Death Angel - The Dream Calls For Blood

http://www.secret-face.com/

#FOR FANS OF: Thrash Metal

This album is solid, it has a flare or flame to it with sheer energy flowing. These Bay Area thrashers have been active for quite some time! Pretty much 30 years it's safe to say. And they're still making good music. This one isn't their best, but it isn't their worst either. Quite a variety of sounds coming from acoustic guitar-work but mostly thrash guitar riffing. The leads were decent, too. But I really enjoyed the rhythms. And the vocals of course! They go well with the music. Most of the songs are high energy! They have that Death Angel groove to them as well. Kind of like on their earlier work 'Act III'. But not entirely.

These guys are killer live as well. Too bad no concerts in Covid-19. The band keeps making killer music even up until now. They're veterans, safe to say that. They still have that intensity to their riff-writing. I would say all the songs I liked pretty much. I think the vocals carry the music and overall energy to the record. They really need to keep going in this thrash metal direction. And the riffs are pretty original sounding (like always). They change things up a bit but not that much. I like the guitars the tone is chunky. They don't need to hold back in their writing. They know exactly what they're doing.

The production quality was excellent it did them justice. And they didn't really need to change anything on here. I like the music the most but the vocals just have so much intensity. Not ALL THE TIME but a lot of the time. Their tempos change up quite a bit which gives the music variety. I cannot stress enough of the guitars sounding KING. They're just so darn catchy. The lead trade-offs too are phenomenal. It's a sheer domination! There's only a few places where you find some real screaming. But not an overabundance of it. The intensity of the guitars it goes well with.

This is a later album in their career as thrash metal musicians. They're still killing it! Support the band! One things to notice are the guitar riffs. They're really catchy and original. They're totally slaying! This release is just sheer domination. They really know what they're doing and how to make cool, original thrash metal. There's an abundance of energy to the record that it just soars. I liked this the whole way through the album. Totally recommended for thrash metal lovers and support the Bay Area thrashers Death Angel! (Death8699)

(Nuclear Blast - 2013)
Score: 76

https://www.deathangel.us/

Procol Harum - Novum

#PER CHI AMA: Prog Rock

Patinati claptonismi bluesrocchettari finesettanta ronzanti dalle parti di 'Backless' ("Image of the Beast") oppure iperpatinati claptonismi poprocchettari iniziottanta bighellonanti dalle parti di 'Money and Cigarettes' ("I Told on You"). Accomodatevi. Nel prosieguo, l'attitudine rock/80's/pop di 'Soldier' ("Runaway Train" vs. "Wonderful Tonight") e quella Eltonbattabernie-Johnbarrataupin di "Don't Get Caught" non mutano un registro narrativo già consolidato almeno dai primi '90, vale a dire da 'Prodigal Stranger' in poi, movimentato (quasi esclusivamente) dalle (a dir poco) bizzarre liriche composte dall'attempato e senilmente disinibito Gary Booker ("Last Chance Motel" è una efferata murder ballad, l'avreste mai detto? "I Told on You" una furente invettiva nei confronti di un collega musicista, l'avreste mai ridetto?) e cineticamente convergenti nei medesimi modi metereologici nei quali in un mondo ideale, un uragano di classe cinque convergerebbe verso l'abitazione di Paperostarnazzante Trump, convergenti, dicevo, inesorabilmente verso "Sunday Morning", singolo designato, pretestuoso zenit creativo di questo pasticciato album nonché pallida scimmiottatura (là c'era l'Aria sulla quarta corda di Giannino Bach e due tonnellate di Hammond, qui l'altrettanto celebre Canone in Mi di Giannino Pachelbel e due tonnellate e tre quintali di Hammond) di quella celeberrima hit sull'impallidimento improvviso della ragazza mentre ascolta la storia del mugnaio scritta cinquant'anni addietro che troverete menzionata in qualunque stramaledetto articolo musicale sui Procol Harum dal sessantotto a oggi tranne che in questo. Trattasi d'altronde dell'unico debole trait d'union tra lo stiracchiato presente e l'hammondosissimo, sinfonicissimo (e comunque acclamatissimo) passato. Non vi pare sufficiente? (Alberto Calorosi)

