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Neo139
Mallcore Kid

Joined: Sat Dec 31, 2005 2:35 pm
Posts: 7
Location: Argentina
PostPosted: Wed Feb 07, 2007 5:21 pm 
 

Sorry Neo139, Encyclopaedia Metallum was forced to reject your review for for Beto Vázquez Infinity - Flying Towards the new Horizon, for the following reason:

Grammar. You have plenty of grammar mistakes and non-English sentence structures. The contents are all right, but the language needs to be cleaned.

Correct, retry.

Thanks

Napero

Sincerely,
Encyclopaedia Metallum

Code:
BETO VÁZQUEZ INFINITY - FLYING TOWARDS THE NEW HORIZON

Five years have passed since Beto Vazquez (ex-Nepal) has released a second (third in composition) full-lenght album. Nowadays, the sound of the band is more defined and it seems they have chosen a musical direction. The first album was impossible to classify. In this page it appears as “Melodic Metal/Rock”, in spite of it's written in the rules that any band cannot be put melodic metal as the genre.

This album is less innovator, heavier than the last one, closed to a symphonic power/gothic metal sound with some neoclassical elements. This is the first album where the constant band members (those who play in live shows) have participated, opposite to the first album, where only had participated guest musicians and Beto Vázquez.

The album starts with "Cardassia and Bajor" the typical intro with classical music sound, epic chorus, and orchestral instruments with a dark atmosphere that reminds to Rhapsody's Intros or Mago de Oz's Gaia II Intro. Follow this, "After the Tempest", the heaviest track of the album and one of the highlightings. The album continuous with "Lord of the Sky", a remake, the original song is in "Space Without Limits" album, that will be the next released. (As I have said at the beginning of the review, this is the second release, but the third album made, because the second album was delayed because of the record company problems).

"The Tunnel of the Souls" is one of the ballads of the albums with "Secret", if the only thing you are looking for is speed, this two tracks won’t be shown that. You will enjoy listening "Time of Reflection" and "She is my Guide". They are the Power metal tracks of the album.

The problem comes with the seventh track, “Star Losers”, a very simple song that I don't like it at all. Talking with other people that has listened the album, I realized that their favorite track of the album was this song. Beto Vázquez said in an interview that this track was not thought to be included in the album at the beginning because it was made in-joke. So this is one of the tracks that you will love it, or hate it.

The album ends with "Tale of the Black Tower", I believe that this track is the best of the album and the longest of the band (until nowadays). This song is an opera rock with lots of mattresses of keyboards and melancholic vocals.

In this album have participated more than 15 vocalists so the vocals sound a bit strange the first time you hear it. Listen it a couple of times to accustom your ears to them.

Hightlithings
- “After the Tempest”
- “Soldiers of Hope”
- “Tale of the Black Tower”.

Conclusion
Very different to the debut album, this release has more energy, but still conserves the peace and calm in tracks like "Secret" or "The Tunnel of the Souls". Highly recommended for fans of symphonic, power and gothic metal.


Score 90%
Please help, my english sucks :(

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Rippingheadache
Metalhead

Joined: Fri Jul 07, 2006 7:42 pm
Posts: 601
Location: Vietnam
PostPosted: Thu Feb 08, 2007 1:45 pm 
 

Here's a revised version I did. Gave it a few tweaks. Try to avoid run-along sentences.

Quote:
BETO VÁZQUEZ INFINITY - FLYING TOWARDS THE NEW HORIZON

Five years have passed since Beto Vazquez (ex-Nepal) has released a second (third in composition) full-length album. Nowadays, the sound of the band is more defined and it seems they have chosen a musical direction. The first album was impossible to classify. In this page it appears as “Melodic Metal/Rock”, in spite of it written in the rules that any band cannot be put melodic metal as the genre.

This album is less innovative and heavier than the last one, closed to a symphonic power/gothic metal sound with some neoclassical elements. This is the first album where the constant band members (those who play in live shows) have participated, opposite to the first album, where it only had guest musicians and Beto Vázquez that participated.

The album starts with "Cardassia and Bajor" the typical intro with classical music sound, epic chorus, and orchestral instruments with a dark atmosphere that reminds of Rhapsody's Intros or Mago de Oz's Gaia II Intro. Following this, "After the Tempest", is the heaviest track of the album and one of the highlights. The album continues with "Lord of the Sky", a remake. The original song is in "Space Without Limits" album. That will be the next album released. (As I have said at the beginning of the review, this is the second release, but the third album was made, because the second album was delayed because of record company problems.)

"The Tunnel of the Souls" is one of the ballads of the albums with "Secret". If the only thing you’re looking for is speed, these two tracks won’t be showing that. You will enjoy listening "Time of Reflection" and "She is my Guide". They are the Power metal tracks of the album.

The problem comes with the seventh track, “Star Losers”, a very simple song that I don't like it at all. Talking with other people that has listened the album, I realized that their favorite track of the album was this song. Beto Vázquez said in an interview that this track was not to be included in the album at the beginning because it was made as an in-joke. So this is one of the tracks that you will love or hate.

The album ends with "Tale of the Black Tower", I believe that this track is the best of the album and the longest of the band (until nowadays). This song is an opera rock with lots of mattresses of keyboards and melancholic vocals.

In this album more than 15 vocalists have participated so the vocals sound a bit strange the first time you hear it. Listen to it a couple of times for it to accustom to your ears.

Highlights
- “After the Tempest”
- “Soldiers of Hope”
- “Tale of the Black Tower”.

Conclusion
Very different to the debut album, this release has more energy, but still conserves the peace and calm in tracks like "Secret" or "The Tunnel of the Souls". Highly recommended for fans of symphonic, power and gothic metal.

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Neo139
Mallcore Kid

Joined: Sat Dec 31, 2005 2:35 pm
Posts: 7
Location: Argentina
PostPosted: Wed Feb 14, 2007 10:56 am 
 

Rippingheadache wrote:
Here's a revised version I did. Gave it a few tweaks. Try to avoid run-along sentences.

THANKS!!!!!

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Rippingheadache
Metalhead

Joined: Fri Jul 07, 2006 7:42 pm
Posts: 601
Location: Vietnam
PostPosted: Thu Feb 15, 2007 3:02 am 
 

Haha, don't menntion it. :)

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GraveWish
Metalhead

Joined: Mon Aug 07, 2006 7:49 am
Posts: 950
Location: France
PostPosted: Fri Feb 16, 2007 10:19 pm 
 

Well, hello i need some help here can you tell me what's wrong with this review?

Towards the regression stage.

Lacuna Coil is fading, all that's left are memories. At first, i was really excited to know that Lacuna Coil released a new album called "Karmacode", after five years from releasing their masterpiece album "Comalies". Despite the album's awful name i thought it might be a follow up of the preceding one "Comalies". In a rush i got the album (thank God it wasn't an original copy). Listening to it for the first time got me shocked , in a negative way for sure. And I thought … this wasn't "Comalies" follow up.. this wasn't Lacuna Coil at all. The band turned out to be influenced by pop and nu-metal , not gothic anymore. Nothing to be compared now with their old songs such as "Swamped" or "Heaven's a Lie" metallic sounds .The album is a commercial one to the point that even fans of Slipknot, Korn and Madonna will like it!

First of all, Ferro's vocals are the worst voices that you want to hear in a gothic metal labeled album.They are a mixture of vocals such as Jonathan Davis (Korn), Serj Tankian (System of a Down) and even some rappers! Cristina faded away from her gothic style, and turned to be a pop star singer, nothing deep and attractive in her voice anymore. It's like she's only accomplishing a job, no feelings, nothing attractive at all. Horrible and sucky guitar riffs, played loud, faster then usual but without any effect. Drums sucks as well, just ‘making some noise’ is the appropriate term to describe it. Bass is always overrated as usual. Another important change is Lacuna Coil's sound , it is used with less keyboards, a thing considered as an advantage in some metal genres. Unfortunatly that's not the case in gothic metal where keyboards should exist in a powerful way, unlike the way they were in "Karmacode" (playing a very low profile). I can't give credits to any of the album's songs. Not to mention that the band covered a song from Depeche Mode! So Just don't be surprised if they cover Britney Spears in their upcoming release!

Lacuna Coil can't be considered as dead since they are able to impress the whole bunch of nu-metal lovers with their latest release, in addition of the majority of pop and rock lovers. In other hand, their reputation is fading away constantly between metal and gothic listeners (can't expect anything good from the band anymore). I don't advise any metal or gothic fan to buy the album. But to try it u can, only if you are curious enough to meet the new Lacuna Coil!
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As their material is being released in quantities more than 20 home dubbed tapes, the band has been removed from the Metal-Archives.

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Bloodstone
Metalhead

Joined: Thu Mar 11, 2004 11:48 am
Posts: 424
Location: Sweden
PostPosted: Fri Feb 16, 2007 11:38 pm 
 

GraveWish wrote:
Well, hello i need some help here can you tell me what's wrong with this review?

Towards the regression stage.

Lacuna Coil is fading, all that's left are memories. At first, i was really excited to know that Lacuna Coil released a new album called "Karmacode", after five years from releasing their masterpiece album "Comalies". Despite the album's awful name i thought it might be a follow up of the preceding one "Comalies". In a rush i got the album (thank God it wasn't an original copy). Listening to it for the first time got me shocked , in a negative way for sure. And I thought … this wasn't "Comalies" follow up.. this wasn't Lacuna Coil at all. The band turned out to be influenced by pop and nu-metal , not gothic anymore. Nothing to be compared now with their old songs such as "Swamped" or "Heaven's a Lie" metallic sounds .The album is a commercial one to the point that even fans of Slipknot, Korn and Madonna will like it!

