Hammerforce - Dostup Zakryt Review

Band: Hammerforce
Album: Dostup Zakryt
Label: N/A
Country: Russia
Release Date: October 2013

This review is on Hammerforce hailing from Saint-Petersburg, Russia. A country I know I want to visit eventually, for various things including some killer vodka. Before I go off track on other topics. To familiarize myself with the band and their history I went and checked out their site, which is pretty impressive covering their history, discography, etc you can view that here at this link hammerforce.ru it’s in English and Russian. If you can’t read either, I suggest using Google’s Translate. Now since that’s out of the way, onto the review.

As mentioned they’re from Russia which brings two other bands to mind that I listen to. One from the early 90’s Gorky Park and another more recent Biopsyhoz. Both extremely talented bands, and I’ll include Hammerforce in that grouping as well. It might just me but when bands sing in their native language, I find it very refreshing. Sure, even if you don’t know what they’re saying as you may not know the language. The music itself will still get you moving, one thing that drew me to Dimmu Borgir in the early days singing in their native Norwegian as opposed to English as the words sometimes lose their meaning in translation. Or it may not fit into the music properly if it’s in any other language but the native one.

The album consists of the following 9 tracks, which range from almost 4 to 6 minutes.

1. Твоя война (Tvoya Voyna) 04:51
2. Стереотипы (Stereotipy) 03:43
3. Никто (Nikto) 05:16
4. Масс-медиа (Mass-Media) 05:17
5. Беглец (Beglets) 03:55
6. Вторая земля (Vtoraya Zemlya) 05:41
7. Смена поколений (Smena Pokoleniy) 04:16
8. Размышления (Razmyshleniya) 03:52
9. Доступ закрыт (Dostup Zakryt) 04:19

To further familiarize myself with the band, I checked out their earlier releases 2009’s “Dice” and March 2013’s English version of “Access Denied”. As this review is on “Dostup Zakryt” the Russian language version of “Access Denied” which I heard was received quite well per the band’s site.

Now I did notice the English version of “Access Denied” had a bit of a heavier mix, compared to the newer “Dostup Zakryt”. Maybe it was due to the change in languages as well as singers. But it takes away nothing from the newer release. Somewhat reminds me of Dream Theater at times which is a good thing.

Anyways, as Nikita (their singer, manager, producer, and keyboardist) states that they’re Power Progressive Metal. I have to agree with that, it is highly keyboard and synth influenced, by no means taking away from the music as it fits in cleanly. At times they remind me of Dragon Force sound-wise without the over the top guitar solos. The production is very clear, sometimes the guitars get drowned out,  not by a huge margin though. The vocals, are of the clean variety, so if you’re looking for deathly growls, it’s not here. I happen to enjoy any kind of vocals in metal, clean vocals included.

You can find it at these locations.

Bandcamp: http://hammerforce.bandcamp.com/album/dostup-zakryt
iTunes: http://itunes.apple.com/album/id690644507
CDBaby: http://cdbaby.com/cd/hammerforce6

Overall I give this disc a 7 out of 10.

Gorguts - Colored Sands Review

Band: Gorguts
Album: Colored Sands
Rel. Date: August 2013
Label: Seasons Of Mist
Country: Canada

This year the metal community saw new releases by two legendary metal bands, Gorguts and Carcass. I’m focusing on Gorguts on this review currently. Gorguts is back with Colored Sands their first in well over 10 years. Longtime fans of the band will be divided with this new disc, as I’m sure they were with 1988’s Obscura and 2001’s From Wisdom To Hate. Both of which are good solid albums. Although, in parts they seemed like Apple Maps, all over the place with numerous fans lost. Plus die-hard fans are possibly disappointed they haven’t gone back to the Considered Dead or Erosion of Sanity sounds. But as well all know, numerous bands evolve where others stay the same. Obviously I’m not going to be pointing fingers at which ones.

Colored Sands has 9 tracks and weighs in at just over the hour mark. Only track 5, the instrumental, falls in under 5 minutes, rest are 6 minutes and up. Not sure if any other countries had bonus tracks off the top of my head. But feel free to let me know if they did.