(Eagle Records - 2017)
Voto: 55

https://www.facebook.com/procolharummusic

The Mavericks - Brand New Day

#PER CHI AMA: Country Rock

Spiazzati e contemporaneamente rincuorati da quella specie di polka bluegrass mariachi-style in apertura ("Rolling Along") che non riuscirete a fare a meno di immaginare interpretata da un sosia di colore di Elvis con tanto di lederhosen, pettorali, sombrero e baffoni da borgomastro messicano. Proseguirete l'ascolto tra un folk/mambo ("Easy as it Seems) ed una country/rumba vagamente Kelly-familiare ("I Will be Yours"), tra un valzer sonnolento ("Goodnight Waltz" per l'appunto), un inneggiante pop early-80 dalle parti, pensate, dei Jefferson Starship ("Brand New Day"), un crooning elvis/iano grondante passionalità (ovunque, ma soprattutto nella conclusiva, ottima "For the Ages") e certo chewing-pop tipo soundtrack di Peggy Sue si è sposata ("I Think of You" e forse pure "Ride With Me" se non fosse per quell'hammond acidissimo in chiusura - o chissà, magari proprio per quello), pervasi da quell'indolente entusiasmo che sprigionerebbe una ipotetica Oktoberfest balneare riscaldata dal sole pigramente tramontante di Varadero. Rispetto ai 90's, Raul Malo approfitta maggiormente degli archetipi musicali di riferimento, eppure scongiura il rischio band-da-sezione-intrattenimento-di-un-busker-festival-di-provincia mettendo in campo il consueto limpidissimo songwriting. (Alberto Calorosi)

(Mono Mundo Recordings - 2017)
Voto: 75

https://www.themavericksband.com/

Destruction - Under Attack

http://www.secret-face.com/

#FOR FANS OF: Thrash Metal

Pretty divulsion of packed thrash revolution, as they would most likely utter. One of the few left with Mike on guitar being the founding member since '82 or '83. Schmier now is one of the only founding member of the band. Still on here for guest lead guitars have Harry (ex-Destruction) who's been superb the whole way through his career with Destruction. The songs here are definitely quality! It's probably a better LP then their current on 'Born To Perish'. They put forth one great concoction of songs that totally kick ass. I thought it definitely stronger than 'Metal Discharge' and 'Spiritual Genocide'. One of their better ones!

The riffs are really cool though not as catchy as the early Destruction or late 80's work by the band. I felt that 'All Hell Breaks Loose' and 'The Antichrist' were some more modern full-lengths that caught Destruction to the core. I like the fact that they had multiple guest musicians on here except that their follow-up album from this one 'Born To Perish' features them as another 4 piece that was like in the late 80's as on 'Eternal Devastation/Mad Butcher' and 'Release From Agony'. I enjoy their era with Harry Wilkens as member of the band. He was also featured on 'Live Without Sense'. I feel that they're stronger as a 4-piece.

The sound quality on here is top notch! And the riffs are probably some of the better that dates back to early '00-'01. They diversify as well, it isn't just solely thrash, they mix it up with some clean guitar as well. Schmier sounds like Schmier where during the earlier days he has a little bit of a higher pitch voice and on their latest live CD 'Live Attack' he's a pitch lower it seems. I like him on here and the energy to this album is high! They seem to tear it up in the riff department. The vocals go well with the music. Everything goes and flows smoothly the whole way through! There wasn't a track on here that I disliked.

