Saturday, April 28, 2012
Generis Zine 2# (review for AEA zine by D)
Sunday, April 1, 2012
Bethlehem - S.U.I.Z.I.D. (review by Stephen Latimer)
As of late, a review while listening seems to be a flavorful way of progress. This 1998 Blacken Doom effort was a kraftwurk by the Germanic metallers, Bethlehem. And, to be quite Frank I would be dumb to even try to pronounce, let alone translate the actual title of this album, it’s just been shorthanded to s.u.i.z.i.d., or suicide in German. This will also mark my first review, as well as first listen, of a true Doom Metal effort outside of Epic Doom (Lacuna Coil, Nightwish, Beseech) or stoner/sludge doom (High on Fire, The Sword, Black Tusk). One slight confusing thing, there is the original album, and a redo with a newer vocalist in 2009, and sadly I’m unaware of which album I’m listening to.
The first thing I notice is the guttural howls of agony which actually remind me of Cathedral or Godflesh trying to belt out some Burzum. However, that’s totally only on the first track on this first go round. The second track kind of actually scared the shit out of me. As it is more of a death grunt the second track is almost a departure from the first track as it actually gets up into some galloping speeds, and actually sounds like some better Scandinavian black metal bands such as Darkthrone or early Emperor. Not to be fooled, as it did fool me at first, it totally rocks out in some slow paced doomy gooey goodness! Some harmonized guitars layered of a nice little bass solo, totally makes this unique in my eyes as a Black Metal enthusiast. But the utter shrill of terror exemplifies the harboring despair of self-tragedy. The loathsome existence would surely step someone over the edge; the sorrow that rings in my ear echo’s scoff mankind in its relevance. What the fuck am I listening to? Is this ecstasy through agony? It’s almost a sadistic pleasure to hear the pain in this melancholy rapture. And I love ever moment of this sickness!
The third track starts off in a swell groove of joy, punctuated with an abrupt sorrowful mid- high octave guitar lullaby. This feeds into the idea, that even those that are chronically depressed, they tend to mask it with smiles and laughter, making them even more dreadful inside. Gladly so, after a short pause in the beginning, it rocks into one of the most tear jerking riffs I’ve ever heard, in how truthful it sings out. This riff could be played by any high profiled virtuoso in any rock genre and have altering effects, but it belongs here, in this zeitgeist, a reminder that this sad shit can make crazy shit sound like brilliant shit! And it’s far from brilliant shit; it’s a masterpiece in the riff alone. It’s followed gracefully by an awesome slow chugging thrash riff, or what I’d call a thrash riff. It’s a grueling tune to endure at 2:30 in the morning, but I’m proud to take that kind of pressure, as this is some heavy shit, no pun intended.
A third of the following track is either a monolog or a Germanic spell casted upon the listener to give them strength to endure the sheer brutal awesomeness that is to follow for the rest of this track. If I were one to guess, these guys play some Symphony of the Night, or have much similar influences as the composure of that epic, as there are a lot of similarities in tones, notes, and compositions. Only a small segment beckons this thought, but it sticks with me well. The ending of the second third of this madness totally brings up some heathenistic folk tones as would any self-respecting black metaled would. Not to go farther and ruin something grand about this record, but I’ve realized the band does not want to be labeled black or doom, or even death. They’re strictly dark metal...regardless, I’ve always taken the term a well blend of most extreme metals. But a label doesn’t matter, or it shouldn’t. And with this album you really can’t. Even though it is rather depressive, it is face paced, and chugs in parts.