Track list is as follows

1. Le Tuit Du Monde
2. An Ocean of Wisdom
3. Forgotten Arrows
4. Colored Sands
5. The Battle of Chamdo
6. Enemies of Compassion
7. Ember’s Voice
8. Absconders
9. Reduced to Silence

Le Tuit Du Monde starts out the disc with a massive wall of sound, then it slows down to a mid-range part with Luc Lemay whispering some lyrics, then it builds back up to the heaviness, and it alternates between both segments. Most of the following tracks all have similar variations in sound, from the mid-range/mellow parts to the wall of metal. It goes by at a steady constant pace all around. Some call it avant garde tech death or some such nonsense genre. It’s death metal plain and simple.

The production on the album sounds crystal clear, the instruments all have their own place, none of which overpower the others. Luc’s voice is just as impressive as ever, the new members to the band are extremely tight in sound. The Battle of Chamdo (track 5) is the only instrumental on this cd, and it’s mostly cellos, violins. It’s fits in good with the atmosphere on the disc. Kind of reminds me of the old black & white horror movies.

Anyways if you’re looking for something new and different to listen to, I recommend checking it out. I’d give it an 8 out of 10.

- Phil

Website - http://www.gorguts.com/
Facebook - https://www.facebook.com/GorgutsOfficial
Twitter - https://twitter.com/GorgutsOfficial

The official video/lyric track for Forgotten Arrows that the band was posting on their Facebook page to promote the album. 

Interview: Jens Mortensen of Carnal Forge

This was my chance to chat with Jens from Carnal Forge. The name may ring a bell for those of you if not for the Carcass song but the band named after it. The band holds it's own with those thrash/melodeath bands like Hatesphere and The Haunted with a far less spotty track record. They took a bit of a hiatus but are now back and recording new stuff. Jens was cool enough to talk to me with a fever so give him your ears. Literally.

1) This marks your return to Carnal Forge since the amazing "Testify for my victims" 
It kind of marked a sea change in your sound to a more melodic sound without compromising technicality.
What do you guys have in store for us for the new album you are recording?

Jens:
Judging from the two new songs the new material will be a small step back to what CF used to be aka aggressive as fuck, somewhat less melodic and way less cheezy.
I guess you could call it a sort of  retrograde towards the full on blunt force trauma that signified a good Carnal song in the past.

2) The band went on a temporary hiatus and we thought maybe this was the end for you guys!
The question I want to know is not necessarily what caused the hiatus, but what brought you guys back together?

Jens:
I thought I was done with singing and felt contempt with playing the bass in my other band "One Hour Hell" with whom I've just recorded an album called "INTERFECTVS." This all changed when Jari called me during my five weeks in schlager-hell in Malmö, Sweden where I was working for the TAIT automation-crew during the Eurovision Song Contest 2013.
   Needless to say, I was just not in my comfort zone and I was glad when he asked if I wanted to re-join CF with him, Petri and Lars. It took me about a week to finally say yes, weighing in all the difficulties of,work, family and being in two bands at the same time
   Over the years a few bands (names with-held) have contacted me asking if I wanted to sing but I've haven't had the time nor the hunger for the adventure so I've thanked 'em for their interest and said no.

3) Tell me a little about your bands background like what brought you guys together?
Were any of you in school together?

Jens:
Well, Jari and Perti are brothers so I'd guess they've known each other for quite some time =P I haven't known Lawrence for that long, but I'm glad we got the permission to steal him from Teddy and Loch Vostok 'cuz he is a sweet guy and a fantastic drummer.
I was in a band with Lars back in the mid 90's called "slapdash" and we released the album "240.25 Actual reality" on MNW we disbanded and sort of lost touch, later on, I think it was in 2003, I got a call from Lars asking if I wanted to
drink some beer and lay down some tracks with him, Magnus Söderberg, Jari Kuusisto, and Stefan Westerberg ie 80% of Carnal Forge.
   I said "why not?" and we recorded an album under the name "Leech" pretty much just for the fuck of it and it came out great. I guess this was just before CF found themselves without a singer and why they contacted me after Jonas Kjellgrens departure

4) What are you guys listening to lately?
Any 2013 releases you can't put down?

