Genesis – The Lamb Lies Down on Broadway (1974)

genesis-the-lamb-album-cover

Article by David Rosales and Johan P. This article is the second in our 1970s Progressive Rock for Hessians series initiated by Johan.

Released in 1974 and signaling the departure of Peter Gabriel from Genesis, The Lamb Lies Down on Broadway brings the classic era of the band and the genre to an end. It does so rather inconspicuously with a profound accomplishment that is not easy to summarize in such few words. The album materializes the several tacit goals of progressive rock: the incorporation of classical music methodologies into the making of pop rock music, stylistic expansion within coherent boundaries, to the neo-romantic mystical allusions boiling up from vague lyrics into aural explosions in sound.

Musically, it makes use of straightforward pop rock expression expanded with a nod to classical-era structures, while ambients range from avant-garde noise to ambient instrumentals. We may even see the precursor to the post-rock aesthetic but Genesis takes the music somewhere rather than moronically dancing around in the same place. The use of themes throughout songs and the album itself is prominent; it holds the album together and is a direct consequence of that proper classical influence. The lyrical theme of the album is based on Judaic mysticism, with references to the Kabbalah in song titles, concepts, and even the number of total tracks of the release.

The influence of Genesis as per their style at their pinnacle in The Lamb Lies Down on Broadway virtually defines a whole generation of the pseudo-prog we see today in the likes of charlatans to which Steven Wilson belongs, or supreme posers Dream Theater and their numerous unoriginal underlings. Opeth cannot be counted among the superficial fools living off the greatness of Genesis as they are a more eclectic collection of disparaged sources poorly sewn together and because the very little prog rock influence they displayed comes from Gentle Giant. With all certainty, almost any decent-sounding, so-called progressive outfit today that leans towards a pop rock sound with unconventional sound structures is probably directly or indirectly defined by (not merely “influenced” by) classic Genesis.

Particularly outstanding is the elite drumming that underscores the thematic progressions of the rest of the music. At each point it answers to needs in the music, while not shying away from dramatic or even amusing additions to the mix. Jazz percusion technique here is used with taste, forwarding the music, rather than becoming an instrument for divergence into hedonist egotism. Despite this, in The Lamb Lies Down on Broadway, none of the elements actually jumps out at the listener: the technical merits are so perfectly fused with the living flow of the music they may be overlooked. In this we may find great contrasts with Yes, whose brilliance was always a close-neighbor to instrumentalist prowess, threatening to and eventually taking over precedence of deeper motivations that move true art (as we see in Relayer).

To finish our brief discussion on this definitive album for progressive rock, we would be remiss in failing to attend to the reasons it achieves such excellence. Considering Nietzschean Apollonian versus Dionysian interplay, a reasonable speculation might start by pointing out that the most superficial and recognizable sounds in this album are distinctively ground in their seventies era. Even the use of avant-gardisms remains within the framework of the experimentation of its time and exemplifies what Pink Floyd were never able to properly approximate. The Lamb Lies Down on Broadway does not reject its contemporary influences, but through them accepts the band’s chronological appearance in history and maximizes their channeling of ulterior and less ephemeral reasons.

7 Comments

Tags: , , , , , , , , , ,

Apokalyptic Raids – The Third Storm (2005)

apokalyptic raids the third storm

Article by Corey M.

At the beginning of this album, I thought I was in for some ironically incompetent Venom worship with affectations of naivety: “Metal about metal” as it can be rightly called. The drums are played in a bare-bones punk style. The guitar(s) loop punk riffs in predictable verse-chorus style structures while the vocalist rants in a smoke-shredded voice about typical metal stuff. No virtuosic leads or even harmonies are present. However, as the record progressed, the raw efficacy of the chords overcame my cynicism and my head began to nod to and fro of its own accord. Maybe these guys are a throwback or tribute act. Maybe they have actually never heard anything more recent than the first Bathory album. Either way, their riffs have an undeniable ability to hook energy-pumping tentacles into your brain and stir in your heart the desire to get off your ass and be a living, bleeding, raging human. When it comes to music, is there anything better than that?

Listen to and purchase the vinyl reissue of The Third Storm from Hells Headbangers’ Bandcamp page.

