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martedì 11 dicembre 2018

Hazards of Swimming Naked - Take Great Joy

#FOR FANS OF: Post-Rock, Godspeed You! Black Emperor, Mogway
This melodic Australian post-rock album is a joy for the people who like to dream during their listenings, a delightful piece of harmonious music, a work almost wordless except for the nostalgic and sweet remake of the Icelandic lullaby "Sofðu Unga Ástin Mín" where a female voice lulls fear and anger, letting us dive into a lake of peace and hope. Hazards of Swimming Naked reveal in this 2018 their second album, almost nine years after their debut ‘Our Lines are Down’ and promise to launch a tour starting apparently from the 15th of December 2018. This latter release is one of those albums that make me thankful to write music reviews, in a bunch of unknown artists this Brisbane’s collective switch a light on and illuminate my boring afternoons, a breathing proof that a singer is not necessary to compose a great rock album. What I liked the most is for sure the sensation of resonance and nostalgia played by the brilliant arpeggios, the feeling of an enjoyable sadness orchestrated by pieces of trombones, arches and bells. ‘Take a Great Joy’, in conclusion, is a sweet electric fable, one of these tales that we never want to stop listening: an epic announcement in "There Was Never a Right Time", an adventurous development in "Waiting for 5120", a breakdown in "Curtis", a mysterious ascent in "I Don’t Know This Road", a reflexion in "This Common Thread" and, in the end, an inevitable advice: "Accept the Mystery". Well done mates! (Pietro Cavalcaselle)

Rings of Saturn - Embryonic Anomaly

BACK IN TIME:
#PER CHI AMA: Deathcore/Techno Death
Il vocalist Peter Pawlak passa dal growl simil maiale-sgozzato-con-un-grosso-fermacarte allo screaming tipo pitbull-malauguratamente-attaccato-al-tuo-polpaccio con la medesima disinvoltura con la quale il giallino diventa marronechiaro nelle mutande di un metallaro accampato da quattro giorni al Wacken Open Air. Il batterista Brent Siletto passa con altrettanta animalesca disinvoltura dal trrrrr velocissimo al trrrrr ancora più velocissimo al trrrr ancora più veloce dell'ancora più velocissimo. Il chitarrista Lucas Mann passa dai ghghgh-ismi ai laserchitarrismi con la disinvoltura con la quale il sottoscritto, notoriamente afflitto da sindrome di Tourette, passa dall'espressione "colgo l'occasione per porgerle i miei più cordiali saluti" appena prima di riattaccare all'espressione "mavaffan*ulo stron*odim*rda porcodun*io di quella puttanama*onna" subito dopo aver riattaccato. L'alien-prog "Seized and Devuored", in apertura, risulta l'unica canzone vagamente intelligibile. Il deathcore manieristico di "Grinding of Internal Organs" è inopinatamente introdotto da un suono dichiaratamente ottobìt. Forse reminscenze di una vecchia versione di Guitar Hero che girava su Commodore 64? (Alberto Calorosi)

(Unique Leader Records - 2011)
Voto: 45

https://www.facebook.com/RingsofSaturnband/

Tristania - Beyond the Veil

BACK IN TIME:
#FOR FANS OF: Death/Gothic
Drastic and bombastic, Tristania provides a fine example of the breadth of heavy metal in sinister symphonic tones, gothic theatrics, and a classic example of cleanliness and propriety meeting the hazy gloom of such an inverted style, making its simultaneously catchy and esoteric visions transform from an alluring siren into the violent succubus as its sinister other side appears. Flirting with the many tropes in classical music from startling operatic highs to a symphony of strings, sometimes synthesized and other times implied through an electric and acoustic guitar combination, 'Beyond the Veil' is a descent into perdition promising the privations populating such a plane with angelic allure.

Simultaneously, Tristania denies the classical sound its monopoly with a tinny drum recording that becomes the catalyst for more techno oriented exchanges later in the album and hazy harmonies that swell in short bursts. The schizophrenia of loosing fire at such gorgeous constructs is a common theme in metal, a juxtaposition that relishes the relationship between carefully created beauties and a destructive counterpart. In Tristania this becomes a major focus as subtle hints of the harsh reality 'Beyond the Veil' become a world of strife as the album progresses.