The intro to the fifth track starts off in a bass solo that sounds rather, well, country western, but goes right into the same dark style as the previous track have. Again, the female who performs the spoken-word portion of the previous track appears again, making me believe an influence from neighboring Switzerlander’s Celtic Frost may play a keen part. Without further ado, there is nothing else much mentionable about this track, almost comes off as filler for a thus far stellar album. With my anticipation answered the intro of “Nexus” starts off promising. I would imagine it would be the start of a B-side. A dark ambient solo drifts into a nocturnal ethereal, and triumphs into what sounds like the marching orders of hells army, preparing for an eminent strike. Only it’s not a familiar fire razed hell, but a dark, bleak, azure hued cavern of despaired. “Cry Havoc and Release the Hound of War” Following is a thunderous charge into a celestial domain with necro battlephants with obsidian tusks soaked in angelic blood. Sluggish is this charge, but the weight of these combatants charge unstoppable in their intent for desolation and destruction. Like a locomotive, it gains momentum until the end where it comes crashing down in epic galloping force until it crashes the golden gates of heaven and lets loose a tsunami of black molten abyss and floods its righteous hopefuls to their doom.
In this second to last track, this avenging army pummels the remaining occupants with shear hatred with nocturnal rage. An easy finish as this slows pace again. But soon declares its victory festivities of admiration. But this final track lays waste to the idea that all good things must come to an end, that without an enemy there’s no point to fight; if there’s no hope, no salvation; without darkness, no need for light! All that once was polarity shall eventually become singularity. And when it comes a time for no absolution, there is an only absence that leaks into the void. In my final thoughts, I’ve learned something new. If doom is dread and despair, and black is all lack of substance and truly negativity of existence, Bethlehem is the cracking dusk before the end of nothingness, and a leap from null presence. Shrilling hatred followed by bombastic devastation, this master craft of Darkness! This is truly something I have yet to ever experience. To doom to be black, but to black to be doom, yet does not compare to blackened doom….it truly at an essence to declare this dark metal. Hail brethren of Deutschland, stay true and strong to your wicked wizardry, and steadfast into the oblivion of man!
Tuesday, March 27, 2012
UPON SHADOWS - New single Coming up this April! (exclusive)
New single from the extreme symphonic dark metal duo Upon Shadows Coming This April!
New updates and posts can be found @ https://www.facebook.com/pages/Upon-Shadows/128947133826217
Here is a video and a small sample of the sounds of Upon Shadows at facebook, reverbnation and MorbidFenris their personal youtube account!
This message is brought to you by, Upon Shadows!!!! \m/ please pass this URL around, thank you. - Danny owner of TF ZINE
Monday, March 26, 2012
Nekropsy / Spiritus "Death Arrival" Split (review for AEA Zine)
Well, its been quite awhile since I sat down and got a chance to review something. Been too damn long because this album I am listening to now is kicking my ass!!!
Nekropsy is a very loud, very determined one man project that hails from Chicago Illinois USA with a brash assault of wicked death metal vocals, guitar work and blistering drum/bass back up punishment. The quality is tight sounding, mind numbing, and retard strength inducing. The main man behind this project Frank Garcia tries to make it come off as a very flashy technical death metal band but it really is not and is more about the revival of old school death metal I personally think. A+ for the revival, B+ for the direction these songs are heading. The tracks are filled with very lively solos, growling vocals in the vain of Brutal Truth and also has some thrashier elements such as Nuclear Assault but the vocals are completely and only deathly to be found.
Relentless and grinding unstoppable riffs mixed with a very upfront and personal glimpse into what death metal represents and what he personally thinks of society in general, this is what the main concept of all the songs, is all about. All the negativity and bad aspects of this world are all mixed up into a big tsunami wave that is Nekropsy, instantly destroying all that is in its path. Did I say it has excellent production sound? By jolly freaking doo it sure does, and I love it. I cant wait to hear more from this mad man Frank Garcia (aka backing vox and guitar in Waking Chaos) and delve into more hideous sounds like Bed of Nails, and Dawn Of The Explosions. Deff a keeper in a death metal fans collection, as I am a huge one myself. Keep up the awesome and grinding work, Frank.
p.s. only 40 LIMITED copies of this Split have been pressed so I am pretty darn happy to have one!!!
