Tuesday, March 30, 2010

Refused reunion... refused

Oh lord, what have we done? The internet hype machine went into full force last weekend when rumours, which in fairness were justly warranted, that Refused were reforming. Read the original post HERE.

But alas, those rumours have been dispelled by former frontman Dennis Lyxzén, as he put it – “No, we are not reforming. Me and David are going on tour next week with our new Hardcore band Ac4 – sleeping on kids floors and playing doordeals, that seems to be more in line with what we deserve… haha”.

While this is disappointing it doesn’t come as a surprise, with hindsight. But one question remains why would the band allow their website to go back online with the foreboding slogan ‘coming soon’? Someone should be answerable.

Monday, March 29, 2010

New Soulfly track

Soulfly have released a brand new track from their forthcoming album, Omen, entitled ‘Rise Of The Fallen’, featuring Dillinger Escape Plan’s Greg Puciato.

It opens with a massive grooving riff which leads into some surprising beeping samples. Puciato’s vocals enter first, being their usual raspy shredding self before trading with Max Cavalera’s thunderous bellow. The whole track creates a foreboding presence adding only fuel to the unexpectedly massive hype surrounding Omen, which is released May 25th and will also feature a guest spot from Prong’s Tommy Victor.

Sunday, March 28, 2010

Dark Tranquillity - We Are The Void

As far as an influence on modern metal, metalcore in particular, Dark Tranquillity are a band that can certainly lay claim to much of it. In the early 90s, alongside At The Gates and In Flames, they were imperative to the foundation of what would become melodic death metal.
While having albums like The Gallery (1995), an excellent slabs of melodic death metal, recent albums have seen Dark Tranquillity become samey and in parts, tedious. Previous album, 2007’s Fiction was by no means a bad record, merely petering out in sections but still delivering some belters like 'Focus Shift'. And We Are The Void treads much along the same line.

Opener, 'Shadow In Our Blood' commences with Martin Brändström’s interlacing keyboards, some crystal clear lead riffing and Mikael Stanne shredding vocals. This leads on to 'Dream Oblivion' which was released prior to the album, and strides in familiar territory.

Whereas 'The Grandest Accusation', works from its title and makes some splendid and grand gestures with the keys becoming particularly prevalent, however Stanne’s guttural vocals remain untouched. Meanwhile, 'The Fatalist' punishes with a vicious hook and 'At The Point Of Ignition' delivers equal results, with the latter exhibiting some striking guitar work. Although conversely 'Her Silent Language' is a swift jaunt with fluent layering and gliding harmonies.

But bringing things to a close is 'Iridium', by far We Are The Void’s standout track, stretching out with beautiful samples, shifting clean/harsh vocals and slick guitar work.

But with all said and done, We Are The Void sticks rigidly to the old beaten Swedish path, and Dark Tranquillity may very well be at risk of falling behind their followers. This offering, however, is a satisfying one just not offering anything new though. But its production is pristine and stands up sturdily but content wise Dark Tranquillity are flogging a near dead horse.


7/10

Saturday, March 27, 2010

Refused reunion? It looks like it

It goes without saying that Refused were a very important band. The Swedes and more specifically their final record The Shape Of Punk To Come were aeons ahead of their time and that album title would be eerily prophetic. Much of the new post hardcore, alternative rock and yes, emo (albeit the earlier bands) explosion at the turn of the century owe a debt of biblical proportions to the band.

So, needless to say their influence is important and since their split in 1998 the band’s sound has yielded a staggering legacy and ‘New Noise’ became an anthem in every sense of the word. And seeing as we’re living in the age of the comeback it would only make sense that rumour would spread like nits in a crèche about a potential reunion. Well, Refused’s official website has gone back online (HERE) edifying this simple, yet foreboding image:


With that fans everywhere let out a collective gasp of excitement. More news couldn’t come sooner.


