Beehoover – The Devil And His Footmen (Review)

BeehooverBeehoover are from Germany and are a drum/bass combo specialising in a peculiar brand of Stoner Doom.

The drumming is unrestrained and energetic, while the bass is inventive and fiddly. Their music sometimes reminds me of a stripped down Tool toying with technical Stoner riffs. Complicated and simple at the same time.

The vocals are quite unusual sounding; free-form and loose and very individual; although slightly reminiscent of Mike Patton in style if not in sound. The vocals infect the complex musicianship like an afterthought that has nonetheless grown in the spaces between the notes and developed into an undeniable part of the intricate structure of the songs.

Beehoover manage to fit a lot of stuff into songs that, in the hands of other bands, might be 15 minute epics; in Beehoover’s hands though they typically last about 4-6 minutes are certainly don’t suffer due to this fat-trimming.

This is an uncommon band who provide an uncommon listening experience; they are all the better for it.

If you fancy something unusual and interesting this could be for you.

Noble Beast – Noble Beast (Review)

Noble BeastUS Power Metal band Noble Beast are about to unleash this self-titled album on an unsuspecting, unworthy world.

Straight from the off they make a mark with their brand of epic Power Metal, full of sweeping harmonies, electric riffs and boundless feelings of Metal and enthusiasm for epic adventures.

The band remind powerfully of European Power Metal, especially Freedom Call. As such, this is proper Power Metal and certainly not for the average person. It’s refreshing to hear this kind of music done well, and not descend into parody or just plain worthlessness.

With this in mind the singer is slightly unusual in that a lot of the time his voice is deeper than the norm for this kind of music. It may not be as high as one might expect, but this is, of course, no bad thing. He has a great set of pipes and is more than capable of belting out a ripping tune; his vocals are professionally delivered and he puts in an excellent performance. Higher vocals accentuate his deeper ones and overall the effect is gripping and rousing.

The songs are epic, stirring and make you want to stand on mountain tops, sword in hand, defying the Gods. That’s right.

The album features well written songs with good musicianship and a quality recording. The songs are catchy, have plenty of hooks and are smothered in leads and solos.

This is a quality release of pure, unadulterated Power Metal with a heart of molten heroism. If you’re looking for adventure and high thrills you’ve found it.

Along with the recent Burning Shadows, this has firmly reinforced my love of Power Metal.

Dead Earth Politics – The Queen of Steel (Review)

Dead Earth PoliticsDead Earth Politics are from the US and play modern Thrash/Groove Metal.

This is southern-tinged Modern Metal in the style of Lamb of God, et al, only with a slightly more Metal twist and some nice melodic choruses. Look at the album cover. Look at the song titles. There is no weak pseudo-Metal here.

Said melodic choruses are not of the sickly, saccharine variety; instead they’re all about the Metal and owe more to Pantera than the more modern Metalcore clones.

The riffs are good and the songs have plenty of energy. The band also don’t shy away from solos, which is always a welcome thing to hear.

The vocals are modern Metal shouting, combined with the aforementioned cleans with some even verging on Power Metal territory. Almost.

I’ve seen this band described as a cross between classic Metal and New American Metal and I think this description fits. Either way this short 3 track EP has the songs to play in the big leagues and is clearly the result of talented minds.

An enjoyable EP, and if they can harness this energy and songwriting finesse then whatever upcoming album they may be working on should be well worth a listen. Based on this release I’m looking forward to what they do next.

A modern take on fantasy Metal? Works for me.

The Drip – A Presentation of Gruesome Poetics (Review)

The DripHailing from the US, The Drip play Grind, fast and brutal.

This EP is 12 minutes, 6 tracks of mutilating Grindcore. The band worship at the altar of Grind legends Nasum and Rotten Sound, and are just as tight and focused.

The songs are streamlined and belligerent, with a good grasp of Nasum-esque dynamics.

The vocals are mainly high-pitched screeches designed to curdle milk and other such meanness. They sound savage and layer the top of the music like broken glass.

The production is clear enough to hear everything but also dirty enough to avoid the band becoming sterile or safe. A band with bite.

Each song is a self-contained furnace of energy and destruction, with nothing being held back. The band manage to give off a very complete feeling of listening to both state-of-the-art Grind but also one that’s aware of its heritage, going all the way back to Napalm Death when they unleashed Scum upon the world.

This is a great little collection of high octane grinders and it bodes well for a future album release. Definitely ones to watch.

Stoneburner – Life Drawing (Review)

StoneburnerStoneburner are a Sludge/Doom band from the US and Life Drawing is their second album.

The band combine aggressive Sludge with minimal Doom in a pleasing and refreshing way, taking elements of the masters such as Eyehategod and Neurosis and combing them with an eclectic mix of bands like Electric Wizard, Warhorse and even a splash of Isis on occasion.