Next up on the split album is a little unknown band from the UK called Spiritus that are also in the mists of making black metal total warfare, all over their own tunes. I am indeed a HUGE black metal man, and do play the music but it does not neccesarily label me as the death vs black metal type of guy. Both bands fit well with each other actually, and that is what split albums are all about, strutting your stuff to one another! But having a good time of course.
The first track is very old school sounding as well but in a black metal sense with vocals that sound a lot like old school celtic frost but with a megaphone in front of the singers mouth. The music overall is something to deff enjoy as it is another band with another revival of the sorts with the old edge sound but adding there own twist and turns within it. Once again, A+ for the revival, B+ for what direction their heading in. I am not totally sure if its a one man project, but not alot of info online is telling me different, so I shall consider it as so. Wait, looking at the artwork, and yes, another one man project. Now arent we full of surprises???
With the flesh torn and the bones bare, the sound is melancholy, serene, revealing, and riveting. The way black metal should be. The songs At War, and Angels Bidding is a circus of riffs and blackened melodies, all heavy and all pure evil. Frozen In Time is very focused, like Nekropsy in a way but very mysterious and comforting to me. I can just sit down and listen to it on repeat forever. The song is one of my favorites off the split next to Nekropsys Bed of Nails. The band has a lot going for them quality wise and have a lot of potential in the underground scene to become one of those next big bands to arrive, but I would prefer if they kept the underground alive opposed to working against it. The last tune DIE is a barrage of screams, whimpers, riffs and cries, the track is significant in a sense that its the last tune of the split cd and what you just heard is the equivalent of death itself. Keep up the good work Spiritus, you are a deff keeper in my black metal collection as well.
If you wish to purchase this album if their is copies still available, I suggest you contact Frank or Spiritus at these links please, every band needs help now and then and this is the best way to go about it, getting their cd and showing your support to the bands themselves. That is the golden ticket! Thanks for making this album guys and if any more new material arises, be sure to let me know about it and I ll make a exclusive about it.
https://www.facebook.com/pages/Nekropsy/51557640073
https://www.facebook.com/pages/Spiritus/169404613110827
Friday, March 23, 2012
Anachronaeon - The Ethernal Throne (Review by Stephen Latimer)
I was glad to find out about two tracks into this masterwork that Anachronaeon are in fact from Sweden. At the start of Mary, I was saying to myself this will be an epic American take on Scandinavian Metal, but in fact it truly is Scandinavian Metal, and is littered with several flavors of the scene. In just what I’ve been exposed to, I hear several of the following. Trial this simply as you would the back of a wine bottle, or if your American, the contents of a pint of Ben & Jerry’s: Emperor:-Prometheus Mayhem-Chimaira Deicide- One Upon the Cross Marduk- World Funeral & Panzer Division Marduk Enslaved- Below the Lights Opeth-….just pick one from the last 12 years…’nuff said! Vocally styled like Amon Amarth DISCLAIMER! IN NO WAY, SHAPE, OR FORM DOES THIS ALBUM SOUND LIKE, OR EVEN COMPARE TO ANY OF THE MENTION ALBUMS ABOVE! These are just flavorful notes that I, the author, can compare some similarities. This album can easily stand alone on its own merits of prestigious valor. This is a quick review based on a one time listen, while examining the lyrics (a must, to fully understand). At first I was afraid this was going to be a Christian Metal album, and slightly questioned the source of recommendation (Not that I care what an artists preferred faith is, just wasn’t expecting that caliber without fair warning). To my ecstatic surprise, it hit closer to home, and turns into an enticing psychological thriller. The protagonist of the story is on a schizophrenic trip under directions of the divine, franticly slaying with blessings above. In graphic detail, these events are painted in seaman and blood. This ends up in estrange fashion similar to the movie “Identity” without giving too much. It’s just something you must experience yourself. As for the sonic assault, I’ve already mention some flavorful notes. But as a little better detail, this is a cacophony of complexity. There are everything from 70’s arena rock solos, to bombastic black metal of the 80’s, to the shrilling riffs of 90’s black metal. But bar none, the saturation of death metal is practically homage to most of the history of the genre. The riffage of the Florida scene shines alongside the Swedish melodic forefathers. Technicality blisters along with brutality, and all is blended progressively along in a vocal style compared to Amon Amarth. The music is a jet and onyx in value and beauty. The story is fabulous, as is the vocals. A must have album for anyone that’s into Death, or Black….or Prog, or Technical…or even some Doom. Honestly, only those strictly into punk or grindcore may have a problem with this album, but if most metalhead’s are like this author, they’re willing to venture out. Also, some may have a hard time to get into another melodic Swedish band, but should be given a try with is heavy notes of black.
