals by Roberta Lombardini and the bass, drums, and guitars really do evoke the natural world. The resulting balance is truly spectacular. ‘Dark Bolero’ out of this world; the addition of cello, played by Francesco Marini, is darkly exciting, as are the choral vocals. It also features percussion by Analdo Vacca, who does an even more spectacular job in ‘Rebirth’, the final song on this album, which also features some impressive acoustic guitar.

If you are fond of the old Goblin, like the musicality of Ayreon, theatrical or progressive rock, horror and 70s soundtracks, you should totally get this album.

Seriously, it is that good.

 

9.0/10

 

LORRAINE LYSEN


Powerwolf – Blessed & Possessed

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Blessed & Possessed (Napalm) the sixth studio album by German band Powerwolf opens with a majestically bombastic title-track that is everything you could hope for in a Powerwolf album as the choral vocals just add that extra classical touch to the power metal onslaught. And yes, the melodies are super catchy, like the genre requires. But Powerwolf is not all symphonic bombast; ‘Army of the Night’ really sounds like Sabaton’s combat style, reminding of ‘Ghost Division’, but with far better vocals than Joakim Brodén was then capable of. It is effective in raising both spirits and your heartrate!

On ‘Armata Strigoi’ the riffs are incredibly tight, the melodies have just enough cheese to make this incredibly enjoyable to listen to, and the guitar solo is effective and varied. ‘We are the Wild’ is a Power Metal anthem, as the chorus is perfectly suited to chanting along from the audience. It also features a really nice orchestral break before the solo.

‘Higher than Heaven’ is an up-tempo and highly energetic piece – I couldn’t help but grin madly during this song as the contrast between the fast-paced singing, smooth vocal melody, and pacey music is just immensely pleasing – the slower break does not lose any of the power, but gathers it for the final chorus.

The vocal talents of Attila Dorn are well showcased, in the more battle-oriented songs they sound like a cross between Joakim Brodén and Hansi Kursch, in others, like ‘Let There Be Night’, his voice takes on a very classical quality, with great clarity and vibrato. However, the best parts are the combination of rough and classical, which lends great power to the music and the lyrics.

In case you hadn’t realised yet from the other songs, ‘Christ & Combat’ should make it abundantly clear what the theme of the album is: religion and war, and the lyrics seem to describe some sort of Christian Valhalla. It also has features some excellent bass lines.

While I really love ‘Sanctus Dominus’ for its choral bombast with Latin lyrics and the customary clipped pronunciation, by the time I get to ‘Sacramental Sister’ the religious themes become tiresome with an entire album on the subject hard to swallow

However, the music is fun, the sound is good, and I heartily recommend it to people who love cheesy power metal and have no aversion to the glorification of holy wars and religiousness.

 

7.0/10

 

LORRAINE LYSEN


The Other – Fear Itself

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The Other is a German band that plays Horror Punk, a brilliant combination of happy Punk, Rock, and Metal music and horror-movie lyrics, and Fear Itself (Steamhammer/SPV) is their sixth studio album. With a line-up change that saw two new band members join the ranks of The Other, the musical styles are more diverse, ranging from Goth Rock and Power Metal to the regular Punk sound. Rod Usher’s vocals, while having a very different tone of voice, as often sung in a style similar to Volbeat.

After the mysterious intro ‘Fear Itself’, the album proper opens with ‘Nie Mehr’, a German-sung Hard Rock and Metal extravaganza, with enough melodiousness that it would make a great sing-along at a concert. ‘Black Sails Against A Midnight Sky’ also has a great shout-along chorus. The vocals, and especially backing vocals, in both ‘Dreaming of the Devil’ and ‘Doll Island’ are slightly on the edge, but this turns out to have rather a good stylistic effect for the genre.

One of my favourite songs on this album is ‘The Price You Play’, which combines Power Metal and Punk to create a cheerful but full sound; the chorus is especially fun with staccato guitars and sweeping vocals, and the bridge has the same kind of creepy vibe that Oomph! is especially good at. Another highlight is ‘Funeral March’, while a lot of the songs of this album can be construed as relatively normal songs, ‘Funeral March’ is really out and out in its lyrics and vocal style.

Throughout much of album the drumming is punk and the guitars metal, but ‘Animal Instinct’ is pure punk with horror lyrics, reminiscent of The Living End in its boundless energy and bass lines. If you like your music loud and energetic and your horror movies cheesy, then you’ll probably enjoy the living daylights out of this album.

 

7.5/10

 

LORRAINE LYSEN


Demons – Great Dismal

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Demons is the new pet project of Zach Gehring, guitarist for the Virginia based Rock band Mae. With Great Dismal (Spartan), Gehring has experimented with styles that he could not fit into Mae, and the results are phenomenal. Gehring really benefits from the experience of writing and producing records, and the sound quality and composition on this EP are therefore really good. The styles vary a bit, but the grungy guitar sounds and melancholic vocals are omnipresent.

Gehring’s voice is sometimes a little Steven Wilson, and sometimes, especially in ‘Lenora Slaughter’, a lot like Marilyn Manson but with vocal lines more like Corey Taylor. Backing vocals are often just a little off, but not enough to make it annoying. In fact, it ends up being a really cool stylistic effect. The vocal lines are often smooth and mellow over more energetic music, as in opening number ‘There Is No Reward’. This is a very hard rocking song, with nice grungy guitar lines, which could have goon on for a little longer in my opinion.

Gehring shows off his musical versatility on his album, as the laid-back and almost Dark Country feel of ‘Godless Girls’ contrasts with the earlier hard rock. It felt like it could have almost been a song by The Hold Steady. On the surface it seems like a simple song, but the timing of the different elements makes it much more, and when you get to the final chorus it seems to somehow go straight through you.

‘Radical Cure’ is in yet another style, and it is an excellent loud and aggressive song. The riffs and mix are once again really good, and the contrast between the vocals and music just adds so much tension in some places, while they complement each other perfectly in others.

The final song is ‘Quietly Waiting’, and it is worth waiting for. I fell in love with it from the very first notes. The acoustic guitar with clean vocals and piano is so melancholic, so beautiful and touching. This is the longest song on this release, and the popularity of artists like Wino and Conny Ochs indicate that Gehring could easily release an entire album in this style. I would happily listen to an hour of this. My only criticism for this song is that it doesn’t end on a closing tone, but I am willing to forgive that.

All in all, this is an amazing début, and I really enjoyed the experience. It touches on a number of different genres and artists, and excels in each style. Give it a listen, it’s worth it.

 

8.5/10

Demons on Facebook

 

LORRAINE LYSEN