Jens:
Katatonia's "Dead End Kings" and the re-recording "Dethroned & Uncrowned" is almost impossible to put down. I mean, the music is just unbelievably beautiful and the production so fuckin' perfect, it hurts your ears and soul...
Nine Inch Nails latest "Hesitation marks" has grown for each time I've listened through it and Darkane's "The Sinister Supremacy" is just fucking awesome, mostly due to Lawrence Mackrory's amazing singing which is just off this world

5) What do you guys do outside of music?
Do you have any interesting day jobs or hobbies?

Jens:
I've been a member of a gun-club for about four years and I compete in all national forms as well as IPSC in which I shot for, and got, the silver badge this spring. I try to practice and compete whenever I get the time, which, unfortunately hasn't been very often lately.
I work about 75% as a stagehand which is fun as hell, been doing so since early April and have since then managed to work at some of the biggest festivals/productions in Sweden (the ESC in Malmö, Hultsfred-, Bråvalla-, and Getaway-festvals)
    Now when the festival season is over I'm working for the Globen arenas in Stockholm as well as crew for artists touring Sweden.
Working as a stagehand is hard but fun and the only real downside is the fact that it gets in the way of my hobby...
...and it does suck being away from home and my missus for prolonged periods of time.

6) Being a band that is named after a Carcass song, what are your thoughts on the new album?

Jens: "Surgical Steel" is still growing, at first I didn't think much of it but every run through I've been like  "I yield, this is a very, very good album!"

7) Being a musician seems to come with its difficulties as far as balancing time, funds etc.
Do you have any advice for up and coming bands?

Jens:
Only one: DON'T QUIT YOUR DAYJOB! and remember:
”The music business is a cruel and deep money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs.
...There’s also a negative side.”~Hunter S. Thompson (R.I.P.)
I've been recording, releasing and touring for some odd 20 years now and I'm still waiting to get paid... or even break even.

8) After you finish this record what are your plans? Tours? Festivals? Music videos?

Jens:
The two new songs ("Chemical discooperation" and "Bleed for me") are about to get mixed and released,
we're planning to shoot video's for both and use'em as proof of life in order to get bookers to get their wallets out but it's all
small, baby steps, first: more new material and live shows, then, hopefully some tours/festivals, but it's hard to plan with a band who's members all have very tight schedules.

Stay Me(n)tal!
Jens C. Mortensen


Of course you know I wil keep you updated on the progress.
-Loganopolis

Album review : Turisas2013 by Turisas

Finnish metallers Turisas released their 4th album and I’m having a bad time reviewing it.

My first thoughts of it (I mean after listening to it, not these after having seen the cover that made me thinking it was a FIFA game) were that someone plays a mediocre power metal with symphonic elements and a singer singing in a way so comprehensive that I could actually understand him very well (even when doing harsh vocals) - which is not always a positive thing since either I don’t get the lyrics right or they represent simple ideas described by way too much words in my taste. Honestly, I didn’t really like the idea of listening to it again for the review purposes, but I gave it a few more listens and things started to kind of settle down for me.

Everything depends of how seriously are you going to take it - if you expect this to take you to an intellectual heaven, you will be disappointed. However if you don’t, chances are that it will grow on you (though not much), because you’ll actually find some nice stuff.

Lyric-wise, the songs could be divided into 3 categories:

1) Songs that say something - probably “Piece by Piece” and maybe “For Your Own Good”

2) The turn-off-your-brain-and-have-fun category - “Run Bhang-Eater, Run!” and “No Good Story Ever Starts With Drinking Tea” (stands out for being a pure alcohol song)

3) Songs that say nothing - the rest

Concerning music, the songs are probably made to be played live, I can imagine that the concerts can be a great fun and for sure there is a lot of occasions for interaction with the audience, eg repeating the chorus ("Into the Free") etc. In fact, it's not that bad, there is certainly some catchy and melodic stuff (some dared to stuck in my head despite my protesting mental voice, like the motive from "The Days Passed", or "Piece by Piece", which is not a bad song) and the songs have kind of special atmosphere, but I don't find that it gave me too much.

To conclude, it sounds like a Disneyland in a metal disguise and I can’t give it more than 6 out of 10.

