1| Music For
Nations Neurosis Website: http://www.neurosis.com |
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And once more my dear friends, I’ll take you on a trip into the weird and wonderful realms of Neurosis. Times Of Grace is the long awaited follow up to Through Silver in Blood and this album once again finds Neurosis in an uncompromising mood. Opening with the eerie Suspended in Light, a departure for the band with its lavish orchestration, the traditional sound of Neurosis eventually kicks in with The Doorway. Some of you may know this from a recent Metal Hammer CD but the actual ferocity of the track does not kick in until well after the Hammer decided to fade the track out. Starting up with the typical Neurosis drawl like wall of noise, which so often imitated but only these guys can perfect it, the song then slows to a crawl with a sluggish style riff that Crowbar would be proud of. You see Neurosis, on this album more than previous, have realised that slow is heavier and throughout the album the tracks often ooze along, almost emphasising our present waltz towards doom. The most adventurous track on the album is the mellow Away, which actually boasts some singing as opposed to the standard shouting. Perhaps a slight criticism is that while the band have moved forward, they haven’t produced anything radically different from their last four outputs. However Times of Grace is intended to be heard simultaneously with Grace, the album by Neurosis’s side project, Tribes of Neurot. This in turn may add an extra dimension to the album lifting the songs out of the safety of the traditional Neurosis sound. Once again Neurosis have also employed the use of bizarre instruments like the return of the Bagpipes seen on Through Silver. These added touches provide the majestic thick sound which Neurosis have been working towards, and with the help of Steve Albini, have come closest to achieving. The songs seem to be set in a pattern of instrumentals followed by long bludgeoning songs. These contrasts allow the listener more breathing space than on previous albums and give the band opportunity to bring in some ideas that they’ve used in their Tribes of Neurot stuff. Despite the possible lack of advancement, Neurosis are still very much in a field of their own, and hopefully a spot on the forthcoming UK Ozzfest and a further headline tour may help to cement the bands reputation as the last line in extremity. Times are great for Neurosis (hee hee another great play on words, why are you approaching me with that blunt instrument?). Rating: ********** |
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| Century Media Skinlab
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What can I say about Skinlab's development since their 1997 Debut? Not all that much really. If you read the review is it in issue 1, you get a pretty fair idea of this album also. It's got better and heavier production, a bit more maturity in the songwriting, but essentially it's the same. If you liked it then you'll certainly like this. I still prefer vocalist Steev's former band Defiance, and I'm not sure if Skinlab will develop much further than this. If you like your music extremely heavy but tight, well played and distinct then this if probably for you. It reminds me a bit of Dearly Beheaded's Chamber Of One actually, judge for yourself whether that is good or bad. Like their debut, it still lacks a killer track in my opinion. Thankfully they don't suffer from the monotony which is so common in heavy music, they blend many slow parts into the album and it works well. VERDICT: Above average, but not top-notch. |
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| Century Media Stampin' Ground |
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I’m not normally noted for liking the kind of music that Stampin’ Ground trade their wares in, but I DO like this album. At this point in time, newer bands like Strapping Young Lad & Confusion Corporation are being applauded for taking things to a more extreme level. I’m sorry, but personally speaking, there’s only so far you can go before everything just becomes a wall of noise. Confusion Corporation (who recently got 4 K’s in ‘Kerrang!’) far surpass this point for me, while SYL take great joy in hopping back and forth over it. Stampin’ Ground, on the other hand, manage to keep things the right side of the line. Just. This 10-track LP is the band's 2nd release, their first with new vocalist Adam. I have to admit to not hearing their first effort, but I can only imagine that the new addition to the band has only served to bolster their position as one of the finest heavy bands around. Shades of Pantera, Machine Head, and pre-Roots era Sepultura colour this album magnificently. Ian Glasper’s precision-led basslines effortlessly join the pinpoint accurate drumming (Terveet Kądet, take note!) to make possibly the most menacing rhythm section known to man. Normally enough to make even the most normal band stand out from the crowd, this is coupled with some no-nonsense, heads down and moshing guitars, and Adam’s fine grunty vox. Unlike a lot of newer bands, they don’t stick to one speed either, and I’m sure that this point will also stand them in good stead for the future... another plus point, in my mind at least. Altogether, this is probably the best heavy release I’ve thoroughly enjoyed listening to since Machine Head’s “Burn My Eyes”. Even more outstanding is the fact that the promo was sent to Attitude on the understanding that it wasn’t a final mix... guys, you don’t need to change a thing. Simply superb, and I wish this Nottingham band the best of luck. VERDICT: I see no reason why Stampin’ Ground shouldn’t be massive. |