First of all, Ferro's vocals are the worst voices that you want to hear in a gothic metal labeled album.They are a mixture of vocals such as Jonathan Davis (Korn), Serj Tankian (System of a Down) and even some rappers! Cristina faded away from her gothic style, and turned to be a pop star singer, nothing deep and attractive in her voice anymore. It's like she's only accomplishing a job, no feelings, nothing attractive at all. Horrible and sucky guitar riffs, played loud, faster then usual but without any effect. Drums sucks as well, just ‘making some noise’ is the appropriate term to describe it. Bass is always overrated as usual. Another important change is Lacuna Coil's sound , it is used with less keyboards, a thing considered as an advantage in some metal genres. Unfortunatly that's not the case in gothic metal where keyboards should exist in a powerful way, unlike the way they were in "Karmacode" (playing a very low profile). I can't give credits to any of the album's songs. Not to mention that the band covered a song from Depeche Mode! So Just don't be surprised if they cover Britney Spears in their upcoming release!

Lacuna Coil can't be considered as dead since they are able to impress the whole bunch of nu-metal lovers with their latest release, in addition of the majority of pop and rock lovers. In other hand, their reputation is fading away constantly between metal and gothic listeners (can't expect anything good from the band anymore). I don't advise any metal or gothic fan to buy the album. But to try it u can, only if you are curious enough to meet the new Lacuna Coil!


Space after periods, "I" instead of "i" and "you" instead of "u".

That should get you somewhere.
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GraveWish
Metalhead

Joined: Mon Aug 07, 2006 7:49 am
Posts: 950
Location: France
PostPosted: Fri Feb 16, 2007 11:48 pm 
 

Quote:
Towards the regression stage.

Lacuna Coil is fading, all that's left are memories. At first, I was really excited to know that Lacuna Coil released a new album called "Karmacode", after five years from releasing their masterpiece album "Comalies". Despite the album's awful name I thought it might be a follow up of the preceding one "Comalies". In a rush I got the album (thank God it wasn't an original copy). Listening to it for the first time got me shocked, in a negative way for sure. And I thought… this wasn't "Comalies" follow up. This wasn't Lacuna Coil at all. The band turned out to be influenced by pop and nu-metal, not gothic anymore. Nothing to be compared now with their old songs such as "Swamped" or "Heaven's a Lie" metallic sounds. The album is a commercial one to the point that even fans of Slipknot, Korn and Madonna will like it!

First of all, Ferro's vocals are the worst voices that you want to hear in a gothic metal labeled album. They are a mixture of vocals such as Jonathan Davis (Korn), Serj Tankian (System of a Down) and even some rappers! Cristina faded away from her gothic style, and turned to be a pop star singer, nothing deep and attractive in her voice anymore. It's like she's only accomplishing a job, no feelings, nothing attractive at all. Horrible and sucky guitar riffs, played loud, faster then usual but without any effect. Drums sucks as well, just ‘making some noise’ is the appropriate term to describe it. Bass is always overrated as usual. Another important change is Lacuna Coil's sound, it is used with less keyboards, a thing considered as an advantage in some metal genres. Unfortunatly that's not the case in gothic metal where keyboards should exist in a powerful way, unlike the way they were in "Karmacode" (playing a very low profile). I can't give credits to any of the album's songs. Not to mention that the band covered a song from Depeche Mode! So Just don't be surprised if they cover Britney Spears in their upcoming release!

Lacuna Coil can't be considered as dead since they are able to impress the whole bunch of nu-metal lovers with their latest release, in addition of the majority of pop and rock lovers. In other hand, their reputation is fading away constantly between metal and gothic listeners (can't expect anything good from the band anymore). I don't advise any metal or gothic fan to buy the album. But to try it you can, only if you are curious enough to meet the new Lacuna Coil!


What about grammar mistakes?
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As their material is being released in quantities more than 20 home dubbed tapes, the band has been removed from the Metal-Archives.

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Sean16
Moody Tabulator of Torn Hymens

Joined: Sat May 07, 2005 11:03 am
Posts: 524
Location: Japan
PostPosted: Sat Feb 17, 2007 1:05 am 
 

I haven't notice any of those, but I haven't read your review 10 times either, and I'm not a native English speaker. At least this means there is no blatant one, so you don't need to worry for that.

However I think your review is a tad short. While it would work fine for an obscure album with few or no reviews, it's more borderline for such a well-known band as Lacuna Coil. The ideas are here, maybe you should just expand a bit (one more paragraph?)

It will probably be accepted in its present form, but I don't think you'll get more than the minimal amount of points for it.
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Gutterscream
The Last Old Schooler in Town

Joined: Fri Feb 18, 2005 3:59 pm
Posts: 1419
Location: United States
PostPosted: Sat Feb 17, 2007 8:57 am 
 

Towards the regression stage.

Lacuna Coil has faded. All that's left are memories. At first I was really excited to know that Lacuna Coil released a new album called Karmacode five years after releasing their masterpiece Comalies. Despite the album's awful name, I thought it might be a follow up to the one preceding Comalies. In a rush I got the album (thank God it wasn't an original copy). Listening to it for the first time had me shocked in a negative way for sure, and I realized this wasn't the follow up to Comalies. This wasn't Lacuna Coil at all. The band turned out to be influenced by pop and nu-metal, not gothic anymore. Nothing's here to compare with their old songs such as the metallic sounding "Swamped" or "Heaven's a Lie". The album is commercial to the point that even fans of Slipknot, Korn and Madonna will like it!

First of all, Ferro has one of the worst voices that you want to hear in a gothic metal labeled album. They are a mixture of Jonathan Davis (Korn), Serj Tankian (System of a Down) and even some rappers! Cristina faded away from her gothic style and turned to be a pop star singer with nothing deep and attractive in her voice anymore. It's like she's only accomplishing a job, no feelings, nothing attractive at all. Horrible and sucky guitar riffs are played loud and faster than usual without any effect. The drumming sucks as well with 'just making some noise’ being the appropriate term to describe it. Bass is overrated as usual. Another important change is Lacuna Coil's sound. There are less keyboards, a thing considered an advantage in some metal genres. Unfortunatly that's not the case in gothic metal where keyboards should exist in a powerful way, unlike the way they were in Karmacode (playing a very low profile). I can't give credits to any of the album's songs, not to mention that they cover a song by Depeche Mode, so don't be surprised if they cover Britney Spears on their upcoming release!

Lacuna Coil can't be considered dead since they are able to impress a whole bunch of nu-metal lovers with their latest release, in addition to the majority of pop and rock lovers. On the other hand, their reputation is constantly fading away to metal and gothic listeners who can't expect anything good from the band anymore. I don't advise any metal or gothic fan to buy the album. But try it if you want only if you are curious enough to meet the new Lacuna Coil!

That's a little better.
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GraveWish
Metalhead

Joined: Mon Aug 07, 2006 7:49 am
Posts: 950
Location: France
PostPosted: Sat Feb 17, 2007 9:13 pm 
 

Just removed the other one and added this one thanks man.
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As their material is being released in quantities more than 20 home dubbed tapes, the band has been removed from the Metal-Archives.

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Erempiris
Mallcore Kid

Joined: Wed Feb 22, 2006 7:23 am
Posts: 9
Location: Netherlands
PostPosted: Sun Feb 18, 2007 11:13 am 
 

I'd like some feedback on the following review for Nile's Annihilation of the Wicked; I already submitted it though, hehe :P
I'd like to know wether my writing style is readable, wether my grammar is good or not and correction of any errors that have creeped in. I must have rewritten this like 10 times already ;)

Quote:
Nile – Annihilating the Wicked (97%)
Wow, this ride was fucking intense.
Annihilation of the Wicked is one of the most brutal (“Itylphallical”) Death Metal albums in the scene, and shouldn’t be missed by anyone.

The album itself is very energetic, especially “Cast Down The Heretic” and “Annihilation of the Wicked”, which gets an extra plus for the incredible riffing from Karl and Dallas.

A nephew of mine once said that George Kolias is the fastest drummer out there in the Metal scene, and when listening to this album you will think that that very well may be. His immense speed and technicality fit in perfectly with the (already odd) guitars and riffs.

Even though there are only four people playing on this album, it sounds like a couple of thousand. There are a lot of sounds at one time which sometimes gets confusing but makes it even better nonetheless; just another point to the incredible rollercoaster ride.

Lyrically this album isn’t very different from any other Nile album, however I must say that I am very impressed by the pure skill that Mr. Sanders writes these songs. They are very much alike any other “plain” Death Metal song, but Sanders adds heaps and heaps of different things to them, both religiously and philosophically, which makes them immense fun to read and ‘sing’ along with. A very good example for this is “Von Unaussprechlichen Kulten”, named after the fictional book in one of the many Lovecraftian universes, which reminded me very much of the stories of said person (Lovecraft, that is), setting a perfect example for the way to close down an album. However, the lyrics are also one of the downsides of these albums; they are often not in sync with the song itself. Not devastating but annoying to the least.

