Am I the only metal music fan who's noticed what seems to be a drastic change within the modern heavy metal scene, particularly within the so called NWoTHM (New Wave of Traditional Heavy Metal) movement? Time is seemingly just flying by as we speak. I'm turning 27 in some months from now and it does not feel all that long ago since I was 17.
Let's rewind back to cirka 2007-'09. The whole "retro metal" movement, which we all are very well aquainted with these days, was being bred in the womb of a long-time hatred for the then dominating metalcore scene. From my POV the first old school metal sub-genre that quickly arose was thrash metal. Bands on both sides of the Atlantic were the new saviours of metal. Bands like Evile, Lazarus A.D., Bonded By Blood, to name a few, were all blooming up seemingly out of nowhere only to completely go under the radar a few years later.
In 2010 I personally noted another change within the metal scene. It seemed as if thrash had made a large crack in the metalcore scene, as it was dying in a rapid pace as far as my eyes (and ears) could tell. But it wasn't only the metalcore scene that was now suffering; the thrash revival seemed to have run its course as well. New times were ahead and it was an era of a more slow-to-mid paced style of metal music.
Around 2010 I noticed this explosion in the Swedish metal scene. Suddenly a lot of classic-sounding heavy metal bands popped up everywhere. The most notable one, without a doubt, was the excellent Enforcer who had just dropped their "Diamonds" album that year. I remember being in school and having some computer class. I was listening to Spotify while being bored, just trying to check out some new music. I stumbled upon the cover art and was amazed of its retro design. I quickly pushed play and was completely blown away - it was the best shit I had heard in years.
Enforcer quickly became a well-known name within the sub-genre and gave lots of metal fans hope for the first time in a very, very long time. Other bands such as Steelwing, Katana and In Solitude, only to name a few Swedish bands, followed. Some other bands that had been around for a while got more recognized as well. Some other older bands such as Watain maintained a great relevance as the change happened.
2010-2013 were great years for European heavy metal in my opinion. Lots of bands popped up and a lot of them were pretty damn great as well. The Swedish scene in particular was suddenly a lot more fun, something it hadn't been since the early 90's death metal wave. But as those few years passed by, the scene seemed to become overfed with bands adapting to the retro styles. Bands such as In Solitude and Steelwing were already gone by 2015 and others such as the mighty Enforcer, while still putting out excellent music, just seemed to have had their hype gone quiet.
Meanwhile as the European scene seemed to be dying once more, the American scene has really been stepping up in the past few years. I am the first one to both praise and criticize the American metal scene throughout the past forty years. There are countless of great bands from all American countries, but the US (in particular) has also produced a lot of shitty metal as well as killed scenes (e.g. grunge killed all 80's metal). Where the European scene just seemed to be dying, the American scene all of a sudden started producing a lot of great stuff.
Something I've noticed about the American scene of today is its specific sub-genres. A lot of doom metal, hardcore and old school heavy metal seem to be the largest exports of good music in 2017. While I have a rather hard time thinking of any good European heavy metal in 2016, I can think of a lotta American stuff - Sumerlands, Eternal Champion, Cauldron, Spell, and the list goes on. There's also a strong hardcore-influenced death metal scene going on (sometimes coined "Entombedcore") which I enjoy a lot as well.
Say what you will about American and particularly US metal throughout time. They were largely responsible for hair metal, grunge, metalcore, nu metal - whatever trending metal style you can think of. I'm not necessarily saying that those styles were bad in any way, but they came, conquered, destroyed and ultimately got destroyed by one another. Today, however, the US actually seem to have a lot of diversity rather than just one particular dominating style, and I like that a lot.
European or Swedish pride, whatever, I can be honest and say our scene is (seemingly) dying on the operating table at the moment. The American scene is very healthy and well worth checking out for any metalhead in this day and age.
Some of my personal recs:
Sumerlands (US)
Eternal Champion (US)
Cauldron (Canada)
Spell (Canada)
Satan's Hallow (US)
Magic Circle (US)
Lucifer's Hammer (Chile)
Khemmis (US)
Natur (US)
Skull Fist (Canada)
Resurrection Kings (US)
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onsdag 26 april 2017
lördag 23 juli 2016
Top-10 Most Underrated Or Overlooked: Hard Rock & Metal Bands
I'm launching a new to-be-recurring series here today. A classic top-10 most underrated list. Not very original perhaps, but opinions will always differ - making every list personal and unique. With that said, this list will be my personal opinion, and not some official "agree with this list, now" bullshit, or whatever.
This is purely for entertainment purpose, but hey, maybe you guys will find yourself agreeing with me, and maybe you'll even find something new. //J.
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Thing: Band / Status: Underrated or overlooked
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10. Saxon (UK) - Underrated
Although they are well-known in the metal community, I always felt that they were overshadowed by bands like Iron Maiden and particularly Judas Priest, with their reminiscent biker sound. Sure, Saxon came along a few years after Priest, but at the time (late 70's) Priest hadn't quite yet gone into that more-straight-forward style metal they introduced on "British Steel", and also maintained for several albums to come after that one.
Saxon did mostly focus on that ride-motorcycles-on-the-highway heavy metal sound, with lyrics either focusing on those kind of things, or medieval stuff. Vocalist Biff Byford has also got a very distinctive voice which is very nice and suitable for the band's sound. To my ears, they were a very good band (and remains so to this day). It's very sad that people didn't acknowledge them as much as Maiden or Priest, but I guess that Saxon still was luckier success-wise than bands like, say, Angel Witch or Tygers Of Pan Tang.
9. Strapping Young Lad (Can) - Both
Okey, so Devin Townsend is pretty well-known these days and has a strong and loyal fan-base. He might not be a superstar, but at least in the metal community he is very well appreciated. But that doesn't necessarily go for all of his many projects that he's done over the years. SYL was a most underground band when they released their debut "Heavy As A Really Heavy Thing" back in 1995, which infamously sold like 15 copies in its first week of release, literally.
In 1997 Townsend and SYL returned with "City", an excellent record that remains my favorite Townsend work to this day. But the sound sure doesn't appeal to everyone, certainly not people who are not into metal. Being rather extreme industrial-style metal, there has rarely been a record more genuinely pissed off-sounding than that one. SYL would release three more full-length albums during the 2000's, all of which are good albums, with especially 2005's "Alien" being another masterpiece. But I guess people were more into the radio-friendlier bands such as Fear Factory, Rob Zombie or Marilyn Manson.
8. Crimson Glory (US) - Overlooked
These guys had it all - music, production, vocalist, label, etc. Something went wrong along the way, however, with possibly the record label (Roadrunner Records) being right on paper, but not in practice? They did two albums during the 80's both of which sounded great, and they had an amazing vocalist in the late Midnight (yes, that's simply what he called himself). Truth to be told, I even think he's my favorite power/progressive metal singer of all time. Halford, Kiske, Tate... Non of them beats Midnight in my opinion.
Whatever fans they managed to get seemed to be very much into the band, as their first two works are generally hailed as masterpieces of their sub-genre, yet still when listening to or mentioning them, no one knows what the fuck you're talking about. Strange and sad. These guys were like a mastercrafted Queensrÿche if the latter is just a novice band.
7. Death Angel (US) - Underrated
If you would expand the Big 4 into the Big 8 instead, Death Angel would likely enter it along with Testament, Overkill and Exodus, albeit on place 8 I guess. That just doesn't sound fair to my ears, since DA fucking wrings and torns 'em to out to shreds (any DA fan should see what I did there).
Any thrash fan are likely to be aware of their infamous debut "The Ultra-Violence" from 1987. After that one, fans are a bit divided when it comes to the quality of the band's next albums. But in latter years, I really think they were reborn. From 2010's "Relentless Retribution" and on, the band has just been on fire on every album, and today they also stand out as perhaps the best old school thrashers doing new albums. Particularly vocalist Mike Osegueda remains in great shape vocally today, much more so than any other major thrash band vocalist I can think of from the old bands.
6. God Forbid (US) - Overlooked
One of the bands included in the NWoAHM (New Wave of American Heavy Metal) movement, a.k.a. metalcore. These guys were great and had a pretty unique sound going on, which I personally would call a mix of Chimaira, Mastodon and thrash bands. It's a shame these guys didn't make it, but I suppose they were overshadowed by the likes of Lamb of God and all the emo shit-bands back in the 00's. They also got better by every album, with their last two being their best (and thrashiest) works to my ears.
5. Saigon Kick (US) - Overlooked
Although they managed to make a Gold-selling single in "Love Is On The Way" from their second album, their actual full-length albums did not do nearly as good. With that said, I guess they were potentially quite successful, but just otherwise overlooked since they came just as hair metal was becoming passé and grunge had exploded (fuck you, Nirvana).
While their sound was rooted in typical hair metal of the times, they stuck out by having unique influences and touches to their sound. They do sound like they took Skid Row's sound as a base, then spiced it up with a weirdness and poetical touch of The Doors, the joy of Jane's Addiction and the hard edge of Warrior Soul (which is another massively underrated band, btw). This stuff was experimental hair metal, in a way, and should've appealed to more people than it did.
4. Magnum (UK) - Overlooked
I absolutely love this band! If you're American, I would not even be surprised if you don't know what the hell Magnum is - I would rather expect it. It seems these guys went by mostly unnoticed in the US market throughout their entire c. 40-year-old career. They are, however, well-known and loved in the UK, Germany and the Scandinavian countries. Hell, here in Sweden, hard rock fans are always fans of the band, and for obvious reason.
They started off as a rather progressive rock band in the mid-70's or so, at least that's when they recorded their debut album "Kingdom Of Madness", but it wasn't released until 1978 - in the midst of punk conquering the UK. In the early 80's they got some opening slots for Ozzy Osbourne and Whitesnake which gave the band some recognition in Europe, and later got somewhat of a brake in 1985 with the excellent "On A Storyteller's Night". The band at this time had become more of an AOR-oriented Queen-meets-Thin Lizzy hybrid, and they would later receive a Gold record in the UK for their "Wings Of Heaven" (1988) album, which I ironically find to be their least-good record.
They're still growing strong to this day, releasing albums regularly and maintaining a solid progressive-esque hard rock sound. Oh, and Bob Catley is a truly underrated vocalist!
