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MazeofTorment
Metalhead

Joined: Mon Feb 07, 2005 11:06 pm
Posts: 2039
Location: United States of America
PostPosted: Wed Aug 09, 2006 1:56 pm 
 

Nightgaunt wrote:
Today is the 8th. That was accepted (by me) on the 6th. Been a little out of touch, have we?

Fuck. :lol:

Well what happened was, I thought that there had already been 3 reviews for the new Gorgoroth prior to my review. So everytime I went backed and checked and saw that there was 3 reviews, I was thinking mine hadnt been accepted. My bad. :bang:
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Abominatrix
Harbinger of Metal

Joined: Fri Oct 24, 2003 12:15 pm
Posts: 10245
Location: Canada
PostPosted: Wed Aug 09, 2006 2:16 pm 
 

I just added my first review in what must be a year by now, for Pagan Altar's debut. Damn, where has all that time gone? I'm feeling a bit on shaky ground since it has been so long since I wrote anything critical about music (I've been devoting more time to analysing literature), but perhaps this sudden inspiration will get me back into contributing in ernest. I've definitely been influenced by Thamuz's last few reviews and their somewhat mystical bent, and the technique of spicing up the review with lyrical exerpts is definitely Gutterscream's. I certainly won't be this melodramatic all the time, but I guess some feedback would be appreciated. ought I to go back into obscurity? :D

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Nightgaunt
I'll Swallow Your Soul

Joined: Sat Mar 06, 2004 9:50 pm
Posts: 6240
PostPosted: Wed Aug 09, 2006 8:33 pm 
 

You were in the top 5 when you left, and you're still in it now. It would be a shame to stop, though you do not of course owe anybody/thing jack shit.
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Thamuz
Metalhead

Joined: Sun Aug 22, 2004 7:56 pm
Posts: 2457
Location: Australia
PostPosted: Thu Aug 10, 2006 6:25 am 
 

Nightgaunt wrote:
You were in the top 5 when you left, and you're still in it now. It would be a shame to stop, though you do not of course owe anybody/thing jack shit.

Just out of curiosity who else is in your top five?

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OlympicSharpshooter
The Universal Magnetic

Joined: Wed Dec 31, 2003 3:24 pm
Posts: 1991
Location: Canada
PostPosted: Thu Aug 10, 2006 11:48 am 
 

Abominatrix wrote:
I just added my first review in what must be a year by now, for Pagan Altar's debut. Damn, where has all that time gone? I'm feeling a bit on shaky ground since it has been so long since I wrote anything critical about music (I've been devoting more time to analysing literature), but perhaps this sudden inspiration will get me back into contributing in ernest. I've definitely been influenced by Thamuz's last few reviews and their somewhat mystical bent, and the technique of spicing up the review with lyrical exerpts is definitely Gutterscream's. I certainly won't be this melodramatic all the time, but I guess some feedback would be appreciated. ought I to go back into obscurity? :D


Your mastery of language is as incredible as ever, but there are plenty here who can claim that. The thing that makes you so good is that you don't get lost in your own descriptions. I'd say you're the best 'literary' reviewer our site has ever seen. I've missed reading your work!
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Abominatrix
Harbinger of Metal

Joined: Fri Oct 24, 2003 12:15 pm
Posts: 10245
Location: Canada
PostPosted: Thu Aug 10, 2006 1:52 pm 
 

OlympicSharpshooter wrote:
Abominatrix wrote:
I just added my first review in what must be a year by now, for Pagan Altar's debut. Damn, where has all that time gone? I'm feeling a bit on shaky ground since it has been so long since I wrote anything critical about music (I've been devoting more time to analysing literature), but perhaps this sudden inspiration will get me back into contributing in ernest. I've definitely been influenced by Thamuz's last few reviews and their somewhat mystical bent, and the technique of spicing up the review with lyrical exerpts is definitely Gutterscream's. I certainly won't be this melodramatic all the time, but I guess some feedback would be appreciated. ought I to go back into obscurity? :D


Your mastery of language is as incredible as ever, but there are plenty here who can claim that. The thing that makes you so good is that you don't get lost in your own descriptions. I'd say you're the best 'literary' reviewer our site has ever seen. I've missed reading your work!


Oi, hearty thanks to all of you! It's good to know I haven't lost the "magic touch". I've got a few other releases in mind that I want to tackle, so there will be more coming very soon.

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Nightgaunt
I'll Swallow Your Soul

Joined: Sat Mar 06, 2004 9:50 pm
Posts: 6240
PostPosted: Thu Aug 10, 2006 10:40 pm 
 

Do that one for Altar of Perversion that you mentioned some months back.

(Please?)
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Abominatrix
Harbinger of Metal

Joined: Fri Oct 24, 2003 12:15 pm
Posts: 10245
Location: Canada
PostPosted: Fri Aug 11, 2006 9:45 am 
 

Nightgaunt wrote:
Do that one for Altar of Perversion that you mentioned some months back.

(Please?)


I'll probably do that one, yes, but I might tackle some others first that I feel more strongly about. Right now, for my next review, it's a toss-up between Trouble's "Run to the Light", Mystifier's "Wicca", Rotting Christ's "Non Serviam" and Dai's "The Advent".

