Archive for the ‘Anger Management’ Category

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Anger Management: Iron Maiden

Wednesday, September 16th, 2015

Every fortnight, we check in with all things heavy on RTRFM’s Critical Mass show.

When the “human air raid siren” Bruce Dickinson returned to Iron Maiden in 1999 along with guitar hero Adrian Smith, the band was totally rejuvenated. Given an energy boost that was sorely lacking during the two albums of the Blaze Bayley-era (1994–99; poor Blaze was an OK singer with impossible shoes to fill and some lacklustre/boring songs to deal with), the band bucked the trend of legacy acts releasing dodgy later period albums. On the contrary, some of Maiden’s best work has been in the past 10 years: Brave New World, Dance Of Death and A Matter Of Life And Death were all fantastic albums that showed there was still a lot of fire in the beast.

More recently, there have been some concerns that the band might be hanging up the axes. The title of 2010’s The Final Frontier raised a few alarm bells and Bruce’s admission that he was dealing with treatment for a cancerous tumour on his tongue was extremely concerning. Thankfully he was given the all clear in May and now we have the new double album, The Book Of Souls.

The 11-song double album has already gone to #1 in the UK charts and #2 in Australia, a very rare achievement for a band playing this type of music. There’s a lot of synth work in these tracks, which is surprising given the 3 guitarists, but it thickens out the sound and works well. Although there are quite a few tracks that push 7+ minutes duration, the songs all work well and never feel boring. Neither disc feels as laborious as Virtual XI.

“The Red And The Black” is a highlight, seemingly a love letter to the fans as it contains every Iron Maiden trope in a 13-minute epic. The second disc closes with the 18-minute “Empire Of The Clouds”, a micro-symphony written by Dickinson which doesn’t always work throughout, but is a pretty grandiose effort and makes me wonder what the band could do if pushed more in such a direction.

Some may bemoan the lack of a faster, punchier track (such as “The Trooper of Running Free”) but the longer tracks work much better here; the shortest song. “Tears Of A Clown”, is actually one of the album’s lesser tracks..

Lead single “Speed Of Light” is a cracker, even with its slightly out of place (more) cowbell and has an excellent clip that retro gamers will love. Up the Irons!

The Book of Souls is out now.

Critical Mass airs every Wednesday from 9PM (GMT+8) on RTR FM 92.1 in Perth, Australia.

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Anger Management: Myrkur

Wednesday, September 2nd, 2015

Every fortnight, we check in with all things heavy on RTRFM’s Critical Mass show.

As loathe as I am to admit it, its hard to write a review of the new Myrkur LP ‘M’ without first acknowledging the most irrelevant, yet most commonly discussed issues: the hype, backlash and controversy. So lets address it and move forward.

Last year, out of nowhere, Relapse Records unleashed the debut EP. A collection of scrappy, harsh black metal inspired by the mid-90s second wave of black metal with more than a tip of the hat to Ulver, plus some classical influences. These was some mystery behind the identity of the solo lady behind the project (name me one BM band worth their salt that didn’t have pseudonyms in the 90s) before it was revealed to be the sole project of Amalie Bruun (a solo artist more well known for her time in indie/synth combo Ex-Cops and MINKS).

Online trolls were quick to jump all over the project for reasons other than the music. Quick to hammer irrelevant details such as Relapse’s over the top promotion (Relapse doesn’t have a history of getting behind too many black metal bands), her musical history (irrelevant, you can’t make money playing black metal), the media hype (Terrorizer magazines cover/clickbait story “THE FUTURE OF BLACK METAL IS HERE” really added fuel to her detractors), a few shaky live shows (you can count the amount of times Myrkur has played live on one hand) and other unimportant elements. There was some very blatant sexism involved too, like somehow her EP had damaged the boys club credibility of “black metal legitimacy” or something. Pretty silly stuff.

To her credit, Bruun hasn’t let this phase her and has approached with a refreshing response of “if you don’t like it, listen to something else.” Metal musicians and social media often don’t mix well, so it’s great to see someone so level headed in the face of enormous criticism.

Myrkur’s first full-length is produced under the watchful eyes and ears of the ‘Trickster G’ himself Krystoffer Rygg (AKA Garm from Ulver). He’s been there, done that and moved forward in terms of black metal so you know he wouldn’t lend his talents to any old project. Rygg complimented Bruun when they met in an interview she mentions: “He said, ‘all these bands today, they go into the studios and they spend all this time trying to make it sound like shit. But yours sounded genuinely like shit,’” she recounts of their first encounter, chuckling. “‘There was so much beauty and authenticity in it.’”.

