Lets Talk Metal
Oct 11, 2015 at 11:09 PM Post #20,971 of 29,629



So 2015 has been a Moonspell kind of year. Fairly early in the year the little known by some, gothic metal band released the 2015 album named Extinct. They have a long history and many held over goth fans from the 1990s are still admiring the genre style.

I write the above because I don't think you would consider this band mainstream by current modern musical standards? Still their pure force and single mindedness launch the early 1990s sound into our 2015 musical mindset. How many gothic bands are left over? They say only the strongest survive.




Review of the 2012 double set CD Alpha Noir/Omega White:

This double set has a nice clear production with few tricks to distract our minds. The audio treatments are natural and sparse adding depth when needed. The whole spectrum of tones are represented here. Extinct which came out this year, takes more chances with production filters and backseat driving. Still Extinct ends up as a more commercial and accessible release. We have a cult release here. A release for the fans still around to hold and love.

The main disk/CD was Alpha Noir but a special edition gave the fans an extra complete masterpiece album. You know how special fan editions will have extra songs that don't really go with the album flow? This band released an entire extra fan album with it's own original sound and feel. Two labels released the single CD Alpha Noir and one very special label released this double CD set to the world.

I purchased Alpha Noir in 2012 and it was my first exposure to Moonspell. The production is noted as an experience in the aggressive extreme metal sound of the band Moonspell. After the cathartic sonic storm, we find a calm tranquil contemplating Omega White as the come down. Maybe the best result here is the band has decidedly split the musical ideas into two groups. This adds a spectacular flow to both albums. I can only imagine other musical groups doing this but shelving songs that do not choose to join the album aesthetic only to be released in a future album release.

Years ago musicians would complement bands by calling them tight. The term goes to explain how good the musicians play, how much they know each other and how much they practice to become a singular musical statement. Obviously simple songs are easy to become tight. Still even impromptu jam-outs can be described as tight at times.

Moonspell knows each other and the music just flows with a natural feel.

No Gothic jam-outs here, unless you go think giant cinematic orchestra themes are jam-outs. The sound of Alpha Noir is intense and extreme metal. We do have some soft vocals but only to accent and add contrast to the 90% growls. We are locked down to a 1990s syncopation ala Ultravox at times. Still the first noticed quality is profound drum and bass guitar interplay. The music is hard and stripped down with only the last song on Alpha Noir giving us any cinematic moods. Maybe my favorite add is a big effected guitar lead wash behind everything just washing and sweeping and sounding close to a synth. Again maybe no one knows this style anymore which makes the music unique and a novelty in today's music market. I could go onto point out old music that sounds like this but it's really unneeded as we all know the gothic sound and this IS an example of the definitive sound with a push forward making it current fresh and new.


Omega White is morning music, the kind you have with coffee and the mood it generates stays with-you throughout the rest of the day.
Starting Omega White we are greeted by some very faint musical sparkles, kind of letting know of the brightness to come. Instantly the contemplating vocals breaking off into big ballad territory like a ship upon the sea. Now we can understand all the words and realize it's poetry for us and our souls. Memorable catchy melodies and fun which some groupies like more than the original release. This is still fully gothic rock/metal and the openness of it all makes for an audiophile listen. If only this style of music could have come out in the day? Still you have to realize that maybe it's a maturity of style and still a strange music out of time. Three fourths of the way through we are greeted with piano keys and we come to realize this album flows better and contains consistency better than the main release. Just as the two albums balance each other every song on Omega White has a perfection of sorts. There is an un-pushed naturalness to the music like when a relationship is real. Fernando Ribeiro is multi-tracking his vocals singing along with himself as a choir. If you think this album is a fast cheap after thought, think again. This may actually be the main album here, hidden away from the consumer numbers, only to be found and heard by the few and worthy?

As listers we are surprised to find and adore our trip back in this audio time machine? If you think these tunes sound old and tired think again. This ends up being the definition of elite coolness, if only the musical masses were onto our cult of 1990s vocals and instumentation? This becomes our personal secret haven of sonics and full explanation of why this band has a small serious following or sorts. I'm now a loyal fan also, where is my long black coat, eye liner and big hair?
 
Oct 11, 2015 at 11:30 PM Post #20,972 of 29,629
Haggard should be right up there with Therion when we talk about symphonic metal. Awaking the Centuries, Eppur si mouve, and tales of Ithria, all three are masterpiece albums. 

 
 
Oct 13, 2015 at 12:31 AM Post #20,974 of 29,629
Killing Joke
Pylon
www.spinefarmrecords.com

On October 23rd we are treated with Killing Jokes 16th album release. Killing Joke has been around longer than most cars on the planet. Still this album is a serious blast for your ears and musical soul!