Guitar wise, Nile is VERY different from other bands. Their riffs are insane and extremely fast (near unplayable, even for Karl and Dallas themselves. I quote: “[…] not only challenging but excruciatingly painful. I would return home every night with my wrist in so much pain that I begun to wonder if the song would end my career” - from the comments on “The Burning Pits of the Duat”), and a lot of times hard to decipher what exactly is going on; without proper means of playing this album on a CD player it’s impossible to listen to. The wall of sound that is sent to you must sound as a clear wall of sound, otherwise this album, even this band, is nothing good for you.

The vocals on this album are an absolute example for pretty much every other Death Metal band. This is the way Death Metal vocals are supposed to sound. Karl and Dallas mix up very much and this is plainly awesome to listen to. I have heard many a band that has just one plain grunt, which is why a lot of Death Metal bands (no matter how big a fan I am of them) get boring after a while (Mortician, *cough*).

All in all, this is probably the best Death Metal album ever made. I am still and will stay a huge fan of Nile, and my opinion has only been amplified after this album. Even though the vocals are sometimes a bit of a downside when going out of sync, the rest of this masterpiece is near flawless and shouldn’t be missed out by anybody who is into Death Metal.

Stand-out tracks: “Cast Down The Heretic”, “Annihilation of the Wicked”, “Von Unaussprechlichen Kulten” and the Japanese bonus track “Sss Haa Set Yoth”.

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MushroomStamp
Metalhead

Joined: Sat Feb 25, 2006 11:07 pm
Posts: 681
Location: Helsinki, Finland
PostPosted: Sun Feb 18, 2007 12:24 pm 
 

Quote:
Lyrically this album isn’t very different from any other Nile album, however I must say that I am very impressed by the pure skill that Mr. Sanders writes these songs. They are very much alike any other “plain” Death Metal song, but Sanders adds heaps and heaps of different things to them, both religiously and philosophically, which makes them immense fun to read and ‘sing’ along with. A very good example for this is “Von Unaussprechlichen Kulten”, named after the fictional book in one of the many Lovecraftian universes, which reminded me very much of the stories of said person (Lovecraft, that is), setting a perfect example for the way to close down an album.


What specifically is so marvellous in the lyrics? What does "religiously and philosophically" mean? Expand. A vague reference to Lovecraft isn't enough, especially for those who aren't into his works.

Quote:
Guitar wise, Nile is VERY different from other bands. Their riffs are insane and extremely fast


This says absolutely nothing about the riffing. Pretty much any modern death metal riff could be described as "insane" or "extremely fast", depending on context and listener.

Quote:
without proper means of playing this album on a CD player it’s impossible to listen to. The wall of sound that is sent to you must sound as a clear wall of sound, otherwise this album, even this band, is nothing good for you.


This structure is a mess.

Without proper means - without a good audio system?
Impossible to listen to - difficult to understand?
"Must sound as a clear wall of sound"?

Also see this: http://en.wikipedia.org/wiki/Comma_splice

Quote:
The vocals on this album are an absolute example for pretty much every other Death Metal band. This is the way Death Metal vocals are supposed to sound. Karl and Dallas mix up very much and this is plainly awesome to listen to. I have heard many a band that has just one plain grunt, which is why a lot of Death Metal bands (no matter how big a fan I am of them) get boring after a while (Mortician, *cough*).


Again, does not describe the vocals. Are they low grunts, screams, what? What good does the mixture of two vocalists bring? How are the vocals exemplary?
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SRX
Metal newbie

Joined: Wed Apr 19, 2006 9:56 pm
Posts: 82
Location: United States
PostPosted: Tue Feb 20, 2007 10:12 am 
 

I was wondering if anyone can give me some general feedback for my reviews: http://www.metal-archives.com/userrevie ... ckname=SRX

Its only 4 reviews, so would think it wont be too much of a chore. Thanks very much! :)

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Sean16
Moody Tabulator of Torn Hymens

Joined: Sat May 07, 2005 11:03 am
Posts: 524
Location: Japan
PostPosted: Tue Feb 20, 2007 11:12 am 
 

The Clad in Darkness one is by far the best of the four, even if it's track-by-track, something you should avoid in your next works (such reviews are now most of time rejected). The best point in your reviews is you always try to precisely describe the music, going further than the generic "wov riffs here are awesome" kind of stuff. You also reviewed albums with few or no reviews, what is always fine.

I however noticed several weaknesses:
- most important of all, CHECK YOUR GRAMMAR. Even by reading them rather quickly, I noticed many grammar mistakes, including blatant ones ("is" for "are", lack of -s at the 3d person, lots of clumsy sentences, etc)
- your reviews overall lack of style. Even if the content is allright, they're not very pleasant to read as they're, let's say, a tad arid. However the style generally improves with the number of reviews written (my first reviews weren't really better than yours style-wise, and the same goes with most of reviewers here, especially non-native English speakers)
- again, avoid track-by-track.

Your reviews are far from being masterpieces (and frankly, two of them are really borderline) but you certainly have potential as a reviewer. As I said, the last one was already a nice improvement over the 3 previous ones. Just begin by improving your grammar and I'm pretty sure they'll already look far better.

Hope this helps :)
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UltraBoris wrote:
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I am the one lost Child, in this mediocrity.

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sAlex
Metalhead

Joined: Wed Jun 16, 2004 10:14 am
Posts: 632
Location: Slovenia
PostPosted: Tue Feb 20, 2007 11:30 am 
 

Quote:
Well after two thrashing blows to the head, one would expect a third one! Or not.
As much as I find Annihilators first two albums simply to be one of the best in the bussines, I must say that I was completely dissapointed when I first heard ''Set The World On Fire'' for the first time. I expected that technical thrashines, with non-stop ''over the edge'' riffs, but I shure got something different, and as much as I love this album now, I was actually about to loose hope for it in the past. But then I just listened some more.

The album starts out with the title track ''Set The World On Fire'', a fade-in brings us an acoustic intro and after about 30 seconds we're ready to roll. Snare beats come pounding in and the songs evolves into a slow headbanging sing along song. All still kinda has the energy of the previous albums, but after the chorus an acoustic guitar comes again and the riffs just start to get pussy. What the fuck? ''You're peolpe are dying'', screw dying, it sounds like ''You're people are having a love pinjata!'' Here's where ''Set The World On Fire'' shows it's other side for thefirst time. It was only later I actually acknowledged that I musn't look for something that this album simply isn't. I expected fucking Thrash, but I got something else, but does that mean that it's bad. No. It fucking rules, once you adopt the sound of it! This is simply Annihilator in another outfit, it's not as thrash as it used to be, but it's still very good. You could say they got commercialized but hey, if that makes the music better I don't give a shit.
Next on is ''No-zone'' and again I had prettymuch the same reaction. Riffs are good, you can see they're still technical, but everything is just more...radio friendly if you wish. And here's where the ''Thrash'' part seems to suffer, although there are a few tracks here like ''Set The World On Fire'', ''Bats In The Belfry'', ''The Edge'', ''Brain Dance'' that could easily be thrown on the ''Never, Neverland'' repertoire. On the other hand, there are a few totaly radio song here that we're not used to from Annihilator before, like ''Phoenix Rising'' for instance. An ''MTV'' ballad, and the weakest song on the album. ''Snake In The Grass'' and ''Sounds Good To Me'' are also kind of half-ballads but both are one of the highights of the album if you ask me.

The Annihilator Crew also did a pretty fine job here, with most noticable Jeff waters and especialy the singer Aaron Randall. Riffs and solos are great and sometimes over the top (Don't Bother Me, Brain Dance) but sometimes a bit unispired (Phoenix Rising, Set The World On Fire). Bass has it's great moments and stays on it's own the whole time. Drums are great, quite simple with a few stand-out moments, but overall very efficient, just the way they should be.

Vocals have a chapter of their own, since many dislike this album just becausef them. I find Aaron's vocals to be great, yet he is party guilty for making this album a bit soft. Vocal lines could easily be less cheesy and aggressive and that would certainly change the whole sound to more aggressive side, but looks like the band was happy with his job and once you get used to it, you like it just the way it is. Next thing you'll notice is that the guy has a huge speaking disorder!
It's like: ''You're juSt a Snake in the graSSS!'' and I couldn't belive how could they hire a singer with a fucking speaking disorder?! I mean I don't mind if the bassist has it, but the singer?! Well actually, he doesn't have any disorders but it's the microphnes fault. When they were recording ''STWOF'' they found out that Aaron is recording on some crappy microphone that isn't ''recieving'' S's the way it should. There were almost no S's in the mix, and so Aaron had to emphasize the S's while singing. It turned out really bad in the mix, but they couldn't re-record the whole album just because of that and so it sounds like the singer has a speaking disorder, which is actually quite fun in the beginning, but you learn to ignore it later.

''Set The World On Fire'' is quite different than the first two Annihilator albums. It gets weaker in the ''thrash'' department, but it's still an A-rate Annihilator record that makes it up for it elsewhere. So if you were turned off by all the negative reviews, screw 'em and give this baby a chance anyway...and don't give up after the first taste!


