Tag Archives: MOR

ALBUM REVIEW: Cheer-Accident – Admission

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Cheer-Accident has been around since 1981, which equates to the same length of time as Metallica. Unlike the Thrash Metal legends however, the Chicago outfit (named after a Hallmark shopping display) have released a fantastic amount of albums, nearly 30 at last count, as well as several compilations, EPs and seven inches, some of which have been released by the legendary Skin Graft Records (home to Squid Pisser, U.S. Maple, The Flying Luttenbachers, Dazzling Killmen and other such wonderful artists).  Continue reading →


AlNamrood – Diaji Al Joor

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Saudi Arabian Black Metal? I know. The guys of AlNamrood deserve full marks for merely attempting it, right? When you consider that Melechesh felt forced to depart the allegedly less extreme Israel after fierce opposition to their fiery output, these fellas must have been shitting themselves at times. And Diaji Al Joor (Shaytan) is their fifth album…

If those new to the band are guessing at some nasty old ranting with a middle-eastern influence, you’re on the right path: mystical sounds course through the album, with the percussion of ‘Zamjara Alat’ possessing a hollow tone and augmenting the exotic winds. It’s this blend of such haunting beauty with a sinister horror that grabs the ears from the outset and the eerie, scene-setting opener ‘Dahleen’ is adorned with Arabian chanting and the stirring pipes which grace the region’s music.

There’s an element of the theatrical and (whisper it) comedic about certain aspects: Humbaba’s vocal delivery is a crazed, blustering shout rather than the expected evil rasp; and the swerving riff of ‘Hawas Wa Thuar’ is augmented by what appears to be the sporadic bursts of kazoos. It’s a little like Hail Spirit Noir finding Khaleeji Folk: that outfit’s mad switch of obsidian MOR given a hefty Asian groove in the infectious melodies of ‘Ejhaph’, the album’s rough production and those angry bellows adding an almost Pirate metal, ‘singalong’ element to proceedings.

Those indigenous rhythms and instruments add wads of intrigue and originality to the fire however, and it’s here where the strength of the album lies. Despite a ferocious riff and vocal ‘Adghan’ would be merely a bizarre, Doom-laden take on Rotting Christ without those enlivening Eastern overlays. Here is a true melding of cultural styles and this makes for a curiously joyous experience.

Many will undoubtedly dismiss this as Extreme metal novelty or, even worse, worthy of attention for bravery alone, which would be a travesty because there’s real gravity and a stunning inventive ability at work alongside the rampant hostility. Together with those wonderfully hypnotic melodies, this makes Diaji Al Joor enthralling and, in a ‘mad genius’ way, quite brilliant.

 

8.0/10

 

PAUL QUINN

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Kylesa – Exhausting Fire

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Ever think you could compare 70s New wave to Savannah Psych-Sludge outfit Kylesa? No, me neither…

A new Kylesa album used to be a huge event in the Quinn household until 2010’s Spiral Shadow (Season of Mist) showed a mellowing of the lambent, crushing anger, introducing more of the band’s progressive drift. Two albums later and it’s sadly obvious that the band is continuing the journey further from their harsh roots.

Exhausting Fire (Season of Mist) isn’t devoid of bulldozing riffs: opener ‘Crusher’s entrancing verses displaying the customary steel which fires up a laconic, Blondie ballad-style chorus highlighting the increasing melody in Laura Pleasants’ voice. The ensuing ‘Inward Debate’ is Philip Cope’s first foray into action, immediately infusing the sound with a buzzing anger: yet his performance in ‘Moving Day’ is more indolent, an almost spoken-word delivery, Pleasants’ honeyed backing and jangling hookline giving way to a fuzzed coda.

This is a less inventive, softer Kylesa, seemingly happy after all these years to plough a furrow without traversing the path of discovery. Briefly howling leads and a growling riff awaken the dreamy, drifting ‘Falling’, the kind of track the band are becoming more well-known for. The Talking Heads-esque ‘Night Drive’ is a cool evocation of the cosmic violence of the Spiral Shadow era, a lazy Prog infused with swelling, pulsing power. ‘Blood Moon’ however, is more indicative of the second half of the album, its blend of Asian-influenced MOR and bludgeoning Punk feeling tired and occasionally flaccid: a tiredness which the insouciant, Nirvana-like ‘Growing Roots’, only occasionally tempting with spiralling swells, further highlights.

Closer ‘Out of My Mind’ sees more of those terribly wearisome vocals – in all honesty, the biggest problem here – destroy a gradual pogo-fest. It’s by no means dire, just desperately disappointing and lacklustre. Here, it seems, we have a once-crushing colossus now older, battered by tough times, and content to peddle uninspired stodge which eclipses many other bands’ output, but insults Kylesa’s legacy and name. Intermittent flashes of dazzling, indelible former glories save us from a worse fate. Exhausting Fire? Exhaustion seems not a million miles away…

 

5.5/10.0

 

PAUL QUINN