19 Comments

Tags: , , , , , , , , , , , , , , , , ,

Dismember – Indecent and Obscene (1993)

Dismember Indecent And Obscene

Almost all metal bands eventually run out of ideas and revert to imitating their influences or repeating themselves. The former usually results in songs that are Frankenstein’s monster mashups of old ideas hoping to hop across the finish line without their sutures bursting leading to loss of limbs. The latter have no raison d’être beyond releasing the expected new record every eighteen months or so to put a product on the shelves that the label can push and the band can tour to support on a James Bond series type release schedule. Even a teenager saying “I want to kill everyone, drink beer, masturbate, and be as fucking metal as possible” shows more purpose than such aimlessness.

Indecent and Obscene was Dismember proving that in 1993 they had became at least as proficient musicians as their seventies and eighties idols. Dave Blomqvist took over the leader guitar duties from Nicke Andersson and added Mercyful Fate-like sweep-picked leads to the bluesy, Ritchie Blackmore-influenced solos. The songs continued in the vein of filthy Pieces EP with verse chorus verse bashers. The problem was they were slowed down, less distorted, and more lazily constructed: Beneath the Remains Sepultura minus a standard deviation or two in IQ. Every time Dismember play an interesting riff on this album, they allow it to wear out its welcome through repetition in brain-dead pop song structures. That is only when they have a good, counterpointed Carnage/Dismember riff. Most of the rhythm riffs are generic Autopsy riffs; riffs Autopsy stole from Celtic Frost, who stole it from Metallica, who stole it from some NWOBHM band who took it from AC/DC or The Stooges. These riffs were used just so Dismember could construct a basic d-beat song and sweep pick Guitar World readers’ faces off.

Matti Karki sounded just as rabid as ever but in every song sprouted off the title of the song in the chorus of the song as a vocal hook. This is the same as an awful Hollywood action film script containing dialogue saying the name of the movie in the movie, eg: “This is Con Air!” or “You Only Live Twice Mr. Bond!” Idiotic bridges kill off any tension too. “Why don’t you just kill yourself?” followed by breakdown of the main rhythm riff so all the hardcore kids for whom Suffocation was too heavy could slamdance before the air guitarable solo.

Dismember on Indecent and Obscene was Nuclear-Blasted into Cannibal Corpse before Nuclear Blast mandated all their bands sellout into death/black ‘n’ roll for the Bic-flicking festival crowd. While superior to most of the later work out of Sweden, Indecent and Obscene never approaches the transcendent Dark Recollections and Like an Ever Flowing Stream. The only praiseworthy aspects beyond the superficial icing are Fred Estby’s creative tom fills on songs such as “Sorrowfilled”. His underrated percussion is the only part building and resolving tension in these mediocre songs. That’s simply not enough to hold hessian attention. Decent material must still be composed and Dismember didn’t bother writing any worthy of repeated listening here.

 

14 Comments

Tags: , , , , , , , , , , , , , ,

Interment – Scent of the Buried (2016)

Interment Scent Of The Buried Cover

Article by David Rosales.

We tend to be skeptical when receiving a promo of a retro Swedeath band given the history of the style, but we can’t help but feel a vague and healthy excitement for the raw feeling this improved grindy sound can offer when done well. Despite the long history of shams, Dismember and Entombed followers receive an enthusiastic and welcoming reception here every time. This is also, perhaps, the reason why they also get beaten down with the most derisive of tones when found ‘guilty’.

Interment‘s Scent of the Buried is one of the best cases of the usually-unfortunate retro Swedeath we have seen in the last few years. While much praise is due, it is also interesting to try and understand when and how blatant such style appropriations fall short of the excellence of the originals. The band does a very good job at creating a flowing narrative in the style of Entombed, taking the best from the older band and approaching Dismember’s power chord and tremolo melodies in low tones while discarding the most overt poppisms of the first. After the first half of the album, the B-ness (the quality of being a B-grade album) of Interment’s release becomes obvious, after which it is easy to see that the band ran out of things to say.

While for some this has to do with style itself, and a superficial appreciation of music leads some to want stylistic variety, this is not what is meant here when pointing out the bands shortage of meaningful content. It has to do with a narrowness in the variety of patterns in melodies and riffs, not stylistic divergence itself. This is something that does not happen in the seminal works of Entombed and Dismember, whose style is natural-born from themselves, hence their whole effort is bent on trying to say something. In the case of stylistic followers and clones, which encompass the likes of Interment, there is a conscious will towards adhering to the stylistic conventions those older bands laid out.