They have a punchy, buoyant sound for a group of this type, with the guitars seemingly larger than life and ready to pop out of the speakers at a moment’s notice. For all this vibrancy however theirs is a filthy sound, mired in dirt and caked in sin.

The vocals are low-in-the-mix rumbles that sound as if something lurking just underneath the surface is threatening to break through and wreak havoc, yet is restrained by the thick, syrupy music.

The songs are free form expressions of the darker side of life where not everything works out in the end. The album cover is quite evocative and one can imagine this album chronicling the life and times of the figure in the painting. Which is possibly why the album sounds so bleak, yet with moments of uplift; even in a drab life there are moments of colour. Of course the actual lyrics are probably about something completely different, but this is my impression and it seems to fit the mood of the album.

At over 66 minutes in length this is a long and rewarding journey through a damaged life that culminates in the final, epic track The Pheonix. A moment of hope as the final curtain falls? Maybe.

Music to captivate and absorb.

Interview with Burning Shadows

 

Burning Shadows Logo

Gather, Darkness! is the second album from Burning Shadows, and is quite frankly one of the most enjoyable Power Metal albums I’ve heard in a while. Everything, from the album cover to the lyrics, to the sound production to the songs themselves; it all screams top quality at the top of its voice. It’s such a good listen I had to quiz them about it…

How did you form?

Tim Regan, rhythm guitar: Way back in 2000, I met Greg at a Cannibal Corpse show, which is odd because I was never much into Cannibal Corpse. The next day, I saw Greg again at a guitar store. When it turned out we were both guitarists and liked Iced Earth and Dream Theater and so on, it was pretty much a done deal to start a band. After years on working on Burning Shadows on and off with different lineups and playing the local music scene, we eventually found David Spencer (drums), Aaron El-Zeftawy (bass), and Tom Davy (vocals).

What are your influences?

Tom Davy, vocals: We draw a lot from the power, traditional, and thrash scenes. While our music definitely has a unique quality, if you listen close and enjoy any of those genres, our influences are pretty obvious.

What are you listening to at the moment that you want to recommend?

Tom Davy: Right now I’ve got the new Omnium Gatherum in the playlist. A new find for me! Highly recommended!
Tim Regan: Plagues of Babylon by Iced Earth. And the new Primal Fear album.

Burning Shadows AlbumWhat was your writing process like for the songs of your album?

Greg Jones, lead guitar: Writing “Gather, Darkness!” started like a lot of my writing does: with one or two riffs I had lying around and hadn’t yet used for anything. But other than that, it was pretty different from previous material I’d written in that the music and lyrics were almost always simultaneously in development. Before, it was more common for me to complete the music first, then add lyrics later. But this time it seemed natural to be constantly working on both, possibly because it was one of the few instances in which I more or less knew what I wanted out of the lyrical content before anything had been completed. Many of the cadences, vocal melodies, rough drafts of the riffs and fragments of the lyrics were worked out in my head often weeks before any of it was ever written down.

Tim Regan: Typically, either of us will come to the band with a song mostly done. Then as we all learn the song, we will tweak things here and there as needed to improve the songs. With “Gather, Darkness!” we changed very little from what Greg originally presented to us.

What can you tell us about the lyrics and the general concept of it?

Greg Jones: A quick summary of the novel “Gather, Darkness!” is based on: the story is set in a post-apocalyptic dystopia in the future, where society is thrown back to the dark ages and most knowledge has only been retained by the elite ruling class. The novel itself tells about the main character, named Jarles, rising through the ranks to expose the fraudulent ways of the rulers and throw himself “headlong into the middle of the greatest holy war the world has ever seen.” I can’t exactly verify that claim; that’s just what the description on the back of the book tells me.

Anyhow, the three parts [following the Overture] are primarily distinguished by their lyrical content. The first, “A Thousand Lies,” is essentially the protagonist’s call to arms for the masses to rise up against their leaders. The second, “To Ruin & Divide,” touches on the different mechanisms by which the “holy war” takes place. The third part, “Breaking the Sanctuary,” is mainly a reflection on the struggle as seen by the main character and about what’s to be learned from it.

In my review I praise the vocals in particular, saying that I was pleased that they were not what I was expecting. How much thought went into the vocal style, or was it just something that came naturally?

Tom Davy: Much of the vocal melodies for “Gather, Darkness!” were in place before I joined Burning Shadows in 2009 so vocally the band had a pretty good idea of what the album should sound like. However, the were generous enough to give me a ton of room to experiment and change melodies, lyrics, and even points of harmony. The only criteria being it must sound good. I readily agreed \m/

The process was very simple, try what came naturally, then work with what we liked and throw out that which failed to melt the requisite number of posers. We all reviewed and offered input every step of the way.