This was supposedly rejected review for Annihiator - Set The World On Fire. What is it lacking in your opinion?
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MushroomStamp
Metalhead

Joined: Sat Feb 25, 2006 11:07 pm
Posts: 681
Location: Helsinki, Finland
PostPosted: Tue Feb 20, 2007 12:56 pm 
 

sAlex wrote:
Quote:
Well after two thrashing blows to the head, one would expect a third one! Or not.
As much as I find Annihilators first two albums simply to be one of the best in the bussines, I must say that I was completely dissapointed when I first heard ''Set The World On Fire'' for the first time. I expected that technical thrashines, with non-stop ''over the edge'' riffs, but I shure got something different, and as much as I love this album now, I was actually about to loose hope for it in the past. But then I just listened some more.

The album starts out with the title track ''Set The World On Fire'', a fade-in brings us an acoustic intro and after about 30 seconds we're ready to roll. Snare beats come pounding in and the songs evolves into a slow headbanging sing along song. All still kinda has the energy of the previous albums, but after the chorus an acoustic guitar comes again and the riffs just start to get pussy. What the fuck? ''You're peolpe are dying'', screw dying, it sounds like ''You're people are having a love pinjata!'' Here's where ''Set The World On Fire'' shows it's other side for thefirst time. It was only later I actually acknowledged that I musn't look for something that this album simply isn't. I expected fucking Thrash, but I got something else, but does that mean that it's bad. No. It fucking rules, once you adopt the sound of it! This is simply Annihilator in another outfit, it's not as thrash as it used to be, but it's still very good. You could say they got commercialized but hey, if that makes the music better I don't give a shit.
Next on is ''No-zone'' and again I had prettymuch the same reaction. Riffs are good, you can see they're still technical, but everything is just more...radio friendly if you wish. And here's where the ''Thrash'' part seems to suffer, although there are a few tracks here like ''Set The World On Fire'', ''Bats In The Belfry'', ''The Edge'', ''Brain Dance'' that could easily be thrown on the ''Never, Neverland'' repertoire. On the other hand, there are a few totaly radio song here that we're not used to from Annihilator before, like ''Phoenix Rising'' for instance. An ''MTV'' ballad, and the weakest song on the album. ''Snake In The Grass'' and ''Sounds Good To Me'' are also kind of half-ballads but both are one of the highights of the album if you ask me.

The Annihilator Crew also did a pretty fine job here, with most noticable Jeff waters and especialy the singer Aaron Randall. Riffs and solos are great and sometimes over the top (Don't Bother Me, Brain Dance) but sometimes a bit unispired (Phoenix Rising, Set The World On Fire). Bass has it's great moments and stays on it's own the whole time. Drums are great, quite simple with a few stand-out moments, but overall very efficient, just the way they should be.

Vocals have a chapter of their own, since many dislike this album just becausef them. I find Aaron's vocals to be great, yet he is party guilty for making this album a bit soft. Vocal lines could easily be less cheesy and aggressive and that would certainly change the whole sound to more aggressive side, but looks like the band was happy with his job and once you get used to it, you like it just the way it is. Next thing you'll notice is that the guy has a huge speaking disorder!
It's like: ''You're juSt a Snake in the graSSS!'' and I couldn't belive how could they hire a singer with a fucking speaking disorder?! I mean I don't mind if the bassist has it, but the singer?! Well actually, he doesn't have any disorders but it's the microphnes fault. When they were recording ''STWOF'' they found out that Aaron is recording on some crappy microphone that isn't ''recieving'' S's the way it should. There were almost no S's in the mix, and so Aaron had to emphasize the S's while singing. It turned out really bad in the mix, but they couldn't re-record the whole album just because of that and so it sounds like the singer has a speaking disorder, which is actually quite fun in the beginning, but you learn to ignore it later.

''Set The World On Fire'' is quite different than the first two Annihilator albums. It gets weaker in the ''thrash'' department, but it's still an A-rate Annihilator record that makes it up for it elsewhere. So if you were turned off by all the negative reviews, screw 'em and give this baby a chance anyway...and don't give up after the first taste!


This was supposedly rejected review for Annihiator - Set The World On Fire. What is it lacking in your opinion?


- several spelling mistakes in each paragraph (switch bussines --> business; dissapointed --> disappointed; shure --> sure, etc.)

- some phrases messed up: "if you wish" --> "if you will"

- very, very chatty in tone (vocabulary, syntax, wandering macro-structure), almost like you had translitterated an oral description you gave to your friend.
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SRX
Metal newbie

Joined: Wed Apr 19, 2006 9:56 pm
Posts: 82
Location: United States
PostPosted: Tue Feb 20, 2007 1:26 pm 
 

Sean16 wrote:
The Clad in Darkness one is by far the best of the four, even if it's track-by-track, something you should avoid in your next works (such reviews are now most of time rejected). The best point in your reviews is you always try to precisely describe the music, going further than the generic "wov riffs here are awesome" kind of stuff. You also reviewed albums with few or no reviews, what is always fine.

I however noticed several weaknesses:
- most important of all, CHECK YOUR GRAMMAR. Even by reading them rather quickly, I noticed many grammar mistakes, including blatant ones ("is" for "are", lack of -s at the 3d person, lots of clumsy sentences, etc)
- your reviews overall lack of style. Even if the content is allright, they're not very pleasant to read as they're, let's say, a tad arid. However the style generally improves with the number of reviews written (my first reviews weren't really better than yours style-wise, and the same goes with most of reviewers here, especially non-native English speakers)
- again, avoid track-by-track.

Your reviews are far from being masterpieces (and frankly, two of them are really borderline) but you certainly have potential as a reviewer. As I said, the last one was already a nice improvement over the 3 previous ones. Just begin by improving your grammar and I'm pretty sure they'll already look far better.

Hope this helps :)


Thanks, man. I'll be sure to try to remember your points the next time I make a review.

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sAlex
Metalhead

Joined: Wed Jun 16, 2004 10:14 am
Posts: 632
Location: Slovenia
PostPosted: Tue Feb 20, 2007 1:57 pm 
 

MushroomStamp wrote:
sAlex wrote:
Quote:
Well after two thrashing blows to the head, one would expect a third one! Or not.
As much as I find Annihilators first two albums simply to be one of the best in the bussines, I must say that I was completely dissapointed when I first heard ''Set The World On Fire'' for the first time. I expected that technical thrashines, with non-stop ''over the edge'' riffs, but I shure got something different, and as much as I love this album now, I was actually about to loose hope for it in the past. But then I just listened some more.

The album starts out with the title track ''Set The World On Fire'', a fade-in brings us an acoustic intro and after about 30 seconds we're ready to roll. Snare beats come pounding in and the songs evolves into a slow headbanging sing along song. All still kinda has the energy of the previous albums, but after the chorus an acoustic guitar comes again and the riffs just start to get pussy. What the fuck? ''You're peolpe are dying'', screw dying, it sounds like ''You're people are having a love pinjata!'' Here's where ''Set The World On Fire'' shows it's other side for thefirst time. It was only later I actually acknowledged that I musn't look for something that this album simply isn't. I expected fucking Thrash, but I got something else, but does that mean that it's bad. No. It fucking rules, once you adopt the sound of it! This is simply Annihilator in another outfit, it's not as thrash as it used to be, but it's still very good. You could say they got commercialized but hey, if that makes the music better I don't give a shit.
Next on is ''No-zone'' and again I had prettymuch the same reaction. Riffs are good, you can see they're still technical, but everything is just more...radio friendly if you wish. And here's where the ''Thrash'' part seems to suffer, although there are a few tracks here like ''Set The World On Fire'', ''Bats In The Belfry'', ''The Edge'', ''Brain Dance'' that could easily be thrown on the ''Never, Neverland'' repertoire. On the other hand, there are a few totaly radio song here that we're not used to from Annihilator before, like ''Phoenix Rising'' for instance. An ''MTV'' ballad, and the weakest song on the album. ''Snake In The Grass'' and ''Sounds Good To Me'' are also kind of half-ballads but both are one of the highights of the album if you ask me.

The Annihilator Crew also did a pretty fine job here, with most noticable Jeff waters and especialy the singer Aaron Randall. Riffs and solos are great and sometimes over the top (Don't Bother Me, Brain Dance) but sometimes a bit unispired (Phoenix Rising, Set The World On Fire). Bass has it's great moments and stays on it's own the whole time. Drums are great, quite simple with a few stand-out moments, but overall very efficient, just the way they should be.

Vocals have a chapter of their own, since many dislike this album just becausef them. I find Aaron's vocals to be great, yet he is party guilty for making this album a bit soft. Vocal lines could easily be less cheesy and aggressive and that would certainly change the whole sound to more aggressive side, but looks like the band was happy with his job and once you get used to it, you like it just the way it is. Next thing you'll notice is that the guy has a huge speaking disorder!
It's like: ''You're juSt a Snake in the graSSS!'' and I couldn't belive how could they hire a singer with a fucking speaking disorder?! I mean I don't mind if the bassist has it, but the singer?! Well actually, he doesn't have any disorders but it's the microphnes fault. When they were recording ''STWOF'' they found out that Aaron is recording on some crappy microphone that isn't ''recieving'' S's the way it should. There were almost no S's in the mix, and so Aaron had to emphasize the S's while singing. It turned out really bad in the mix, but they couldn't re-record the whole album just because of that and so it sounds like the singer has a speaking disorder, which is actually quite fun in the beginning, but you learn to ignore it later.

''Set The World On Fire'' is quite different than the first two Annihilator albums. It gets weaker in the ''thrash'' department, but it's still an A-rate Annihilator record that makes it up for it elsewhere. So if you were turned off by all the negative reviews, screw 'em and give this baby a chance anyway...and don't give up after the first taste!