https://www.facebook.com/Anachronaeon
Hoyland-Dreams within a Dream (Review by Stephen Latimer)
So this is a different way I’m doing a review. I’m listening and commenting as I go. This E.P. starts off with a track called “Celestial”. Clocks in just under 4 minutes, and is a promising instermental intro that is filled with long, deep (and clean/clear production) layered with some female Gregorian chants that is nothing short of a Tolkien ecstasy; all ambient and ethereal.
Staring on the longer “Journeyman”, a repetitive pattern scales back and forth across a few octaves melodically eases in the nocturnalscape. A vivid image of gliding through the cosmos shines beyond hope, like nebular facades surrounded by rays of darkness. A violin is heard midway through the intro, and loops back to the “octavated” lullaby. Bringing in the long stretch, another lute (a cello, perhaps?) adds something almost cliché, however deeper emotion. This track seriously glistens the beauty of the night and of darkness as a whole. Through the darkness, it illuminates the bullshit shadows of the light.
A more haunting intro transcends in the first few seconds of the title track, suggestive that something extraterrestrial is lingering in the dark hopes of man. Something that is desired, yet feared; similar to the meaning of these velvety dreams that we dream. Scarcely exotic is the somber tune, culminating the idea that possibly dreams are no more than an outer body, even an outer dimensional, experience. This bravado interpretation through this babbled audio language is only my deepest conclusions, but surely considering the subject matter, muse to author are probably on probable terms .
A deathly organ fills the aura with dank audacity mid song, that is followed closely to the end with evermore chants and slow bass plucks until the end. After only a split moment to breath, its on to the next track “Season of the Fall” beckons an awakening in heathen fodder. Almost a melancholy experience to leave this realm of enjoyment, but cannot ignore the shattering beauty of sunrays through thicken woods to truly arouse the stark realities of a dreadful world; like the wrath and lust of a woman, joy and sorrow of labors, treasures and debts of comradery.
I want to say, or I should hope, the ending track “Cthulhu Rising”, is a sense that when we face the Reaper and pay the Piper, it will be a never-ending dream. A queue of dread and frightfulness is hinted in the melody, almost a juxtaposition of the previous song (A fear of dying as opposed to a fright to awaken). However, I’m doubtful that is the intent of this track. Though the format is similar to other parts of this album, and blends well with the others…a part of this actually seems to resonate to a different idea almost all together, perhaps a concept to be dealt with a future release. Regardless, the damnation of the intro is breath taking to say the least, as it resembled those tones of what entering the first few realms of hell may sound like.
Overall, this album starts out in a mode where everything is fantastical and mythical, and turns to the truths of mankind in an equal amazement; however ends up in sheer gloom as the realization the nothing is forever. A startling album, that literally only took less that an hour to venture through, that lead through some emotions I though only possible through archaic orchestration. A fine diamond hidden in a heap of coal! This is a journey I wish to visit again, hopefully with my head rested on a well fluffed pillow with a cool breeze to wash me away in lucidity!
https://www.facebook.com/pages/Hoyland/279760546182
Monday, February 13, 2012
Dark Metamorphisis - In A Heartbeat (Review by Stephen)
Dark Metamorphosis - In A Heartbeat
by Stephen Latimer
On a personal level, this album has struck so much to my soul, it’s almost perverse to actually talk about this on a public format. The Count must be a bastard step-brother of mine, or quite possibly my doomed enrage doppelganger (40). I’ve never met anyone that was quite obsessed with the video game series that Dark Metamorphosis is name-sake from, let alone the song titles. For those who have no clue to what this may be, figure it out on your own, or perish in your ignorant bliss. To the Count: L,UL,U,UR,R+ATT or DEF.