Who is Killing Joke? What, 16 albums? They have been around in one form or another since 1978. They found themselves reach mainstream success in the 1980s with Stones and Zeppelin producer Chris Kimsey. And if you think they maybe do not matter, think again as many of our favorite bands have listed them as a main or minor influence. For my ears Fear Factory is maybe a complete mirror/rip-off in vocals?
A list of bands who said they are/were influenced.

Metallica
The Foo Fighters
Godflesh
Janes Addiction
Ministry
Nine Inch Nails
Soundgarden
My Bloody Valentine
Fear Factory


Gothic?
Maybe their Gothic ties are connected to the band being somewhat revealing of a new gothic apocalypse age? They are letting us know about the world changing while holding special tablets in their hands like Moses from the Mountain. Still the music ends up being uplifting like everything is just the way it's naturally to be.

If you read-up on the history of the group and the relocations they did prior to the band success in the 1980s, you will find they were running from a believed apocalypse of the world. The sound of their ideas still finds itself woven into the album Pylon in 2015, all these years later. The below 1980s MTV videos are visual allegory letting us in on what signs of the end-times to look for. Just these ideas alone goes on to set the band apart musically and lyrically from their MTV generation. IMO


Amazingly it turns out their themes find themselves at the core of our beloved extreme metal genre, both in the mid 1990s, now and maybe far off into the extreme metal musical future, if there is one left?



Listed below are a couple original videos from days long gone. In a video we view vocalist/frontman Jaz Coleman holding stone tablets while dressed in garb symbolizing the spider from the Nazca lines. The whole effect does not seem all that dated, in some strange-strange way?


https://m.youtube.com/watch?v=9XKLdLet6Pk

https://m.youtube.com/watch?v=TnpwuRlXbhk


And finally a 2015 lyric video giving us the sound of Pylon, reminiscent of MTVs 120 minutes.

https://m.youtube.com/watch?v=A4wdbibV3IM


So onto the Now Sound:

So Pylon is not a strictly-metal release, still it's relevant to our genre here. In interviews the band has always been as ambiguous about genre. Like many of the best artists they have basically mixed genres when needed.

They are mostly an industrial band, with hints of goth and new wave. If your like me the musical passages will bring back memories of Flock Of Seagulls. Because I'm into Fear Factory my brain hears Fear Factory everywhere, so in many strange ways this album sounds like this years epic Fear Factory release Genexus, released August 7th. To farther define the sound, it's more 1980s than Fear Factory could ever be.

We don't have the big depressing gothic vibe here, none of that darkness that lives in the heart of industrial either? So what is it? It's Killing Joke dumb ass. Ya, they are their own unique gig. Probably like a hint of metal added to Duran Duran, if you really must need a stupid comparison here?:rage:

People think back and somehow remember 80s music as jerky and epileptic. When in reality it was big, winding and in lockdown syncopated control. It only appeared jerky if you were coming to it from the Deep Purple direction. Now in 2015 we are looking at it in a post extreme metal stance, it's smooth easy listening. If you listen carefully you will hear one of those little hospital heart monitors go beep...........beep...........beep.........in a opiated way just letting you know that life goes on, and on. Or a tribute to their last basest Paul Vincent Raven who died in his sleep via heart attack?

They are totally commercial. Their product is as accessible as one of those little plastic waters, and goes down just as cold and smooth. The guitars are a little on the frizzy end at times. The effect finds the listener remember that they are searching for a midway ground for us. A little light and dark, ending with big,big musical statements which come and go like large blasts of wind. Four minutes and twenty seconds into a song they may just put a musical change-up-break out of nowhere that only old 1980s vets know about. This is another novelty listen as most cats like this have gone way extinct and been fully forgotten like the Dodo bird. So is this ride fun just because it's different or is there some real classic music here? Ah.................?......Classic Album 2015 guys and gals.

I have personal connection with this album. I actually love this record, still not my regular style?

By the last song you may have ingested a little of this energy and find yourself rolling around on the living room floor with your favorite friend. Good music like this tends to get us to forget about stuff and live only in the very moment. If your into feeling good, this is feel good music. I'm actually happy to find such music as it is a special amalgam of all that was cool about the eighties, still slipped into our currant time domain along with modern recording ideas and vibe.

I must say this album seems short on a listen?