JT

Album Review: Self Titled - Conducting From The Grave

I have to thank Mikey Powell first off for being cool enough to let me have access to a private stream of the new release before it drops. That being said let me tell you this motherfucker is a barn burner. Not that there was anything wrong with 2010's Revenants, but this is a huge leap forward to me.
    It sets somewhere in a strange space between what I liked about early Lamb of God, some well executed metalcore fare with a good dose of tech death. When you listen to this there will be no doubt in anyones ability to play their instruments. I do think its gonna take a few listens to fully grow on me though. It's very abrasive and there is a lot of shit going on in each song that takes a lot to soak in similar to this years Arsis or the last Hour of Penance.
      The solos and drums are a million miles an hour. There is pop sensibility in this in that I do remember the songs after I hear them which is a rarity in this genre or mash of genres thereof. P.S. mikey can sing. In the song Signs there is a nice dose of cleans that dont detract and actually enhance the song because he has proper tone and breathing. Into The Rabbit Hole brings this in as well with a nice change of pace in singing over piano which launches back into brutality without flinching.
  Overall this album has a nice pace and I really see them getting a lot of deserved attention. I'll have this on repeat whenever i get my hands on a legit copy so for now my thoughts are....
   Rating: a very solid 8.5/10
 -Loganopolis

Album review: Satyricon - Satyricon

For sure there is no need to introduce the one and only, legendary Satyricon, a black metal union of vocalist/writer Satyr and drummer Frost who has greatly influenced the whole black metal scene, notably with their old stuff from the 90s. Also, most of you, who have been following the band at least a bit are aware that they somehow became a subject of controversy because of the direction their newer albums go - much to the dismay of those who wait for another Nemesis Divina. The band’s music since 2002’s Volcano has a great rock feel, quite different from the old stuff and it’s 8th, self titled studio album is another step in that way.

So how’s the album? Very good. Why? Well, Satyr somewhere stated that it is gonna be full of surprises and I’d say that it’s not far from truth - Satyricon did a great job varying the album.

It offers a bit of everything, from black mayhems, passing by melodic stuff, to almost purely rock songs and oscillating from brutal anger to melancholic sadness. It remains Satyricon, but sounds somehow more thought-out.

The first 4 tracks sound somehow nocturnal - they are quite atmospheric and give mixed impressions of melancholy and even fatality (plus the norwegian in “Tro og Kraft” sounds beautiful), which is largely given by their melodiousness, but they are rather furious at the same time. Then comes something that was a big surprise for me *SPOILER WARNING*

which is Satyr’s clean singing. Yes. In a pure rock ballad. “Phoenix”. Catchy though. And he has a very appropriate voice for this. I’m not goning to say more, see (hear) for yourself *END OF SPOILER* In fact, the whole middle section of the album is an alteration of the above mentioned mayhems and rock stuff. “Walker Upon the Wind” and “Ageless Northern Spirit” are quite moshing, angry blast beat driven songs, that are divided by an incredibly (at least in my case) catchy “Nekrohaven”, which made me listen to it twice every time I listened through the album - but not because it is better than the other songs. It's just strong in it's simplicity. The end of the album (read last 2 songs) is another page of the book. The songs (“The Infinity Of Time And Space” and the instrumental outro “Natt”) are on the more melodic side again and have a feel similar to these at the beginning.

The sound is quite similar to that of the other newer albums - dry, clean, heavy but at the same time, kind of minimalistic, like if it was a perfectly sealed puzzle. It leaves place for occasional subtle symphonic elements - we can hear some brass instruments here and there as well as some additional voices etc; but it never sounds like symphonic metal. The music values guitar riffs and - not sure if it isn’t a bit because of Frost’s aura of an epic drummer but - the drum work is pretty satisfying.

Talking about puzzle, the same applies to the composition of the songs - everything feels that it is in it’s place. Generally, an album’s diversity, in some cases, can lead to inconsistency, but this is not the case. More attentive listeners can notice occasionally similar motives and chord progressions emerging across the album. The diversity is furthermore enhanced by frequent dynamic and tempo contrasts.