You can get this on YouTube, I'm not sure if Spotify has it streaming. It doesn't on mine but in any case I bought the CD. I felt like it's Destruction so there's hardly a chance of them disappointing. And I was correct! Every song on here is full of energy and great riffs. I felt that they were way strong on here though they get a good "B" rating on here. Definitely Destruction infuriation galore. These guys have the energy and originality in their songwriting. They don't let up on here and the cover track on here which I believe is Venom was well played out. And of course the outro being "Thrash Attack." Own this one! (Death8699)

(Nuclear Blast - 2016)
Score: 75

https://www.destruction.de/

Pirate - Left of Mind

#PER CHI AMA: Math/Prog Rock

Era il primo agosto del 2012 quando recensii questo disco. E la Bird’s Robe Records, nell'ambito della sua filosofia del "riscopriamoli", ecco riproporre una band fuori dall’ordinario. Sto parlando dei Pirate e del loro album di debutto 'Left of Mind', disco uscito in realtà nel 2009. La band si distingue dalle altre produzioni della label di Sydney con una proposta musicale alquanto originale, una fusion di stili e sfumature che partendo dal prog anni ’70, si fonde con colonne sonore e math rock, in cui concedere poi ampio spazio alla follia delirante di un sax impazzito, come accade nella opening nonchè title track, nella psicotica strumentale “Rough Shuffle” o nella stralunata ed oscura "Creepy". Fighi, lo dicevo allora, lo ribadisco oggi a distanza di anni che non ascoltavo questo lavoro. Sicuramente influenzati dal buon Mike Patton e da una qualsiasi delle sue creature, Mr. Bungle o Fantomas, i Pirate nelle otto tracce a disposizione, si divertono non poco a proporne di ogni colore e forma. Non stupitevi pertanto se in “Animals Cannibals” emergono echi di Faith No More o di un certo cyber alternative rock a stelle e strisce, comunque sempre contaminato da suoni freschi e moderni, qui dal piglio anche elettronico con un bel po' di synth a farla da padrona. Ma le qualità dell'ensemble non si discute e potrete anzi apprezzarla ovunque nel corso dell’ascolto di 'Left of Mind': dal basso tonante in apertura di "In the Balance" che ammicca ai A Perfect Circle, all'imprevedibilià alla The Mars Volta di "Daggers", ove avverto anche un pizzico del delirio dei Primus, in una song che, complice la presenza del famigerato sax, diventa anche la mia preferita del disco per il suo moto ondoso instabile. Si, insomma 'Left of Mind' è qualcosa che va accuratamente ascoltato e ponderatamente digerito, perché di certo non rimarrete delusi di fronte a cotanta ispirazione e genialità. Chiaro, riascoltarlo quasi dieci anni dopo mi fa sentire molti altri richiami che in passato non avevo colto e forse per questo mantengo il voto un po' più basso rispetto alla mia prima recensione, comunque una certezza. (Francesco Scarci)

(Bird's Robe Records - 2009/2022)
Voto: 80

https://birdsrobe.bandcamp.com/album/left-of-mind

Bloodbath - Grand Morbid Funeral

http://www.secret-face.com/

#FOR FANS OF: Swedish Death

This album has an immense energy to it, being as though a totally "morbid" album title and cover artwork. These Swedish death metallers did a great job here musically, production-wise and aura to the album. It's totally in belonging in the underground! The riffs are just amazing and the leads are phenomenal. This band I just discovered somewhat recently. They just kill from every aspect! I like the music and vocals the most. The guitars are way professional, nothing generic about them at all. The riffs are totally innovative and the energy to the album is all there! There's nothing lacking to this "funeral."

I like the fact that they choose eerie openings to songs. It's just to spook the listener out. This album seems like it'd be a sort of concept release, but I'm not entirely sure in saying that. It just seems that it ever-so fits for what they're trying to do here. The tempos to the songs vary and the music is heavy as fuck! The vocals go along well with the music. It's totally thick as shit. They sound way like a Swedish band definitely. Though a little bit different than say Dismember (split-up) or Entombed. This is more modern type of material they just want to slay you! This album captures it all, especially the guitars.