How many records do you play over and over again? Better yet, how many records ask you emotionally to play them again? This recording asks you to go swimming in a " just go and call-in-sick" kind of way. When your asking yourself "What really matters" then you know there was a musical-mental transformation at place. Mix this music with maybe night, drinking and love and we have the stuff of transcendence.



Music 9 out of 10 on a scale of 1 to 10
 
Oct 13, 2015 at 1:11 AM Post #20,975 of 29,629
@Redcarmoose
 
Today I saw a guy wearing a Cannibal Corpse shirt walk out of a library.
jecklinsmile.gif

 
Oct 13, 2015 at 1:39 AM Post #20,976 of 29,629
"Today I saw a guy wearing a Cannibal Corpse shirt walk out of a library. :jecklinsmile: "


Guys like that normally don't read much?

Actually a CC shirt on a guy is nothing, but on a gal........well.:heart_eyes:
 
Oct 13, 2015 at 6:23 AM Post #20,977 of 29,629
^I stopped a guy in a death t shirt the other day.had a good chat and he was amazed that i liked metal as ive short hair and dont wear the uniform.
i actually shouted corpsegrinder at a girl wearing a cc t shirt a while back-i think she got it-i wasnt denied.
 
Oct 13, 2015 at 11:37 PM Post #20,980 of 29,629
And who wants a huge sampler with lots of great music just for €1?

https://apostasyrecords.bandcamp.com/album/releases-mmxii-mmxv
 
Oct 14, 2015 at 4:38 AM Post #20,981 of 29,629
New releases by Gorod, Ourbourous and TBDM this month. :)
 
Oct 14, 2015 at 12:50 PM Post #20,982 of 29,629

lol..

 

Deafheaven – New Bermuda Review

[color=rgba(0, 0, 0, 0.701961)]By [color=rgba(0, 0, 0, 0.701961)]Angry Metal Guy[/color] On October 14, 2015 · [color=rgba(0, 0, 0, 0.701961)]0 Comments[/color] · In [color=rgba(0, 0, 0, 0.701961)]2015[/color], [color=rgba(0, 0, 0, 0.701961)]American Metal[/color], [color=rgba(0, 0, 0, 0.701961)]Anti Records[/color], [color=rgba(0, 0, 0, 0.701961)]Black Metal[/color],[color=rgba(0, 0, 0, 0.701961)]Reviews[/color][/color]

Written By: Jordan Campbell

Deafheaven-New-Bermuda-01-300x300.jpg
If Deafheaven makes you mad, you’re doing it wrong. The essence of the band’s appeal isn’t found in their physical manifestation, nor the influences they’ve mined and reshaped for themselves. Even the passages of their music that seem to trigger minute-by-minute breakdowns from the commentariat don’t tell the whole story.

The reason why their previous album, Sunbather, was such a breakthrough after the squarely-Cascadian Roads to Judah? It connected with people. Swollen with tremelo-swept adrenalin peaks—yet floor-painted with devastating introspection—Sunbather wasn’t so much a stylistic display as it was a dialogue.

When they took those songs on the road, that dialogue became even clearer. Like loose contemporaries Alcest and LantlôsDeafheaven‘s early incarnation had been creating music best enjoyed in solitude. But unlike Alcest and Lantlôs, they can now expertly utilize the stage to forge an electrifying connection with their audience.

And that audience, man: sure, the token disinterested coolkids can be found milling about, distancing themselves from the handful of back-patched heshers pressed against the monitors. But Deafheaven‘s real communicative gift is their ability to inject newcomers with heavy metal’s freeing wildness. Obvious non-heads are infused with the will to mosh, thrash, and ‘bang, even if they don’t really know how and look like total dorks while doing it.

Deafheaven is on a mission to share that energy with their fans, pulling them out of the bedroom and into the collective. They’re taking that mission one step further with New Bermuda. On the surface, New Bermuda seems simple enough: Deafheaven making another Deafheaven record. They’re doing their thing and doing it well (and there’s nothing revelatory or controversial about their approach, either, unless you’re a dinosaur that’s been hung up on dusty black metal orthodoxy since Fleurety andDodheimsgard took their left turns twenty years ago.) Opener “Brought to the Water” and “Come Back,” both released as singles, are pretty safe, and lent listeners the soft opening that advance streams are built for. But repeated listens reveal songwriting subtleties that only veterans can pull off.

Deafheaven_2015-500x333.jpg


Sunbather trumped the oft-leaden Roads to Judah, largely, due to then-newcomer Daniel Tracy’s power behind the kit, and on “Brought to the Water,” guitarist Kerry McCoy unveils a version of his band that’s willing to lean on Tracy’s strength and air things out. The deft dodges between dreamy guitar lines and mouthpunch riffs are tighter and quicker; no longer does the band require sustained washes of USBM tropes to maintain sonic weight.