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Thamuz
Metalhead

Joined: Sun Aug 22, 2004 7:56 pm
Posts: 2457
Location: Australia
PostPosted: Fri Aug 11, 2006 10:45 am 
 

Abominatrix wrote:
Mystifier's "Wicca", Rotting Christ's "Non Serviam"

Yes, please. :)

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Abominatrix
Harbinger of Metal

Joined: Fri Oct 24, 2003 12:15 pm
Posts: 10245
Location: Canada
PostPosted: Fri Aug 11, 2006 12:01 pm 
 

Thamuz wrote:
Abominatrix wrote:
Mystifier's "Wicca", Rotting Christ's "Non Serviam"

Yes, please. :)


I'll do both. Which RC album are you contemplating a review of?

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OlympicSharpshooter
The Universal Magnetic

Joined: Wed Dec 31, 2003 3:24 pm
Posts: 1991
Location: Canada
PostPosted: Fri Aug 11, 2006 1:33 pm 
 

I'll throw my vote behind Run to the Light. Your doom reviews are my personal favourites.
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Thamuz
Metalhead

Joined: Sun Aug 22, 2004 7:56 pm
Posts: 2457
Location: Australia
PostPosted: Fri Aug 11, 2006 7:36 pm 
 

Abominatrix wrote:
Thamuz wrote:
Abominatrix wrote:
Mystifier's "Wicca", Rotting Christ's "Non Serviam"

Yes, please. :)


I'll do both. Which RC album are you contemplating a review of?

I have no preference, really. I would like to see someone give 'Non Serviam' some praise, though. It is really underrated if you ask me. But whichever you want to do.

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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 Aug 12, 2006 11:34 am 
 

OlympicSharpshooter wrote:
I'll throw my vote behind Run to the Light.


Two for that one.
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PhantomOTO
Exterminator 666 Does Not Answer

Joined: Fri Sep 26, 2003 8:19 am
Posts: 3242
Location: United States
PostPosted: Sat Aug 12, 2006 11:53 am 
 

I'll put in a third vote for Run to the Light.

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failsafeman
Digital Dictator

Joined: Wed Sep 01, 2004 8:45 am
Posts: 9693
Location: United States
PostPosted: Sat Aug 12, 2006 4:42 pm 
 

Nightgaunt wrote:
You were in the top 5 when you left, and you're still in it now. It would be a shame to stop, though you do not of course owe anybody/thing jack shit.


Agreed. Many's the time an Abom review led me true.
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Minotaur
Metal newbie

Joined: Sat Dec 20, 2003 11:00 pm
Posts: 174
Location: Mongolia
PostPosted: Wed Aug 16, 2006 12:51 am 
 

I recently wrote up a review I haven't submitted yet, I'd like to get some suggerences or point out some things I could improve, thanks:

Quote:
Messiah's Hymn To Abramelyn is the proof some things that have been done before can be further advanced into something much more reasonable and interesting which coincidencially ends sounding not very alike it was suppossed to originally be. On addition to the obvious Thrash inheritation, this work emanates several peculiarities 'paralel' to Death Metal that appear to be chronologically unconceivable for its time and location. I will further explain some of the characteristics that later were reintegrated to the Death Metal genre. Excellent background lead-guitar orchestation and effects that very hardly fall into a total wanking mayhem and the obtuse incorporation of slower acerbic parts are things most Thrash Metal bands of that time failed to successfully do, but Messiah possessed the knowelge to put the theory in practice in the most [paradoxic] way. While most Thrash bands attempted to either follow the jolly Bay Area sound that generally came up being more so technically advanced and cocky or the German evil tremolo-centred abrupt sound that in some ways preceeded the Black Metal genre, Messiah remained (voluntarily) excluded from both groups (although in some aspects, it would be stupid to deny it resembles German Thrash). This album is indeed malignant but not in the way Bathory and Sodom were, the previous bands incorporated satanic imagery and an overall more 'demonic' sound that was less reflective and crude in nature.

Messiah, on the other hand had little to do with Satanism, it rather focuses on projecting a authoritarian explorative sound through agonizing yelling through somewhat high-pitched vocals, quasi-elemental rigid drumming and exceptional use of background feedback effects and minor melodies that also aggrandize the already evident composing skills of the band in both literary and figurative ways. This is not to say these previous aspects are the only things that make this album somehow singular, as the production and the remaining instruments broaden much of the album maniatic display of sonic revolt. Another surprising (but not really outstanding) thing surrounding this album is the atonishingly comprehensive production. Aye, this is perfect not in the way everything is utterly polished and medically clean to not offend lobotomized organic auditive channels, this is perfect in a way that trascends perfection itself. It doesn't sacrificate the rawness of the album but successfully mitigates all of the annoying strains that would just be stain layers to the album's crust.