I think the mixing/production is top notch. They really do a good job weaving everything in there. This band sits among the top of the death metal genre. Their fuel for each song is invigorating. They really hit home with me! The music is entirely original and unique. Their hatred that they spew out is ever so blissful. I think this band has a lot of life left to it. And 'Grand Morbid Funeral' is one of their better releases. It's not good the ENTIRE way through, there are some things that I think that they could change about it but still I'm giving it an "A-" rating. They deserve it with all the diversity the album has to it.

I would definitely say to buy this release because of it's brutality, ingenuity, precision and talent! These guys tear it up! After repeated listens to I definitely are a milestone in the death metal arena. It deserves higher ratings for sure! I would venture to say that they will be around for a lot longer especially now is a great time to write riffs. Their songwriting capabilities is immense. Let's show the band some respect and buy their album! You can always stream it if you have Spotify, but owning the CD is probably the best choice of action. It's showing that you respect their efforts in the metal world! (Death8699)

(Peaceville Records - 2014)
Score: 79

https://www.facebook.com/bloodbathband/

Rift - To Quench the Thirst of Wolves

#FOR FANS OF: Atmospheric Black

The Australian band Rift is one of those obscure projects that remained in the shadows so much time since its inception, that some could think the debut album was never going to come. Founded indeed in 2004, Rift has been predominantly the solo-project of Balam, a tremendously active musician, who has been involved in several projects like Drowning the Light or Pestilential Shadows, among the others. Rift released a demo in 2006 but since that time, the project was apparently left at rest, maybe because of Balam’s many projects. Anyway, the musician seems to have spent part of his time composing music for a tentative release, which has finally seen the light. The addition of a permanent vocalist, known as A.S., has for sure played an important role in this final release.

With the support of the Australian label Seance Records, Rift, now as a duo, released its debut album entitled 'To Quench the Thirst of Wolves'. The evocative album artwork is quite representative of the music we will find inside, which I must admit, it has been a nice surprise. For some reason, I was expecting some straightforward and brutal stuff, but contrary to my expectations, Rift plays a black metal rich of atmosphere and with a certain melancholic touch, although it doesn´t lack some epic moments and a necessary degree of fury. In any case, the album escapes from the speedy monotony of some albums as it focuses its main attention on the mid-tempo sections. Production wise, the album has a good balance between vocals, guitars, and the rhythmic base. The raw touch is there, particularly in the guitars with this characteristic “fuzzy” sound, although the riffs are thankfully distinguishable. The atmospheric arrangements in the form of keys in the background are also audible and give an extra point of an evocative ambience. The vocals have the traditional echoing production with a very solid performance. The album begins with strength and speed with the song "Acolyte of Worms". The early perception could make us thing that this is going to be a monotonous album, pace wise. We couldn’t be more wrong. The song rapidly introduces some tempo-changes and a distinctively melodic touch in the guitars, which are composed and executed with a great taste. The tempo varies between the aforementioned fast sections and the increasingly present mid and slow tempo sections, including some nice interludes which make this song even more immersive. The contrast between fury and atmosphere is even greater in the following track, "Night Glare". This one is pure atmospheric black as its very best. Captivating keys embrace the rest of the instruments, giving profundity and atmosphere to the song as the galloping guitars and drums progressively slow down their initial impetuosity. Here, we can find one of those moments where Rift sounds even epic with a very nice guitar riff, an excellent track without any doubt. The longest tracks, like the self titled one and "Posthumous Rapture", focuses specially in the mid-tempo sections, although they introduce some variations which include interludes or slightly more vibrant parts. All this is made with the purpose of keeping the listener interested and, at the same time, creating a hypnotic piece of music. On the other hand, tracks like "Innards of Malevolence" and "Sermon of Blades" are the heaviest ones, with speedier sections, here more prevalent than in the rest of the album. Despite of this, the melodic and atmospheric essence of the whole album is still retained here, so these songs can be seen as the spiciest side of a dish with different flavours.