Korn sign with Roadrunner Records

Who saw that one coming? Rumours were floating about the net that Korn had signed to the illustrious Roadrunner Records for the release of their new album III: Remember Who You Are. Well, Jonathan Davis, on a radio show in the States, confirmed that the band had signed with the label stating: “It's real exciting for us, too, because they're one of the last record companies to let you do what you want to do and all the great bands around are on that label and everything seems to just work out right and it seems like a good home for us right now.”

Korn completed a two album deal in 2007 with EMI after their ‘untitled’ album. The band recorded this new album unsigned and it also marks the recording debut of new drummer, Ray Luzier.

III: Remember Who You Are was produced by Ross Robinson who famously recorded their first two records and will allegedly be a return of sorts to that sound.

Korn are also headlining this Summer’s Rockstar Mayhem tour which also features Rob Zombie, Lamb Of God, Five Finger Death Punch amongst many more.

High On Fire - Snakes For The Divine

If this planet we inhabit was a just one than Matt Pike would be a superstar, a god and he wouldn’t have to work part time in a bar in hometown of Oakland, California along with writing and touring in High On Fire, his current lifeblood. But alas, the world isn’t so.

Regardless, Pike can safely lay claim to being a veteran and a well respected man in metal, all thanks to a little ol’ band called Sleep, and namely the now revered records Sleep’s Holy Mountain and Dopesmoker. But after pioneering stoner metal, Sleep would disband with their members going in search of joints new, they would eventually return though. Bassist Al Cisneros went on to form the mind numbingly incredible Om, as well as (only last year) forming the doom super group Shrinebuilder.

But Pike formed High On Fire, now currently joined by, Des Kensel (drums) and Jeff Matz (bass), in a concoction that yielded jaw shattering heaviness and worship of the fucking riff from their debut The Art Of Self Defense through to 2007’s Death Is This Communion. But all those strengths have culminated here for their finest hour. High On Fire are straight to the point metal, and Snakes For The Divine is exemplary of that. But it’s still with some beard stroking elements.

Tracks like 'Frost Hammer' are just bone crushing metal with that unforgiving track in particular reminiscent of a hurtling steam train. Meanwhile, 'How Dark We Pray' raises its horns to Sabbath until Pike enters with his throat shredding vocals. In fact throughout Snakes… Pike displays a riveting voice in all its grimy, growling brilliance. To be frank, if you listen to this record and don’t bang your god damn head, than there is most definitely something wrong with you.

But on the flip side, 'Bastard Samurai' is slow and moody, and somewhat brooding, tugging on those stoner rock elements typified by Sleep.

Snakes For The Divine alternates between slow, trampling cataclysmic riffs to ruthless, stampeding extremity – all to wondrous, never contrived effect. It’s chock full of grubby, but catchy riffs all attesting to Pike’s fret skills, heard intensely on the title track. Meanwhile, Kensel and Matz hold a solid, tight rhythm, like through 'Holy Flames Of The Fire Spitter'’s tribal chants and metallic fury.

Right here you have Snakes For The Divine, by far one of the best, heaviest and zero bullshit records of the year.


8/10

Tuesday, March 23, 2010

Ea - Au Ellai

Do you like your metal fast, with a swift and relentless ferociousness? Do you like finger blurring fretwork and pounding, speedy unremitting drumming? Well, Ea’s latest offering Au Ellai probably won’t be to your liking then!

This is a funeral doom record. This is not meant for easy listening. But in an odd, near inexplicable sense it is, as throughout, the crushing heaviness and multi layered synths create a haunting, lingering atmosphere. In long, sprawling tracks a deafening and unnerving cadence is unravelled, with Au Ellai’s first act coming in the form of the 23 minute 'Aullu Eina'. It’s replete with gorgeous lead guitar work which is only accentuated by the guttural vocals that sound like they’ve come thundering from a soiled, depraved, vile furrow heaving with animal corpses and stench to knock out iron nostrils.


Only after that then does it shift to its ambient element leading until a long drone section accompanied by some rather vaguely clean but ethereal vocals.