This makes New Bermuda‘s songs more stage-ready than anything the bootgaze crowd has produced to date. The climactic final two minutes of “Luna” are an absolute ritual, towering and bombastic despite using minimalistic guitar work and near-tribal, trancelike beats. And the gentle build to the pre-solo (!) meltdown in “Baby Blue” is expertly laid, setting the stage for Tracy’s deliberate beatings with freakish skill. However, their Live Band Metamorphosis doesn’t truly show its wingspan until “Gifts for the Earth” closes the record. (Given the band’s penchant for fade-outs and digressions into navelgazing, it’s a subtle growth.) The vocals, heretofore workmanlike, are finally throned.

Yes, silencing the main concern surrounding Sunbather, vocalist George Clarke is no longer relegated to the role of static figure fighting against the mix, as the nuance and space afforded by these compositions allow him to screech, rasp, and shred atop riffery that’s both beautiful and ablaze. New Bermuda provides a pulpit in which he can bask in his (begrudgingly bestowed) role as one of the best frontmen in metal today, old guard notwithstanding. It’s refreshing as hell.

Deafheaven2-300x200.jpg
These crafty tweaks prove that New Bermuda isn’t a radical reinvention, nor is it some kind of validation stamp on the state of heavy metal at large; it’s a just pretty damn good album from a band that’s steadily honing their craft in all aspects. And the band, to be sure, isn’t the “exception to the metal rule” that lazy mainstream music writers paint them to be, either (neither wereHigh On Fire and Mastodon when Rolling Stone condescendingly propped them up a few years back, but guess what? Everybody turned out fine.) Deafheaven is just doing a pretty damn good job at bringing their chosen style of metal to their masses.

The question of why the masses SEE that appeal remains somewhat unanswered.Deafheaven‘s impact is largely based an intangible ability to utlize an emotional palette that hinges just as much on negative space and suspense as it does the ****-obvious metallic beatdown. That’s something that some analysis-and-technicality-obsessed diehards simply can’t quantify. And that’s okay. New Bermuda has all the hallmarks of a great heavy metal record–moments of beauty and triumph countering fits of fury and lust–and it’s been built for maximum connectivity. Deafheaven will bring these songs to the people, and with it, the unbridled ecstasy of losing one’s ******* mind in the throes of riffing and wonderment. Didn’t your parents teach you to share?

Rating: 4.0​



 

VS

 
 

Deafheaven – New Bermuda Review

[color=rgba(0, 0, 0, 0.701961)]By [color=rgba(0, 0, 0, 0.701961)]Kronos[/color] On October 7, 2015 · [color=rgba(0, 0, 0, 0.701961)]105 Comments[/color] · In [color=rgba(0, 0, 0, 0.701961)]2015[/color], [color=rgba(0, 0, 0, 0.701961)]American Metal[/color], [color=rgba(0, 0, 0, 0.701961)]Anti Records[/color], [color=rgba(0, 0, 0, 0.701961)]Black Metal[/color], [color=rgba(0, 0, 0, 0.701961)]Reviews[/color],[color=rgba(0, 0, 0, 0.701961)]Shoegaze[/color][/color]

Deafheaven-New-Bermuda-01.jpg
Longtime readers will recall that Kronos does not likeDeafheaven. I suspect nobody does, since I see copies of Sunbather in every record shop I enter, meaning that despite the hype, that vinyl is not getting to consumers. And while I’ll continuously bash the band for being, as it has been said, “The Cure with blastbeats,” on some level I have respect for them trying something different, since Satan himself got fed up with Emperor-worship a decade ago. A desire to innovate, however, doesn’t make up for levels of pretentiousness paralleled only by chain-vaping humanities majors, and I maintain that my grudge with Deafheaven is well founded. For a group that has the ability to write decent metal to completely forego that and instead release field recordings of awkward drug deals as music rubs me the wrong way. But since the only AMG writers who care for the band have been jettisoned in favor of a fare more trve and kvlt operation (and because I didn’t want the new Trivium album), here we are; just you, me, and New Bermuda.

As the presence of cover art suggests, Deafheaven have decided to embrace their metal side just a little bit more this time around. Whereas Sunbather‘s opening immediately put the band’s worst Sperry-covered foot forward, listen to the first few minutes of “Brought to the Water” and you’d swear Deafheaven were a metal band. Guitarist Kerry McCoy appears to have added music heavier than Thriller to his library since Sunbather and it shows all over the album. Gone are the awkward “ironic” Christian overtones, save for the album’s end, which sounds suspiciously like gospel rock; and gone are the annoying samples, except for the ending of “Baby Blue” which keys us into the intimacies of traffic rerouting. Are you seeing a pattern here?

