Godflesh - Us and Them
What happened? The last thing I remember, Godflesh were back to crushing heaviness. Apparently not anymore. The first track is just terrible dance music with distorted vocals and guitars. It gets somewhat better after that, but the horribly overdriven vocals remain, and they never come close to their former glory. They should be embarrassed of this bullshit.
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God Dethroned - Bloody Blasphemy
I should probably give these goat fuckers a ten just for the opening sample, but I have resisted. This improves upon the Black Death style of their last album, The Grand Grimoire, by making it more easily remembered, and that was just what they needed to do.
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Gideon Smith & The Dixie Damned - Gideon Smith & the Dixie Damned
Contact info: King Ghidra. Thanks list: Motorhead. You can’t go wrong with those two! I don’t really know how to describe this band’s low-down Rock ‘n’ Roll, other than to say that I guess I can hear traces of Kiss and Danzig, and who-knows-what-all-else. And that I like ‘em. It’s very well played, energetic and hard to forget.
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Geasa - Angels Cry
Atmospheric and melancholy Black Metal. The addition of clean male vocals is somewhat unique and adds to the sorrowful feeling.
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Gardenian - Soulburner
This starts off as your typical Swedish Metal album, complete with all the structures from At the Gates’ Slaughter of the Soul, just slightly rearranged, and then blossoms into something gayer. The song “Powertool” features repugnant Poppy female vocals like those you’d hear on a Contemporary Christian radio station. Then with “Deserted” a complete closet exodus is achieved with the interjection of Power-Glam vocals that may induce the loss of bladder control through laughter. I can understand and respect a band’s desire to add a dimension of passion to their music, but the clean male vocals on this LP sound like the guy from Boston with an even bigger dick up his ass. Trust me, the only thing this CD would accomplish in your collection is the absorption of dust mites. Even they don’t deserve such torture.
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Furvus - Deflorescens Iam Robur
What the fuck is this?!? Some keyboards, a guy talking… I had to really concentrate to even remotely pay any attention to this crap, and even then my thoughts would quickly drift to something -anything- else. I repeat: what the fuck is this?!? Other than annoying, I mean.
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Furious Trauma - Roll the Dice
With both Michael Denner and Andy LaRocque contributing guitar solos to this, I wasn’t expecting to hear any harmonica, but here it is. At times this band is all Rock and Roll, while others they get a lot more Thrashy. And the vocals are weird, too. If they want to appeal to Rock fans, I would think that these raspy, hoarse vocals would hinder their efforts. Maybe I just don’t get it.
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Frostmoon - Tordenkrig
This is a two-piece band hailing from the kingdom of endless Black Metal, Norway. This CD is actually quite a mixed bag as it compiles tracks from the Tordenkrig 7-inch, a split 7-inch with Ork, unreleased material and advanced tracks from their forthcoming full-length album. To describe the style of this band, imagine Isengard (the Folk elements), Darkthrone (the Black Metal parts) and Hammerheart-era Bathory (the atmosphere) all mixed together. The 7-inch tracks don’t have the best sound quality in the world, but considering that nobody pays for quality recording on a 7-inch except for Moribund Cult Black Priest Odin, that is completely understandable. The guitars were a bit on the thin side up until the tracks for the forthcoming album kicked in. These have a much thicker guitar sound and the keyboards are less prominent than the older material. The songs from the 7-inches were good, but I think the advanced tracks for the album are leagues ahead of the older stuff.
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From Forgotten Being - Ancient Land Legends
Keybaords and wind. Without even checking for corpse-paint, I’ll bet this must be a Black Metal album. Come on, people! There must be other “truly evil” ways to start an album than always with keyboards and wind! And then the generally fast Black Metal assault starts. When FFB slows things down a little (and don’t get the idea that I like “slow” better than “fast” - I just like what’s best for the song) and the keyboards are allowed to create an eerie atmosphere, things do seem to work better for them. Maybe it’s the production, which is on the thin side, and tends to make the fast parts sound tinny. In any case, this has moments of genius. If they can concentrate on those, and get even a little thicker sound next time, perfection would not be out of reach.
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