tisdag 20 augusti 2013

Review: Sign Of The Jackal - Mark Of The Beast (2013)


Starting out in Italy back in 2008, Sign Of The Jackal have released a few underground releases, with a small cult following I imagine. Now, in 2013, they've released their debut album which includes most of the songs that were featured on their debut EP, entitled "The Beyond" from 2011. To me, that EP was excellent so my expectations for their debut album was high. As a result after giving it a couple of spins, I can only say that I'm very satisfied!

What you'll find here is high-quality old school style female-fronted heavy metal sounding like something released in the early to mid 80's. If you think of Doro Pesch's and Warlock's debut "Burning The Witches", as well as Hellion's albums, you get what it's about pretty much. Comparing it to newer traditional heavy metal bands musically, I would really say that this album reminds me of my fellow countrymen Enforcer, and that really ain't a bad thing!


The album starts with a classic 80's style intro called "Voodoo" which gives me Mercyful Fate vibes, just before they kick in with speed metal opener "Heavy Metal Possession", which sounds a lot like Enforcer to me. The band marches on with a few excellent gems before going into "Night Of The Undead", which is the track that catched my attention from this band and their old EP. It's without a doubt a given classic and fan-favorite. "Paganini Horror" is kind of a half-ballad instrumental. It's calm but still rocking, but also very dark and haunting with much focus on the driving bass and very melodic guitars. The band continue with some heavy and speed metal songs respectively before kicking into "The Beyond", the slowest track on the album and in the same vein as Crimson Glory's "Queen Of The Masquerade" and Killer Dwarfs' "Heavy Mental Breakdown". The band then round up and finish with a cover of Fastway's "Trick Or Treat", the title song for the movie with the same name.

All in all, I found this album very interesting, fun and musically great. The production really screams 1983 and gives the music total justice. I was also impressed, but maybe not very surprised anyway, that they managed to take their great EP, and make like a new EP and put 'em both together, making this excellent debut album. It doesn't lose quality anywhere from start to end, it's just an ever going quality heavy metal journey with cool riffs, solos, choruses and melodies. Musically it really does sound like an Enforcer album with female vocals, which is the best thing about this album! Of course, Sign Of The Jackal has their own touches to everything, making "Mark Of The Beast" sounding like a unique new traditional metal album.

I strongly recommend this album for fans of old school and...let's say "retro" metal. It sounds a lot like newer bands like Enforcer, Steelwing, Skull Fist, Cauldron, Axxion, White Wizzard, etc. This is for the fans of real and true heavy metal, make sure to give it a try!

Final rating: 9/11 (not the date, but it goes to 11 just like Spinal Tap's amplifiers, because it's THAT metal.)


"Mark Of The Beast" is released through High Roller Records, available at http://www.hrrecords.de

onsdag 10 juli 2013

My love, my darling


You were definitely worth all the patience.
I love you.

Your love and biggest admirer //Jack

tisdag 2 juli 2013

Love

I've been quiet for a while now and it's pretty much because I've found love. I wrote about that special person a while back. Well, that special one became mine. Her name is Linn but I call her Linny, and she is the most amazing, wonderful and beautiful person I've ever met. She makes me feel totally like something big and new, something I've never felt before. I love her, I really, really do, I'm fucking mad about her, I am so in love. On top of it all, she is a metalhead - totally cool. Now I'm gonna go and give her a hug, or two... Over and out!

fredag 22 mars 2013

That special one ...

I just love the feeling when there's someone special in your life, and that person always makes you feel warm and really happy. That's how I feel now and have felt for quite a while. There's one real special person in my life, one person that makes me feel like I've never done before.

tisdag 5 mars 2013

The Internet - the place to truly see how stupid teens are.

I hate people, I fucking hate people. Why? Mostly because so many, especially teens, especially on the web, are so goddamn fucking stupid and ignorant! What the fuck do kids learn in school these days? I mean, I'm only 22, but I feel like a grumpy old geezer compared to the young shitheads of today. Even among metalheads I find so many fucking morons, I can't even stand hanging out with many "general metalheads". People totally lack respect for others, and even themselves, really. I mean, does the word "opinion(s)" even exist in their absent brains? I don't think so.