The excruciating omnipotent melodic structure of this album, is however, with no doubt the most treasurable thing that integrates within the whole work. All of each players affirm a commutative democratic songwriting where none of the instruments is overwhelmingly independent from the others, leading to a coefficently executed monumentally ultra-violent scenario that doesn't cyclates itself into a rythmical and choral self repetition. It renders a withstanding riff-pattern alternation that frequently overpowers the vertiginousity of the abrupt rythmic structuration in a then-oddly arranged manner. From the uncontrolated thrashing disorder to the harmonically rich twilighted slower powerchord parts and from the texturally mighty figure-rich sweeps and tremolo cohexistence to the Celtic Frost inspired tragic mid-paced melodic constructions and from the cathedratically delayed hoarse and high-pitched vocals to the highly evident bass roar and the rythmically endurant obstreperous drumming this album [coheces] itself in a impressive way.

However, as most things on Earth, this has some deffects I can't pass through, now on a more crude and way less eloquent grasp of the English language I am going to briefly point out some defficent things about this: the vocals that themselves are a cataclysmic high-point on the album's doomiest parts paralelying at times a less exaggerate execution of a style unsurprisingly resembling the techniques used on Triumph of Death, generally get annoying at its faster paces to the point of self-ridiculing themselves in a grotesque way. The bonus-song 'Mortal Bells', although being constituted in a completely different form, has its main riff almost directly taken from Slayer's Crionics. The spoken intros are unnecessary filler that are unintegrally lacking in creative depths (disgusting reverberation).

This is to say that even although the album is not that close to perfection, the low-points prevail brutally overwhelmed by the high-points. The interesting thing of hearing this album is that you can hear and analizate an embryonic version of sharply executed deconstructivist part-atonal songwriting that became a generality on Death Metal (an exception become a rule). Don't let negative arguements foolish you. If you enjoy Massacra, Unleashed and Asphyx you will enjoy this.
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Minotaur
Metal newbie

Joined: Sat Dec 20, 2003 11:00 pm
Posts: 174
Location: Mongolia
PostPosted: Wed Aug 16, 2006 5:45 pm 
 

No opinions? Mhmhmm.
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PerpetualDawn
Metal newbie

Joined: Thu Sep 08, 2005 6:39 pm
Posts: 37
Location: United Kingdom
PostPosted: Thu Aug 17, 2006 12:14 pm 
 

I think most of us have been rendered speechless by your use of words like "suggerences", "inheritation" and, my absolute favourite, "cathedratically".

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KayTeeBee
Veteran

Joined: Thu Jun 17, 2004 4:04 pm
Posts: 2595
Location: Canada
PostPosted: Fri Aug 18, 2006 7:25 pm 
 

I wrote this review today, and since I haven't been writing a lot lately, some input would be appreciated (although I don't really expect any, since king Mino's shit wasn't commented on - great review!)
Quote:
Gorod is a band from from France which features most members of Gorgasm. They released their debut album last year, Neurotripsicks, and it didn't impress me that much - as opposed to what most people thought, I thought it was pretty redundant and boring death metal. This new album though, definitely puts Gorod at the top of my favourite death metal list, and it's definitely one of the best death metal albums released so far this year (without forgetting Spawn of Possession and a few others).

First things first, this isn't straightforward death metal. Like the aforementionned Spawn of Possession (whose latest album could be easily compared to this one), Gorod know how to make things interesting: Not too many blastbeasts, no rushed production, a lot of melody, but still keeping an undefiled sound. Some parts tend to fall more into technical grounds (such as Thirst for Power), but they never exaggerate like the successful tasmanian band Psycroptic. Anyway, whenever one of those pretentious technical part shows up, they don't last long and there's usual a kick-ass riff right after. What makes this album so cool is that through the full 42 minutes, Gorod somehow manages to pack in every cool riff and idea that's ever been tried in death metal - without being redundant for 1 second. When it comes to their melodic side, I'm pretty sure I haven't anything Gothenburg in this album - more something of neo-classical death metal or brutal melodic death bands. There's a lot of leads and solos for those who like their Death metal with tons of 'em (the middle of 'State of Secret' comes to mind - awesome solos, a little bit of shredding and sweeping), there's some stuff for those who like some dissonant passages, some brutal-ish parts, you name it. The vocals are nothing remarkable, as I seem to get the impression that most of this album is focused on musical value. I honestly wouldn't mind at all if this had been an instrumental album.

Gorod try every trick in the big book of death metal, and they've mastered their art so gracefully in under one year (Ok, their debut wasn't that bad). I definitely hope a lot of bands can learn from this: you don't have to try some extravagant stuff to be original and awesome. You just have to take all the elements you like from a certain genre of music and make what you can of it. Every member of Gorgasm is an excellent musician, creatively and by playing their instruments. The future of death metal looks promising, if more people can do music like this.
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Minotaur
Metal newbie

Joined: Sat Dec 20, 2003 11:00 pm
Posts: 174
Location: Mongolia
PostPosted: Fri Aug 18, 2006 8:42 pm 
 

Thanks, Katie. Your review is pretty accurate, althought I haven't heard Gorod that well.