From this approach is a worthy wellspring of fresh and tantalizing variety, decadent and arousing while also crisp and cutting in spite of such lengthy and expansive riffs and harmonies that diabolically document the derangement of one's descent into a world of ritual and death. A long swinging churn to the title track brings unmistakable choral highs and tinkling cymbals, the wailing web of guitars delicately settles along a middling pace that easily worms into an ear and, in reaching apogee through soloing while buffeting such cries with double bass, finally finds the sonorous swing expand into a prickly deluge to satisfy even Satyricon with its torrents of grain. “Aphelion” and “A Sequel of Decay” make obvious the turn of intoxicating tones and inviting momentum into the demonic as you enter the embrace of the succubus, a creature literally fucking her way through “Opus Relinque” before tearing out swollen hearts. To say that Tristania's approach is transparent is an understatement, the obvious balance of harmony and hatred is belted across your face like domestic violence at the opera, but that doesn't diminish the theatrical enjoyment of the theme or the profane potency of “Angina” when a cavalcade of choirs clash for control.

The creativity and craft employed through this album ensure a consistently inventive approach that allows the band to experiment at times but also limit itself to only its most presentable attempts. Where “Aphelion” drags at times, its methodical sound accentuating a dormant beauty far from the heat of the Sun, its subtle movements enchant in symphony from the flowing chorus punched by double bass to a heart melting interlude where beautiful highs and a weeping verse pluck at each artery. The nearly eight minutes of this song shows the band patiently holding itself back until its dam breaks and ducts overflow. A piece that by far outruns the track lengths of the rest of the album, “Aphelion” becomes a staple show of the careworn strife breaking into rage that tantalizes Tristania and appropriately harbors its drastic breadth.

Shining in the spotlight are the sopranos from Vibeke Stene, her incredible vocal delivery brings beauty and strength with every cry and fulfills a an enticing half of a filthy combination when joined by Morten Veland's growls. Opening “A Sequel to Decay” with a choir of intense cries easily shows the rhythm employed in this nearly chanting operatic while Veland's range is more protracted, embracing the decadence and magnificent sound of a gruff and massive presence similar to Peter Steele of Type O Negative. At other times Veland employs heaving growls and, with a choir aided by drummer Kenneth Olsson and guitarist Anders H. Hidle, the ensemble completes its medieval majesty. The twinkling apogees and insidious abysses greatly compliment the instrumental deliveries showing that Stene and Veland's contributions are among the many masterstrokes in structuring as well as sounding out the album to make it such a memorable and astounding experience.

Synth plays a prominent role from tinkling classical piano keys and symphonic strings to the wild jarring horns later in its hellish progress. Employed by Einar Moen, one of the major forces behind the songwriting, the placement of synth enlarges the range of this album by giving it the unmistakable theatrical characteristics that capture the magnitude of Tristania's ambition. The snare drum, pacing the percussion at a laborious and lamenting step, has the sharpness of shattering glass and compliments these bouncing rhythms as guitar joins symphonic strings, winding around a choir to create machinery of chaos and hatred by the turn in “. . . Of Ruins and a Red Nightfall”. Like the heartless clanging denoting the fires consuming Fangorn Forest, Isengard melts and molds metals into a new mechanism of conquest.

An ever-energetic motion below the snare finds constant implementation. Double bass brings personality to the central hammer as it pumps like a bellows and brings heat to make malleable the clanging cymbals overhead. Like an endless ride down winding trails in “Lethean River”, the clip clop of double bass is where one notices how riding these percussive fills and interludes typify the bridges between verses and choruses. As majestic as mounting an eagle to escape from the imploding Mount Doom, these amorphous undulating movements create in sound the defined, sinewy, and romantically detailed image of Pegasus taking flight.

Where the band made emotions meander through its opera early in the album, things become more straightforward and streamlined through the back half. A personal favorite, “Angina” brings Stene's voice so high that it nearly becomes as comical as “Take On Me” and its high C. Still, the cascade of choir tumbling down from such a gorgeous summit is the epitome of Tristania's unusual and calamitous sine wave. Cymbals dancing in concert with piano keys while walled into a pit by a crowd of double bass conjures images of a stately show where metalheads meet aristocracy and all gather in lively celebration of the music. Distant organ and marching guitar riffing conjure images of a “Heritique” transported across space-time as flames engulf the stake, a raucous crowd receives its satisfaction, and a star bursts from a blasphemous chest.

Tristania's treble is mainly concerned with an energetic and elaborate labyrinth of strings, upheld by Morten Veland and Anders H. Hidle who tirelessly strum through lengthy lamentatious riffs that harmonize and break from one another with a smooth and studious flow, sometimes finding frenzy or chomping into a juicy rhythm, but never disabusing itself of the bountiful beauty found in resonating strings. In its most frantic moments, clarity is lost in the very treble oriented mix making such a saturated end become slightly hazy and indistinct. In a song like “Aphelion”, where its lumbering gait holds court for the majority of the song, this grandiose sound has a crispness that becomes muddled as layers are added on. Still, the majority of the production is listenable enough though in need of a bit more range on its low end to lend a tighter fist to this expansive energy and bring the necessary punch.