How the fuck do people think that just because they wise-ass, comment shit on youtube, last.fm, facebook, or what-the-fuck-ever, like "no, you should add this and that, you should think this and that, you should believe this and that" etc., that I'm gonna change my mind and opinions about stuff? NO, just because MY opinion is different from yours doesn't mean you can change my opinion to adjust after yours. I'm so sick and tired of all those people who are like that. Everybody thinks, likes, believe in, or whatever, in exactly what they want to, and nobody can change those opinions but one self.

I especially hate fellow metalheads who are more ignorant than a penis in a cow's ass, which believes it really is inside a human, female pussy. People that "correct" your opinions based on what they think is "right". I've lost so much respect for people in general just because there are so many morons who are like that - annoying, ignorant fucking dickheads. FUCK YOU!

Randy Blythe is a free man! (And other things going on!)

What does Randy think? I think he's just probably grateful of being at home, where he rightfully belongs.

Today I was happy to finally read some good news in the metal press. Lately there's been so much fucking bullshit going on that I could not even care if the bands decided to call it quits once and for all. First we have the massive Queensrÿche drama which really never seems to end, and now it's getting hot(ter) again as both of the camps (yes ... the "real" Queensrÿche and the Geoff Tate-'rÿche respectively) are about to release albums. Personally, I think the real Queensrÿche (finally) died last year. I mean, as far as quality efforts go, they died a long time ago. But I guess I still do have some hope for them, that is the now so called "real Queensrÿche" camp. The Geoff Tate camp, well, is there anyone who's got belief in that?! I saw the album cover from the Tate-camp's upcoming debut, and it was fucking ridiculous, I laughed pretty hard at that one. Seriously, how old is the guy?

Looking back at the start of that one, one can wonder if that drama triggered other, more recent, dramas as well. We did get that Black Sabbath bullshit, too. I personally think it fucking sucks that Bill Ward's not drumming on the new, and maybe / probably last Sabbath album. He's a great drummer, a great influence to me, and he IS Sabbath! Still lookin' forward to hear the album, however.

About two weeks ago another classic band went into this fucking carousel as well, more notably Slayer. They've gone down the same shitter as Black Sabbath, but with more bullshit floating around the subject. To be honest, I never was the freak-fan kind of Slayer. I always thought they were great at what they do, but too repetitive and more about "being as fast as possible", leaving out much of a potential dynamic flow and greatness to their music. Nonetheless, they are what they are, and I think it's fucking silly that they don't get their shit straight. It's not the first time Dave Lombardo allegedly didn't get paid for his services, and like Bill Ward and Black Sabbath, Dave Lombardo fucking IS Slayer!

The most recent drama is in, and will probably even more in, the same vein as the Queensrÿche-drama. It's the horseshit about the Stone Temple Pilots firing Scott Weiland. Now this guy has quite a well-known rep about being a fucking smack-head. It doesn't surprise me, because he seems to be out of his obsessed mind. But then again, to be honest, I never was (even a pretty) big fan of the Stone Temple Pilots, nor Velvet Revolver (with Slash, Duff and co.) which he fronted some years ago.

So while there are some shitty businesses going on at the moment, some of which will probably smell even shittier in the nearby future, I was at least fucking happy reading about Randy Blythe getting cleared of all those bullshit charges. Now the stage is a restricted area, that kid took his risk, and while it's sad and all, he knew the rules (everyone does), and it had an unfortunate result. Randy is only guilty of protecting himself and his fellow band-mates, especially after the Dimebag incident, and not guilty for throwing down a kid back where he belongs, allegedly after he jumped the stage three times.

Congratulations Randy!! Enjoy your rightful freedom and make the most bad-ass Lamb of God album yet in the time to come now!

Over and out!

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'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.

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.

onsdag 23 januari 2013

Review: CRASHDÏET - The Savage Playground (2013)


Background story: Having been a fan since my early teens when they first appeard on the Swedish TV-channel ZTV, with their "Riot In Everyone" video that rotated real good for quite some time. I believe the year was 2004 and I loved their sound and just wanted them to do an album. In 2005 things started to happen and their infamous debut "Rest In Sleaze" was released in September, I believe. I remember buying the album the day after it came out and I pretty much loved it. Then in early 2006 I was saddened to hear of Dave Lepard's death, as CRASHDÏET was a band I was looking forward to follow over the years. They split-up, got back together and the rest is history. I never liked that muscle Mary guy they replaced Dave with, he pretty much sucked big, mean horse balls. In 2009 they announced that Simon Cruz and I got excited again, CRASHDÏET was reborn for real now. The guy sounded a lot like Sebastian Bach but I always loved Skid Row, so I didn't have any problem with that. He's pretty much everything the muscle Mary wasn't for CRASHDÏET. 2010 saw the release of my personal favorite CRASHDÏET album, "Generation Wild". Now it's 2013, I've waited almost three years for a new album and now it's arrived, "The Savage Playground" ...