Second track 'Taela Mu' commences with a dark piano overrun with orchestral samples untangling more and more of that foreboding ambience. Vocals are slow (of course) and feel oddly methodical in their delivery. Towards its conclusion the piano returns and wraps around the focal guitars, in a dizzying fashion.

After a textured and somewhat calm intro, closer 'Nia Saeli A Taitlae' comes crashing in with those slow, clattering cymbals. The whole track is 18 minutes of eerie and ghostly atmospherics and ambience. Again, there’s another massive melodic guitar lead flowing through to a trudging, meandering solo, all stressed further with the arrival the earth-shattering bellow.

The vocals are sporadic throughout though. Here, it’s more of the semi orchestral surroundings, staggering guitars and some utterly engrossing keyboards that make up the centrepiece.

Production wise Au Ellai holds up wondrously with each crescendo and every rolling, collapsing and splintering rumble audible to magnificent effect. Au Ellai is an enthralling listen for its creation of a drawn-out and evocative environment within its three tracks. It’s punishing for the most part and a test for the ears – a test that’s more than worth passing, though.

8/10

Friday, March 19, 2010

Jesse Leach joins Killswitch Engage for New York show

As you more than likely know Killswitch Engage’s Howard Jones left their current tour for reasons still unaddressed. For much of the tour All That Remains’ vocalist Phil Labonte stood in. But for their New York show last night original vocalist Jesse Leach rejoined the band on stage to sing for all the tracks he recorded with the band on their first self titled record and Alive Or Just Breathing. Labonte performed all of Jones’ material.

In fact, the original four piece of Adam D on drums, Mike D’Antonio on bass, guitarist Joel Stroetzel with Leach formed one more to perform ‘Prelude’, ‘Fixation On the Darkness’ and ‘Life To Lifeless’. This is by far a memorable event in the lifetime of KSE, but the question still remains of what’s deal the with Howard?

Below you’ll find some footage (albeit meagre) of ‘My Last Serenade’ from the show.


Wednesday, March 17, 2010

Dublin Doom Day Chapter 2 begins to take shape

Dublin Doom Day returns this September after last year’s inaugural show and the first couple of bands have been announced. Ireland’s finest doom offering, Mourning Beloveth will headline the show. But also added are doom veterans Pagan Altar, Sweden’s Griftegard and Tipperary’s Brigantia. More bands will be added soon and so far it’s shaping up to be a great show.

Check the Dublin Doom Day myspace for incoming details on tickets etc. HERE

Click the image to enlarge

Saturday, March 13, 2010

Various Artists - God Of War: Blood And Metal EP

This is an enticing concept - Roadrunner Records have aligned themselves with Sony for the release of God Of War III on Playstation 3. Four of Roadrunner’s top bands, Dream Theater, Killswitch Engage, Opeth and Trivium along with newly signed acts Taking Dawn and Mutiny Within have all recorded a new track each for this EP and inclusion in the game.

First track is from modern metal giants, Killswitch Engage. After some meandering and somewhat ominous guitar work in its intro, 'My Obsession' is much in the vein of their recent self titled effort. It’s bustling with those inimitably hooky riffs and of course a tremendous vocal delivery from Howard Jones.

But Trivium’s 'Shattering The Skies Above' is an exciting affair, as the band have stated that it is indicative of the approach their new album will take. It also marks the recording debut of new drummer Nick Augusto who lends some more extremity to the dish from his background in various grindcore bands like Maruta. The track is ferociously heavy with crushing riffs, but still heaving with hooks especially in Matt Heafy’s towering clean chorus.

Dream Theater delivers a relentless seven minute instrumental in the form of 'Raw Dog'. It’s fervent with the vehement intricacy we’ve come to expect from Dream Theater, with John Petrucci peeling off those majestic riffs with such ease – as always.