'To Quench the Thirst of Wolves' is definitively an excellent debut and a pleasant surprise. The combination of rawness, melody and atmosphere is excellently executed. The somber tone of the compositions is enriched by a beautiful atmosphere and some small touches of majesty. Highly recommended. (Alain González Artola)

(Seance Records - 2021)
Score: 83

https://seancerecords.bandcamp.com/album/to-quench-the-thirst-of-wolves

Malo Moray & His Inflatable Knee - Improvisations from the Solar System (and other Solo Pieces)

#PER CHI AMA: Ambient/Noise/Experimental

E giunge fino a noi dalla lontana galassia tedesca, direttamente dalla colonia spaziale della città di Lipsia, un nuovo lavoro dal vivo, del collettivo Malo Moray & His Inflatable Knee. L'autore e fondatore, Martin ‘Malo’ Riebel, conferma che l'intento di questa opera, è di mettere in musica la profondità di un cosmo sconosciuto, di galassie infinite e silenziose, ponendole in parallelo alla depressione e alla solitudine (vissuta anche in prima persona dall'artista in epoca recente) in cui versa l' umanità odierna. Il contrabbassista tedesco gioca con loop, elettronica e strumenti auto costruiti per intavolare un viaggio sonoro suggestivo, in perfetta simbiosi con i canoni della musica ambient spaziale, futuristica e d'avanguardia. Quindi, tra rumoristica cosmica, neo classicismo e sperimentazione, cresce progressivamente la curiosità dell'ascoltatore per quest'album, brano dopo brano. Realizzato come una lunga colonna sonora che si snoda tra sentori jazz, riadattati in direzione dello stile ambient di Brian Eno e l'avanguardia di Edgar Varese, il tutto filtrato da una vena molto cupa e dark oriented, che offre un tocco assai sinistro all'intera opera. Piccoli rumori colti in ambiente danno una prospettiva filmica ai brani, così, l'iniziale " Intro (A Gentle Sunrise Kisses the Surface of Mars)", già dalle prime note, mostra l'ambiente sonoro che si andrà ad affrontare lungo i solchi del disco, un assaggio di estatica, fluttuante, malinconia intergalattica, che si propaga nella sua ottima produzione di alta classe. Nella lunga e affascinante "Building Skyscrapers on Jupiter", si esaltano rumori e atmosfere inquietanti, visionarie e oscure, giocate su di un linguaggio extraterrestre destabilizzante, un tappeto musicale che vira profondamente verso melodie adatte ad un film thriller, intense e cariche di suspense. L'astratta bellezza della trama jazz che contraddistingue il brano "A Busy Suspension Bridge Floats Over a Deserted Area on Venus" è scarna e desolata come lo spazio più profondo. "The Secret of Saturn's Hexagon" mostra tutto il carisma e gli intenti neo classici di Malo, immaginandolo seduto su di un anello di Saturno, avvinghiato al suo contrabbasso che, archetto alla mano, sperimenta suoni misteriosi trasudanti sentori sinistri. Tutto, di questa lunga colonna sonora, si evolve in maniera ispirata ed omogenea. Il sound è sempre raffinato ed anche nella sua oscurità, mantiene una forte personalità intellettuale, ricca di composizioni ragionate e ben studiate, pur trattandosi di una performance live, registrata in maniera egregia, a Barcellona nel Febbraio del 2021. In questo album appare anche la singolare reinterpretazione della cover della magnifica "Listen to the Hummingbird" di Leonard Cohen, dal titolo rivisitato "Nature's Call (Listen to the Hummingbird)", brano che completa un già ottimo insieme di creazioni sonore. Un disco che è un'esperienza d'ascolto e che introduce nel modo migliore il successivo album, registrato sempre dal vivo, uscito da pochi giorni e intitolato 'Das Weltall', ovvero l'Universo. (Bob Stoner)

(Self - 2021)
Voto: 80

https://malomoray.bandcamp.com/album/improvisations-from-the-solar-system-and-other-solo-pieces-2