The sound of the album is also fleshed out by Teloch (Mayhem) on extra guitars/bass and Øyvind Myrvoll (Nidingr) on drums.

Opener “Skøgen Skulle Dø” really sets the tone for the album with layers of choir vocals mixed with feral shrieks and a folky riff. This gives way to some sinister sustained guitar feedback, tuba/horn drones and creepy whispers and laughs. It’s almost as if Myrkur is laughing at her detractors. This track reminds me a bit of Storm’s 1995 album, Nordavind, Bruun’s choir/clean vocals occasionally sounding a bit like Kari Rueslåtten.

There are some really memorable songs here, a few piano/vocal only tracks mixed in to underscore the light and darkness that a lot of good black metal has. Tracks such as “Jeg er Guden, I er Tjenerne” and the re-recorded “Dybt i Skoven” are very catchy with simple, almost indie-like song structures. But these moments are dark and have more in common with the weirdo, depressive rock of a cult band such as Joyless than anything else.

A true highlight is the powerful, Bathory-esque rumble of “Mordet,” featuring Chris Amott (Arch Enemy). Catchy and vicious with its primitive fury.

M isn’t the future of black metal, but it is not worth the scathing criticism that it has been getting. What it is is an album that is 100% worthy of your time and attention. Forget the hoopla surrounding it, this has some excellent songs.

Critical Mass airs every Wednesday from 9PM (GMT+8) on RTR FM 92.1 in Perth, Australia.

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Anger Management: Tau Cross

Thursday, August 20th, 2015

Every fortnight, we check in with all things heavy on RTRFM’s Critical Mass show.

There’s a famous quote from producer Brian Eno about The Velvet Underground: “Although the Velvet Underground didn’t sell many albums, everyone who bought one went on to form a band.” Perhaps the same can be said of UK crust punk/metal godfathers Amebix. Bands diverse as Neurosis, Sepultura, Napalm Death, Bathory and a million crust bands owe a tip of the hat at the very least to Amebix.

Tau Cross is a new project that features the booming roar of former Amebix frontman/bassist Rob “The Baron” Miller (who is a self taught sword smith!). Joining him in this cross-continental musical journey are Away from Voivod on drums, Jon Misery (from Misery, duh) and Andy Lefton on guitars. First impressions suggest a very heavy late-period Killing Joke/80’s post-punk influence. I’m also reminded, oddly, of VHOL’s self titled-debut from 2013.

There’s some really good tracks in the first half. A mid-paced chug dominating the feel of songs like “Lazarus” and “Fire In The Sky.” The band attempt some slower more epic numbers such as “Midsummer” and “Hangmans Hyll,” but on my first listens I found these tracks a little dull (although Hangmans Hyll is probably a good drunken singalong anthem for some). Further listens reveal these tracks to have grown on me a little bit.

I really enjoyed the slow burn of “We Control The Fear” featuring an acoustic intro, marching beats and violin before the booming Lemmy-via-Cronos vocals kick in. An unexpected highlight for sure.

“Prisoner” is a late album highlight with its central chant of “sex, war, science, religion.” Tau Cross grows with repeated listen, more often than not getting the head banging.

Critical Mass airs every Wednesday from 9PM (GMT+8) on RTR FM 92.1 in Perth, Australia.

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Anger Management: Vagrond

Tuesday, August 11th, 2015

Every fortnight, we check in with all things heavy on RTRFM’s Critical Mass show.

When talking about music it’s common for people to say that a certain song or album can invoke a feeling or mood, but what about an entire season? Take Immortal or Dark Throne: people often say that the music of those bands is ‘cold and grim’ like winter. And although song titles, lyrics and presentation add to it, in a vacuum with no prior knowledge of the bands, it’s hard to argue that people still wouldn’t describe the music as ‘cold’ (that guitar tone alone).

Another example would be two more recent releases: Deafheaven’s Sunbather and Alcest’s Shelter. Both albums, although strikingly different, have a ‘warmth’ about them that invokes the season of summer. Again, presentation has a hand in it (the cover of Shelter features a washed out late afternoon sun) but the music itself is warm.