And PerpetualDawn, I'm not completely sure if what you said was good or bad, but why does everyone have to see the peculiar things about any specific thing as a negative point? It's not like I'm going to waste my time eliminating every single word that doesn't truly belong to the established English vocabulary. I'm completely sure everyone got what I meant to say with each of those 'odd' words.
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DeathForBlitzkrieg
A Dead Man's Robe

Joined: Thu Jan 27, 2005 1:23 pm
Posts: 2136
Location: Austria
PostPosted: Fri Aug 18, 2006 9:39 pm 
 

Deathwish (UK) - At the Edge of Damnation

Quote:
I came across Deathwish’s entry on the metal-archives by chance and so I just read the one and only review for Demon Preacher out of interest and although it’s a short and sketchy review, it seemed to me like something I’d like. Coincidentally, at about the same as I discovered this fine 80’s metal band, somebody put links for both albums to download in the old download thread on the m-a forums, so of course I didn’t pass up this golden opportunity and got both albums. My feeling of interest after reading the aforementioned review lived up to and exceeded all my expectations, both albums are great and since At the Edge of Damnation hasn’t been reviewed, yet, I decided, after listening to it for about half a year regularly, to review it.

I didn’t experience the thrash explosion in the eighties, but this album seems to represent everything what it was all about, the uncompromising aggressiveness, the rawness and the power of the music is just incredible. The fact that it’s under produced doesn’t matter at all, it makes it even somewhat more enjoyable and it adds something interesting to the general feeling of the album, at least for me.

The first riff on the first track, In the Name of God, blows you instantly away, something that happens to you, while listening to all other songs, there’s always at least one guitar riff, solo or break that can keep up with all the other great thrash acts. None of the songs gets boring at any time, something not a lot thrash/speed metal bands managed to do, but also no songs tend to stand out clearly from the others, I still seem to like Demonic Attack and The Exorcist a bit more, but that’s just personal liking.

The music isn’t what you would call technical, but it is highly innovative and intoxicating and that is what really counts. The guitarist supplies your ears with absolutely solid riffs, leads and solos and the bass is mostly audible and the bassist sometimes provides some nice fills. The drummer does what he has to do, not more and not less, but that’s exactly what’s necessary and the vocalist has a powerful voice and he sometimes shrieks, too, the perfect frontman for such a band. As far as I can make them out, the lyrics are quite anti-religious and about darkness and death in general.

At the Edge of Damnation thrashes from the beginning to the end, only when I listened to the last track, Forces of Darkness, the first time, I feared a rock ballad, because the intro is clean guitar picking, but after a minute it starts thrashing and lasts for whole nine minutes, the perfect ending for such an awesome album.


Please, tell me grammar and spelling mistakes, I think the content is approve-worthy. ;)
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DeathForBlitzkrieg
A Dead Man's Robe

Joined: Thu Jan 27, 2005 1:23 pm
Posts: 2136
Location: Austria
PostPosted: Sat Aug 19, 2006 6:41 am 
 

I just submitted it.
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droneriot
RETIRED

Joined: Sat Aug 28, 2004 1:17 pm
Posts: 5242
Location: Germany
PostPosted: Sun Aug 20, 2006 8:47 pm 
 

Most of you people here already know my reviews and my views on music in general, so you can more or less guess how my clock is ticking, so... any advice on what I should review next, any album you can think of that you think my opinion on would count for something? I know, I know, I'm long overdue on my promised Blut Aus Nord and Lurker Of Chalice reviews, but I'm still working on those, so don't bring them up. I'm currently at a bit of a standstill, so to speak, don't know where to go on.
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Hungersorg
Metal newbie

Joined: Sat May 13, 2006 6:07 am
Posts: 187
PostPosted: Mon Aug 21, 2006 9:41 am 
 

I wouldn't mind at all to see a review for Samael - Worship Him made by you droneriot.

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ThrashGordon
Metalhead

Joined: Tue Apr 20, 2004 10:15 am
Posts: 1023
Location: Australia
PostPosted: Tue Aug 22, 2006 5:18 am 
 

After doing enough complaining about the OTT reviews of Testament's The Gathering I decided to voice my own opinion. Feel free to leave your feedback...

The Gaythering - 56%

If The Gathering proves anything it’s that Dave Lombardo carries one of the most formidable reputations that can ever befall a heavy metal drummer. For a band that has had, apart from original ‘classic line up’ drummer Louie Clemente, the likes of Gene Hoglan, Paul Bostaph and John Tempesta pass through the ranks at one time or another the fact that The Gathering remains Testament’s most notorious album if only for the presence of Slayer’s legendary skin basher is testament (pun intended) to the universal respect held for Mr. Lombardo. It certainly couldn’t be for any metallic brilliance by these one time leading lights of the thrash scene as The Gathering is just as uninspiring as the rest of the band’s output following their classic sophomore effort The New Order.

The album starts off with not so much a bang but the sound of Israel trying to blow Palestine off the face of the Earth. Opener ‘D.N.R. (Do Not Resuscitate)’ is the definition of ownage and an instant Testament classic, easily knocking off ‘Dog Faced Gods’ as the best song Testament ‘mark II’ have released. If the rest of the riffs on the album were anywhere near the quality of this beast I would be using my copies of Rust In Peace and Beneath The Remains as kindling. Thankfully, at least for the sake of my record collection the rest of the album is basically a write-off with any semblance of a good riff drowning in a sea of mediocrity. It’s almost as if the band, after walking the thrash-death tightrope ever since the acquisition of James Murphy still havn’t made up their minds what they want to be and coupled with Eric Peterson’s much publicised forays into black metal the end result is an absolute mess of a record. Tracks like ‘Eyes Of Wrath’ and ‘True Believer’ have glimpses of good riffage but the band is so fucking confused it sounds like there are 4 songs crammed into 1 while shitty groovers like ‘3 Days In Darkness’ and ‘Riding The Snake’ just plod along to the point of nausea. ‘Legions Of The Dead’ is probably the only other song here worth noting, possibly because it’s little more than a blasting death metal track that doesn’t try to encompass elements of the entire spectrum of heavy metal.