As for the young guns – Taking Dawn’s 'This Is Madness' initiates with some overwhelming Maiden-worship. Throughout, it’s clear that the guitarists can shred. But largely it’s below average as they play much to the Avenged Sevenfold and Atreyu fan bases, particularly the latter.

Considering the nature of the God Of War series, Opeth’s contribution 'Throat Of Winter' is surprising. It’s a sombre, acoustic number, with a bare feel. But still, it is delicately and eerily beautiful

Finally, the other new signing, Mutiny Within, are not to be overlooked though. 'The End' is rife with Gothenburg loving riffs, laid over with some symphonic elements. There’s a heady dosage of their potential in this track. But, in the end, this EP has the big guns shining the brightest.

7/10

Sunday, March 7, 2010

Grey Waters - Below The Ever Setting Sun EP

Sometimes a band and a release just come out of nowhere and simply take your breath away that it’s an obfuscating wonder as to why they dwindled in anonymity prior. Australia’s Grey Waters are one such band, laying down a hefty gauntlet with this, their debut EP Below The Ever Setting Sun.

First track proper, 'Say Goodbye' wastes no time dashing through its riffs which lead into some urgent sounding vocals. There are hooks here, plenty of them but still little in the way of compromise.

Below The Ever Setting Sun is a remarkably enriched and textured effort, as edified intensely on the title track. It’s a gorgeously layered listen and effortlessly draws on grand airs for its tremendous and extravagant climax. Meanwhile, 'The Truth In Your Eyes' is a seemingly calmer amble, gently gliding through its soothing riffs and vocal melodies.

Then closer, 'Broken' propels through heaving rocky verses before breaking down similar to the title track, but into breathtaking meanderings only to build and build once again towards a stunning conclusion.

Below The Ever Setting Sun, in a sparse five tracks, is an EP that will or at least should raise Grey Waters’ profile and interest in their impending debut album. An album that now is something you should most definitely endeavour to become immersed in.


9/10

Vader - Whelan's 4/3/10

It’s a night of no frills metal brutality here – straight to the point, straight for the jugular. British act Divine Chaos commences proceedings with their angular riff driven metal, all replete with some massive old school thrash influences. There’s a heady dosage of ambition in their delivery, with 'Path To War' being a particular highlight.

As You Drown then bring the beatdown. Despite some of the crowd not becoming too enamoured by them, the Swedes are tighter than a nun. With having only one album, debut Reflection to work from, their set is an impressive one.

Final support act comes in the shape of Dublin’s own death metal outfit Warpath, who punish with their bludgeoning onslaught. Their set is comprised of solid new tracks from their forthcoming new record which all meld well with older tunes from Gorefare.

But when Vader’s Peter Wiwczarek walks out on stage, Whelan’s truly comes alight, as the floor in front of the stage crams full and becomes a battlefield. The Poles, with zero reluctance, tear into a visceral set of their seasoned death metal.

Their death classics, like 'Dark Age' (from 1993’s The Ultimate Incantation) still retain that biting ferocity of their conception. But simultaneously, they’ve morphed into stronger entities as airings from last year’s Necropolis give them a good run for their money.

While Peter Wiwczarek is the centre piece of Vader, drummer Paul Jaroszewcz though becomes a glorious shining light out of the set delivering ruthless blast beat after ruthless blast beat. It’s made one guarantee for the night – all heads are banging. Vader are loud and brutal, there’s no give in their hour long set as they do exactly as it says on their proverbial tin, and that’s playing some fucking death metal.


8/10
*Photo by Daniel Hurley

Saturday, March 6, 2010

New Red Sparowes track

Post rock behemoths Red Sparowes this new track, ‘Giving Birth To Imagined Saviors’ from their new album The Fear Is Excruciating, But Therein Lies The Answer. The album which is the hugely overdue follow up to 2006’s Every Red Heart Shines Toward The Red Sun.

‘Giving Birth…’ is a gently ambling trek which opens in an ambience akin to peers, Pelican. It then gorgeously swoons around hypnotic guitar creating those heady soundscapes that we’ve come to more than expect from Red Sparowes.