3. Chimaira (US) - Underrated
Without a doubt the best and thus also (sadly) most underrated band of the NWoAHM movement. They did kind of scratch the surface, but could never manage to rise to the level of Lamb of God, Machine Head or Trivium. Instead, they were a little more harder in their sound, whereas their metal elements were harder than any other bands, and likewise with the hardcore elements. They also had a groove to their sound, albeit not as groovy as MH or particularly LoG. What helped Chimaira stand out from the masses were their electronical elements, where they incorporated light use of keyboards, and a lot of sound effects, for loss of a better description.
They released six albums and an EP in total, where I love anything apart from their first and last albums. Everything in between is, more or less, gold to my ears. They also constantly evolved from record to record, which is another feat I really like about them. Too bad the kids in the scene either were too emo or too mainstream to really dig into these guys other than carefully scratching their surface.
2. Nocturnus (US) - Overlooked
Classic Tampa death metal that is pretty well-known for fans of the genre, I suppose, but for the larger death metal crowd, they're mostly overlooked. Featuring former early-days Morbid Angel drummer Mike Browning on drums (and also vocals on the debut, "The Key"), it kind of sounds reminiscent to the likes of Morbid Angel. The difference that makes them stand out, however, are heavy use of sci-fi keyboards. That's right, Nocturnus is sci-fi influenced death metal with strong and atmospheric keyboards. These guys apparently influenced bands like Children of Bodom a lot, but these guys are a lot better in my opinion.
Their career was ultimately rather shortlived, only lasting two albums and an EP before splitting in 1993 or so. Tensions arose within the band, particularly between main-man Mike Browning and the others, leading them to infamously go behind his back, acquiring the rights to the band name and all, and later firing him from the band he himself founded. Total dick mode if you ask me, but maybe the guy (Browning) was an ass, I don't know. Still, that's a fucking dick move. However, the remaining band did eventually reunite and release another album in 2000 called "Ethereal Tomb", but I don't really like that one at all. Biggest reason for it? Mike Browning's missing, and so is the original (good) sound with him.
1. Mordred (US) - Overlooked
Number one this time around is none other than the truly massively overlooked band Mordred. Hailing from the San Fransisco bay area, they started out as some kind of true heavy metal band, like Manowar or whatever. At least that's the impression I've got from what I've heard and seen. Later, however, they did some line-up changes and voila - it was 1989 and thrash metal was at its peak. But Mordred wasn't just a thrash band all of a sudden. On the rise was also funk metal, with Red Hot Chili Peppers popularizing the sound, which in 1989 would also be further popularized by Faith No More.
Mordred made a distinctive sound for themselves by incorporating bay area-thrash with funk metal. A real nice mix if you ask me, as it gives the sound this groovy feeling while also being fast, hard and intense. However, the band's debut was more of a pure thrash album which experimented with funk on a few tracks. It wasn't until 1991's excellent "In This Life" that the band really incorporated funk fully into their sound, and boy did it sound cool!
Like too many other bands at the time, however, the band had suddenly launched its sound the midst of the grunge outbreak (once again, fuck you Nirvana). Sure, Faith No More was huge at the time (though they sounded like a lot of other styles besides just funk) and RHCP would become massively popular with "Blood Sugar Sex Magik", but still Mordred went by mostly unnoticed. Maybe their thrash elements were their death sentence, as that sub-genre was pretty much passé at the time.
They would go on to release a great EP in 1992, and one last full-length in 1994 featuring a new vocalist. I never listened too much to that album, though. It just wasn't the same for me without their "classic" singer Scott Holderby's nasal rapping and thrash rambling. He's quite the frontman, so... Anyway, as of 2016 (or '15 at least), the band was once again active and due for an EP release. This, however, still remains unreleased as of right now, and I haven't heard anything in a long time now.
This is purely for entertainment purpose, but hey, maybe you guys will find yourself agreeing with me, and maybe you'll even find something new. //J.
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Thing: Band / Status: Underrated or overlooked
--------------------------------------------------
10. Saxon (UK) - Underrated
Although they are well-known in the metal community, I always felt that they were overshadowed by bands like Iron Maiden and particularly Judas Priest, with their reminiscent biker sound. Sure, Saxon came along a few years after Priest, but at the time (late 70's) Priest hadn't quite yet gone into that more-straight-forward style metal they introduced on "British Steel", and also maintained for several albums to come after that one.
Saxon did mostly focus on that ride-motorcycles-on-the-highway heavy metal sound, with lyrics either focusing on those kind of things, or medieval stuff. Vocalist Biff Byford has also got a very distinctive voice which is very nice and suitable for the band's sound. To my ears, they were a very good band (and remains so to this day). It's very sad that people didn't acknowledge them as much as Maiden or Priest, but I guess that Saxon still was luckier success-wise than bands like, say, Angel Witch or Tygers Of Pan Tang.
9. Strapping Young Lad (Can) - Both
Okey, so Devin Townsend is pretty well-known these days and has a strong and loyal fan-base. He might not be a superstar, but at least in the metal community he is very well appreciated. But that doesn't necessarily go for all of his many projects that he's done over the years. SYL was a most underground band when they released their debut "Heavy As A Really Heavy Thing" back in 1995, which infamously sold like 15 copies in its first week of release, literally.
In 1997 Townsend and SYL returned with "City", an excellent record that remains my favorite Townsend work to this day. But the sound sure doesn't appeal to everyone, certainly not people who are not into metal. Being rather extreme industrial-style metal, there has rarely been a record more genuinely pissed off-sounding than that one. SYL would release three more full-length albums during the 2000's, all of which are good albums, with especially 2005's "Alien" being another masterpiece. But I guess people were more into the radio-friendlier bands such as Fear Factory, Rob Zombie or Marilyn Manson.
8. Crimson Glory (US) - Overlooked
These guys had it all - music, production, vocalist, label, etc. Something went wrong along the way, however, with possibly the record label (Roadrunner Records) being right on paper, but not in practice? They did two albums during the 80's both of which sounded great, and they had an amazing vocalist in the late Midnight (yes, that's simply what he called himself). Truth to be told, I even think he's my favorite power/progressive metal singer of all time. Halford, Kiske, Tate... Non of them beats Midnight in my opinion.
Whatever fans they managed to get seemed to be very much into the band, as their first two works are generally hailed as masterpieces of their sub-genre, yet still when listening to or mentioning them, no one knows what the fuck you're talking about. Strange and sad. These guys were like a mastercrafted Queensrÿche if the latter is just a novice band.
7. Death Angel (US) - Underrated
If you would expand the Big 4 into the Big 8 instead, Death Angel would likely enter it along with Testament, Overkill and Exodus, albeit on place 8 I guess. That just doesn't sound fair to my ears, since DA fucking wrings and torns 'em to out to shreds (any DA fan should see what I did there).
Any thrash fan are likely to be aware of their infamous debut "The Ultra-Violence" from 1987. After that one, fans are a bit divided when it comes to the quality of the band's next albums. But in latter years, I really think they were reborn. From 2010's "Relentless Retribution" and on, the band has just been on fire on every album, and today they also stand out as perhaps the best old school thrashers doing new albums. Particularly vocalist Mike Osegueda remains in great shape vocally today, much more so than any other major thrash band vocalist I can think of from the old bands.
6. God Forbid (US) - Overlooked
One of the bands included in the NWoAHM (New Wave of American Heavy Metal) movement, a.k.a. metalcore. These guys were great and had a pretty unique sound going on, which I personally would call a mix of Chimaira, Mastodon and thrash bands. It's a shame these guys didn't make it, but I suppose they were overshadowed by the likes of Lamb of God and all the emo shit-bands back in the 00's. They also got better by every album, with their last two being their best (and thrashiest) works to my ears.
5. Saigon Kick (US) - Overlooked
Although they managed to make a Gold-selling single in "Love Is On The Way" from their second album, their actual full-length albums did not do nearly as good. With that said, I guess they were potentially quite successful, but just otherwise overlooked since they came just as hair metal was becoming passé and grunge had exploded (fuck you, Nirvana).
While their sound was rooted in typical hair metal of the times, they stuck out by having unique influences and touches to their sound. They do sound like they took Skid Row's sound as a base, then spiced it up with a weirdness and poetical touch of The Doors, the joy of Jane's Addiction and the hard edge of Warrior Soul (which is another massively underrated band, btw). This stuff was experimental hair metal, in a way, and should've appealed to more people than it did.
4. Magnum (UK) - Overlooked
I absolutely love this band! If you're American, I would not even be surprised if you don't know what the hell Magnum is - I would rather expect it. It seems these guys went by mostly unnoticed in the US market throughout their entire c. 40-year-old career. They are, however, well-known and loved in the UK, Germany and the Scandinavian countries. Hell, here in Sweden, hard rock fans are always fans of the band, and for obvious reason.
They started off as a rather progressive rock band in the mid-70's or so, at least that's when they recorded their debut album "Kingdom Of Madness", but it wasn't released until 1978 - in the midst of punk conquering the UK. In the early 80's they got some opening slots for Ozzy Osbourne and Whitesnake which gave the band some recognition in Europe, and later got somewhat of a brake in 1985 with the excellent "On A Storyteller's Night". The band at this time had become more of an AOR-oriented Queen-meets-Thin Lizzy hybrid, and they would later receive a Gold record in the UK for their "Wings Of Heaven" (1988) album, which I ironically find to be their least-good record.
They're still growing strong to this day, releasing albums regularly and maintaining a solid progressive-esque hard rock sound. Oh, and Bob Catley is a truly underrated vocalist!
3. Chimaira (US) - Underrated
Without a doubt the best and thus also (sadly) most underrated band of the NWoAHM movement. They did kind of scratch the surface, but could never manage to rise to the level of Lamb of God, Machine Head or Trivium. Instead, they were a little more harder in their sound, whereas their metal elements were harder than any other bands, and likewise with the hardcore elements. They also had a groove to their sound, albeit not as groovy as MH or particularly LoG. What helped Chimaira stand out from the masses were their electronical elements, where they incorporated light use of keyboards, and a lot of sound effects, for loss of a better description.
They released six albums and an EP in total, where I love anything apart from their first and last albums. Everything in between is, more or less, gold to my ears. They also constantly evolved from record to record, which is another feat I really like about them. Too bad the kids in the scene either were too emo or too mainstream to really dig into these guys other than carefully scratching their surface.