This was supposedly rejected review for Annihiator - Set The World On Fire. What is it lacking in your opinion?


- several spelling mistakes in each paragraph (switch bussines --> business; dissapointed --> disappointed; shure --> sure, etc.)

- some phrases messed up: "if you wish" --> "if you will"

- very, very chatty in tone (vocabulary, syntax, wandering macro-structure), almost like you had translitterated an oral description you gave to your friend.


haha I didn't notice the spelling mistakes:D shure:D

Thanks anyway!
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SnostormenFyr
Metal newbie

Joined: Fri Dec 08, 2006 8:54 am
Posts: 58
PostPosted: Thu Feb 22, 2007 2:52 am 
 

Could anyone reread this and tell me if it's good.

Ensiferum - Demo 1


What we have here is the first demo made by the famous Power/Viking band Ensiferum. I must say, they haven't changed much since this demo. I came upon this demo accidently in my friends music store. I was digging through the box of demo's and stumbled upon this 3 tracked demo, called "Demo 1". Catchy right?
Well the first song on this demo is Frost. A good begginer, and a good song in general. It opened up with some guitars and then hit into a powerful yet effective intro. 30 seconds into this song and you hear a good folk/black scream from Jari. There are some rough clean vocals which, to me, don't sound to good. Next song is not as good as "Frost" in my opinion, but it is still really good. This song is the longest of the 3 tracks and repeats the same guitar riff over and over again. I found it easier to pay attention to then "Frost" and faster then "Knighthood". Knighthood could be called a good outro song for this demo. I prefer to call it just another song. It starts slow in the beggining and then speeds up about a minute into the song. I found in quite an interesting song in the end. Which, again, wasn't as great as "Frost" or "Old Man".
There could've been some major adjustments to this demo, but of course it's only a demo and isn't as good as the full lengths obviously. I'm glad they made this demo because it shows that Ensiferum will probably never change like CoF or In Flames. All 3 tracks have solid choruses and great riffing. All the instruments showed up well in all 3 tracks. I wouldn't have this demo any other way.

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Sean16
Moody Tabulator of Torn Hymens

Joined: Sat May 07, 2005 11:03 am
Posts: 524
Location: Japan
PostPosted: Fri Feb 23, 2007 11:57 am 
 

It's very short, but after all the release is short as well...

You could improve the style, which often sound a tad childish (no offence ;) ). For instance, count how many times you repeat "demo" in the whole review: you could probably us other words like "release", "piece of work", etc. Then, while you try to describe the music, too much time is devoted to "this song is good, but not as good as the other, etc" - which could be summed up to a single sentence like "Though all three songs are good, Knighthood is a bit weaker than its two predecessors" (just a quick idea).

Instead of repeating how much every song is "good", which doesn't tell much, try to develop about the atmosphere of the demo: how does the production sound like? Is it raw, or surprisingly good for a demo? Do they sound more agressive/folk-ish/black-ish than on the following albums? Would some riffs be recycled on the full-lengths, or are these 3 totally independant songs? (I don't know this demo so those are just suggestions)

Also try to find another opening sentence than the "what we have here..." which has been beaten to death, and be careful of typos like "beggining" for "beginning", etc. which could easily be avoided.

Eventually once you've have developed your review try to break it into several paragraphs (and remember the site doesn't recognize indents). Formatting is key, you know.

Hoping these little tips will help :)
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SnostormenFyr
Metal newbie

Joined: Fri Dec 08, 2006 8:54 am
Posts: 58
PostPosted: Fri Feb 23, 2007 1:47 pm 
 

Sean16 wrote:
It's very short, but after all the release is short as well...

You could improve the style, which often sound a tad childish (no offence ;) ). For instance, count how many times you repeat "demo" in the whole review: you could probably us other words like "release", "piece of work", etc. Then, while you try to describe the music, too much time is devoted to "this song is good, but not as good as the other, etc" - which could be summed up to a single sentence like "Though all three songs are good, Knighthood is a bit weaker than its two predecessors" (just a quick idea).

Instead of repeating how much every song is "good", which doesn't tell much, try to develop about the atmosphere of the demo: how does the production sound like? Is it raw, or surprisingly good for a demo? Do they sound more agressive/folk-ish/black-ish than on the following albums? Would some riffs be recycled on the full-lengths, or are these 3 totally independant songs? (I don't know this demo so those are just suggestions)

Also try to find another opening sentence than the "what we have here..." which has been beaten to death, and be careful of typos like "beggining" for "beginning", etc. which could easily be avoided.

Eventually once you've have developed your review try to break it into several paragraphs (and remember the site doesn't recognize indents). Formatting is key, you know.

Hoping these little tips will help :)


Thanks very much, I will try to improve it as much as I can.

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Skurge
Metal newbie

Joined: Mon Oct 25, 2004 5:28 am
Posts: 45
PostPosted: Sat Feb 24, 2007 11:12 am 
 

So I've come here to kneel before all of you at the foot of your soot-black thrones and request feedback on my humble Battlelore review.

I attempted to avoid the horrible track-by-track nightmare that was my Command to Charge review, but in doing so, I feel like I went too far and detached myself from the material at hand. So, to continue, my main problems with it are thus:

1) I went on too long about how bored and disappointed I was. Words were wasted on drilling down that feeling of aggravating repetition when they could have been pressed into better use by explaining something about the music itself and why I felt this way.

2) Though I did give examples of what bothered me and went through elements of the music in order to try and pinpoint the source of my issues with the album, I think I mentioned Sword's Song too damn much. That was what made me wake up to Battlelore, but Evernight is not Sword's Song, so I'm not sure if I should keep that there at all.

3) Most importantly, I've been listening to it even more, because I do want to enjoy the stuff that Battlelore puts out. I mean, I like them a lot. I think they're great. So I let this sit on my playlist for a while and it's growing on me. I changed my review score from 40% to 50%, but I'm ready to move it even higher now, despite the fact that I still think Evernight could have been better.

I'm starting to come to terms with the fact that Battlelore simply isn't the band that they were back during the days of Where the Shadows Lie. And that's fine. They do a different sort of thing and it will either drive you away or slowly work its magic on your eardrums until you're more or less satisfied.

But I digress. I think I spent too much time describing my disappointment about the album instead of describing the album itself. I'd appreciate it if someone would read below to see if they agree with me on this or if they think I'm just being a self-deprecating prick.

JOHNTITORZORD wrote:
Okay, I will admit it. I kind of liked Third Age of the Sun. It didn't absolutely blow me away, but I never felt the smoldering disappointment that settled in the stomach of others upon hearing the album. I had hope that the next release would be great, that everything would be better once Battlelore got over this little hump. I suppose, then, that my sighs of regret were only delayed for a short time, because after listening to Battlelore's new "Evernight", I'm right there with everyone who has been shaking their heads at this band ever since "Sword's Song" was released.

It really does pain me to describe their recent output as "tired" and "monotonous", but at this point, I can't help but feel like Battlelore need to take a break and recharge. Something has fizzled out here. The spark of creativity that lit "Sword's Song" on fire is gone. I've watched those flames fade for a while now, yet Battlelore still continues to kick out albums well after their sore, exhausted arms have begged them to put down their instruments.

It's a shame, too. I can sit back and let songs like 'House of Heroes' wash over me, picking out riffs and interludes that remind me of the Battlelore of old. These moments twinkle with promise, then quickly become swallowed by the pervading, bromidic aura of sameness that surrounds most of the tracks on "Evernight". After a while, everything mixes into a droning wall of music that digs its tedious claws into my nerves and I have to stop listening to anything altogether. At that point, silence is all I can stand, and this is not a feeling I ever expected Battlelore to invoke in me.

Perhaps it's the guitars or the drumming. They certainly don't stand out all that much, though they're hardly offensive to the ears. Hell, like I mentioned before, they tend to create moments where the song threatens to pick up and become interesting. Unfortunately, those moments are backed up and repeated ad nauseam until they're driven face-first into the ground.

The vocals, of course, must be the problem, right? Well, Kaisa has always had a beautiful voice, even if she tends to sing in a rather light, smoky fashion that never really changes. Tomi's harsh growls and grunts have always seemed rather silly to me and I'm typically afraid that he's going to hurt himself. Despite that, he provides a contrast with Kaisa's laid-back, seductive style of singing, so there's a reason behind both vocalists being present.

His vocals aren't terribly dynamic either, though. Aside from a few exceptions, what you're hearing one second is what you're probably going to be hearing later, no matter how long you listen. In the end, it's this very sort of languishing, predictable framework that makes "Evernight", and to a lesser extent, "Third Age of the Sun", such a chore to listen to. When albums like "Where the Shadows Lie" and "Sword's Song" came along, I was amazed at how fresh the old fantasy style of metal could still seem. Battlelore had taken a formula and polished it to an attractive sheen, producing catchy, memorable songs and lyrics that were more than worthy of being attached to Tolkien's legendary life's work.

Now, though, I can only listen to a band that seems tired from the road, yet still eager to get their hands dirty doing what they love. Tragically, they're making the same mistake that Metallica, Children of Bodom, Suidakra, and countless others have: continuing to produce music long after you've run out of creative ideas. The ugly result is the very type of mediocre content found on "Evernight". Battlelore, for what it's worth, are still one of my favorite bands, but I truly do hope they take a break after this album and come back fresh and energetic again.