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| Solardisk Terveet Kądet |
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Terveet Kądet - hmm... having mislaid the biog bumph in-between being given this to review and actually reviewing it, I’ll allow Kev to inject with the necessary info - [do yer stuff here, Kev]. [OK. They're signed to the new Finnish label Solardisk, and from memory they're done a few albums already and are quite well known, though I've never heard of them.] Perhaps Gory Spice would’ve been a better recipient of this LP, as I’m not much of a Death Metal aficionado. This could’ve been good. This could’ve been so good. The whole thing is completely spoiled for me by the irritating hi-hat, which constantly appears to be out of sync with everything else, at least for the first half of this record. I’m not sure about the second half, as I just couldn’t listen to anymore of it... I’m really sorry, guys. I know it can’t seem fair when you slave over a record, get the company to send it in to an Internet fanzine, just to have it slagged sideways by someone who knows nothing about the particular style of music you play, but that’s the crack of the whip I’m afraid. At best, this effort is messy, and frankly, I’ve heard better demos (Suicide Culture, Disstorted Steele, Dying Sun, Blowholy and Valderrama, to name but five). At worst, it’s quite unlistenable. [Given Iceman's reaction to the CD, I think I might hand it over to Graeme for the next issue and see what he makes of it.] VERDICT: Only for serious collectors of music of this genre from around the world. |
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Century Media House Of Spirits |
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House Of Spirits' biog says they have a 'visionary brand of future metal'. I'm not entirely sure where that description came from, but they are certainly a talented bunch of musicians. Hailing from Germany, their music is surprisingly non-German, if you know what I mean. This is their second album, the first with Century Media, and their first in five years. They are a blend of hard rock and metal, with apparent influences from Guns 'n' Roses, Bruce Dickinson, and perhaps Bon Jovi (I'll just ignore that one). The whole album is full of sing-along choruses and intelligible vocals, which to me sound very influenced by Bruce Dickinson's solo work. Their general sound is quite 80s, though it doesn't sound particularly dated. The basslines are very prominent which helps differentiate them from other bands. Vocal harmonies permeate the album, emphasising the 'rock ballad' feel that many of the songs have. Despite the rock structures, the sound is most definitely more metal oriented. I have to say, there is definitely a cheeze element to the album, though mostly it works. If you have read this and think you might like it, then you probably will. If however you are more into the extreme side of metal (SYL, COF, Slayer etc.) you will absolutely hate it! Actually that can't be true because I quite like it, but you know what I mean. VERDICT: Cheeze-tastic soft metal |
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The Hi-Lo Country (Soundtrack)
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You never know the minute, do you? Here we are at Attitude, purveyors and reviewers of fine metal, and we get a country music film soundtrack to play with. Rather than bin it, or even literally play with it (Tron Discs isn’t nearly so good with CD’s as it was with vinyl... record companies take note!), which other In-tray should it end up in but mine. Even though my speciality is Alternative Metal, I do think that good ‘ole Country & Western is stretching it a bit. It’s not that I’m NOT a fan, you understand, it’s just that you don’t expect to hear the likes of Leann Rimes in-between things like The Great Kat and Stampin’ Ground etc. Thankfully, little Leann is nowhere in sight... no “How Do I Live Without My Accountant” anywhere! Instead, the album kicks into gear with a duet between C&W legend Willie Nelson and tripped-up hip-hop meister Beck Hansen. Fans of Beck should take note that “Drivin’ Nails In My Coffin” is purely Country & Western style. Don Walser’s “I’ll Hold You In My Heart (‘Till I Can Hold You In My Arms)” has lots of country sentiment with added yodelling & Tiuana style brass. At this point, I’m reminded of a scene from The Blues Brothers... Jake & Elwood walk into the bar claiming to be that night’s band, The Good Ole Boys. Jake asks the