Tristania is a succubus in sound, one that many a man would happily embrace. Wearing a sinister grin as it consumes your soul, its once alluring form quickly contorts into a vengeful demon. Brimming with brief but compelling moments, 'Beyond the Veil' happily babbles like a brook throughout its enticing bubblegum bits, a denial of the darkness lingering behind the lovely cover of stark-naked sirens seemingly sleeping among the rocks of a hot spring refuge. Where the woman in the foreground appears to be enwrapped in a peaceful slumber, the fog settling across the background has begun to obscure bodies unceremoniously lying where they stood showing, as one figure lords herself over the fallen, that slaughter must take place in order for one's ascension. Like its magnificent music, Tristania's foreground of beauty belies the sinister reality that awaits 'Beyond the Veil'. (Five_Nails)
 

Windfaerer - Alma

#FOR FANS OF: Epic/Folk Black
The folk black metal scene has flourished a lot in recent times, not only in Europe, where due to the long and rich history of the continent makes it quite usual. But even in many other parts of the world, sometimes in countries with a long history and in others with a shorter period of existence. US is one of the most obvious cases where we can find some awesome bands like Ifing or Duskmourn, among many others. Sometimes the lyrics deal with Nordic mythology or American history and politics, like Panopticon does. However, I think this is the first time I find a US-based project which sings about Iberian history as Windfaerer does. As far as I know, some members have Portuguese roots, so this could explain this interest which makes Windfaerer’s music even more intriguing for me.

The band was originally created in 2006, so these guys are not newcomers. Some of the members, such as the two guitarists, have extensive experience in the extreme metal scene, though they have found time to release, prior to this new album, two full lengths, an EP and a split album. 'Alma', the name of this new creation, is the third album and as it usually happens, the third attempt is the one that definitively marks if the band's career can have a long-term future. Conscious of this or not, the band has put a lot of effort on this album, and the first positive sign comes before you even listen to the album. This is because for this album they have signed with the Italian label Avantgarde Records, which I personally rate very highly due to the consistent quality of the bands on their roster.

'Alma' starts with the powerful and immense “Dawn of Phantom Light”. The track begins with a short atmospheric intro, interrupted by some great guitars which form a solid wall, full of epic and strength sounds. Vocals are on par with some great screams, accompanied by occasional arrangements in the background, which enhance the greatness of the track. Musically speaking, the song is not repetitive, with occasional ups and downs in the pace and including a calm atmospheric short section. Another standing out element are the guitar solos, which are more elaborate and complex than in many similar albums. The album opener is a definitively good summary of what we will find in this record. Moreover, as we can hear in songs like “Becoming”, the band successfully adds some classical instruments, like the violin or cello, which sound great and give a definitive folkish touch to the songs. They even fit the music in the more straightforward tracks like “Journey”, where they create a quite unique melody, making the song more interesting. The album ends in style with the excellent “Under the Sign of Sol”, which shares many characteristics with the album opener, not only in terms of quality, but as it contains all of the elements which make this album a very pleasurable listen.

In conclusion, Windfaerer did a step forward with 'Alma', which is a very well-balanced album. The production sounds excellent, clean and powerful. All the elements are very well done, though I would highlight the excellent guitars, which sound convincing and very tastefully composed. As previously mentioned, another remarkable point are the arrangements, especially those including the classical instruments, which embellish the composition and the album itself. (Alain González Artola)

(Avantgarde Music - 2018)
Score: 85

https://windfaerer.bandcamp.com/album/alma

lunedì 10 dicembre 2018

Shuffle - #WontTheyFade

#FOR FANS OF: NuMetal/Alternative Rock, Linkin Park, Incubus
After the 2015’s convincing debut album 'Upon the Hill', this nu-metal youngster quintet releases another raw diamond: '#WontTheyFade'. Everybody would initially spot this band somewhere in the USA, the sound takes us to the late '90s college rock but: first of all, these guys come from France (Le Mans) and second, they re-adapted a 20 years old sound to the XXI century’s second decade with modern lyrics and much more groove. I enjoyed this album a lot and I’m looking forward to monitor the bright future they’re promising, they have everything necessary to break trough the scene and already shown maturity in this latter release comparing it to the first one. The composition, the arrangements, the riffs and the melodies deserve more than a superficial glance, delicacy and brutality are perfectly merged together, I mean, if you are under 30 you have no reason to avoid this album, if you are over 30 and still able to dream, you also have no reason to leave this work un-downloaded. Shuffle is a wonderful reality made of young hungry guys ready to slap your face from the earliest live guitar plug, I’m already checking if they’re planning a gig in Italy! The ingredients of Shuffle are compliant for a world explosion, “Spoil the Ground” and “Faded Chalk Lines” will stay for a long time in my playlists and I will definitely let my girlfriend listen to “Oh Glop D’eternitat”, '#WontTheyFade' has songs for everybody. Emerging or not, material about this band can be found easily with a quick research and what really emerge are their passion and dedication. If the improving path won’t meet distractions, we will here about these guys very, very soon. (Pietro Cavalcaselle)