2. Nocturnus (US) - Overlooked
Classic Tampa death metal that is pretty well-known for fans of the genre, I suppose, but for the larger death metal crowd, they're mostly overlooked. Featuring former early-days Morbid Angel drummer Mike Browning on drums (and also vocals on the debut, "The Key"), it kind of sounds reminiscent to the likes of Morbid Angel. The difference that makes them stand out, however, are heavy use of sci-fi keyboards. That's right, Nocturnus is sci-fi influenced death metal with strong and atmospheric keyboards. These guys apparently influenced bands like Children of Bodom a lot, but these guys are a lot better in my opinion.
Their career was ultimately rather shortlived, only lasting two albums and an EP before splitting in 1993 or so. Tensions arose within the band, particularly between main-man Mike Browning and the others, leading them to infamously go behind his back, acquiring the rights to the band name and all, and later firing him from the band he himself founded. Total dick mode if you ask me, but maybe the guy (Browning) was an ass, I don't know. Still, that's a fucking dick move. However, the remaining band did eventually reunite and release another album in 2000 called "Ethereal Tomb", but I don't really like that one at all. Biggest reason for it? Mike Browning's missing, and so is the original (good) sound with him.
1. Mordred (US) - Overlooked
Number one this time around is none other than the truly massively overlooked band Mordred. Hailing from the San Fransisco bay area, they started out as some kind of true heavy metal band, like Manowar or whatever. At least that's the impression I've got from what I've heard and seen. Later, however, they did some line-up changes and voila - it was 1989 and thrash metal was at its peak. But Mordred wasn't just a thrash band all of a sudden. On the rise was also funk metal, with Red Hot Chili Peppers popularizing the sound, which in 1989 would also be further popularized by Faith No More.
Mordred made a distinctive sound for themselves by incorporating bay area-thrash with funk metal. A real nice mix if you ask me, as it gives the sound this groovy feeling while also being fast, hard and intense. However, the band's debut was more of a pure thrash album which experimented with funk on a few tracks. It wasn't until 1991's excellent "In This Life" that the band really incorporated funk fully into their sound, and boy did it sound cool!
Like too many other bands at the time, however, the band had suddenly launched its sound the midst of the grunge outbreak (once again, fuck you Nirvana). Sure, Faith No More was huge at the time (though they sounded like a lot of other styles besides just funk) and RHCP would become massively popular with "Blood Sugar Sex Magik", but still Mordred went by mostly unnoticed. Maybe their thrash elements were their death sentence, as that sub-genre was pretty much passé at the time.
They would go on to release a great EP in 1992, and one last full-length in 1994 featuring a new vocalist. I never listened too much to that album, though. It just wasn't the same for me without their "classic" singer Scott Holderby's nasal rapping and thrash rambling. He's quite the frontman, so... Anyway, as of 2016 (or '15 at least), the band was once again active and due for an EP release. This, however, still remains unreleased as of right now, and I haven't heard anything in a long time now.
fredag 10 juni 2016
In retrospect: DEATH ANGEL
Welcome to the first installment in my new series "In retrospect:". I will make a short career-spanning discography review of bands where I comment on every album they've done, or at least those albums which I know and listen to. So today I thought I was gonna start with a band that I am actually listening to a lot at the moment, and one of those bands are the old Bay Area thrash metallers Death Angel. I'm not gonna drag on any further, let's dig in!
1987 - "The Ultra-Violence"
The band's debut album is undeniably what most thrash metal listeners associate Death Angel with, and for good reason. This album is nothing but killer - it's legendary! The whole album is a non-stop thrash metal assault with simplistic but very effective riffing, and the production is just one of those perfect examples of where the production actually suits the music like a battle jacket on a headbanger. It's simply just one of the very best thrash metal albums ever made, and should be at least top-100 best metal albums of all time for any metalhead.
Favorite tracks: Thrasher, Mistress Of Pain, Final Death
1988 - "Frolic Through The Park"
A rather unintentionally controversial second album. This album has met a lot of criticism from fans, and critics as well (but who gives a fuck about what them tools think anyway), and perhaps a bit unfairly so. I mean, I personally don't like this album very much, never did, but that's also after hearing their debut album first. I mean, they really peaked with the debut and I imagine it was hard writing, recording and releasing an album (just as good) in just one year after the debut. It's not really a bad album, but it's rather too tame and not nearly as memorable as the debut.
Favorite tracks: Bored, 3rd Floor, Guilty Of Innocence
1990 - "Act III"
The bands third and last album for a long while before their reunion. Now this album partially picks up where the last left off, but it's also a natural progression for the band. Here we get to hear that Death Angel obviously is a constantly evolving band and that is something I can totally respect. However, just like the previous album, this one tends to fall a bit short in quality and interest compared to the debut.
Now, to be fair, this album is a lot more diverse and experimental than the debut, fusing together funk riffing with the thrash, and even having an acoustic ballad. It's a complete different album, but still I always felt this album left much to be desired. Some songs are just too boring, but I am a big fan of Faith No More, Red Hot Chili Peppers and Mordred, so the funk elements are a welcome refreshment to my ears.
Favorite tracks: Seemingly Endless Time, Stagnant, Discontinued
1994 - "The Organization" (BONUS)
After Death Angel split up around 1991 or so, all the guys except for lead vocalist Mark Osegueda went on to form The Organization, an alternative/funky metal band named after a song on DA's last album. Since it still basically is Death Angel without Mark's voice (the other guys sang regularly as well), it's kind of what I imagine the band would do after Act III. It feels like a natural progression and I actually like this one more than Death Angel's last two albums (up till that point). They did a second album before splitting this project up as well, but I've never managed to track down and/or hear that one.
Favorite tracks: Free Burning, Policy, Bringer, The Past
2004 - "The Art Of Dying"
The band's comeback album. This is the album I know the least so I can't perhaps give a completely justifying opinion on it, but from what I can say this is basically a thrashier continuation of where the last album left off. The reason why I don't know this album that well is simply because it doesn't appeal that much to me, to be honest. The few times I listened to it it felt a bit run-of-the-mill.
Favorite tracks: The Devil Incarnate, Spirit
2008 - "Killing Season"
This album and the previous one kind of remind of that Frolic to Act III scenario all over again, where non of the two are really anything that special, but at least the latter is an improvement from the former one. This album did raise my hopes for the future a bit, and I think this is an overall better album and where the band is starting to find itself again.
Favorite tracks: Dethroned, Soulless, Buried Alive
2010 - "Relentless Retribution"
Before this album, some members left the "family business" that used to be Death Angel (everybody was cousins), and in came some fresh and unrelated blood. I don't know what went down in the band or why some of the guys left, but musically I find it to be a good thing. With this album I think that Death Angel really returned, and this is finally the closest album quality-wise to The Ultra-Violence. With that said, this is by no means TUV pt. II, it has a different and more modern thrash sound going on, but it's fucking kick ass!
Favorite tracks: Claws In So Deep, Truce, This Hate, Opponents At Side
2013 - "The Dream Calls For Blood"
The band's follow-up to Relentless Retribution had left me torn between high hopes and fear that the band would once again come to a "Frolic scenario", but no, the band did not let me down. For the first time in the band's career, I think they actually managed to follow up a great album with an even slightly better one. This album is kind of similar to the previous one, but a bit heavier and better I believe. I don't know if this tops TUV, but if I would ever play it to death, then I'll always have this one to call my favorite instead. They also did a kick-ass cover of Black Sab's "Heaven And Hell" where Mark really gets to shine with his great stronger-than-ever vocals.
Favorite tracks: Left For Dead, The Dream Calls For Blood, Execution / Don't Save Me, Succubus
2016 - "The Evil Divide"
The band's new album released merely two weeks ago (of this date today, obviously) and the third album with the "new" line-up. While probably being sliiightly less to my taste than the previous album, this one is still really good and a solidification that Death Angel is in grate shape and one of the best old school thrash acts still left in the game. This album also once again slightly differs from the previous efforts, embracing a bit more of the modern metal sounds. Actually, this in a bit of hardcore influences here and there and is at times reminiscent of (the awesome) Chimaira's Resurrection album, which was also produced by Death Angel's now long-time producer Jason Suecof, so perhaps that is not too far fetched. I have very high hopes for Death Angel's future!
Favorite tracks: The Moth, Father Of Lies, It Can't Be This, Wasteland (The Mission cover)
1987 - "The Ultra-Violence"
The band's debut album is undeniably what most thrash metal listeners associate Death Angel with, and for good reason. This album is nothing but killer - it's legendary! The whole album is a non-stop thrash metal assault with simplistic but very effective riffing, and the production is just one of those perfect examples of where the production actually suits the music like a battle jacket on a headbanger. It's simply just one of the very best thrash metal albums ever made, and should be at least top-100 best metal albums of all time for any metalhead.
Favorite tracks: Thrasher, Mistress Of Pain, Final Death
1988 - "Frolic Through The Park"
A rather unintentionally controversial second album. This album has met a lot of criticism from fans, and critics as well (but who gives a fuck about what them tools think anyway), and perhaps a bit unfairly so. I mean, I personally don't like this album very much, never did, but that's also after hearing their debut album first. I mean, they really peaked with the debut and I imagine it was hard writing, recording and releasing an album (just as good) in just one year after the debut. It's not really a bad album, but it's rather too tame and not nearly as memorable as the debut.
Favorite tracks: Bored, 3rd Floor, Guilty Of Innocence
1990 - "Act III"
The bands third and last album for a long while before their reunion. Now this album partially picks up where the last left off, but it's also a natural progression for the band. Here we get to hear that Death Angel obviously is a constantly evolving band and that is something I can totally respect. However, just like the previous album, this one tends to fall a bit short in quality and interest compared to the debut.
Now, to be fair, this album is a lot more diverse and experimental than the debut, fusing together funk riffing with the thrash, and even having an acoustic ballad. It's a complete different album, but still I always felt this album left much to be desired. Some songs are just too boring, but I am a big fan of Faith No More, Red Hot Chili Peppers and Mordred, so the funk elements are a welcome refreshment to my ears.
Favorite tracks: Seemingly Endless Time, Stagnant, Discontinued
1994 - "The Organization" (BONUS)
After Death Angel split up around 1991 or so, all the guys except for lead vocalist Mark Osegueda went on to form The Organization, an alternative/funky metal band named after a song on DA's last album. Since it still basically is Death Angel without Mark's voice (the other guys sang regularly as well), it's kind of what I imagine the band would do after Act III. It feels like a natural progression and I actually like this one more than Death Angel's last two albums (up till that point). They did a second album before splitting this project up as well, but I've never managed to track down and/or hear that one.