Speaking just for me, I came into Burning Shadows loving the sound and potential of “Gather, Darkness!” so the big focus was “does this suit the album? Is this what’s being called for?” With that in mind we marched on.

Burning Shadows BandAre you happy with how the album came out?

Tim Regan: I’m thrilled with how “Gather, Darkness!” came out. Our debut CD “Into the Primordial” was done almost entirely in-house since we had practically no budget. In terms of production, there was definite room for improvement. So when we set out to do “Gather, Darkness!” we upgraded the hardware we use in our studio and completely changed the way we recorded the drums, guitars, and vocals. Then we brought in Kyle Paradis to do the mixing and we were blown away by what he could do with what we gave him. Then when we had Bill Wolf master the album, we could almost see the piles of crushed posers all around us. As the album was developing, it was clear we would need to bring in a great artist to do artwork that can match the album’s grand sound and scope, so we tapped JP Fournier, who has done work for Immortal, Avantasia, and many more. When I first held the final product in my hand, it was almost surreal.

What does the future hold for Burning Shadows?

Tom Davy: Fame, glory, women. Hopefully all at once.

Tim Regan: The two biggest things in the works are another album which we are currently in the midst of recording and an appearance at the Warriors of Metal Fest in June. The latest updates can be found at http://www.burningshadows.com.

Piles of crushed posers indeed.

Aurora Borealis – World Shapers (Review)

Aurora BorealisAurora Borealis are from the US and play Black Metal with a Death Metal influence. This is the sixth album from this underrated veteran band.

I’m already a fan of this band so was eagerly looking forward to getting my grubby mitts on this one. Aurora Borealis have always been one of those band who have managed to be brutal, melodic, extreme and catchy all at the same time, and this new album of theirs is no exception.

The drums speed by like carpet bombs going off and the guitars are as razor sharp as always.

The vocals are harsh croaks that sound way better than they probably should and the vocalist always seems to come up with interesting rhythms and patterns for his voice.

The songs are no disappointment, with each one providing the riffs and melodies needed, as well us the right combination of brutality and restraint necessary for involving songs. The tracks are mainly in the 4:00-5:00 range and allow each song to develop and breathe without losing focus.

Another exemplary album of brutal Black Metal from this group of experts.

Pyrrhon – The Mother Of Virtues (Review)

PyrrhonPyrrhon are an unusual Hardcore-influenced Technical Death Metal band from the US and this is their second album.

They kickstart proceedings with an entry track that would do Converge or Cephalic Carnage proud. The Oracle of Nassau explodes out of the speakers all frenzy and bile, and for 1:25 it proceeds to annihilate everything. In complete contrast the next song White Flag starts off slow and menacing, and lasts for a much longer 9:42.

The vocals are screamed static attacks or brutal guttural growls, depending on the mood of the singer.

The music is technical, involved and very intricate. The instruments twist and turn and play all manner of elusive riffs; the listener is submerged in a lake of discordant dissonance that somehow manages to satisfy in spite of the multiple disparate elements being unleashed.

This is the clever thing though, as each instrument by itself is exploring its own path but everything gels together for the benefit of the wider picture in ways that you wouldn’t expect. The songs manage to be exploratory and experimental while remaining coherent and delivering a completed whole.

Angular riffs, wilful bass, schizophrenic drums and daemonic vocals collide to create a challenging and ultimately involving listen. The songs owe about as much to the violent Hardcore background of bands such as Converge, Botch and The Dillinger Escape Plan as they do to Technical Death Metal.

Pyrrhon strike me as having a combination of sounds from bands as diverse as all of the previously mentioned ones, as well as having elements of bands like Uphill Battle, Gorguts and Today Is The Day.

If you’re looking for a new band to obsess over who are not your average band then say hello to Pyrrhon. This album is a must.

Antigama – Meteor (Review)

AntigamaMeteor is the latest album from Polish Grind band Antigama.

Straight away you can tell that the latest Antigama album is just a top quality Grindcore release; the sound, the vocals, the playing, the delivery – it’s all spot on.

The recording is full and complete, with a devastating sound that makes the most of the band’s aggressive heaviness.

The vocals are brutal and satisfying with enough variety to keep things interesting but sounding good enough that the variety is a bonus and not something that’s necessary.

The playing of the band is tight and focused. They alternate between fast and aggressive, staccato stop-starts, brutal blasting and atmospheric heaviness with ease and the confidence of true professionals.

They’re also not afraid to experiment, with electronics and effects on some songs as well as guest and alternative vocals; it all adds up to something special.

Another solid, top quality release from these Grindcore masters; Meteor should see them at the head of the modern Extreme Metal pack.