If there is one constant in the world of Testament it’s that Chuck Billy will unleash one of the most impressive voices in the history of thrash metal and he doesn’t let us down on The Gathering but unfortunately in this case he simply has nothing worthwhile to say. Dave Lombardo may very well be the greatest drummer the world has ever seen but he does little here to further his reputation. His presence may have helped shift units and reignited interest in Testament at a time when Limp Bizkit was king but for all I know it could have been Louie Clemente, Gene Hoglan or Gene Hackman manning the stool. The decision to replace virtuoso Skolnick with James Murphy may have ensured the band didn’t edge any closer to the mainstream following The Ritual and while his resume is nothing short of outstanding I’m yet to be convinced that he can come up with more than 2 memorable thrash riffs an album. To be fair the band had begun it’s downward spiral long before Skolnick left (no doubt his leanings towards jazz and rock and away from thrash played it’s part) but the band hasn’t really been the same since the Riffmaster General departed.

While The Gathering is at times blisteringly crushing it still retains that same old Testament feeling of being an album that seems to mostly travel in 3rd or 4th gear, only occasionally going for the throat. Sure it's technically still thrash but it's the kind of album that just makes your balls sort of itch as opposed to completely ripping your nut sack off like other modern thrash albums such as Torture Squad's Pandemonium and Sodom's M-16. With Steve DiGiorgio rounding out the band on bass one could be forgiven for expecting this incredible line up of metal legends to come up with something extraordinary but unfortunately it was not to be. It's not quite vomit inducing, it does have it's moments here and there and at least one track is pure fucking mayhem but for the most part it's a collection of random good ideas and frustratingly untapped potential, so in other words it's typical Testament. In the end it ends up being just like that girl you took home last Saturday night at 2 am. Pretty damn heavy but only fun for about 3 and half drunken minutes and ultimately unfulfilling.
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Nightlock
Mallcore Kid

Joined: Tue Mar 28, 2006 10:14 pm
Posts: 8
Location: Australia
PostPosted: Tue Aug 22, 2006 12:41 pm 
 

Review for Riot - "Born in America"

I would really appreciate some feedback suggestions etc,

Thanks for reading.


“1983’s Wings of Fire.” – 94/100%

While 1982’s “Restless Breed” was a great introduction to Riot’s second vocalist Rhett Forrester and their best effort up to that point. It wasn’t half as amazing as 83’s “Born in America” which would unfortunately be the last studio release with the brilliant Rhett Forrester R.I.P (Possibly the most underrated heavy metal vocalist in history).

Often when fans are discussing early pre-“Thundersteel” era Riot the two Rhett Forrester albums get completely overlooked in favour for the three with Guy Speranza. This is absurd, “Narita” and “Fire Down Under” are enjoyable albums but I can’t conceive in anyway possible how they rank alongside the incredible 1983 release. “Born in America” generally has taken a heavier, catchier approach without losing emotional depth. Basically the next logical progression for Riot, “Fire Down Under” and “Restless Breed” have some great songs but far too many tedious 70’s rock moments that bring the material down.

Rhett Forrester-Riot can’t really be described as the same they were with Speranza. Songs like “Narita”, “Swords and Tequila” are as the best examples in old Riot that can be found here, but that still lacks accuracy. Think perhaps a more “Screaming for Vengeance”/”Defenders of the Faith” riff sense and tone but the rest of the music having a much more American sound. Completely forget Speranza’s vocal that’s not what you’re going to find here. Rhett sounds more like a combination of a throaty blues singer, 70’s hard rocker and blood-curdling, screaming demon. There’s no better way to describe him and his West Virginian accent just adds to the substance of his already amazing and unique vocal colour.

The album is very consistent and has no weak tracks as such. With exceptions of perhaps “Promised Land” written by Rick Ventura, but anyone who owns Restless Breed will know he writes the slower more “bluesy” numbers. It’s really not a bad song just the weakest link found here. With this kind of album it’s really hard to pick favourites every song holds its own quality and defining characteristics. “You Burn in Me” is probably the most noticeable song at first listen, with its melodic guitar lines and that chorus; so catchy and memorable:

“And you burn in me, just like fire on the raging sea”

“Born in America” is the mid-paced anthem-chorus-heavy song of the album preaching America being the “land of the free”. “Wings of Fire” showcases the band displaying their amazing song writing range. While “Heavy Metal Machine” shows a fast neck-twisting-head-banging classic. I especially love the last chorus and the way Rhett sings “got to keep it clean” followed by the scream and then back to the lower “heavy metal machine” (3:09 – 3:18) man this guy has range. Speaking of Rhett’s vocal range “Gunfighter” probably my current favourite of the album, Rhett sings this one with just the right emotion for the lyrical content. The: “I’m going to send you straight to hell” line sounds like he’s almost spitting fire.