Favorite tracks: Free Burning, Policy, Bringer, The Past
2004 - "The Art Of Dying"
The band's comeback album. This is the album I know the least so I can't perhaps give a completely justifying opinion on it, but from what I can say this is basically a thrashier continuation of where the last album left off. The reason why I don't know this album that well is simply because it doesn't appeal that much to me, to be honest. The few times I listened to it it felt a bit run-of-the-mill.
Favorite tracks: The Devil Incarnate, Spirit
2008 - "Killing Season"
This album and the previous one kind of remind of that Frolic to Act III scenario all over again, where non of the two are really anything that special, but at least the latter is an improvement from the former one. This album did raise my hopes for the future a bit, and I think this is an overall better album and where the band is starting to find itself again.
Favorite tracks: Dethroned, Soulless, Buried Alive
2010 - "Relentless Retribution"
Before this album, some members left the "family business" that used to be Death Angel (everybody was cousins), and in came some fresh and unrelated blood. I don't know what went down in the band or why some of the guys left, but musically I find it to be a good thing. With this album I think that Death Angel really returned, and this is finally the closest album quality-wise to The Ultra-Violence. With that said, this is by no means TUV pt. II, it has a different and more modern thrash sound going on, but it's fucking kick ass!
Favorite tracks: Claws In So Deep, Truce, This Hate, Opponents At Side
2013 - "The Dream Calls For Blood"
The band's follow-up to Relentless Retribution had left me torn between high hopes and fear that the band would once again come to a "Frolic scenario", but no, the band did not let me down. For the first time in the band's career, I think they actually managed to follow up a great album with an even slightly better one. This album is kind of similar to the previous one, but a bit heavier and better I believe. I don't know if this tops TUV, but if I would ever play it to death, then I'll always have this one to call my favorite instead. They also did a kick-ass cover of Black Sab's "Heaven And Hell" where Mark really gets to shine with his great stronger-than-ever vocals.
Favorite tracks: Left For Dead, The Dream Calls For Blood, Execution / Don't Save Me, Succubus
2016 - "The Evil Divide"
The band's new album released merely two weeks ago (of this date today, obviously) and the third album with the "new" line-up. While probably being sliiightly less to my taste than the previous album, this one is still really good and a solidification that Death Angel is in grate shape and one of the best old school thrash acts still left in the game. This album also once again slightly differs from the previous efforts, embracing a bit more of the modern metal sounds. Actually, this in a bit of hardcore influences here and there and is at times reminiscent of (the awesome) Chimaira's Resurrection album, which was also produced by Death Angel's now long-time producer Jason Suecof, so perhaps that is not too far fetched. I have very high hopes for Death Angel's future!
Favorite tracks: The Moth, Father Of Lies, It Can't Be This, Wasteland (The Mission cover)
tisdag 16 december 2014
My Top-10 Death Metal Albums Of All Time
It's time to my top-10 list of my personal favorite death metal albums ever! Just like the other two lists before this one, I'm just gonna choose one record for each band that will represent the best of that band specifically. Here goes...
#10: Bolt Thrower - The IVth Crusade (1992)
Bolt Thrower will start off this list with the last spot. There were many bands and albums battling for this spot, but I guess BT just had a great artillery at the end of the day. I really dig their made-for-combat death metal sound, even though it tends to get somewhat repetitive, but I just couldn't deny them a spot on this list. Choosing a favorite album of theirs was no easy task either. Ultimately I came to the conclusion that this one is one of their more varied albums, including some doom-y influences to make their sound even more heavy. Think like if Black Sabbath made death metal. Well, that's kind of it, I think. This album is just shit-heavy fucking death metal perfect for fighting!
#9: Amon Amarth - Twilight Of The Thunder God (2008)
One of the "newer" (still old, actually, just a late bloomer) Swedish DM bands that has really become one of Sweden's biggest bands of the past ten years, Amon Amarth is a very nice and heavy answer on Sweden's Gothenburg death metal sound. While I never was quite a fan of Gothenburg bands like At The Gates or Dark Tranquility, AA really is something else. It's like they combine the Gothenburg melodies with the heavy approach of the Stockholm scene, which I really like. There is no other record in their discography that I think does this better than this one. This is an almost flawless metal album with many great songs that surely will get you headbanging. The band also manages something on this album, that I probably have to admit that no other death metal band ever has managed, and that is the inclusion of the closing-track "Embrace Of The Endless Ocean". I truly believe that it might be the most epic and amazing death metal song ever recorded.
#8: Carnage - Dark Recollections (1990)
Pretty much a hybrid record combining the sound of early Dismember and of what Carcass would become very soon. Featuring three members of Dismember as well as band founder and future Carcass and Arch Enemy, guitarist Mike Amott, this album is essentially a Dismember record with a strong Carcass '89-'91 era influence. Many of the songs even are old Dismember tunes that appeared on their demo-tapes back in the late 80's, and the sound is very obvious. This album also makes use of the legendary buzz-saw guitar sound that Dismember had used, but as Entombed had just put out "Left Hand Path" short before this one, that one got all the credit. Carnage eventually went on pretty unnoticed, as the band had already split-up by this album's release, due to Mike Amott joining Carcass (well fitting, though). The other guys quickly reformed Dismember and the rest is (great) history. But this album still is here, having caught the attention of death metal enthusiasts like me, and it's a damn good record. While the band splitting up paved the way for two of the best outcomes ever, it would've been fun to hear what else they could've put out.
#7: Unleashed - Odalheim (2012)
These Swedes were the first and true death metal vikings. Any fan of Amon Amarth should really give these guys some fucking cred - they're the old school, real deal kind of band. This is also really the only death metal band, at least in Sweden, that really manages to put out even greater records nowadays, than they did back in the death metal heydays. That's saying a lot. The only other band could possibly be Grave, but I'm not sure. At least no other Swedish DM band manages it. Unleashed has just gotten better with each album released in the last, like, twenty years. This album is my favorite of theirs, and their most recent one! That is not a bad achievement!
#6: Benediction - Transcend The Rubicon (1993)
A band whose sound is pretty similar to Bolt Thrower, but with more variety (though BT has made more records of great quality than Benediction has), this album is a raw, high-energy output. It's got some great riffing that fucking rips you apart. They do kind of a melodic yet raw approach to their riffing style, with some pissed-off drumming accompanied to it. The bass is also audible, even if not really as forthcoming as the other instruments. It's a well-balanced album and the songs are essentially very riff-oriented. I usually put this one on when I feel like doing some angry death metal air guitar.
#5: Carcass - Heartwork (1993)
Without a doubt Carcass' most melodic release, to my ears at least. This might come as an obvious choice, but hey, it's a fucking great record. This is very the band truly hit the spot-on button in the studio. I really like how this album is like death metal discretely flirting with stoner metal, really bringing forth a heavy-oriented side while maintaining the brutality and melody from their earlier death metal albums. I also really dig the production on this album. It's so clear yet raw and heavy, just a perfect balance and every instrument is audible and clear - rare for a death metal record. Just a masterpiece, nothing less.
#4: Entombed - Left Hand Path (1990)
My introduction to death metal. I remember putting this record on and instantly being blown-away during the opening. It was just so crushing and brutal, so spot-on what I needed to discover at the time. This is the first official release with the legendary Swedish buzz-saw guitar sound, and damn if I didn't cum my pants when I first heard it. Just is just some pure, hardcore-punky death metal that will crush your spine and neck because you will headbang too hard. It was a perfect introduction to the genre.
#3: Nocturnus - The Key (1990)
This is one of the most interesting metal records ever made, as well as pioneering. From what I've heard, this album, or band at least, is the first death metal band to make heavy use of keyboards in their music, and the result is phenomenal! This is very much a typical Tampa death style, very Morbid Angel (even containing former MA drummer/vocalist Mike Browning), records with great, atmospheric keyboard intros and supports throughout. The songs are great as a whole, too. The only thing really lacking with this album would be the somewhat primitive drumming. The bass drumming is rarely real solid, but I guess that's because they recorded it all live on tape, with Mike Browning being a little distracted while singing at the same time as drumming. I don't know. But nonetheless, this album is fucking killer! The best out of the American Tampa scene.
#2: Septic Flesh - Mystic Places Of Dawn (1994)
This is an album that I discovered many years after I first ventured into death metal, but I'd be damned if it didn't struck me down with its huge, epic, melodic, and Gothic atmospheric sound. It's 99.9 % perfection here, the only slight miss being the use of a drum-machine. But it's one of the best-working (most acceptable) ones I've heard accompanied to the music it's serving. These Greek guys really know what they're doing on this album. An overseen masterpiece!
#1: Dismember - Like An Ever Flowing Stream (1991)
This one is the true one, my one true love of death metal. No other record of the genre, and not many other records in music overall, have meant as much to me as this one does. This one is like one sexy chick - it's got that fat, Swedish Sunlight Studios production, with them fat buzz-saw guitars (my favorite guitar sound ever), live-like drumming, and neat fucking riffs. On top of that is some creamy, melodic guitar soloing, which I just love. The album cover really suits the music perfectly as well. It's just as sexy as the music it's containing is. An immortal classic. One of my most precious records in my collection.
#10: Bolt Thrower - The IVth Crusade (1992)
Bolt Thrower will start off this list with the last spot. There were many bands and albums battling for this spot, but I guess BT just had a great artillery at the end of the day. I really dig their made-for-combat death metal sound, even though it tends to get somewhat repetitive, but I just couldn't deny them a spot on this list. Choosing a favorite album of theirs was no easy task either. Ultimately I came to the conclusion that this one is one of their more varied albums, including some doom-y influences to make their sound even more heavy. Think like if Black Sabbath made death metal. Well, that's kind of it, I think. This album is just shit-heavy fucking death metal perfect for fighting!