Conclusion: you may have noticed that I pretty much like the new Satyricon. If you don’t, avoid this one. However, if you do (or are untouched by the whole thing), then give it a go and chances are that it will grow on you after few listens.

Rating: 8 out of 10

JT

Album review : Wild Card - ReVamp

Wild Card is a 2nd studio album by ReVamp, a symphonic metal band from Netherlands formed by the lead singer Floor Jansen, after the split up of her former band After Forever,

and it is rather strong album.

The band’s style can be described as female fronted melodic metal with symphonic elements.

The sound is constituted mainly by the contrast between heavy low-tuned guitars (the tuning works well to support the music instead of just muffling the sound) and the lead singer, who floats above the guitar floor and is in the center of the focus; this is encapsulated by the keyboard work that adds a lot of “melodicness” to the music by dynamically getting smaller and bigger without drawing too much attention and also occasionally supports the feeling of rhythm by synthetic sounds.

The whole machine is powered by a uncompromising drum work that sometimes can be reminding of power metal bands.
(Last minute edit: I almost forgot to mention the bass work, which in itself can give an idea - it's a classical nowhere-to-be-heard-unless-missing bass that delivers a standart performace, nothing less, nothing more)

The songwriting represents a balance between simple melodic mayhem and prog complexness, which does not mean that this is some kind of math metal - it is pretty straightforward metal, but rarely remains the same for too long, it changes often enough to keep you interested what is lurking behind another corner - you’ll find that every corner is a step up on a stairway of gradation that is often released straight in your face.

As you may have guessed from the statements above, the album is very energic, which is clear right from the beginning with the opener “The Anatomy Of A Nervous Breakdown (TAOANB from now on)- On The Sideline”, that serves you a refrain catchy enough to prevent you from switching to something else. The djentish riffing of the following track “TAOANB - Limbic System” introduces somehow darker feeling of melancholy that becomes more apparent as the album progresses to the 2nd half, until then you will hear the title track “Wild Card” that carries somehow comforting feeling, but also one thing that is not positive on the album - sometimes it feels a bit homogenous, if you don’t concentrate on certain tracks, it becomes quite all the same - just a heavy locomotive transporting a singing woman and some guys playing metal. It is partly the case of the title track, that doesn’t really become that interesting until about the middle, the highlighted piano during the chorus doesn’t save it. Luckily enough, just the following track “Precibus” is one of my personal faves and combines calmer, even romantic passages where Jansen shows that opera singing is not a problem for her (along with harsh vocals after the 2nd half), with a very catchy chorus. “Nothing” works on a similar base and then comes the last “TAOANB” track, named “Neurasthenia” and where is introduced Devin Townsend, who sings in the role of a darker half of the self. Another personal fave, this one really kicks __s, it is like an invitation to headbanging that accumulates tension in calm moments and releases it into an epic chorus; both singers go nuts and show a bit broader emotional spectrum than on the rest of the album (no, not biaised at all, haha). Following “Distorted Lullabies” catches by calmer verses that lead into a relatively satisfying chorus and orchestral bridge to a nice guitar solo. “Amendatory” is one of the rare songs of the album where the guitar riff is kind of constituting part of the song for a while, instead of making just a distorted floor as usually; the 2nd half of the song makes you aware of the dark feeling that is hidden behind a good part of the songs and gets more noticeable since the duet with Devin Townsend.

“Can I Become” is a decent one with a catchy chorus and an awesome solo part.

Then comes “Misery’s no crime”, which stands about on the same level as the duet. It’s not just because of the grunted verses by Mark Jansen, it’s very dark and monumental especially during the chorus and it works well with the contrast of Mark’s grunt and Floor’s clean singing. Following track “Wolf and dog” again stands out because of a noticeable djenty riffing, grading ambient passages and nice proggy part after the 2nd half. The bonus track “Sins” doesn’t really stand out but is pretty decent, though would not be a better finisher than “Wolf and dog”.

To sum it up, this is pretty strong album and if you like female fronted metal, you will probably not regret getting it. It is pop enough to attract and metal enough to maintain. The downside could be occasional homogeneity of the songs, but this is balanced by the kickass songs found across the album.

RATING: 7,75 out of 10

JT