Before I start listening, my thoughts and expectations are something like "it's their forth album over an eight year spun, their second album with the same singer as the last album. Things will probably sound more mature and maybe somewhat different than their old stuff." Well, this album actually did live up to all those thoughts of mine, but after listening to it, I honestly don't really know to think about it. My first impression is confused. Very confused. The album starts off promising with a track called "Change The World", which also reminds me that some of the song titles on this album feel different in some way, for being CRASHDÏET songs I mean. They don't sound like the "typical" titles the band would go for, but they did it and however, the first song is a solid one, if maybe not the best. I like it a lot at least and it did its purpose: it made me excited.

The second track is the album's lead single, "Cocaine Cowboys". Not an original title and not very cool anymore neither, but the song rather is, though. As much as I usually hate it, I think I have to admit that this is as good as it gets on this album. The songs starts off with a cool cowboy, steel guitar kind of intro, which just makes me (yet again) connect them to Skid Row. If "Generation Wild" was CRASHDÏET's "Skid Row", then this album is starting to sound like their "Slave To The Grind". Now that is not a bad thing as it's my favorite Skid Row album, but everything's about to change, and that quickly. The next three tracks are rather a dull and bland collection of what can be classically called "fillers", but when "Circus" and "Sin City" kick in I'm enjoying the music again.

With my hope up somewhat again, the album unfortunately enters a new and longer stretch of bland tunes, and this time I'm losing it. When the chorus in "Damaged Kid" kicks in I react like "what the fuck?!". It sounds nu metal-ish and sounds like something any emo, Korn, or whatever band could've come up with. I'm not generally a close-minded music listener, I listen to all kinds of metal and music outside of metal, but I never, ever liked nu metal. This song just blows.

At this point I actually took a break from the album to listen to something good, but as I got back I saw the title of the next track - "Excited". How ironic, huh? This song does however make me satisfied, it's pretty okey. Up last we have "Garden Of Babylon" which is a pretty good one as well. Now this is probably the most interesting song on the whole album, as it sound very different from the typical CRASHDÏET we know. It also doens't sound pretty much like anything else on this album. It's not an awesome or very fun track, but it's solid and probably does the best closer this album can get. But then there's a bonus track called "Liquid Jesus" as well, and rightfully so, because it sounds like gospel glam and I'm not very fond of it.

Now this was the album and its songs. A kinda strange bunch if you ask me, but it is what it is. Beside some frustation during the tracks, I also noted that the album's production is somewhat raw and muddled, maybe? I don't think it really gives much detail to the different instruments and sounds. I feel like the riffs sometimes are hard to really hear fully out, and at times the vocals sound like rough mixes. Now I do fancy raw productions with little polished effects - if it's done right. This just feels poorly done, it's easily the worst sounding CRASHDÏET album so far.

Musically the guys are as good as ever. They do their thing like nothing's changed and I still really like Simon Cruz, he's a great singer and very charismatic for this band. There are not too many memorable riffs, drum fills or whatever to be found on this album, though. I don't know if the riffs ever where CRASHDÏET's strong side, I think it rather was the vocal melodies and harmonies that was "that special thing" about 'em.

At the end of this album I stand confused and ... disappointed, to be honest. I'm not a conservative person who wants to stay in the same way forever unchanged, but if for instance Simon Cruz made the band evolve this way, I'd rather see the band let him go and find yet another singer for the next album. But I simply just hope they did their little failure and will get back on track again, before it's too late. All I can say about my personal feelings about this album is that it feels like an unfocused mashmix and is experimenting into new sounds, which I approve of very much, but it does it in the wrong territories. While it has a lot of pretty shitty moments, it also has some mediocrity and some great ones. Maybe the album will grow on me in due time, I can only see about that.

Final rating: 4.5/10