#9: Amon Amarth - Twilight Of The Thunder God (2008)
One of the "newer" (still old, actually, just a late bloomer) Swedish DM bands that has really become one of Sweden's biggest bands of the past ten years, Amon Amarth is a very nice and heavy answer on Sweden's Gothenburg death metal sound. While I never was quite a fan of Gothenburg bands like At The Gates or Dark Tranquility, AA really is something else. It's like they combine the Gothenburg melodies with the heavy approach of the Stockholm scene, which I really like. There is no other record in their discography that I think does this better than this one. This is an almost flawless metal album with many great songs that surely will get you headbanging. The band also manages something on this album, that I probably have to admit that no other death metal band ever has managed, and that is the inclusion of the closing-track "Embrace Of The Endless Ocean". I truly believe that it might be the most epic and amazing death metal song ever recorded.
#8: Carnage - Dark Recollections (1990)
Pretty much a hybrid record combining the sound of early Dismember and of what Carcass would become very soon. Featuring three members of Dismember as well as band founder and future Carcass and Arch Enemy, guitarist Mike Amott, this album is essentially a Dismember record with a strong Carcass '89-'91 era influence. Many of the songs even are old Dismember tunes that appeared on their demo-tapes back in the late 80's, and the sound is very obvious. This album also makes use of the legendary buzz-saw guitar sound that Dismember had used, but as Entombed had just put out "Left Hand Path" short before this one, that one got all the credit. Carnage eventually went on pretty unnoticed, as the band had already split-up by this album's release, due to Mike Amott joining Carcass (well fitting, though). The other guys quickly reformed Dismember and the rest is (great) history. But this album still is here, having caught the attention of death metal enthusiasts like me, and it's a damn good record. While the band splitting up paved the way for two of the best outcomes ever, it would've been fun to hear what else they could've put out.
#7: Unleashed - Odalheim (2012)
These Swedes were the first and true death metal vikings. Any fan of Amon Amarth should really give these guys some fucking cred - they're the old school, real deal kind of band. This is also really the only death metal band, at least in Sweden, that really manages to put out even greater records nowadays, than they did back in the death metal heydays. That's saying a lot. The only other band could possibly be Grave, but I'm not sure. At least no other Swedish DM band manages it. Unleashed has just gotten better with each album released in the last, like, twenty years. This album is my favorite of theirs, and their most recent one! That is not a bad achievement!
#6: Benediction - Transcend The Rubicon (1993)
A band whose sound is pretty similar to Bolt Thrower, but with more variety (though BT has made more records of great quality than Benediction has), this album is a raw, high-energy output. It's got some great riffing that fucking rips you apart. They do kind of a melodic yet raw approach to their riffing style, with some pissed-off drumming accompanied to it. The bass is also audible, even if not really as forthcoming as the other instruments. It's a well-balanced album and the songs are essentially very riff-oriented. I usually put this one on when I feel like doing some angry death metal air guitar.
#5: Carcass - Heartwork (1993)
Without a doubt Carcass' most melodic release, to my ears at least. This might come as an obvious choice, but hey, it's a fucking great record. This is very the band truly hit the spot-on button in the studio. I really like how this album is like death metal discretely flirting with stoner metal, really bringing forth a heavy-oriented side while maintaining the brutality and melody from their earlier death metal albums. I also really dig the production on this album. It's so clear yet raw and heavy, just a perfect balance and every instrument is audible and clear - rare for a death metal record. Just a masterpiece, nothing less.
#4: Entombed - Left Hand Path (1990)
My introduction to death metal. I remember putting this record on and instantly being blown-away during the opening. It was just so crushing and brutal, so spot-on what I needed to discover at the time. This is the first official release with the legendary Swedish buzz-saw guitar sound, and damn if I didn't cum my pants when I first heard it. Just is just some pure, hardcore-punky death metal that will crush your spine and neck because you will headbang too hard. It was a perfect introduction to the genre.
#3: Nocturnus - The Key (1990)
This is one of the most interesting metal records ever made, as well as pioneering. From what I've heard, this album, or band at least, is the first death metal band to make heavy use of keyboards in their music, and the result is phenomenal! This is very much a typical Tampa death style, very Morbid Angel (even containing former MA drummer/vocalist Mike Browning), records with great, atmospheric keyboard intros and supports throughout. The songs are great as a whole, too. The only thing really lacking with this album would be the somewhat primitive drumming. The bass drumming is rarely real solid, but I guess that's because they recorded it all live on tape, with Mike Browning being a little distracted while singing at the same time as drumming. I don't know. But nonetheless, this album is fucking killer! The best out of the American Tampa scene.
#2: Septic Flesh - Mystic Places Of Dawn (1994)
This is an album that I discovered many years after I first ventured into death metal, but I'd be damned if it didn't struck me down with its huge, epic, melodic, and Gothic atmospheric sound. It's 99.9 % perfection here, the only slight miss being the use of a drum-machine. But it's one of the best-working (most acceptable) ones I've heard accompanied to the music it's serving. These Greek guys really know what they're doing on this album. An overseen masterpiece!
#1: Dismember - Like An Ever Flowing Stream (1991)
This one is the true one, my one true love of death metal. No other record of the genre, and not many other records in music overall, have meant as much to me as this one does. This one is like one sexy chick - it's got that fat, Swedish Sunlight Studios production, with them fat buzz-saw guitars (my favorite guitar sound ever), live-like drumming, and neat fucking riffs. On top of that is some creamy, melodic guitar soloing, which I just love. The album cover really suits the music perfectly as well. It's just as sexy as the music it's containing is. An immortal classic. One of my most precious records in my collection.
onsdag 4 juni 2014
Studio Report: Into The Pentagram
Yesterday we entered the studio again! We will be working on a few new songs for the time being, and we're also thinking about reworking some old Deva material into more ITP-sounding death/black metal material. We'll see what happens regarding that. It's fun to be working hard once again. It was many years ago since Deva had this kind of spirit and working morality. We were a bunch of lazy fucking bums for the last 4-5 years, no wonder it didn't work out...
Daniel is checking out the equipment we're going to use - keyboards and pads.
We're thinking about doing at least like four tunes this time around. We are also planning on either releasing a new demo, like a part II of our concept story, or a single, probably pressed in vinyl, or actually making it all into our first official album, but we ain't sure yet. We do not wanna stress too much with putting out our first full-length and such yet. It feels better and more fun to demo around for a while before the "big" things come out. Demos are also more interesting anyways, so...
I'm warming up with some growling and black metal screaming, ready to rock 'n' roll!
I feel great about the things to come. It's real good to be back in the game for real again. Stay tuned!
lördag 23 februari 2013
Dismember - A Swedish Death Metal Story
Dismember were a Swedish death metal band, quite a legendary in the genre as well. When death metal fans speak of Swedish death metal, which usually is considered split-up on two different scenes - the Gothenburg scene / sound, and the Stockholm scene. Dismember were from Stockholm and formed in 1988. Unfortunately, they called it quits in late 2011, before I ever had the chance to see them live. Or chance or chance, as I am Swedish, I guess there were at least a couple of occasions where I could've attended, but I probably didn't have the cash, ride or whatever just then. It fucking sucks, big time.
Dismember around 1991-1993, the "classic" line-up, from left to right ...
Matti Kärki - Vocals
Richard Cabeza - Bass
Fred Estby - Drums
David Blomqvist - Lead guitar
Robert Sennebäck - Rhythm guitar
Beginning as teenagers in the rising death metal underground scene during the late 80's, Dismember were along with Nihilist and the grindcore act Carnage, some bands to form the Swedish sound of death metal, particularly the Stockholm sound with its trademark buzzsaw guitar sound and heavy approach, rather than the ultra-melodic Gothenburg scene. After a couple of well-known demo tapes each in the tape-trading universe, both Dismember and Nihilist split-up in 1989. Nihilist's split was done because they had fired their bass player, Johnny Hedlund, who would form another important band in Unleashed. David Blomqvist was briefly a member in Entombed, being credited as the bass player on the band's last demo before their debut, though he didn't really play on it. Later on he, along with Fred Estby, would join Carnage with future Carcass and Arch Enemy guitarist and leader Michael Amott. They did one album which was released in 1990 called "Dark Recollections". While the album didn't achieve too much attention, maybe because the band broke up before it was released, and being in the shadow of Entombed's legendary and groundbreaking "Left Hand Path", it has gone on to have a cult following of dedicated fans of Swedish death metal.
After Carnage split, David and Fred, along with Carnage growler Matti Kärki, reformed Dismember and released their last demo tape in 1990. In 1991, the now full band recorded and released its legendary debut album "Like An Ever Flowing Stream" (due to a misspelling error, there are different versions with "Ever Flowing" being written as one word, as well as having a bar in between, as without). The album would go on to create debates whether it was Entombed or Dismember who "ripped off" the other, particularly the guitar sound. It would also gain media attention for the song "Skin Her Alive" in England, where the errand was even brought into court. There the band's music was called "indecent and obscene".
In 1992 the band released their debut EP in "Pieces", a release which saw a very raw sound with very much distortion, as well as a graphic cover art showing the band's beheaded heads tied together in their hair, making the same shape as that of a pentagram. It was successful and also included "Soon To Be Dead" from the debut album, which had been granted a music video. In November and December, the band went back into the legendary Sunlight Studios to record their second LP. This time around they used their media attention and decided to name the album "Indecent & Obscene", which was released in 1993. The album brought yet another graphic cover of a man's body whose stomach has been ripped open, and on top of all bloody intestines lies a Dismember belt-buckle. The album was another great success for the band and produced a video with the song "Dreaming In Red" that received heavy rotation on MTV's Headbanger's Ball. The band went on a worldwide tour in support of the album.
In 1994 the band began work on their third album. As time had passed on, things had changed in the death metal scene, particularly the Swedish "commercial" scene. Entombed, always being the kings, had in 1993 released their third album "Wolverine Blues" which had changed in style. The speed was gone and instead the the music was more swinging, yet very heavy. That album would create what fans call "Death 'n' Roll", which path Entombed has pretty much continued on since. With it turning into a hit album, for the death metal genre at least, Dismember's record label Nuclear Blast wanted Dismember to walk the same path - make a commercial record.
Dismember released another EP called "Casket Garden", which was the new album's lead single. It was granted a video and became a minor hit as well. The album, 1995's "Massive Killing Capacity", saw Dismember walking very much in the same direction as Entombed had done two years earlier. If there were any debates in the early days about who ripped off who, this was certainly not a good proof in favor for Dismember. The album was well-received, though reactions were mixed amongst the fans, just as it had been with Entombed and "Wolverine Blues". Sound-wise, Dismember kept its new direction more true in sound to their older material, with the riffs being clearly trademark Dismember riffs, and mostly the tempo / drums being the big change.