The potential is here and they haven't forgotten how to make good music, but that just makes releases like this one all the more frustrating to hear.


Ach. Mein typos.

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Sean16
Moody Tabulator of Torn Hymens

Joined: Sat May 07, 2005 11:03 am
Posts: 524
Location: Japan
PostPosted: Sat Feb 24, 2007 12:05 pm 
 

*opening an eye and looking down from his soot-black throne*

That's a good review IMHO, both pleasant to read and descriptive. The length is OK and you don't make blatant grammar mistakes. The little comparison with Metallica and al. sounds a bit clichéd and could have been erased without the review losing anything of its qualities, but it's nitpicking.

You also describe the vocals well, but you could have developed a bit more about the other instruments and the general sound. Otherwise, the reader nonetheless gets a good picture of this album by reading your review.

Not a masterpiece, but without doubt a good, straigth-to-the-point work.

*closes his eyes again and comes back to Therion's Gothic Kabbalah*
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Skurge
Metal newbie

Joined: Mon Oct 25, 2004 5:28 am
Posts: 45
PostPosted: Sat Feb 24, 2007 12:19 pm 
 

I mentioned Metallica because they are, in my mind, a classic example of the thing I was talking about. I see your point, though, and will probably replace them with another band or perhaps reword things a bit in order to make it seem like a small list of actual examples as opposed to name-dropping.

As far as the music itself goes, I really can't think of what else to say that would seem like it was coming from my own experience. It wasn't anything by itself that made me initially dislike the album as much as I did, but rather a combination of things plus the fact that I had heard all of it before... and kept hearing it, over and over again, for forty something minutes.

Thank you for the suggestions, however. I'll try to alter things a bit, since I see where you're coming from.

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Sean16
Moody Tabulator of Torn Hymens

Joined: Sat May 07, 2005 11:03 am
Posts: 524
Location: Japan
PostPosted: Sat Feb 24, 2007 12:21 pm 
 

Skurge wrote:
...since I see where you're coming from.


... from France?

;)
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I am the one lost Child, in this mediocrity.

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Skurge
Metal newbie

Joined: Mon Oct 25, 2004 5:28 am
Posts: 45
PostPosted: Sat Feb 24, 2007 5:42 pm 
 

*monocle*

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Darkwinterdweller
Mallcore Kid

Joined: Sat Oct 28, 2006 4:08 pm
Posts: 6
PostPosted: Tue Feb 27, 2007 7:47 am 
 

Any feedback for this Windir review is appreciated.

Windir - 1184 (95%)

Windir was a band of incredible talent, one of the best black metal bands to have surfaced in the late nineties. This band was formed by a young man by the name of Terje Bakken, better known as Valfar. Valfar was a man of pride. He had great pride in his country, and he wanted to let that be known. Windir in short, fuses black metal with folk music. While the concept on paper seems like it would not work, this could not be any farther from the truth.

The music is very unique in sound, sounding like raw black metal, with added hints of folk, which is calculated perfectly. The songs are fast paced and vicious, with some of the best vocals I've heard in black metal. There are many keyboard breakdowns into folk passages, where Valfar chants, and the music being enhanced with the use of keyboards. The title track is probably the best example of this. It starts off very fast paced, and then breaks off into a slow folk passage that sounds very sinister, and then proceeds back to a fast tempo. Most of the songs follow this pattern in some form of another. Their is much speed with chaotic nature to be found on here, namely on the tracks Black New Age and Dance Of The Mortal Lust. The basic instruments are done well, but the keyboards provide a lot of the structure. Their also seems to be other instruments played in certain songs for the folk element, such as the accordion. Their are also atmospheric moments to be found, namely in the end of the track Journey To The End. Their seems to be something for fans of all genres of extreme metal to be found on here.

As I've said, the vocals are excellent. Valfar is respectable in the manner that he is capable of unleashing vicious, fast, cut throat vocals, and also incoporates chanting and viking styled vocals in the music. The lyrics, all written by Valfar, are mainly about fantasy, myth, and misanthropy.

This album is easily my favorite of the four Windir albums, although they are all quite good. I would reccommend this to any fan of black metal. It's too unfortunate that Valfar had to die at such an early age. Buy this album at all costs, that is, if you can even find it.

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FalseProphet
Mallcore Kid

Joined: Fri Feb 09, 2007 6:03 pm
Posts: 6
Location: United States of America
PostPosted: Thu Mar 01, 2007 4:54 pm 
 

Here's my quick edit:


"Windir - 1184 (95%)

Windir was a band of incredible talent, one of the best black metal bands to have surfaced in the late '90s. This band was formed by a young man named Terje Bakken, better known as Valfar. He had great pride in his country, and he wanted to let that be known. Windir, in short, fuses black metal with folk music. On paper, the concept seems like it would not work, but this could not be further from the truth.

The music is very unique, as it sounds like raw black metal with added hints of folk, both of which are calculated perfectly. The songs are fast-paced and vicious, with some of the best vocals I've heard in black metal. There are many keyboard breakdowns into folk passages where Valfar chants. In these passages, the music is enhanced with the use of said keyboards. The title track is probably the best example of this. It starts off very fast-paced, breaks off into a slow folk passage that sounds very sinister, and then returns back to a fast tempo. Most of the songs follow this pattern in one form or another.

There is speed and chaos to be found here, namely on the tracks "Black New Age" and "Dance Of The Mortal Lust." The basic instrumentation is done well, but the keyboards provide a lot of the structure. There also seems to be other instruments, such as the accordion, played in certain songs to heighten the folk element. Atmospheric moments are also to be found, especially at the end of the track "Journey To The End." Fans of all genres of extreme metal can find something to enjoy here.

As I've said, the vocals are excellent. Valfar is respectable in the manner of unleashing vicious, fast, cutthroat vocals, while also incorporating chanting and Viking-styled vocals into the music. The lyrics, all written by Valfar, are mainly about fantasy, myth, and misanthropy.

This album is easily my favorite of the four Windir albums, though they are all quite good. I would recommend this to any fan of black metal. It's unfortunate that Valfar had to die at such an early age. Buy this album at all costs; that is, if you can even find it."


It would probably help to talk more about what the vocals sound like, cut down on the number of times "there" begins a sentence, and bring up Valfar's death in the introduction, when you say it "was" a band of incredible talent. Reducing vocabulary repetition is another suggestion. Don't take my opinions as gospel, though; I've only got one review to my name.
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ozzeh
Mallcore Kid

Joined: Tue Feb 27, 2007 4:59 pm
Posts: 6
Location: United States
PostPosted: Tue Mar 06, 2007 1:16 pm 
 

Okay, I have tried to submit this twice already to no avail so I will ask you guys for input and reasons why it might not get posted. I have also not ever received any e-mail notification of any kind as to why it is being rejected.

The review is for Sacramentum's EP "Finis Malorum"

Score : 97%
Title : My favorite EP ever.

Body :

Okay, so there is obviously a lot of competition for what a metal connoisseur may consider their favorite EP. Well, this first professionally recorded EP by Sacramentum gets my vote for my personal favorite EP.

The competition for the greatest EP is very close. Among those considered for a top EP spot are (in no particular order) : Rigor Mortis's "Freaks", Abigor's "Apokalypse" and Suffocation's "Despise the Sun". I love all of these unconditionally, but besides "FREAKS" none of them can compare the re-playability of Sacramentum's first EP.

The musicianship is flawless from start to finish. This EP was recorded before the band had acquired Nicklas Rudolfsson on drums. Mikael Rydén is the drummer on this album and he does an absolutely awesome job of keeping the songs flowing and the fills are impeccable.

This is considered "melodic black metal", but I honestly think that it goes way beyond that genre confining cliche. This album is perfectly executed black metal in a death metal context. There are only 5 songs and they all flow seamlessly into each other in just under 20 minutes.

The vocals are in the traditional Sacramentum vein. If you're unfamiliar with Sacramentum, this means that they're a very distinctive aggressive black metal rasp. The vocals help enormously to convey the passion behind the songs and really add an intangible element to the album as a whole.

The production is done by Dan Swano, and it is quite flawless. Every instrument can be heard clearly and it really captures the overall spirit of the band and what they wish to achieve with their music. The guitar playing is absolutely stunning and each song has unexpected tempo changes which are executed to perfection. Classical style guitar leads are prevalent throughout the EP and they really give the album a distinct sound.

The music is technical, but not enough to ever say it has any wankery involved in it. The EP is somewhat progressive, but also not enough to label it "progressive" per se. In the end, Sacramentum fuses melodic black metal with an underlying sense of technicality and progressiveness but none of these things ever detract from the actual music itself.

The lyrics are exceptionally well written, and with all Sacramentum albums, the lyrics give the music a re-playability which never seems to grow repetitive. The lyrics mostly involve death and human emotions and if you listen to this EP for the first time while reading the lyrics, you'll instantly see what I mean when I say the lyrics are very intricate and personal.

All in all, this five song EP could be in your head every day for 6 months if you're not careful. A lof of people seem to heap all of the praise of this band based on their first full length opus, "Far Away from the Sun". While that album is fucking magnificent in it's own right, this EP is just as skillfully crafted. Finis Malorum never ceases to amaze the listener at any point in its duration.

I honestly have nothing negative to say about this EP and it truly encapsulates what great black metal is all about. Sacramentum would go on to create three full length classic LP's after this, but it must never be forgotten that this is where it all began.