Without all the emphasis on Rhett Forrester main song writter and guitar Mark Reale (who formed the band back in ’77) has also shown a huge improvement in both categories. Writing 6 out of the 10 songs on the album and those 6 being the best songs (not counting the Cliff Richard “Devil Woman cover) must say something. Speaking of the Cliff Richard song though, generally I’m not a huge fan of cover songs instead siding with the original. It’s very rare a cover is better than the original. Yet Riot seem to somehow do it again they truly make the jazzed up version of “Devil Woman” their own.

Another great point that needs to be made, this album screams early 80’s traditional metal nostalgia. I’ve often noticed when bands make the hard – heavy progression Riot make with “Born in America” that often they lose the nostalgic values of their earlier releases. This is certainly not the case here. “Born in America” contains so many of those moments where it’s utter nostalgic bliss on your ears. If you want heavy metal at it’s best, this is as heavy metal as 1983 can offer.

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CandideCamera
Pour l'encouragement des autres

Joined: Sat Jan 11, 2003 7:49 pm
Posts: 2155
Location: The Known Universe
PostPosted: Wed Aug 23, 2006 12:54 am 
 

Minotaur wrote:
Thanks, Katie. Your review is pretty accurate, althought I haven't heard Gorod that well.

And PerpetualDawn, I'm not completely sure if what you said was good or bad, but why does everyone have to see the peculiar things about any specific thing as a negative point? It's not like I'm going to waste my time eliminating every single word that doesn't truly belong to the established English vocabulary. I'm completely sure everyone got what I meant to say with each of those 'odd' words.


Well for what it's worth, I was always told I had a great vocabulary, and I can't make any sense out of "suggerences". And if I had conjured the second word, it be closer to "cathedracality" or "cathedralism". I don't have a problem with "inheritation" though.
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Str8Hate
Metal newbie

Joined: Mon Mar 27, 2006 7:00 pm
Posts: 92
PostPosted: Sat Sep 16, 2006 8:16 pm 
 

Abominatrix wrote:
I'll probably do that one, yes, but I might tackle some others first that I feel more strongly about. Right now, for my next review, it's a toss-up between Trouble's "Run to the Light", Mystifier's "Wicca", Rotting Christ's "Non Serviam" and Dai's "The Advent".


Whichever album you finally decide to review, I hope you start ditching the track-by-track descriptions.

You have great command over literal articulation, but the board's rules for reviewing have just changed (added rule #7).
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OlympicSharpshooter
The Universal Magnetic

Joined: Wed Dec 31, 2003 3:24 pm
Posts: 1991
Location: Canada
PostPosted: Sat Sep 16, 2006 10:26 pm 
 

Believe me when I say Abominatrix and other reviewers of his calibre can write any way they damn well please. That rule exists only to curb people who haven't the talent or experience to write on that higher level.
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Str8Hate
Metal newbie

Joined: Mon Mar 27, 2006 7:00 pm
Posts: 92
PostPosted: Sun Sep 17, 2006 9:21 am 
 

Okay, If you wish to apply favoritism then don't let my words stop you.


After all wasn't it 'Napolean' from Animal Farm who distorted the commandment "All animals are created equal" to "All animals are created equal but some animals are created more equal than others".
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Napero
GedankenPanzer

Joined: Sun Jan 02, 2005 4:16 pm
Posts: 8542
Location: Finland
PostPosted: Sun Sep 17, 2006 12:05 pm 
 

Str8Hate wrote:
Okay, If you wish to apply favoritism then don't let my words stop you.

You sure have a unique style of making an impression and a lot of friends at the same time...

There is no favoritism here. For an odd reason you'll certainly be able to figure out yourself, reviews by Abominatrix will not be approved by OSS or anybody else. They just half-magically appear on the site. Not that it makes any difference, they would likely be accepted without a delay regardless.

Str8Hate wrote:
After all wasn't it 'Napolean' from Animal Farm who distorted the commandment "All animals are created equal" to "All animals are created equal but some animals are created more equal than others".


Well, in this case, that's the situation, actually. Don't let it bother you, though.

Look, the rule about track-by-tracks is not absolute; I, and I believe every other mod here, too, will keep accepting good track-by-tracks in the future. The idea of the rule is to point out that, on the average, track-by-tracks are of inferior quality, and from a reader's point of view, usually carry much less useful payload. Details about individual songs are usually not important enough to spend time reading about, and they rarely serve a purpose unless the reader has heard the music. Also, the track-by-track format is often a sign of trouble in the sense that the reviewer has little to say about the whole. It is a sign of a probable lack of skill and even ambition to really tackle the whole album as a complete piece. And that indeed shines through in many song-by-song reviews.

I haven't yet seen a track-by-track good enough to deserve the full 8 points. They often keep babbling about tiny details, and even if they, against the odds, do contain a good overview of the whole, it is buried under a lot of excess weight and the quotient of goods/word drops dramatically. It doesn't mean that they should be rejected on sight, but they had better be really good or have a specific reason to be written in that format before I will accept them.