In 1997 the band would return to its original death metal sound, releasing an EP called "Misanthropic", whose title-track would act as the lead single for the new, fourth full-length album simply called "Death Metal". Nuclear Blast did not like the decision to go back to the old sound, even if it was now more melodic than before, taking large influences from the Gothenburg sound. The band also saw a new big change in the band with rhythm guitarist Robert Sennebäck leaving, apparently to be more with his family. The bands new tour in support of the album also wasn't very successful, with Nuclear Blast pretty much doing nothing to promote it nor the album. With many things suddenly going down the shitter, and death metal overall losing its popularity, bassist Richard Cabeza ultimately gets tired of the whole business and leaves in 1998. Now having lost two original band members, the remaining guys lay low for a while.
In 2000 the band returns, with a vengeance. The band have now recruited new guitarist Magnus Sahlgren as well as hired Sharlee D'Angelo as a studio musician, for their new album. Being pist of at Nuclear Blast and wanting nothing but their contract to end, they release their last record for that label, which they in tribute to the label name "Hate Campaign". Failing to create much fuzz around it, as well as getting mixed opinions amongst the fans, the album isn't a great success and the band finally gets dropped by the label. The band keeps touring and recording material for what will eventually be their debut live release, a concert DVD entitled "Live Blasphemies", released in 2004.
Over the years from the band's last album to the live DVD, some things have changed in the band again. Magnus Sahlgren has been replaced with new guitarist Martin Persson, who splits the lead duties with original guitarist David Blomqvist. Richard Cabeza has also returned as the bass player for the band. The band having signed a new record deal with Karmageddon Media, release their returning album in 2004 as well. The new album, entitled "Where Ironcrosses Grow" is a return to the band's quality song-writing and the album is acclaimed by the fans. However, things are soon to change once again. With bassist Richard Cabeza being married to an American woman, Swedish immigration won't let her stay and distance issues start to occur. The band ultimately has no choice but to replace him, adding Johan Bergebäck to the line-up, however, he leaves the following year.
Without a bass player, the band starts working on their next album in 2005. David Blomqvist and Martin Persson handle the bass guitar duties for the album. In 2006, the band's new album "The God That Never Was" is released, to critical as well as fan acclaim. The album continues to grow from where the last album left off, taking up more high speeds and brutal influences, and ultimately becoming the bands most furious work. In preparation for the tour, the band adds new bass player Tobias Cristiansson to the ranks and the band goes out on tour. In 2007, a new big change awaits the band as original member and drummer Fred Estby decides to leave the band, so that he can be spending more time with his family instead. The band replace him with Thomas Daun, whose drumming is somewhat tighter and more strict than Fred's trademark free-drumming.
In 2008 the band announce their upcoming eighth full-length album, which is unnamed, or simply called "Dismember" / self-titled. The album drops some of the speed and aggression from the last album in favor of more melody and the album is yet another well-received release. The album's production duties are also handled by Entombed's then bassist (now current guitarist) Nico Elgstrand. The band goes out on another worldwide tour with lots of festival appearances. In 2009 they also release their second live DVD called "Under Blood Red Skies". The DVD includes a concert where they play "Like An Ever Flowing Stream" in its entirely, as well as a bunch of other songs.
After 2010, not much is heard from the band and its activities. With fans worldwide lunging for a new album, the only thing that is delivered is an official statement in October 2011 by bassist Tobias Cristiansson ... "After 23 years, Dismember have now decided to quit. We wish to thank all our fans for your support." And so there was the end of Dismember, a band that helped pave the way as well as create the Swedish death metal scene and sound. While they weren't the biggest death metal export out of Sweden, they sure were the second or third largest.
Dismember to me has meant a lot. I started listening to death metal in 2007, and while that maybe ain't that long ago, those six years feel like a pretty long time for me. I have grown from a horny teenager to a ... horny dude. No but seriously, a lot has happened during that time, many things and phases in music to go through, pretty much a new one per year. 2007 certainly was my "death metal year", where I discovered all the bands and started listening, loving the music. While I never stopped listening to this music, it sure got somewhat in the shadow of the other styles I discovered, and as I said, the phases I went through. I was reading in some number of the Sweden Rock Magazine, I think it was in 2005 already, and Fred Estby was talking about their new album "The God That Never Was". There was also a conclusion of all their albums, with ratings of each one and some comments, so I checked that out and so one. Then what started it all was a history lesson, "the hard rock history, year 1990" I believe. They talked about how the Swedish death metal was commercially set free that year with Entombed's "Left Hand Path", which also became the first death metal album I bought. During the same time, I also discovered Dismember (I loved their logo!) as well as Unleashed, and I like Dismember the best out of all death metal bands on earth. I became somewhat of a freak about Dismember, I really listened to them a lot! I'm just very thankful for the great music they put out during their career, and I was saddened to see them quit so soon, but at least they did it with a good last album.
Thank you Dismember, for truly opening up my heart to death metal, literally change my life, and giving me countless hours of great music listening!
Dismember around 1991-1993, the "classic" line-up, from left to right ...
Matti Kärki - Vocals
Richard Cabeza - Bass
Fred Estby - Drums
David Blomqvist - Lead guitar
Robert Sennebäck - Rhythm guitar
Beginning as teenagers in the rising death metal underground scene during the late 80's, Dismember were along with Nihilist and the grindcore act Carnage, some bands to form the Swedish sound of death metal, particularly the Stockholm sound with its trademark buzzsaw guitar sound and heavy approach, rather than the ultra-melodic Gothenburg scene. After a couple of well-known demo tapes each in the tape-trading universe, both Dismember and Nihilist split-up in 1989. Nihilist's split was done because they had fired their bass player, Johnny Hedlund, who would form another important band in Unleashed. David Blomqvist was briefly a member in Entombed, being credited as the bass player on the band's last demo before their debut, though he didn't really play on it. Later on he, along with Fred Estby, would join Carnage with future Carcass and Arch Enemy guitarist and leader Michael Amott. They did one album which was released in 1990 called "Dark Recollections". While the album didn't achieve too much attention, maybe because the band broke up before it was released, and being in the shadow of Entombed's legendary and groundbreaking "Left Hand Path", it has gone on to have a cult following of dedicated fans of Swedish death metal.After Carnage split, David and Fred, along with Carnage growler Matti Kärki, reformed Dismember and released their last demo tape in 1990. In 1991, the now full band recorded and released its legendary debut album "Like An Ever Flowing Stream" (due to a misspelling error, there are different versions with "Ever Flowing" being written as one word, as well as having a bar in between, as without). The album would go on to create debates whether it was Entombed or Dismember who "ripped off" the other, particularly the guitar sound. It would also gain media attention for the song "Skin Her Alive" in England, where the errand was even brought into court. There the band's music was called "indecent and obscene".In 1992 the band released their debut EP in "Pieces", a release which saw a very raw sound with very much distortion, as well as a graphic cover art showing the band's beheaded heads tied together in their hair, making the same shape as that of a pentagram. It was successful and also included "Soon To Be Dead" from the debut album, which had been granted a music video. In November and December, the band went back into the legendary Sunlight Studios to record their second LP. This time around they used their media attention and decided to name the album "Indecent & Obscene", which was released in 1993. The album brought yet another graphic cover of a man's body whose stomach has been ripped open, and on top of all bloody intestines lies a Dismember belt-buckle. The album was another great success for the band and produced a video with the song "Dreaming In Red" that received heavy rotation on MTV's Headbanger's Ball. The band went on a worldwide tour in support of the album.In 1994 the band began work on their third album. As time had passed on, things had changed in the death metal scene, particularly the Swedish "commercial" scene. Entombed, always being the kings, had in 1993 released their third album "Wolverine Blues" which had changed in style. The speed was gone and instead the the music was more swinging, yet very heavy. That album would create what fans call "Death 'n' Roll", which path Entombed has pretty much continued on since. With it turning into a hit album, for the death metal genre at least, Dismember's record label Nuclear Blast wanted Dismember to walk the same path - make a commercial record.Dismember released another EP called "Casket Garden", which was the new album's lead single. It was granted a video and became a minor hit as well. The album, 1995's "Massive Killing Capacity", saw Dismember walking very much in the same direction as Entombed had done two years earlier. If there were any debates in the early days about who ripped off who, this was certainly not a good proof in favor for Dismember. The album was well-received, though reactions were mixed amongst the fans, just as it had been with Entombed and "Wolverine Blues". Sound-wise, Dismember kept its new direction more true in sound to their older material, with the riffs being clearly trademark Dismember riffs, and mostly the tempo / drums being the big change.
After 2010, not much is heard from the band and its activities. With fans worldwide lunging for a new album, the only thing that is delivered is an official statement in October 2011 by bassist Tobias Cristiansson ... "After 23 years, Dismember have now decided to quit. We wish to thank all our fans for your support." And so there was the end of Dismember, a band that helped pave the way as well as create the Swedish death metal scene and sound. While they weren't the biggest death metal export out of Sweden, they sure were the second or third largest.
Dismember's last line-up in 2008, left to right ...
Tobias Cristiansson - Bass
Thomas Daun - Drums
Matti Kärki - Vocals
Martin Persson - Guitar
David Blomqvist - Guitar
Dismember to me has meant a lot. I started listening to death metal in 2007, and while that maybe ain't that long ago, those six years feel like a pretty long time for me. I have grown from a horny teenager to a ... horny dude. No but seriously, a lot has happened during that time, many things and phases in music to go through, pretty much a new one per year. 2007 certainly was my "death metal year", where I discovered all the bands and started listening, loving the music. While I never stopped listening to this music, it sure got somewhat in the shadow of the other styles I discovered, and as I said, the phases I went through. I was reading in some number of the Sweden Rock Magazine, I think it was in 2005 already, and Fred Estby was talking about their new album "The God That Never Was". There was also a conclusion of all their albums, with ratings of each one and some comments, so I checked that out and so one. Then what started it all was a history lesson, "the hard rock history, year 1990" I believe. They talked about how the Swedish death metal was commercially set free that year with Entombed's "Left Hand Path", which also became the first death metal album I bought. During the same time, I also discovered Dismember (I loved their logo!) as well as Unleashed, and I like Dismember the best out of all death metal bands on earth. I became somewhat of a freak about Dismember, I really listened to them a lot! I'm just very thankful for the great music they put out during their career, and I was saddened to see them quit so soon, but at least they did it with a good last album.