Last edited by ozzeh on Wed Mar 07, 2007 10:01 pm, edited 2 times in total.
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DeathSan173
Mallcore Kid

Joined: Mon Nov 27, 2006 2:09 pm
Posts: 2
Location: United States of America
PostPosted: Tue Mar 06, 2007 3:51 pm 
 

Heres my first attempt at a reivew, I addressed the music to the best of my ability and hopefully its not to long. Thanks in advance for taking your time to read through this.

Nonexistent is an album that holds contradiction among its style of playing and style of lyrics, but that contradiction in a way makes sense to how Living Sacrifice conveys it within their music. This album is Christian themed, a concept often ignored by metalheads as it is considered blasphemous to what makes metal, metal. Living Sacrifice though has showed that some genres and themes can be mixed successfully together, in this case, Christianity and death metal. They play a holy driven death/thrash metal sound that would probably be the soundtrack to some wrathful action by God himself. This sophomore effort is backed by decent (and I use that term lightly) musicianship and a more polished sound than its predecessor.

The sound of Living Sacrifice this time around has a better production, though most bands suffer the first album sucky production syndrome, I find it annoying to listen to music that sounds like it was recorded with some 2.00$ tape recorder. Most of the elements in this are audible (besides the bass) in Nonexistent and provide a quality sound to listen to. As for the basic style of Nonexistent, it is heavily influenced by Florida’s death metal scene and it overall sounds a lot like Obituary’s Cause of Death. Thankfully some of the thrash elements in this album keep it from sounding like an Obituary clone or tribute band for that matter. Out of all of Living Sacrifice’s releases this is definitely their most heavy and probably their best work before going down the path of regression on Inhabit and further down the path when they begin to play metalcore later on.

The vocals on this album are probably one of its biggest setbacks. Before vocalist D.J on their self titled album had a thrashier style to his vocals and it sounded pretty decent for the most part. On this album he uses a “zombie/undead” sounding vocal, but his vocal talent on here is not even average, he executes the sound poorly. If I were to compare it to anything it sounds like a failed attempt of mimicking Obituary’s vocalist, the vocal sound just fades around a tune to much and gets pretty annoying at times (On Inhabit his voice becomes better, and yet worse at the same time because the album was rushed to begin with.). This flaw in itself will probably kill the listening experience to ones that are very picky to vocals (and most are) so unless you can somehow stand it like I do, don’t even buy this. Then again it’s probably a blessing for those that don’t wish to here the Christian themed lyrics.

The guitar work on this album is its main strong point, Living Sacrifice managed to play some pretty good death/thrash on this album. Fans of Florida’s death metal scene as well as some thrash collectors will want to listen to this record for that purpose. Riffs on here are what Living Sacrifice does best, not one track on here makes any repetition of a riff, and they put some complexity into each one to keep it interesting. Riffs mix a main hammering thrash sound along with a “grinding” death metal riff behind it, they execute well. Even though the vocals seem to try to mimic obituary the guitarists don’t seem to (I own Cause of Death, though there are some similarities theres no copycat song playing going on here). Off and on through this album they mix a few great instrumental sections on here such as in the songs “Void Expression”, “Atonement” and “Distorted”. The only problem I noticed on the guitar work was that the bass was not at all audible; the only instance of bass I heard on here was at the 1:10 marker on “Atonement”, and the record would have been a lot better if it had this element. There are solos to speak of in this album but they sound like a far lower tuned version of Obituary’s solos.

What makes the contradiction of Christian death metal less of an oxymoron on this album is the lyrical themes Living Sacrifice choose to use. It’s not about death in the physical sense, its about death and decay in the spiritual sense (though its not audible, the idea is still there). Songs in particular that display this are “Haven of Blasphemy” and “…To Nothing”. The songs speak of self delusion and vile sin of humanity and to destroy these hollow philosophies and visions and to better see Christ’s wisdom before they meet their own death. The songs are overall well written it’s a shame one can’t hear them through D.J’s zombie vocals. Its not very preachy like “Serve god or burn in hell nonbeliever!” but they do focus mainly on finding salvation away from sinful decay. Its not death metal in the traditional sense, but these elements make it death metal like besides the guitar playing.

This is a sold album from an interesting band, it’s a shame quite a few of its elements are out of place on this album or else it would have scored in the upper 80’s. Although the album has it share of flaws some of its stronger aspects help compensate for that in way. If your a fan of Christian themed music and can’t stand listening to Christian rock then your in luck as this album gives a great pummeling listen.

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droneriot
RETIRED

Joined: Sat Aug 28, 2004 1:17 pm
Posts: 5241
Location: Germany
PostPosted: Tue Mar 06, 2007 4:01 pm 
 

Just one thing...

You are = You're =/= Your.
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ozzeh
Mallcore Kid

Joined: Tue Feb 27, 2007 4:59 pm
Posts: 6
Location: United States
PostPosted: Wed Mar 07, 2007 3:19 pm 
 

Can someone tell me why my Sacramentum review is unacceptable? I saw one or two typographical errors, but not a big deal... thanks.

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blockman
Metal newbie

Joined: Sun Sep 03, 2006 5:18 pm
Posts: 57
Location: Canada
PostPosted: Wed Mar 07, 2007 6:42 pm 
 

I would like some feedback on my great works please.

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Gutterscream
The Last Old Schooler in Town

Joined: Fri Feb 18, 2005 3:59 pm
Posts: 1419
Location: United States
PostPosted: Wed Mar 07, 2007 7:47 pm 
 

ozzeh wrote:
Can someone tell me why my Sacramentum review is unacceptable? I saw one or two typographical errors, but not a big deal... thanks.


Post it here.
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droneriot
RETIRED

Joined: Sat Aug 28, 2004 1:17 pm
Posts: 5241
Location: Germany
PostPosted: Wed Mar 07, 2007 7:55 pm 
 

Gutterscream wrote:
ozzeh wrote:
Can someone tell me why my Sacramentum review is unacceptable? I saw one or two typographical errors, but not a big deal... thanks.


Post it here.

He already did. Scroll three more posts up. :P
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ozzeh
Mallcore Kid

Joined: Tue Feb 27, 2007 4:59 pm
Posts: 6
Location: United States
PostPosted: Wed Mar 07, 2007 9:43 pm 
 

My review HAS already been posted, gutterscream... any advice is helpful. I've got three senior college level tests tomorrow and I"m fretting over why nobody has given my Sacramentum review the time of day, FUCK ME.

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Empyreal
The Final Frontier

Joined: Thu Nov 30, 2006 6:58 pm
Posts: 19086
Location: Where the dead rule the night
PostPosted: Thu Mar 08, 2007 4:09 pm 
 

Might anyone give me some feedback on my reviews, namely these:

http://www.metal-archives.com/review.php?id=21368#88990
http://www.metal-archives.com/review.php?id=96901#88990
http://www.metal-archives.com/review.php?id=39218#88990

Thank you.

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ozzeh
Mallcore Kid

Joined: Tue Feb 27, 2007 4:59 pm
Posts: 6
Location: United States
PostPosted: Thu Mar 08, 2007 6:56 pm 
 

Not sure why my post got deleted, not trying to upset anyone. But here it is again

Monstrosity "Spiritual Apocalypse"
Rating : 95%


"I've been a huge fan of Monstrosity for awhile, and this album only solidifies my high opinion of this great death metal band. There are nine full length songs, most of which are around the five minute mark. There is also a minute long keyboard interlude, which is one of the few negative points on the album.

The first thing that stuck out to me the first time hearing this is that the drumming is unbelievable. Lee Harrison is now officially one of my favorite drummers, ever. The fills and technicality of the drumming are quite mind-blowing. The drumming reminds me of the drumming of Jontho from Ragnarok. Completely fast as fuck, but never repetitive. Mike Hrubovcak takes over the vocal duties and he very well may be the best vocalist Monstrosity has ever had. Pure crushing death metal here, accept no subsititutes.

Now on to a song by song review (yea it's that fucking good) :

The album kicks off with the track "Spiritual Apocalypse". As soon as you hear the insane riffing you know you're about to experience a great album. The guitar playing, quite simply, is as good as their previous stuff. It could be argued that the guitar playing here is slightly better than on their previous masterpieces. The song "Spiritual Apocalypse" really gives an insight to what the whole album is all about : great death metal vocals, lyrics, guitar playing and drumming. The vocals are straight death metal, but the vocalist does an awesome job of conveying the passion of the lyrics and music as well as keeping the lyrics intelligible.

"Firestorm" kicks off immediately where "Spiritual Apocalypse" ended. Although the songs are similar in style, they all maintain their own identity. The guitar solos to start this song off are nothing short of perfect - I suspect Kelly Shaefer (Atheist) may have lent his hand on some of the solos on this album.. As with most of the songs on this album, the lyrics deal with war, death and destruction. Right around the 2:18 mark another set of incredible solos to blow your fucking mind, followed directly by some of the best death metal vocals and lyrics I have ever heard.

"Apostles of the endless night" is brutal as fuck. No other way to put it. This album is great because it is pure mind raping brutal / technical death metal. But even though it's very heavy, it never loses it's sense of musicianship. Every note is obviously well thought out. The layered vocals on this song are very excellently executed in the chorus's. As with the the previous songs, around 2:20 a set of guitar solos to blow your fucking mind. As the song progresses, it somehow manages to get heavier and heavier.