domenica 9 dicembre 2018

Tarja - The Shadow Self

#PER CHI AMA: Symphonic Metal, Nightwish
Prevedibile ultrametal si(n)fonico ultratastieroso ("Love to Hate"), ultraserioso al punto da risultare ultraprossimo al comico (la scapigliatura pianistica dell'onanistica "Innocence" post in apertura) con sparute pennellate (o, più precisamente, interi sacchi di vernice) genericamente vintage (potete dilettarvi a individuare purple/rainbow-ismi nella cover di "Supremacy" dei Muse), virate mélo-celtiche con tanto di cornamuse e cumulonembi in lontananza ("The Living End"), reminescenze Nightwish ("The Undertaker") e un'archetipica modulazione tutta finlandese del concetto di ballata ("Diva", forse "Eagle Eye"). Completano il quadro, aderenze in pelle nera, un batterista di grido(lino), quello dei Red Hot Chili Peppers e i consueti gridolini da cristalleria in cocci che non mancheranno di solleticare le generose ghiandole lacrimali di flottiglie di vichinghi provvisti di mani grandi e cuore tenero. Ascoltatelo ad alto volume mentre vi esercitate per i mondiali di lancio del cellulare di Savonlinna. (Alberto Calorosi)

(Sheer Sound - 2016)
Voto: 65

http://tarjaturunen.com/home-tarja/

Sabaton - The Last Stand

#PER CHI AMA: Power Metal
La band svedese che sembra sempre tornata ieri sera dall'Iraq, mette in scena l'ennesima inappuntabile power-frittella alleato-oriented intrisa di enfatiche progressioni, scale veloci, cori eterosessuali e rassicuranti vocioni da trincea, ottimamente calati nella parte ("Rorke's Drift" and many more). Tanto per sollevare un po' di polverone nel battleground, occorre collocare, invero sapientemente, qualche epic-sbraganza in apertura ("Sparta") e no ("The Lost Battalion"), poi alternare sporadici mimetismi prog-metal ("Blood of Bannockburn" con tanto, l'avreste detto, di cornamuse) e AOR/ismi tattici d'oltreoceano ("Hill 3234") o d'oltrebaltico ("Last Dying Breath"). Riguardatevi su youtube il video della band di rock duro, duro, duro chiamata I Budini Molli, dopodiché divertitevi a sentire questo disco coi testi davanti mentre, per qualche ragione che preferite non spiegare a voi stessi, vi immaginate l'emorroico culo mimetico di Joakim Brodén morbidamente adagiato su un puff rosa a forma di labbra. (Alberto Calorosi)

(Nuclear Blast - 2016)
Voto: 65

https://www.sabaton.net/

Steel Panther - Lower the Bar

#PER CHI AMA: Glam Rock
Un cogitabondo approfondimento della introspettiva poetica pattumiera-glam già esaustivamente affrontata nei dischi precedenti. Immagini oniriche ("Then she tried to suck my balls at her wedding reception" cantato in "Poontang Boomerang") a tratti vertiginosamente fantasiose ("Steal a Saturn 5 and fuck an astronaut / zero G anal and weightless cumshots" in "Anything Goes"), ardite metonimie ("I got what you want baby / five and a half inches of love" in "I Got What You Want") e inestricabili litoti ("Don't have to be a fireman / to ride the pole" in "Walk of Shame"), colte citazioni musicali ("I got a 20 year old wife and she's eager to please / But she made me throw away my Dokken CD's" in "Wrong Side of the Tracks") ed una inaspettata apertura omofobo-fobica ("Is it a chick or is it a dude? / Doesn't really matter if she looks good nude" in "Now the Fun Starts"). Van Halen ("Anything Goes"), Joan Jett ("Poontang Boomerang"), shock rock, Poison. Nel quarto album gli Steel Panther riescono nella impresa quasi epica di mantenere fede al titolo del disco, cioè abbassare ulteriormente l'asticella. D'altronde "all the critics said / our debut record was our peak" ("That's When You Came In"). Se lo dicono loro... (Alberto Calorosi)

(Open E Records - 2017)
Voto: 55

https://www.facebook.com/steelpanther/