Thank you Dismember, for truly opening up my heart to death metal, literally change my life, and giving me countless hours of great music listening!
tisdag 19 februari 2013
Death Metal inspired photo session
My homeboy Big D(ee) and I were out yesterday and took some photos around the city. In 2007 we had a massive year of death metal wankery, and this year it's come back. For how long, I don't know, however. But we decided to do something about it while it's "in action", so to speak, so here are a couple of photos I think turned out quite nice.
Also to state is that we pretty much "exclusively" listen to our kinsmen's brand of death metal, particularly the Stockholm death metal sound. We are also in the works for a tribute video to our favorite band of the genre - Dismember.
Here are the results, some melancholic, with varying weather of both snow and rain.
Also to state is that we pretty much "exclusively" listen to our kinsmen's brand of death metal, particularly the Stockholm death metal sound. We are also in the works for a tribute video to our favorite band of the genre - Dismember.
Here are the results, some melancholic, with varying weather of both snow and rain.
This one is just us doing a classic and cheesy death metal pose with our hair covering our faces.
This is I at place where we took "death metal photos" in 2007.
Daniel outside of one of our two main / biggest churches.
Me outside the same.
The graffiti says "Döden föder", which is Swedish for "the Death gives birth".
Me with the same graffiti.
Daniel at the other church of our two main ones.
And of course I, outside the same one.
Another cheesy and classic death metal pose, here with Mr. Slaughter Lord Rabbit.
And finally Mr. Slaughter Lord Rabbit and I rolling together.
måndag 10 december 2012
The Best AND Most Disappointing Albums Of The Year 2012
I remember back during the first half of my teen years, maybe like 2003-2007, there were very few new(er) bands that I liked. I was a very closed-minded, old school-only listener and listened to almost 80's music exclusively, apart from the 70's Gods like Sabbath, Zeppelin, AC/DC, Purple, and so on, you get the picture. In 2007, however, all that changed and I started to expand my musical mind with a big step into the 90's music (still dissin' the modern metal of that time, which still is pretty much the same metal today, unfortunately). The music was Death Metal, particularly the Swedish, classic old school-era and the East coast (Stockholm) sound. Entombed was the first band to break me into it with their legendary debut "Left Hand Path", but was soon followed by Dismember, which from that point to this day remain my favorite death metal band ever.
Anyway, in late 2007 I needed to cool off from all the ultra-pissed off extreme metal with something more mellow, but I wasn't really in the mood to return to my old NWoBHM / heavy and thrash metal, as well as AOR. To add is that I totally abandoned AOR in mid-06 when my band got a re-charge and we started to crank thrash metal 24/7 for some innovative influence and cleansing (the others were into Sum 41-punk, which is faggot punk, as well as nu metal, very much to my distaste as I've never liked those music styles). After that, whenever I hear AOR, I can't listen to it. It's just too much "midlife crisis music" to me, and I'm still young, hungry, and in need of going crazy to music, not in need of some cozy fucking and tender words during it after some wine and a luxious dish.
But as I was trying to explain, in late 2007 I took a pause from death metal and got addicted to early 90's alternative music and metal. With the great Jane's Addiction cracking me into this wave, it all soon followed with bands like Alice in Chains, Red Hot Chili Peppers, Mr. Bungle, and particularly Faith No More, which today is my favorite band. Danzig was another band I really cranked a lot every day, but I actually started to get into them in 2005 already (they had one 80's album ... they passed my then-rule #1: only 80's) and in 2006 they pretty much were the only non-thrash band that I listened to. I even had a T-shirt with their classic Devil's skull and logo (it became to small later on and I gave it to a skinny friend in 2009 or early 2010). So Danzig was pretty much the first 90's band I ever listened to and they are to this day a top-5 favorite band o'mine. Then I also got into old school hip-hop, electronic music and so on. My musical has expanded all the time and still does.
BUT NOW I'M DONE WITH THE HISTORY LESSON. I'm sorry, I just have so many fond memories and too much love for the music to not wander off like that. The point with all that is that today, I listen to all kinds of music, or at least I give it a shot, and it doesn't matter what time it was made in either.
So 2008 was a pretty bad year musically, I wanna recall? However, it WAS a year when things started to get better, and it has gotten better with each year since then. I thought 2011 was a pretty great as well as surprisingly good year musically, but I think I dare to say that 2012 has topped it!
Here's my list of this year's best albums:
1. Overkill : The Electric Age
- Intense, high-energy, "electrified" thrash (see what I did there! *ba-dum-tsch*). After the phenomenal Ironbound in 2010, Overkill went for a less proggy approach this time, but still kept the total-ass-kicking intact. The album of the year for me, congrats guys!
2. Steelwing : Zone Of Alienation
- As a fan of the New Wave of Traditional Heavy Metal retro style, particularly the Swedish bands, this was a real solid ball of metal. I love everything about this album. I'm actually even going back and forth whether this is even better than Enforcer's Diamonds (2010) or not.
3. Unleashed : Odalheim
- And this one goes for the Death Metal album of the year. While they actually are a band whose latter material I prefer before their old, classic stuff, this album only made it more obvious: it fucking kicks ass! Their best album yet!
4. Rage Against The Machine : S/T remastered "XX 20th Anniversary"
- I know, not nearly a "new" album by any means, but a nice remaster, if not too different from the original, and it's got their first demo as well as some live tracks as bonus material, and that is what makes this release so great for any RATM fan.
5. Kill Devil Hill : S/T
- Maybe there are a few releases that would deserve this spot more, but I chose this because, 1. I for one really like this album, 2. I really looked forward to it for quite many months. I can confess that I wasn't reaaally satisfied with my expectations upon hearing it, but still it's a great album. I really like the voice.
6. Down : Part IV: The Purple EP
- I love Down, especially their third and latest full-length album. This was not a let-down apart from the one little fact: this is an EP. If it only would've been a full-length release and pretty much as good or better than Over The Under, it would've landed on fourth place.
..................................................................................................
Here's my list the most disappointing albums of 2012:
1. Testament : Dark Roots Of Earth
- Well. I love them, they're one of my absolute favorite bands, but no, something went wrong here. I was sooo anticipated about this one, and it finally showed to have been way too much. I was totally disappointed. It's not a bad album and Alex Skolnick is amazing, one of my favorite leads ever. The music's just too mediocre and Native Blood was a bad choice for a single. Also disappointing that my favorite drummer Gene Hoglan didn't get to do what he does best - beating the shit outta the drums, making tsunamis all over the world from the blastwaves.
2. Fear Factory - The Industrialist
- I had a moment of a few months in 2009 where I was addicted to their classic album Demanufacture, but just like then, the rest of their stuff still just sound recycled in a shittier form. Boooring.
3. The Devin Townsend Project - Epicloud
- I love Dev, I love his music, I have followed his music since 2007 I think, when I discovered Strapping Young Lad. Never has any of his albums really disappointed me. Some were not master-masterpieces, but they were great. This one was not a funny listening experience. After hearing preview samples from it, I didn't feel like anything really stuck out to me, and upon hearing the album I got it confirmed. It was kinda boring. But I don't judge Devin. The man is constantly trying out new approaches with his music, even if his trademark wall-of-sound is present everywhere, and one cannot simply make awesome albums without failing at least once. To me, this was Dev's first failure, and not a big one at that.
Anyway, in late 2007 I needed to cool off from all the ultra-pissed off extreme metal with something more mellow, but I wasn't really in the mood to return to my old NWoBHM / heavy and thrash metal, as well as AOR. To add is that I totally abandoned AOR in mid-06 when my band got a re-charge and we started to crank thrash metal 24/7 for some innovative influence and cleansing (the others were into Sum 41-punk, which is faggot punk, as well as nu metal, very much to my distaste as I've never liked those music styles). After that, whenever I hear AOR, I can't listen to it. It's just too much "midlife crisis music" to me, and I'm still young, hungry, and in need of going crazy to music, not in need of some cozy fucking and tender words during it after some wine and a luxious dish.
But as I was trying to explain, in late 2007 I took a pause from death metal and got addicted to early 90's alternative music and metal. With the great Jane's Addiction cracking me into this wave, it all soon followed with bands like Alice in Chains, Red Hot Chili Peppers, Mr. Bungle, and particularly Faith No More, which today is my favorite band. Danzig was another band I really cranked a lot every day, but I actually started to get into them in 2005 already (they had one 80's album ... they passed my then-rule #1: only 80's) and in 2006 they pretty much were the only non-thrash band that I listened to. I even had a T-shirt with their classic Devil's skull and logo (it became to small later on and I gave it to a skinny friend in 2009 or early 2010). So Danzig was pretty much the first 90's band I ever listened to and they are to this day a top-5 favorite band o'mine. Then I also got into old school hip-hop, electronic music and so on. My musical has expanded all the time and still does.
BUT NOW I'M DONE WITH THE HISTORY LESSON. I'm sorry, I just have so many fond memories and too much love for the music to not wander off like that. The point with all that is that today, I listen to all kinds of music, or at least I give it a shot, and it doesn't matter what time it was made in either.
So 2008 was a pretty bad year musically, I wanna recall? However, it WAS a year when things started to get better, and it has gotten better with each year since then. I thought 2011 was a pretty great as well as surprisingly good year musically, but I think I dare to say that 2012 has topped it!
Here's my list of this year's best albums:
1. Overkill : The Electric Age
- Intense, high-energy, "electrified" thrash (see what I did there! *ba-dum-tsch*). After the phenomenal Ironbound in 2010, Overkill went for a less proggy approach this time, but still kept the total-ass-kicking intact. The album of the year for me, congrats guys!
2. Steelwing : Zone Of Alienation
- As a fan of the New Wave of Traditional Heavy Metal retro style, particularly the Swedish bands, this was a real solid ball of metal. I love everything about this album. I'm actually even going back and forth whether this is even better than Enforcer's Diamonds (2010) or not.
3. Unleashed : Odalheim
- And this one goes for the Death Metal album of the year. While they actually are a band whose latter material I prefer before their old, classic stuff, this album only made it more obvious: it fucking kicks ass! Their best album yet!