"Within divisions of darkness" is truly a war song. If you're going into battle, this is the perfect anthem for destroying the motherfucking insurgency. The drumming is really what gives this song a very warlike feel to it. Right around two minutes you've got the incredibly tasteful dual vocals of a lower guttural death metal growl and the higher pitch Atheist/Arsis type vocals. This makes perfect sense as James Malone and Kelly Shaefer both contributed on this album. I don't know if they contributed on the vocals and guitar playing, but it does sound like they did contribute to the vocals as well. As the song ends you're left wishing for more!

"The inhuman race" continues the trend of the whole album : very technical and well thought out brutal death metal. If you're not head banging at around 1:20, then clean your fucking ears out. The chorus is nothing short of spectacular, you'll be screaming "the inhuman race"!! before long. Around 2:19 the song slows down for some almost melodic guitar playing and some excellent drumming. But before the three minute mark hits the brutality slams you in the head. When the bells hit around the 4:00 mark you're left awe struck. WAR WITHOUT END!!!

"Remnants of divination" is probably my favorite track on the album. That is saying a lot as the whole thing is a damn masterpiece. Great intro to the song and then Mike Hrubovcak's vocals tear your head off. There is not enough praise that can be said about this guys vocal performance on this album. Upon the first time hearing this song you very well may listen to it three times in a row. One interesting note on this song is that the lyrics are some of the best death metal lyrics I have ever heard. The chorus is also one of the best death metal chorus's ever, in my book.

"Illumination" is a 46 second interlude and it really is quite worthless. The only non essential track on this whole album. It is completely devoid of any musical value whatsoever and I always skip this track.

"Sacred oblivion" is yet another song that makes you want to bang your head until your neck snaps into a million pieces. Crazy lead guitar work and drumming are nothing new on this album and this song is no exception. Unrelenting song that makes you want to kill someone.

"The bloodline horror" starts off with some excellent riffs then breaks down into a mind numbingly great guitar bridge. With there is melody in the guitar playing it NEVER comes close to be melodic death metal in any way. So kudos to the band for keeping melody intertwined with the brutality to perfection. The chorus is especially kick ass and the riffing is mesmerizing to say the least. Mark English is quickly becoming one of my favorite metal guitarists ever. The parasitic nature of the guitar playing is somewhat reminiscent of the early David Vincent era Morbid Angel, and it is just as skillfully executed. To compare English to Azgathoth is truly a worthy comparison. It does seem that Mark English has a propensity of making better hooks,though. The parts where you want to slam your head into a wall are plentiful and non stop.

"Triumph in black" is an especially great closer. Through the whole album you're left thinking, how the fuck can they continue to keep playing this high level of music? I know after the first time I heard this album, I was left thinking there was no way in hell they could match the intensity and utter perfection of the album all throughout, but they honestly pull it off and leave you satisfied completely. The chorus on this song, like the whole fucking album, is awesome. Some very off kilter guitar solos around 1:20 and they're excellent. This leads into some more mesmerizing lead guitar work and by this point your neck has to be fucking killing you. The perfect song to end the perfect album.

All in all, this is one of my top 5 favorite death metal albums ever, probably in the top 3. Definitely the best death metal album I have heard since the new millennium. I had to give this thorough review because the first review of this album does not do it justice in any way, shape or form. This album is mandatory for any fan of death metal. Even if you're not a death metal fan, after hearing this you will be."


Fuck, my bad for posting a new topic with this review. I meant to 'post reply' Sorry about that!! Could a mod please delete it? Thanks!

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Gutterscream
The Last Old Schooler in Town

Joined: Fri Feb 18, 2005 3:59 pm
Posts: 1419
Location: United States
PostPosted: Fri Mar 09, 2007 5:05 am 
 

ozzeh wrote:
My review HAS already been posted, gutterscream... any advice is helpful. I've got three senior college level tests tomorrow and I"m fretting over why nobody has given my Sacramentum review the time of day, FUCK ME.


Reads fine to me. The only thing I can see that may have put a damper on it is that it's basically track by track. Try melding song descriptions together and see how it turns out. Did you receive a rejection notification for the review? The reason for its dismissal may have been listed there.
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Transcendent_Logos
Mallcore Kid

Joined: Tue Sep 19, 2006 1:09 am
Posts: 5
Location: United Kingdom
PostPosted: Sat Mar 10, 2007 1:58 am 
 

How come my review for Dimmu Borgir's In Sorte Diaboli wa deleted after being accepted?

I'd thought it was because the album hadn't been released yet, so you'd have been contacted by someone from Nuclear Blast to delete it, in case it had persuaded their market audience in the wrong way intended and gave away about how it sounded before its release. That would be understandable.

However when 3 new reviews have been recently added saying the usual crap I'd expect a Dimmu Borgir review to say, it becomes worrying what was so wrong about my review?

Review:
Quote:
For all the people doubting Dimmu Borgir because since their recent raise in popularity, this album will surely make you think otherwise.
This is certainly the best thing they've made since For All Tid (Personally, I think this albums overall sound is better than Stormblast).

Now, while every kvlt kiddie with no knowledge of the music business, immediately slates a band on a big label and that isn't underground anymore, ignores the fact that a band has an artistic vision to realise.
They can't understand that with black metal, it should provide a stimulus for all of the senses, in order to realise your vision to make the sound and artwork suitable enough to support that, you'll need a large budget paid for by the label, and you'll need to sell a lot of albums and merch to repay that budget if you ever hope to release another.

This is far from selling out. A band that sells out would find a working formula and stick to producing that over and over. Dimmu Borgir once again takes their sound to further lengths than before, only this time its certainly for the better. And as no kvlt kiddie likes a band to do that, they're now catagorised as "Symphonic Extreme Metal" and shelved along with Cradle Of Filth. Wow, nice one, folks. You're really proving Black Metal to be intelligent with such stupidity.

The quality of the production is phenominal, it doesn't sound like just metal, it sounds like an experience. This isn't the kind of music that you can merely "Rock out" to. Its got feeling and creates an incredible atmosphere. This is an album to listen and appreciate, which is now becoming a scarce thing in Black Metal nowadays.

From the original concept, album title and album artwork, its hinting Dimmu Borgir have took towards the concept of Religious Satanism, which I wont hold against them at all, as its hardly bandwagon jumping, with the quality of music and lyrics perfectling justifying them.

The riffs on this album are more thrashy and far more guitar orientated than previous albums, some of the riffs are fantastic. It certainly shows signs of influence from bands like Thorns and Dissection with the minor 3rds, minor chords and arpeggiated minor patterns rearing their heads frequently in a much better way than 'Puritanical Euphoric Misanthropia'.

How anyone could throw this album away as mere "Symphonic Extreme Metal", is merely an act of petty jealousy, stupidity or immature elitism.
The standout track of this album, if to choose one was really necessary is certainly "The Foreshadowing Furnace". The intro riffs remind me instantly of Watain and theres even slow mid-riff breakdowns perfectly reminiscent of Deathspell Omega, but because of the difference in production and the fact you're most likely going to judge this with a "Dummy burger r gay, hhehehe" closed-minded way, you'd miss out on this instantly. If you fail to see the similarities in some riffs, you're obviously too stupid to see past your elistism bullshit.

There are however a lot of flaws on this album. Shagrath still occasionally uses his vocoder in moments, It does sounds particularly horrible half way through "The Fundamental Alienation". His vocal harmonies with himself sound better than previous albums. Theyre a lot stronger and harsher than before and has some death metal vocals too which certainly makes up for the vocoder moments.

Also Vortex's vocals really annoy me. I have no general problem with clean vocals in Black Metal. Code, Isengard and of course Urfaust show it works perfectly, but in Dimmu Borgir, Vortex spoils a lot of the songs, which is a shame. However, unlike most people, I can understand why they'd want to use clean vocals like that, but its just my personal opinion that it sucks balls.

Galder really lets this album down too. Theres the occasional widdlery that he likes to show off, but it really doesn't add anything at all to the album, and from an overall perspective, lets it down. "The Sinister Awakening" shows this a lot with a very heavy metal/melodic death sounding riff of picking notes with a constant open root note really fast, sounds like Arch Enemy, not particularly good for Dimmu Borgir's sound at all!

The instrumental "The Fallen Arises" is a strange one, but good nonetheless. The synthetic ritualistic drumming and wind instrument synths begin to sound somehow tribal, which doesn't tie into the album theme in any way, so can sound very distant to begin with. But as it grows in layers, it creates a dark apocalyptic feel, especially with the choirs, but its full layered sound merely lasts a few seconds, because the buildup was too long.

Another point to mention on this album is Hellhammer's drumming.
Phenominal.
Its so technical, it doesn't just provide timing, but a whole instrument in itself. You can leave out the infamous drummer jokes for anything Hellhammer is involved in, as they really are an instrument themselves. The speed on some of the songs are enough to provide competition for Nile's George Kollias; rolling blastbeats with his legs faster than most people can mimic with their voice.

This album is certainly Black Metal, its certainly fantastic, it certainly redeems Dimmu Borgirs dignity. A sure standout album of 2007 and a reason for elitist kvlt kiddies to take notice of what they're turning down with their ignorance.


Personally, despite the fact that it shows the ignorance of a lot of meathead metallers (and may provide a bit of insightful information for people to consider if they decide to write a review themselves), I don't see any problems with this review. So how come it was deleted?

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