To tie it all together here (enough waffly prose and poor mixed metaphors), when I listen to Vagrond’s stunning third album Regret, I can’t help but feel this album invokes the autumn.

Regret is a giant leap forward for the Perth duo, taking the band’s doomy, depressive and harsh black metal sound and refining it with the addition of shoegaze and post-metal. There are layers upon layers of lush guitars here that remind me a lot of Brave Murder Day–era Katatonia. Tracks such as “Left Unspoken” and “Intertia” are amazing but the real highlight is “Longing” with its sinister and heavy chug.

The vocals are a distant, ghostly murmur mixed into the background that works really well. It’s another layer to focus on and adds to the songs moods. Although there are some moments where the harsher vocals of the past might fit in well, the newer style fits on perfectly for this release.

Lyrically, this is a very depressive and gloomy record, steeped in themes of sorrow, regret and the end of life. It’s a stark contrast to some of the lush sounds of here, but this ties in with my feelings of ‘Autumn’: it’s getting colder and darker. Leaves are falling and the colours are changing, but the sun still pokes out from the clouds and reflects on the water. Regret is an essential purchase.

Regret is available on vinyl through Self Mutilation Services.

Critical Mass airs every Wednesday from 9PM (GMT+8) on RTR FM 92.1 in Perth, Australia.

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Anger Management: Kekal

Thursday, July 30th, 2015

Every fortnight, we check in with all things heavy on RTRFM’s Critical Mass show.

2015 marks the 20th anniversary for Jakarta’s Kekal. Since 1995, they’ve carved away at their brand of extreme metal/prog that has been getting more avant-garde and interesting. 2003’s excellent and well-received 1000 Thoughts Of Violence brought the band further into the public eye and seemingly gave them the confidence to forge on into the unknown, adding more experimental elements to their sound.

The band experienced some lineup shuffles in 2006 when one of their key members, guitarist/vocalist Jeffray moved to Canada. Kekal became a studio project and, bizarrely, all members at one point between 2006 — 2009 have left the band. Kekals bio states: “Since 2009, Kekal has become a band with no official members, but some of its former members still continue to make music and to release albums for Kekal, albeit as contributors.”

This creates an interesting situation. Kekal is now an institution that the members work for instead of as. Kekal is now less a band and more of a brand, so to speak. Having no official members means there is no style or image and allows free reign musically.

Mulilateral is Kekal’s 10th LP and they have taken more chances with this release than ever before. Each song melds elements of post-rock, black/extreme metal, electronic sounds, vocal effects and drum machines. Three songs on the album feature the use of the Vocaloid software singing synth program/idol Megurine Luka which works strikingly well. And what better way to underscore the fact that your band has no official members than to have a computerised idol singer on your album? The track “Crossroads” utilizes this the best as hammering riffage and pounding drums juxtaposed to the Vocaloid makes for a very interesting contrast.

The whole album is full of little surprises. Just when you think a track might be a bit off a riff or distorted drum beat comes out of nowhere and enhances the song. A good example of this is “Metropolis Noir” which starts off very dreamy and mellow. Acoustic warbly guitar, a triphop beat and the vocaloid singer glide along for 4 minutes before an abrupt interruption of distorted beats, growling vocals and an awesome black metal riff in the background.

Kekal have utilized their chance to make music free of image and as a result, Multilateral is an excellent release. They’ve taken so many chances that many would dare not to; every individual song features more ideas than most band’s entire albums. As their bio says: “Let us enjoy Multilateral, without preconception and presumption!”

Critical Mass airs every Wednesday from 9PM (GMT+8) on RTR FM 92.1 in Perth, Australia.

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Anger Management: Corrupted

Wednesday, July 15th, 2015

Every fortnight, we check in with all things heavy on RTRFM’s Critical Mass show.

Corrupted are one of the more unique and interesting and elusive bands around. Since 1994, they’ve wrecked necks and eardrums with a sludge/doom base, with flurries of crust punk, acoustic guitars, harp, elements of post-rock and instrumental ambient pieces.

Though hailing from Japan, the lion’s share of their lyrics are in Spanish; only a few singles and EPs have English lyrics, and 2011’s Garten der Unbewusstheit had track titles in German, English and Japanese. Since day one though the band has adhered to a strict ‘no interviews, no professional photos’ policy, which makes finding out information about them extremely difficult. So bear with me and I’ll try and piece together the details of their new EP Loss.