4. Rage Against The Machine : S/T remastered "XX 20th Anniversary"
- I know, not nearly a "new" album by any means, but a nice remaster, if not too different from the original, and it's got their first demo as well as some live tracks as bonus material, and that is what makes this release so great for any RATM fan.
5. Kill Devil Hill : S/T
- Maybe there are a few releases that would deserve this spot more, but I chose this because, 1. I for one really like this album, 2. I really looked forward to it for quite many months. I can confess that I wasn't reaaally satisfied with my expectations upon hearing it, but still it's a great album. I really like the voice.
6. Down : Part IV: The Purple EP
- I love Down, especially their third and latest full-length album. This was not a let-down apart from the one little fact: this is an EP. If it only would've been a full-length release and pretty much as good or better than Over The Under, it would've landed on fourth place.
..................................................................................................
Here's my list the most disappointing albums of 2012:
1. Testament : Dark Roots Of Earth
- Well. I love them, they're one of my absolute favorite bands, but no, something went wrong here. I was sooo anticipated about this one, and it finally showed to have been way too much. I was totally disappointed. It's not a bad album and Alex Skolnick is amazing, one of my favorite leads ever. The music's just too mediocre and Native Blood was a bad choice for a single. Also disappointing that my favorite drummer Gene Hoglan didn't get to do what he does best - beating the shit outta the drums, making tsunamis all over the world from the blastwaves.
2. Fear Factory - The Industrialist
- I had a moment of a few months in 2009 where I was addicted to their classic album Demanufacture, but just like then, the rest of their stuff still just sound recycled in a shittier form. Boooring.
3. The Devin Townsend Project - Epicloud
- I love Dev, I love his music, I have followed his music since 2007 I think, when I discovered Strapping Young Lad. Never has any of his albums really disappointed me. Some were not master-masterpieces, but they were great. This one was not a funny listening experience. After hearing preview samples from it, I didn't feel like anything really stuck out to me, and upon hearing the album I got it confirmed. It was kinda boring. But I don't judge Devin. The man is constantly trying out new approaches with his music, even if his trademark wall-of-sound is present everywhere, and one cannot simply make awesome albums without failing at least once. To me, this was Dev's first failure, and not a big one at that.
söndag 23 september 2012
My favorite drummers (hard rock / metal)
I thought I should share my personal favorite drummers as well as biggest influences. I'm a drummer myself so this is based on personal influence. I'm not a fan of today's drummers. I don't know if it's all the pro-tools and so on, or if they really just are that secure. I hate machine-drummers! What's the point of having a drummer, instead of a simple drum machine that doesn't cost any members' fees, if he just sounds like a machine? That is beyond me! Way too many drummers today seem to focus on skill, perfection and speed, while competing with every other drummer in the world about who is the best. This to me has made drumming today really soulless, uninspired and plain boring. "Yeah, cool dude you can play like a machine" but it sounds fucking stiff, boring and soulless. One thing I can say is to all the Lars Ulrich haters and trolls: at least he's real.
I'm kinda into a lot of death metal at the moment, and it's the old school stuff. Mainly the Swedish scene at the moment and the Stockholm sound (never were a big fan of the ultra-melodic Gothenburg sound nor its bands). I don't think there's a guitar sound that I like more than the buzzsaw sound Dismember, Entombed / Nihilist, Carnage and Grave had. One thing I also like is the drumming! It's kick-ass, raw, and very alive! Not like a fucking machine! It's sounds like a human who is solid-as-rock yet has got very much heart in it. If I listen to for instance Vader today (a buddy of mine really likes them and is trying to hook me into them as well), I just can't stand 'em for more than a few tunes - the drumming sounds so fucking dead. It's just pure drum-wankery. I generally hate blast-beats because of modern drummers, but I do like blast-beats in Carcass, for instance. Why? It simply sounds good, dynamic.
So after preaching my bullshit here, and I don't say any drummers of today are bad. Obviously they have a lot of skill, but they forgot to put any heart into it. So here are some of my favorite drummers of all time:
Gene Hoglan - Before you start: I know he's the "atomic clock" and all, but back in the day when he bashed skins in Dark Angel, he sounded like a fucking tank in-battle on the drums, making Dave Lombardo on "Reign In Blood" sound like just another soldier rather than a general.
Fred Estby - A death metal legend, drummer and song-writer from the Swedish legends Dismember, my favorite death metal band. I'm glad this guy never played guitar in that band, because his drumming is so kick-ass it makes me headbang and air-drum like a maniac!
Nicke Andersson - Another Swedish legend, both in death metal and hard rock / rock 'n' roll music. To me he's the old Entombed drummer, to others he's the main man in the Hellacopters. He didn't kick ass on drums in that band, however, in Entombed he certainly did. Like Fred Estby, a very alive drummer. Entombed's first two albums show great extreme metal drumming.
Ken Owen - The drummer from U.K. legends Carcass. This guy was drumming grindcore and death metal in their beginnings and is in that way a pioneer. Too bad drummers after him didn't follow his feel when doing blast-beats. It's really sad that the guy can't play no more. Let's hope he gets better and some day will drum again.
Chuck Biscuits - Probably my very favorite drummer at the moment. The guy is mostly known for his time with Danzig, but also punk acts like D.O.A. He has one of the smallest drum kits in heavy metal music, particularly for that time. Yet he sounded bigger than any one else. Like an animal behind the kit, he is what drumming is about, at least to me.
I'm kinda into a lot of death metal at the moment, and it's the old school stuff. Mainly the Swedish scene at the moment and the Stockholm sound (never were a big fan of the ultra-melodic Gothenburg sound nor its bands). I don't think there's a guitar sound that I like more than the buzzsaw sound Dismember, Entombed / Nihilist, Carnage and Grave had. One thing I also like is the drumming! It's kick-ass, raw, and very alive! Not like a fucking machine! It's sounds like a human who is solid-as-rock yet has got very much heart in it. If I listen to for instance Vader today (a buddy of mine really likes them and is trying to hook me into them as well), I just can't stand 'em for more than a few tunes - the drumming sounds so fucking dead. It's just pure drum-wankery. I generally hate blast-beats because of modern drummers, but I do like blast-beats in Carcass, for instance. Why? It simply sounds good, dynamic.
So after preaching my bullshit here, and I don't say any drummers of today are bad. Obviously they have a lot of skill, but they forgot to put any heart into it. So here are some of my favorite drummers of all time:
Gene Hoglan - Before you start: I know he's the "atomic clock" and all, but back in the day when he bashed skins in Dark Angel, he sounded like a fucking tank in-battle on the drums, making Dave Lombardo on "Reign In Blood" sound like just another soldier rather than a general.
Fred Estby - A death metal legend, drummer and song-writer from the Swedish legends Dismember, my favorite death metal band. I'm glad this guy never played guitar in that band, because his drumming is so kick-ass it makes me headbang and air-drum like a maniac!
Nicke Andersson - Another Swedish legend, both in death metal and hard rock / rock 'n' roll music. To me he's the old Entombed drummer, to others he's the main man in the Hellacopters. He didn't kick ass on drums in that band, however, in Entombed he certainly did. Like Fred Estby, a very alive drummer. Entombed's first two albums show great extreme metal drumming.
Ken Owen - The drummer from U.K. legends Carcass. This guy was drumming grindcore and death metal in their beginnings and is in that way a pioneer. Too bad drummers after him didn't follow his feel when doing blast-beats. It's really sad that the guy can't play no more. Let's hope he gets better and some day will drum again.
Chuck Biscuits - Probably my very favorite drummer at the moment. The guy is mostly known for his time with Danzig, but also punk acts like D.O.A. He has one of the smallest drum kits in heavy metal music, particularly for that time. Yet he sounded bigger than any one else. Like an animal behind the kit, he is what drumming is about, at least to me.
onsdag 30 maj 2012
R.I.P. Raintime
The Italian metal band Raintime has disbanded as of May 27th (2012). I got this news yesterday and I was both sad and disappointed that this had happened. Raintime, one of my personal favorite (and one of few) modern metal bands I actually really enjoy listening to, is now no more. I was introduced to the band with their now last album "Psychromatic" (released in 2010) and instantly fell in love with it. I know that most Raintime fans seem to favor the "Flies & Lies" (2007) album, but I just can't deny the fact that "Psychromatic" was the one that hooked me, and I had never even heard of these guys. However, I do enjoy the "Flies & Lies" album as well as their debut "Tales From Sadness" (2005), though their last album was musically the most evolved and interesting one, and very finest work of theirs to me. I really listened a lot to the album for the first half year it was out, then I kinda moved on to other albums and revisited it once in a while.
This really wasn't great news at all, since I was looking forward to a new album. I heard though that three of the members would form a new project that is yet to be announced. Let's wait and see and time will tell what it'll be, I guess. But for now, I'm listening to this now defunct, fantastic band and I wanna share it with you all. I personally recommend "Psychromatic" for fans of more power, progressive, melodic and somewhat experimental metal, while the other two albums would fit well with fans of a more straight melodeath sound. All their albums are great anyways.
Some of my favorite tracks I recommend: Fire Ants, Shift, Fake Idols, Beaten Roads, One Day, Walk-On Actor, Flies & Lies, The Black Well, Beat It (Michael Jackson cover, great one too!!), Matrioska, Faithland, The Experiment, Chains Of Sadness, Using The Light Forever
R.I.P. Raintime. I will forever hold-on to my copy of the amazing "Psychromatic" album.
This really wasn't great news at all, since I was looking forward to a new album. I heard though that three of the members would form a new project that is yet to be announced. Let's wait and see and time will tell what it'll be, I guess. But for now, I'm listening to this now defunct, fantastic band and I wanna share it with you all. I personally recommend "Psychromatic" for fans of more power, progressive, melodic and somewhat experimental metal, while the other two albums would fit well with fans of a more straight melodeath sound. All their albums are great anyways.
Some of my favorite tracks I recommend: Fire Ants, Shift, Fake Idols, Beaten Roads, One Day, Walk-On Actor, Flies & Lies, The Black Well, Beat It (Michael Jackson cover, great one too!!), Matrioska, Faithland, The Experiment, Chains Of Sadness, Using The Light Forever
R.I.P. Raintime. I will forever hold-on to my copy of the amazing "Psychromatic" album.
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