Deafheaven‘s irritating attributes have been reined in for New Bermuda, yet the band continues to make baffling songwriting decisions that explore new territory left open largely because everyone else knows it’s a bad idea. “Brought to the Water” starts out strong, with some real anger and a galloping death metal riff, but this gets clipped off after a few minutes by an awkward bluesy transition into what seems like Mumford & Sons on disassociatives. It’s the same story for most songs on New Bermuda; start metal, run out of riffs, then don your skinny jeans and blow some cherry-flavored smoke rings while the rest of the song attempts to work itself out.

Deafheaven-New-Bermuda-02-500x300.jpg


That’s not to say that New Bermuda lacks redeeming qualities. While the band’s shoegaze influence is still going strong, it sounds less like sappy For my Parents-era Mono and just a bit more like new, edgy Rays of Darkness Mono – especially “Come Back” which takes its atmosphere from Mono‘s “The Hand That Holds the Truth.” “Baby Blue” inverts the album’s formula by placing the heaviest part of the song at the end, which makes metal a payoff rather than an introduction. Yet for all of my moaning about the band’s inept placement of brutality, I must admit that the best song on New Bermuda is closer “Gifts for the Earth.” Its sultry pop-rock riffs are surprisingly enjoyable when contrasted against prog-metal and later taken over by a piano-led melody straight out of Haken‘s “Crystallized.”

New Bermuda isn’t a bad album, and it has made me realize that Deafheaven aren’t really a bad band, but a run-of-the-mill band that brings in bad influences because they think it’s innovative. And that’s my main complaint with Deafheaven; they’re capable of and willing to do interesting things, but somehow labor under the false pretense that pop rock is an interesting thing, producing toothless and insipid material beloved for its crossover appeal rather than its substance. New Bermuda can only be truly loved by those who have felt the sweet caress of a Pabst can on their meticulously waxed mustache, but it’s not a total loss for the rest of us. Bosse de Nage is still ****ty though.



Rating: 2.5/5.0​
 ​



 
Oct 14, 2015 at 1:38 PM Post #20,983 of 29,629
It's not easy being THIS devisive.
Whatever, I love the new album with all it's horrible songwriting and out of place influences :p
 
Oct 14, 2015 at 1:59 PM Post #20,984 of 29,629
  It's not easy being THIS devisive.
Whatever, I love the new album with all it's horrible songwriting and out of place influences :p

Actually, I like Deafheaven and enjoyed reading the two conflicting reviews myself.
 
Oct 14, 2015 at 2:56 PM Post #20,985 of 29,629
  This band is amazing.
 


 
I believe I have said it here before but I’ll say it again: In my books Valonielu is the best record made in the 2010s. Such a singular vision and unique sound, culminating in the inexpressable glory, beauty and cosmic relase of Ympyra On Viiva Tomussa.  
 
Actually, I’ve spent countless hours trying to find something similarly awe-inducing, but to no avail. Any suggestions from you guys would be highly appreciated, basically within the following parameters:
 
- Various inventive permutations of black / doom / drone / krautrock / heavy psych / post-whatever are highly welcome, preferably grounded in black or doom to ensure it has the requisite ooomph, drive and other key qualities of metal.
- Should be extremely psychedelic, something multi-layered and spiralling which ends up piercing the veil into parallel realities or outer space.
- At the same time, should not be too navel-gazing, pointlessly meandering or have a lazy stoner vibe.
- Neither should it be conventional metal with an odd bleep here or there to beef up the ‘atmosphere’. In other words, should have energy, aggression and
 
I’m already familiar with and extremely fond of Inquisition, Mare Cognitum, Domovoyd, Ufomammut, Below the Sun, Dark Buddha Rising, Atomikyla (a joint venture by Oranssi Pazuzu and Dark Buddha Rising, for those who are interested), Darkspace, The Atlas Moth, Monolord, The Wisdoom, Nadja and the likes, which hit some / all of the above criteria and are overall awesome in every regard, but still lack that 'something' that Oranssi Pazuzu (and Valonielu especially) have in spades.
 
Metal Archives isn’t of much help by way of suggesting similar artists. Hail Spirit Noir is awesome but a bit too retro prog to fit the above criteria. So far not sold on A Forest of Stars (too steampunk convention-like).
 

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