The animals that are created more equal are the swine who dare to write exceptionally good track-by-tracks. Those that are just equal are the sheep who write nothing but track-by-tracks because that's all they can think of.
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Metdude
Mallcore Kid

Joined: Fri Dec 30, 2005 9:17 am
Posts: 15
PostPosted: Tue Sep 19, 2006 11:49 am 
 

This is a review I submitted but was rejected along with several others I did some weeks back. I'd appreicate some feedback on where I went wrong:

God Hates Us All 42% “A tribute to Slipknot!”

This album is even worse than the previous one! This time, there’s only a couple of good songs and only one of them really stands out. The album starts with an intro track which is a new thing for Slayer. It’s not really worth bothering with so I’ll move onto the first proper song, Disciple. This is easily the best song on the album and the only one from the album that deserves to be part of the band’s live set. At least this doesn’t ruin Slayer’s reputation for having kick ass opening tracks. God Send Death comes up next and it’s a fairly good song. The lyrics are quite decent and it has a nice solo section.

Speaking of lyrics, this is definitely the worst Slayer album for lyrical content. I mean Slayer has never had particularly outstanding lyrics but they are truly terrible on this album! They sound like the sort of bile you would hear from Slipknot or any other nu-metal band. In fact, this album has a strong Slipknot influence which brings the quality down massively. The frequent use of swearing is one of the main problems. Slayer have used strong language before in their music but only once or twice in a couple of songs. Only a few songs don’t have excessive swearing and some use it just to fill in the blanks for lyrics (Payback being the worst offender).

After God Send Death, you might as well stop listening to the CD because you’ve heard the best this has to offer. OK, if you really want to carry on, then you could skip straight to Bloodline which is a decent song but that’s it. The rest of the album is nu-metal garbage not worthy of the name Slayer. The only other song that could have been good is Payback. If it had better lyrics and was uptuned a bit more, it would be a good track.

Don’t bother buying this album. This is the only studio album of theirs which really is not worth having. Diabolus In Musica isn’t much better but at least it has decent lyrics and a few good songs. Just download Disciple, God Send Death and maybe Bloodline and forget about the rest.

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Unearthly
Spectre of Wrath

Joined: Sun Mar 27, 2005 8:10 pm
Posts: 635
Location: United States
PostPosted: Tue Sep 19, 2006 1:05 pm 
 

More of a rant than a review; use of "uptuned."

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droneriot
RETIRED

Joined: Sat Aug 28, 2004 1:17 pm
Posts: 5242
Location: Germany
PostPosted: Tue Sep 19, 2006 1:57 pm 
 

A track-by-track review mentioning only three tracks, and barely describing them.
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Metdude
Mallcore Kid

Joined: Fri Dec 30, 2005 9:17 am
Posts: 15
PostPosted: Tue Sep 19, 2006 2:42 pm 
 

So, basically mention what I like about the 3 tracks that I mentioned in the review. And maybe swap the uptuned line with something like "If it was played in standard tuning"?

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droneriot
RETIRED

Joined: Sat Aug 28, 2004 1:17 pm
Posts: 5242
Location: Germany
PostPosted: Tue Sep 19, 2006 3:46 pm 
 

Metdude wrote:
So, basically mention what I like about the 3 tracks that I mentioned in the review.

Yes, and a tad more on what you dislike about the others. The musical description is just a bit sparse overall.
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concertmusic
Mallcore Kid

Joined: Mon Sep 18, 2006 1:51 pm
Posts: 5
PostPosted: Wed Sep 20, 2006 8:34 am 
 

Firstly, this site is fabulous - I have now used it for some weeks, and have found it to be an invaluable resource.

In that vein, I thought that I could contribute in some small way. Having read some of the excellent reviews that have been accepted, and some of the 'oven fodder', I have here tried my hand at my first review. Please provide any feedback at all.

The review is for Manticora's latest - "The Black Circus - Part 1".

Title: Straight to the top of the Manticora catalogue
Rating: 95

Review:

Manticora return with their fifth full-length studio offering, and a glance at the track list confirms that this is their third concept work in succession. The story this time revolves around a 19th-century traveling circus, inspired by a H.P. Lovecraft story. Manticora, as mentioned, by now have a solid history of doing concept CDs, but this one stands out in that "The Black Circus - Part 1" is only the first half of a two-part work, with the second half awaiting us in early 2007. Again produced by Tommy Hansen at Jailhouse Studios, you know that the sound of this disc will not be of concern.

The first track sets the stage, as the narrator reads a letter to an unknown friend, describing the circus in somber tones. The off-key gypsy-like music in the background creates a dark and eerie atmosphere, and as the title of the CD indicates, the listener should not expect clowns and puppies in this circus. There are in fact 4 intermezzi, plus the aforementioned introduction, and all serve as necessary bridges between tracks, in most instances giving the listener information about the content and mood of the next track.

I initially listened to the first musical track, "The Black Circus", with some apprehension. From the start this track made a first impression of being one of the most straight-forward, fast, and uncompromising tracks in recent Manticora history. Why the apprehension, then? Well, to me, Manticora represent their own little niche in power metal, where they intelligently combine aggressive power metal elements with outstanding progressive metal tendencies. These prog metal sounds were almost entirely missing in this first track, and I feared just a little for the rest of the CD.