The Fear Is Excruciating, But Therein Lies The Answer is released on April 6th.


Burzum - Belus

Burzum, the pseudonym of one Varg Vikernes, one of metal’s most notorious figures has become the butt of many jokes in 2010. Released last year for the murder of fellow black metaller Euronymous in 1994, Varg spent much of the latter half of last year posting updates online of his current state of mind, which led to said jokes, but also on the process of a new Burzum record.

There are a few questions that arise high, high above. Does anyone still care about Varg Vikernes? Should anyone care? The truth is that there are plenty of people that have forgotten about Count Grishnackh and others that find him, his beliefs and antics repulsive. For that reason, Belus will mean absolutely nothing to them. But while the vast majority of metal fans think very little of Varg’s crimes and for the most part infantile statements, there’ll always be an air of interest around him. After all, with the bullshit aside, this is the same man that delivered Hvis Lyset Tar Oss.

Since his release from prison, Varg spent much time berating this generation’s black metal bands, relating to childish homophobic insults. Plus, he went on further to deny Belus having any affiliation with black metal. But the truth is that Belus is a black metal record and a good one at that. But just good, it’s average, a far cry from anything worth marking out over or even recommending to a mate.

But it rises to strong moments. 'Belus' Død' properly instigates proceedings with a typically muffled production and Varg entering with his unchanged shriek over sharp, grinding riffs.

Meanwhile, 'Kaimadalthas' Nedstigning' has some strange spoken word passages between the chaotic vocals which lead into a riff that almost be considered a (whisper it) hook. Similarly, 'Keliohesten' thunders through more of those barbaric, razor edged riffs.

But on the flip side there’s the eleven minutes of hauntingly brooding atmospherics in 'Glemselens Elv'. Then, in a similar vein the harsh distorted moods of 'Belus' Tilbakekomst (Konklusjon)', an insidious instrumental, brings things to a close.

Belus, most certainly, deserves your attention but perhaps not for long. It’s enjoyable in small doses. But as far as black metal in the 21st century is concerned there is much, much better out there. No, really. There is.


7/10

Thursday, March 4, 2010

The Grind That Annoys - One year old

On March 4th 2009 The Grind That Annoys was born. Yes, that’s right today is its first birthday. Just a quick post to say to anyone that has actually read anything here - thank you very much, it’s extremely appreciated. You rule!

Wednesday, March 3, 2010

New Opeth track

Here it finally is, the new Opeth track for the God Of War III soundtrack EP – ‘The Throat Of Winter’. It’s an acoustic track, with a completely stripped down feel, creating a sombre effect. The guitar work here is entrancingly beautiful with Mikael Akerfeldt lending an even more enriching air to it, vocally.

This can’t be used to try and predict the direction of the new Opeth record, considering the nature of the release. But one thing is certain – it’s another flourishing feather in the cap of Opeth.

Read previous News posts about the other tracks released for God Of War III from Trivium, Killswitch Engage and Dream Theater.


Machine Head - Olympia Theatre, 28/2/10

Initially, The Black Procession tour’s line up was a slightly divisive one, with some disagreeing on Machine Head’s support line up. But when Scottish bruisers Man Must Die take to the stage to commence the proceedings all those reservations are dispelled. For a band that is largely unknown to the crowd, they come out all guns blazing. Their brutality and variety of breakdowns are wholly welcomed by those on hand and rallying up a Man Must Die chant in the given circumstances is no easy accomplishment.

Maintaining a similar tone, California’s metalcore finest Bleeding Through waste no time when front man Brandon Schieppati lunges into the front row. There’s no let up from their set as it’s all straight for a jugular, this seen by the rapturous response for tracks like 'Orange County Blonde And Blue' from last offering Declaration. But it’s Schieppati that’s the star of their set. He’s become a stronger front man in recent times and that’s encompassed in this short but sweet set. A deafening rendition of 'Kill To Believe' then wondrously closes their vicious performance.