barmaid what style of music they play host to, and she replies “Oh yeah... we got both kinds, country AND western”! “San Antonio Rose”, the first offering from Leon Rausch is a bit bluesier in a traditional Swing way. I thought it was going to be an instrumental, until he burst into song about three and a half into a four minute track! Hank Williams puts in an appearance with “Why Don’t You Love Me”. By far and away the best song on the album, Marty Stuart’s “Smoke, Smoke, Smoke That Cigarette” is an amusing ditty that I may well adopt as my epitaph. It had me reaching for mine in no time. The second song from Leon Rausch, “A Maiden’s Prayer” is a dour, depressing affair... a bit like a wet 2nd half at Firhill. Probably the only song on this album that gives credence to that old light-bulb joke... how many C&W singers does it take to change a light bulb? Five. One to change it, while the other four harmonise about how good the old one was. On the whole, the LP has pretty much a TexMex feel. While the first 6 songs are more Tex, the next 2 are wholly Mex. Hermanas Ayala chips in with “Que Chulos Ojos”, while the instrumental “O Madre Mia”, is courtesy of Johnny Degollado y su Conjunto. I thought the latter was actually a version of “O Mein Papa”, but I’m afraid my knowledge of Latin language is very limited. If anyone mails me to let me know the translations of both song titles, I’d be grateful, and might be able to organise a small prize. Apart from the old-time big band swing feel of Vaughn Monroe’s “Racing With The Moon” the rest of the album is taken up with movie score tracks by Carter Burwell. VERDICT: Fine if you like traditional C&W, NOT for ‘boot-scoot boogiers’! |
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| Monument Resting Place Email: monument@microworld.com |
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A confident and well produced intro leads into the first track, In The Name. When the song starts proper and the vocals come in I am slightly reminded of the mighty Forbidden (minus the screams), though not so much from the guitar style. Forbidden went more for fast technical riffing where Monument are a bit more laid back. As a result they lack some of the power of good 80s thrash, though perhaps some of that is due to their slight 90s influences diluting it. In particular, their sound is slightly more bass heavy than many of the 80s bands. I certainly can't fault their instrumentation or tightness, and their songwriting is fairly competent. One question in my mind though is are they adding anything to the metal scene? If I'm honest, not really. They have lots of ideas, but I don't think it works effectively when all put together. Thinking about it, maybe it's the apparent lack of lead guitar for most of the time, and when it is there it is generally slow, not fast and powerful. One thing good thrash always managed to do was make you want to sing along - there's none of that here I'm afraid. Also in the good old days the songs would finish before they began to drag, a problem which unfortunately many of these ten tracks suffer from. Some experimentation with vocal melodies would help greatly rather than the monotone which permeates this CD. Hopefully the band will take all this as constructive criticism. VERDICT: Will get better with time Finally, 6 top thrash albums:
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| The Great Kat Bloody Vivaldi Website: http://www.greatkat.com |
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There are many mysteries in life... if men can’t cook, why do they insist on taking over the barbecue... when women can’t parallel park, why do they blame cars for it... you know the kind of thing. One of the biggest is why The Great Kat still releases records like this. I’m sure there’s some country out there that must buy her stuff by the bucketload (probably Germany), but she’s always been treated as little more than a joke by the UK press. This release won’t be received any better. Featuring covers of Vivaldi’s Four Seasons and Sarasate’s Carmen Fantasy, it’s her usual fare of impresario violin playing the Classical classics with an underbelly of Death Metal drums and guitars. The two original tracks hit the other extreme, though. “Torture Chamber” and “Blood” take note of Kat’s fascination for bondage and schlock horror. In short, you’re left feeling unsure how to take her... does she want to be known for her violin playing, a bit like Nigel Kennedy & Vanessa Mae... or would she rather portray herself as the self-obsessed dominatrix, leather, fake blood, and PVC a-go-go??? It’s hard to take TGK seriously, she obviously does a good enough job of that herself. The Classical tracks are always very precise. I guess they have to be just the right amount of Classical and heaviness to get Kat’s seal of approval. I’m afraid that I’m not ready to kneel before you, Kat... I’d sooner risk not being able to get up again for Vanessa. VERDICT: Kat should lighten up a bit and slightly rethink her gameplan if she seriously seeks success in the UK. |
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