After Garten der Unbewusstheit, longtime members Talbot and Hevi (guitars and vocalist respectively) left and were replaced by new guitarist Mark Y. and fill-in live vocalist Taiki. Some recent live footage featured Rie Lambdoll (solo artist and part of electronic/noise duo Crossbred) on vocals, arousing speculation that Rie was the new singer. Then more info and an Instagram clip came out, revealing the new vocalist, ‘Mother Sii’, who had previously sung in crust punk bands Nationstate and Lastsentence.

So with a new lineup established, this EP is the perfect teaser to introduce the new collective to the audience, right? Well, kind of, because supposedly this is the last recording to feature Hevi on the vocals. And some are saying that live vocalist Taiki is still in the band but was unable to perform due to illness, hence the fill-ins of Rie Lambdoll and Mother Sii. Or maybe it is Mother Sii? I guess we will have to wait until a new full length to figure it out, but for the moment: Loss.

A 2-track 7?, side 1 of Loss is the clear standout. Starting off with light droney guitars, howling wind and whispered vocals that grow desperate and aggressive before a speedy heavy riff kicks in along with pounding drums. It’s like black metal meets free jazz, sound such is the nature of the chaotic structure. The vocals (whomever is doing them on this release) are excellent and the production perfect. Then, as it all starts to pull itself together and resemble some structure, the restrictions of the 7? format kick in and… it fades out! Talk about a tease. Unbelievable.

On side 2, the band showcase their more ambient and atmospheric sound: clean guitar drones mixed with the distant vocal screams. While it’s interesting, and I do like those bits on previous Corrupted releases, it doesn’t really add much here; the missing half of side one would be a much greater listening experience.

As a fan I really enjoy this and hopefully it appears on a future release in a longer format, but at just about nine minutes length (with half being ambient), I can’t help but feel that some might feel slightly short-changed by Loss.

Critical Mass airs every Wednesday from 9PM (GMT+8) on RTR FM 92.1 in Perth, Australia.

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Anger Management: Big Business

Wednesday, July 1st, 2015

Every fortnight, we check in with all things heavy on RTRFM’s Critical Mass show.

When Jared Warren and Coady Willis of Big Business were absorbed by The Melvins in 2006 to become the band’s new rhythm section, it was on the condition that they keep making albums as Big Business. Lucky for fans as we now have two awesome bands! The guys have taken on board the influences of their mentors and mothership and since 2009 they have released music that has toyed with and demolished listeners expectations of what a ‘sludge metal’ band can do.

Adding extra guitarists (at the moment they are a 3-piece but have been a 4-piece ‘power quartet’ at times), adding layers of vocal harmonies (check the track “Theme Form Big Business II” from Mind The Drift), trying different production techniques and writing interesting and damn heavy music has been their agenda.

Whilst The Melvins are touring their excellent Hold It In album from last year (with Butthole Surfers bassist Jeff Pinkus) Big Business have been extra busy. One of the many bands to find themselves stranded after the unfortunate demise of Hydra Head Records, they have formed their own label Gold Metal Record.

True Gold contains two new tracks, “Blacker Holes” and “Diagnostic Front.” “Blacker Holes” is a fantastic anthem and, perhaps, a warped attempt at a pop song. With pounding drums, bellowing vocal harmonies, awesome bass and guitar riffage (and a very Torche-esque guitar tone), it’s catchy as hell. Fools gold this isn’t. Get stuck in.

Critical Mass airs every Wednesday from 9PM (GMT+8) on RTR FM 92.1 in Perth, Australia.

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Anger Management: Voivod/At The Gates

Wednesday, June 17th, 2015

Every fortnight, we check in with all things heavy on RTRFM’s Critical Mass show.

Originally released on Record Store Day and set to be first of three Voivod split releases this year (the other two being with Napalm Death and Corrections House), this tasty little treat is a reminder of how creative and innovative Voivod can be within the thrash metal spectrum.

“We Are Connected” is a 7-minute opus that fuses thrash with prog influences and psychedelica. It is still mind boggling how Daniel ‘Chewy’ Mongrain can effortlessly emulate original (the sadly deceased) guitarist Denis ‘Piggy’ D’Amour’s totally unique playing style and sound. It’s thrash metal but it’s also melodic, atonal, heavy, skronky and bizarre. Hopefully this will appear on a new album. This is also the debut of new bassist Dominique “Rocky” Laroche who fits in just fine.