Down to the brass tax, this soundscape journey is veiled in that hunting tone we all hope to expect from black metal, but only are reminded how Dimmu Borgir single handedly destroyed that endeavor. At the heart of what’s “true”, there is fowled remnants of what the 80’s scene actually conjured into a favorable style, yet forgotten itself by glazes of synthesizers and classical orientations. Somehow, bewildered upon me, Count Draclacarde manages to blend swiftly into the night the majesties of classical tones, hallowed terror, and buzz sawed guitars of yesteryear into an incantation worthy to sit alongside Burzum’s “Det Som Engang Var”, Craft’s “Terror Propaganda”, and Horna’s “Envaatnags Eflos Solf Esgantaavne”. “In A Heartbeat” honestly sounds as if Nocturno Occulto decided to remake Satyricon’s “Dark Medieval Times” singlehandedly after listening to Bathory’s “Blood Fire Death” (song), and “Enter the Eternal Fire”.
It’s fascinating that the title of the album is actually the name of the favored song of John Murphy’s composed title featured in the film “28 Weeks Later”. As for myself, I actually thought this song, along with the score of the film, was actually very ambient in black metal form. So it’s actually a hellish coincidence to me that my favorite game and favorite musical score are actually blended into an album of my favored genre. This daunting composition of dire hope can actually be heard by the Count’s strapping ode, at the tail end of “Avert Not Thine Eyes”. This track is also infused with a brilliant rhythmic riff that’s one part groove, one part requiem; followed heavily by a simple chugging solo that is full blown nocturnal fucking hated.
Another ominous praise to those once forgotten, is Ludwig Von Beethoven’s “Moonlight Sonata”; again a lullaby that has haunted me in lustful serenade for ages since first hearing it, oddly, in another video game of the same era. This is actually preceded by a small piano composition that I am actually unfamiliar with, however gives off that nostalgic feeling of the score of the “name sake” game, but am sure is actually an original. All of this can be found in “Welcome to My Humble Tomb”. Oddly, probably the oddest yet greatest ode of all the covers in the history of covers is the bonus track Dan added. Its a cover of Ted Nugent’s “Cat Scratch Fever”. Here, you can hear the Counts precise execution on the guitar, displaying he can actually play beyond the tremolo, however, can craft a unique rendering. At first, you ask “is this fucking real, am I actually hearing a Black Metal version of Ted Nugent”, and then after hearing it you find yourself saying “That’s an honorable metal salute to a Rock icon”, and feel yourself throwing the horns out of respect as well.
A ravishing intro to “Person of Lordly Caliber” is highlighted with high octave, full notes very favorable to some metal bands pre 80’s, maybe “Judian” or “Maidenesck”. Either way, it’s not a usual commodity you’d expect out of your everyday BM project. This rumbles off into a hopelessness of a night shade shrieking in the fog, to a succulent solo. This beauty is pulverized by a groovy riff similar to the one in” Avert Not Thine Eyes” that is laced with electric wizardry that is truly spellbinding. It comes full circle with the gloomy intro only to leave me heartbroken for more.
All these examples are honestly just an emotional explanation what happens within these glorious audio hexcrafts, and are only interpreted by an individual that is drastically moved by the outwardly vibrations. It’s these emotions that are triggered, like in “Symphonic” compositions, which are hidden in plain sight. In these triumphant occultic raptures, that makes me tear with joy. These sonicscapes that are sorrow in nature, that bleed the hope of possibility “truly” leave me breathless. On an ending note, let us go out this evening for pleasure. The night is still young!
https://www.facebook.com/DarkMetamorphosis
http://www.youtube.com/darkmofficial
http://soundcloud.com/darkmetamorphosis
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