It turns out that there was no need to worry. This CD is one of those wonderful works that starts quite strongly, and keeps getting better, building up to better and better tracks. A couple of minutes into "Enchanted Mind", and my apprehension had disappeared, but was replaced with yet a different sense of puzzlement, as that particular track had an almost happy feeling to it - and any Manticora fan will find that disconcerting in its own right.

Again, never fear. The story moves on to "Forever Carousel", and this track grabs hold and encourages you to sing along at the top of your lungs - and great power metal anthem, with plentiful tempo changes and children's voices mixed into the fray. Just as you get comfortable again, "Freakshow" gets you off the beaten track again - a largely acoustic, and chilling, description of one aspect of circus life.

The rest of the album deals with the gypsies that run this circus, and starting with "Gypsies' Dance Part 1", then "Wisdom", and the finale "Disciples of the Entities", these 3 tracks to close the CD are positively superb. "Gypsies' Dance Part 1" is Manticora-style power prog metal at their very best - just you try to keep your feet still! The intermezzo between "Gypsies Dance" and "Wisdom" introduce a female vocalist, who sings the part of the gypsy fortune teller in "Wisdom" - and makes this track THE stand-out song of the CD. After the finale, you will find yourself wishing that Manticora had simply made this thing a double-CD - the wait for Part 2 of this work will be long and hard.

Rejoice, Manticora fans - while you were justified in wondering whether there would be the inevitable dud after 5 ever-improving efforts, this CD climbs to the top of the catalogue - and it cements that position with every additional listen.

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Str8Hate
Metal newbie

Joined: Mon Mar 27, 2006 7:00 pm
Posts: 92
PostPosted: Wed Sep 20, 2006 10:06 am 
 

Your review is well written (didn't spot any typos or grammatical mistakes).

But you sort of dodged the rule which discourages a track-by-track review. You were really able to make a track-by-track discription that didn't bore me (as a reader) ... and those are very rare.

Keep it up.
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concertmusic
Mallcore Kid

Joined: Mon Sep 18, 2006 1:51 pm
Posts: 5
PostPosted: Wed Sep 20, 2006 10:20 am 
 

I appreciate those comments, Str8Hate.

I started that review several times, being fully aware of that rule, and still was unable to get away from putting in at least some track-by-track description.

It was important to me to highlight my issues with the first music track, and then it became necessary to individually address some of the other tracks to show how they improved and made the concept work.

Do you recommend that I officially submit this thing as is?

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concertmusic
Mallcore Kid

Joined: Mon Sep 18, 2006 1:51 pm
Posts: 5
PostPosted: Wed Sep 20, 2006 1:51 pm 
 

Here is one more review I penned, after I realized that one of my favorite bands had no reviews of their only CD to date. I approached this review totally differently from the Manticora piece - please let me know what you think! Hopefully there is not too much fan-boyism in this write-up.

This review is for Atmosfear's only offering - "Inside the Atmosfear".

Title: This band should be amongst the prog metal elite
Rating: 97

Review:

Atmosfear have now been on the prog metal scene for 10 years, without any lineup changes, have produced one full-length CD to date, but few not really familiar with German prog metal have heard of them. Should that be any surprise, given the aforementioned facts? It should, if you take the time to listen to "Inside the Atmosfear" more than once.

One look at the track listing leaves no doubt that this is prog - average song length of around 7 minutes, with a 12- and 9-minute track for good measure. The sound is full, yet finely balanced; every instrument is easily discernible, and none overpowers. The vocals are excellent; the only point of reference, without it being a comparison, might be Andy Kuntz of their German prog metal compatriots Vanden Plas, and that reference is primarily for vocal range. The musicianship is flawless - you could not ask or want better. There is a very good balance of instruments, neither guitars nor keyboards steal the limelight.

Nevertheless, in some of the articles about the band the author wonders why Atmosfear have not taken their place amongst the prog metal elite, be that world-wide or just in Germany.

Well, the answer is both slightly confounding, but also understandable. Confounding in that there are plentiful elements that should attract non-prog metal diehards, such as frequent use of very crunchy guitars, parts of each song that invite extensive foot-tapping, or chorus lines that dare you not to sing along.

But - and it's a big but - this is VERY complex, multi-layered prog metal. Don't get me wrong; it is by no means so massively complex that they lose the plot just to get in a few more keyboard runs or lengthy soli. But it is complex - there are many tempo changes, breaks, and mood changes to deal with in each and very song (maybe with the exception of the Beatles cover and the final track). There are layers upon layers of music to digest, but in the end it all makes sense, and the finished product is refined, yet accessible, powerful, yet delicate.

There is no need to go into every song in any detail - most of them have all of the elements already described. The last track doesn't quite fit the pattern as well as the others, in that it is a piano-driven ballad. The other 9 tracks are a complex prog metal feast, enjoyable each on its own, or as one long unit. And should you enjoy this offering as much as I do, the band's site has announced that they will release a long-overdue follow-up in the near future.

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