The At The Gates contribution “Language Of The Dead” was originally released last year as a bonus track on certain editions of last years At War With Reality album. It’s a solid if slightly unremarkable track that has a nice solo and some clean guitar near the end. I guess bonus/unreleased tracks are just that, a nice curiosity left off the main album for a reason.

Critical Mass airs every Wednesday from 9PM (GMT+8) on RTR FM 92.1 in Perth, Australia.

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Anger Management: Raven

Wednesday, June 3rd, 2015

Every fortnight, we check in with all things heavy on RTRFM’s Critical Mass show.

Raven are true lifers of the NWOBHM scene. Having formed in 1974 and kept the same lineup since 1987 (brothers John and Mark Gallagher on guitar/bass/vocals and Joe Hasselvander on drums), it would likely be an understatement to say that they’ve probably played more gigs than you’ve had hot dinners.

Although Raven achieved some modest success in the 80s and released some classic albums (Wiped Out, All For One) they never reached got the dizzying heights that many of their peers did. Nevertheless, they still remain a cult band and never stopped releasing albums of their old style metal (which they dubbed “athletic rock”).

2015’s ExterminNation sees the band firing on all cylinders. They’ve clearly long stopped caring about any current trends or styles and are content to play to the loyal “lunatics” across Europe and Japan (where I heard the album for the first time).

A modern sound and production makes the album sound current, but these songs are 80s by design. Sing-songy, big anthemic choruses and fist pumping, meat-and-potatoes old style metal. Tracks like “Fight” and “It’s Not What You Got” belong on the soundtrack of some cool as hell B-movie. If you’re looking for lyrical wordplay or an epic statement, you won’t find it here and that’s totally fine.

The album blasts away occasionally moving up a gear and cutting loose with some gnarly solos. At 14 tracks (plus two bonus on the Japanese edition) there’s more to keep you satisfied, but the ill-advised attempt at a “Fade to Black”-style power ballad on “River Of No Return” is skippable.

First single “Destroy All Monsters” is a killer track with a European festival sing along vibe. Get stuck in!

Critical Mass airs every Wednesday from 9PM (GMT+8) on RTR FM 92.1 in Perth, Australia.

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Anger Management: Sepultura

Wednesday, May 20th, 2015

Every fortnight, we check in with all things heavy on RTRFM’s Critical Mass show.

I remember in 1996 seeing videos on MTV and Rage of Sepultura out in the jungles of Brazil playing metal with painted faces, raw attitude and emotion. These guys were everywhere back in the day. Roots was the album that seemed to create a lot of interest in them from mainstream media, they sounded and looked rejuvenated. Recording the album with the Xavante tribe in the Mato Grosso rainforests of Brazil, it features guest musicians such as Carlinho Brown, Jonathan Davis of Korn and Mike Patton on the track “Lookaway”, so the haters were tarring it as a failed attempt to bring nu metal to thrash. Sepultura were experimenting with more a groove metal sound on Chaos A.D. prior to Roots anyway, so they already set that precedent.

Gloria Cavalera managed a pool hall, and started putting on bands playing with makeshift stages built around pool tables. Poison and Sacred Reich started off there, and later when the place got shut down, Gloria was approached by Sacred Reich to manage them. She toured with them around Europe and there was a lot of talk (mainly from Monte Connor of Roadrunner) for her to manage Sepultura and keep the family strong and together instead of being seperated by world tours. It all went horribly wrong on the Monsters of Rock tour in 1996, when Gloria’s son Dana Wells died in a car crash while Sepultura were away on tour. Drama ensued, the whole thing blew up and Gloria quit the band along with with Max Cavalera.

Max was no longer comfortable in the band he created. Max claims Andreas Kisser was taking over, or taking the band hostage in its dealings with Gloria. Andreas Kisser claims Gloria was fired from the band and Max left with her, so it’s he said, he said, she said, enough said.

Roots ended up being the final release with its more well-known and loved lineup. Sepultura have gone on with Derrick Green and put out more and more albums, while Max has moved on with Soulfly, Cavalera Conspiracy etc, none reaching the heights Sepultura did back in the day.

Critical Mass airs every Wednesday from 9PM (GMT+8) on RTR FM 92.1 in Perth, Australia.

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