This is much more confining and goes beyond genre style; these b-bands are not trying to reflect abstract ideas but the most superficial traits of the music. Hence, Scent of the Buried has enough excellent material for a 3-track EP, but not a full album. Despite the technical re-production of this vintage style being a success1, Interment doesn’t have much more to offer other than a passing pleasure for those who enjoy the hell out of the Swedeath sound.

Scent of the Buried may be listened to and purchased from Pulverized Records’ Bandcamp.
The CD may also be purchased in the US from Dark Descent Records.

1Scent of the Buried was actually recorded by Tomas Skogsberg at his legendary Sunlight Studio were most of the Swedish bands recorded back in the early nineties. – Editor

2 Comments

Tags: , , , , , , , , , , ,

Incantation Tour Europe and Return to Finland

incantation summer 2016 tour

Incantation are in the midst of a European tour right now with Morgoth and are coming back to the continent in July. The Finnish festival date should be special for Hessians as Depravity is opening. Incantation also have a new album coming out later this year on Relapse Records and recently released a 25th anniversary compilation. From the band’s website:

Pennsylvania deathmongers INCANTATION have just kicked off a run of European dates with Morgoth, Darkrise, Methedras and Omophagia, which will see the band demolishing venues in Europe, the UK, and Russia this April. In celebration of the band’s 25th anniversary, INCANTATION has just announced a second leg of European dates this coming summer – the death metal veterans will be laying waste to Europe for two weeks this coming July alongside Brazil’s Nervochaos. INCANTATION has also been confirmed for a number of festival appearances this summer, including Obscene Extreme Festival in the Czech Republic, MetalDays Fest in Slovenia, and the third annual Hell’s Headbash in Cleveland, OH. A complete listing of dates is included below.

INCANTATION Live:
***All dates with Morgoth, Darkrise, Methedras, and Omophagia***
Apr 14 Ostrava, CZ Barrak Club
Apr 15 Erfurt, DE Club From Hell
Apr 16 Rheine, DE Hypothalamus
Apr 17 Drachten, NL Iduna
Apr 18 Rotterdam, NL Baroeg
Apr 19 Chapelle-lez HT, BE Maison Du Peuple
Apr 20 London, UK Nambucca
Apr 21 Glasgow, UK Audio
Apr 22 Southampton, UK Bristol Bierkeller
Apr 23 Oberhausen, DE Helvete
Apr 24 Villa de Barrosales, PT SWR BarroselasMetalfest XIX
Apr 26 Vilnius, LT Propaganda
Apr 28 Minsk, BL Brugge
Apr 29 St. Petersburg, RU Opera Concert Hall
Apr 30 Moscow, RU Monaclub

June US Dates:
Jun 24 Columbus, OH O’Shecky’s*
Jun 25 Crest Hill, IL Bada Brew*
Jun 26 Lansing, MI Mac’s Bar*

***All Dates with Nervochaos***
Jul 14 Obscene Extreme Festival – Trutnov (CZE)
Jul 15 Neudegg Alm Abtenau – Salzburg (AUT)
Jul 16 Elyon Club – Milan (ITA)
Jul 17 Le Korigan – Luynes (FRA)
Jul 18 Tba (FRA)
Jul 19 Tba (FRA)
Jul 20 Le Klub – Paris (FRA)
Jul 21 Muziekcafe Elpee – Deinze (BEL)
Jul 22 Little Devil – Tilburg (NLD)
Jul 23 Chaos Decends Festival – Crispendorf (GER) *Incantation Only
Jul 24 Viper Room – Vienna (AUT)
Jul 25 Akc Attack – Zagreb (HRV)
Jul 26 Metal Days Festival – Tolmin (SVN)

More US Shows Announced:
Sept 2 – 4 Cleveland, OH Hell’s Headbash 3

Most of Incantation’s back catalog can be checked out on their Bandcamp page.

3 Comments

Tags: , , , , , , , , , , ,

Zloslut – U Transu Sa Nepoznatim Siluetama (2016) Re-Review

zloslut 2015

Article by Lance Viggiano.

U Transu Sa Nepoznatim Siluetama presents a longing, melancholic, and nostalgic view on black metal ripped straight out of the playbook that enabled artists such as Alcest to score big with the empathetic loner crowd. On the surface, this music is presented as your standard affair of devil music yet it is bereft of even one note of existential weight or tantalizing, decadent forbiddance which typically characterizes Faustian gambits with the dark. The music swings, bounces, pops, and dances in the light. It is so light in fact, that gravity actually helps uplift these sounds.