Next though are Hatebreed who completely step it up a notch, in fact to a whole new level. Their time on stage in just straight up, no frills aggression as Jamey Jasta is on top form – his bellow as thunderous as ever. He effortlessly gets everyone involved with a myriad of fists pumping to be noticed up and down the venue. Whether it’s 'I Will Be Heard', 'Defeatist' or 'In Ashes They Shall Reap', the reception is the same every time, that of utter energy.

While every band so far slayed their sets and gave each other a massive run for their money, nothing could prepare anyone for Machine Head. Opening, unsurprisingly, with 'Clenching The Fists Of The Dissent' into pit friendly 'Imperium', the entire floor is plunged into chaos. Saying they’re on top form again is clichéd of course but it’s completely true. Tracks like 'Ten Ton Hammer' and live rarity 'Bite The Bullet' all sound equally punishing.

But it’s the variety of the set that really stands apart. The title track of The Burning Red sways all into a beautiful sombre mood, another rare airing. Meanwhile, 'Bulldozer', though a debateable choice fits in well. But it’s the mix of Machine Head’s finest old and finest new that makes the show – as 'Blood For Blood' and 'Beautiful Mourning' will attest.

Then, an encore of a rapturous 'Halo' and the as expected 'Davidian' has each throat ferociously shredding in unison of that now legendary lyric. Top to bottom, Machine Head simply owned this night. But is anything else to be expected at this stage?


10/10

Tuesday, March 2, 2010

New Dream Theater track

Trivium – check. Killswitch Engage – check. Right so, Dream Theater are the next band to drop a new tune for the God of War III soundtrack. The track, which can be heard below, is ‘Raw Dog’.

It’s an instrumental track and is what you’d mostly expect from a Dream Theater track – that meant in the nicest way possible. It’s a flurry of countless notes and inimitable intricacy. Of course, it’s inescapably heavy and for its seven minute duration there’s no give in its trajectory. Unsurprisingly, the shining light is John Petrucci, whose guitar work and soloing here is shimmering.

God Of War III is out later this month, and two more tracks are expected from Opeth and Taking Dawn.


Monday, March 1, 2010

Peter Gabriel - Scratch My Back

Now here’s an odd yet interesting idea from Peter Gabriel, one of the most recognisable voices of the last forty plus years – Scratch My Back. Essentially, it’s a covers album but with a rather engaging twist. Every re-interpretation is backed by an orchestra. No guitars, no drums and certainly no synths. So if you’re looking for the massive hook laden choruses of the likes of 'Big Time' or 'Sledgehammer' from the So-era, you best look elsewhere.

Gabriel has a career that has spanned various styles and trends from his prog beginnings with early Genesis to his wide reaching solo work. But one thing he hasn’t done until now is an orchestral covers record. Surely that’s on all our to-do lists?

However, in a welcomed development he’s ventured into tracks both new and old. But there’s a reason behind this album title, as each of the artists covered here will be included on the Peter Gabriel tribute album I’ll Scratch Yours, due for release at some time later in the year.

But for Scratch My Back, the air remains quite solemn throughout with all the instruments complementing each in an enthralling fashion, Gabriel’s voice inclusive. His gentle croon weaves from the hypnotizing to the surreally motivating and uplifting. This can be heard lucidly from the instigation with a stirring version of Bowie classic, 'Heroes'.

Much of the orchestration has made for some toying about with the renditions. Bon Iver’s 'Flume' sounds completely different and new, being light years away from its folk tinged original. Meanwhile Elbow’s 'Mirrorball' has several gorgeous new layers applied to it, much like all of the material here. It’s sombre and grave yet still beautifully welcoming.

Taken for what it is, Scratch My Back is a wondrous trek for the ears, providing for a relaxing listen. It’s Peter Gabriel – a veteran, no hold on, a legend, having fun (perhaps?) but also not fearing to do something like this, as every cover here has had a fresh and brave new life breathed into it.


8/10