Then there is the overwhelming familiarity which strikes the listener immediately. These are well-considered compositions that look backward for source material but otherwise fail to provide new meaning. The past is alive but it is practicable and pedantic. Zloslut shamelessly flaunts catchy and immediately gratifying candy culled from across the metal spectrum. A delicate and emotive arpeggiated tremolo-picked melody ripped right out of Norsecore will be seated right next to a Rotting Christ-style heavy metal motif. Burzum and Gorgoroth have their post cards along route 666 through the use of ringing bar chord breaks.

This is one of the rare albums where sloppiness, uncertainty, and disorganization could have been a boon as it would have colored the music with a wild charm and sense of adventure. The riffs are supposed to add up to a meaningful experience but the stark reality is that this is a Now That’s What I Call Black Metal! recollection of genre hits. Quite possibly the most radical statement this album could have made would have been allowing the genre-verboten blues to blossom into a David Gilmour solo on the first proper track.

Listen to and download U Transu Sa Nepoznatim Siluetama for free from Zloslut’s Bandcamp page.

36 Comments

Tags: , , , , , , , ,

Olkoth – The Immortal Depths (2016)

olkoth the immortal depths

Article by Corey M.

Whatever the musicians of Olkoth are physically doing with their instruments is nothing extraordinary but the idiosyncratic placement of notes and the resulting higher-level structures that emerge in their songs are truly something to behold. “Rollercoaster” and “Labyrinth” metaphors abound when writers try to describe metal with this sound. The most appropriate real-world visual analog would be an ancient sculpture, specifically what can be found in Mesoamerican architecture: Vivid figures and images symmetrically organized and actually making up the architecture itself rather than being mere aesthetic reliefs. Hearing this music is much like view ancient reliefs: there is an obvious narrative even though the specific symbols belong to alien cultures and distant epochs. The representations ring true by striking a Jungian chord deep within the recesses of our collective unconsciousness. However, these super-emotive runes are not activated at will; the listener must cultivate a passive mindstate to avoid projecting their own idiosyncratic symbolism onto the music. That will only serve to obfuscate the encoded messages just waiting to be decrypted.

Listen to and download The Immortal Depths EP for free from Olkoth’s Bandcamp page.

21 Comments

Tags: , , , , ,

Vulcano – Bloody Vengeance 30th Anniversary European Tour

vulcano bloody vengeance tour final

Brazilian black/death/speed metal pioneers Vulcano are about to tour Europe to celebrate the thirtieth anniversary of the release of the bestial Bloody Vengeance. They will of course be playing their most well-known record in its entirety along with later material too. European fans should avail themselves of this rare opportunity to see the band on the continent.

Roadmaster Booking agency is proud to announce the commemorative tour of 30 years of the classic album ‘Bloody Vengeance’ from the Brazilian legend Vulcano. The band will play the record in its entirety, as well as songs from their latest releases.

Zhema, guitarist from Vulcano says:

“We are looking forward to this fifth European tour and ready to give 110% in every show, because our fans mean a lot to us and we really appreciated their support. We promise to do the best in every show and the fans – that’s why we are still going strong after all these years. Let’s play in full the Bloody Vengeance album, and songs from the the last three releases.”

Listen to Bloody Vengeance on Vulcano’s Bandcamp page.

1 Comment

Tags: , , , , , , , ,

Zealotry – The Last Witness (2016)

zealotry-2

Article by David Rosales.

On their tantalizing debut album, Zealotry showed charm that often characterizes first releases. Debuting bands earnestly try to capture the aura of the music as they juggle with the technical aspects of playing it. First albums often come off as awkward or even flawed but there still containing endearing and thoroughly captivating elements. Many groups lose this enchantment in their sophomore album only to recover it with the third. This happened to Sepultura, who reached the pinnacle of their transcendental contributions on their only death metal album, Morbid Visions. They followed it with a boring mass of riffs with no heads or tails. Their much superior 1989 speed metal album, Beneath the Remainsfortunately corrected this.  Hopefully, this will be the case with Zealotry as well.

The Last Witness plays like an extension of The Charnel Expanse‘s final track, “The Unmaking”, the least structured song on the album. The band tangentially explored the technical ramifications found by playing their particular style. From the creators’ perspective, this seemed like a clear path. In taking this choice to focus on a narrower voice, the evocative deficiencies of that streamlined, tremolo-picked, sequence-of-riffs approach had to be compensated for. This was completely ignored and instead there is a heavier emphasis on playing the technical parts of the songs correctly.

Musically, there is a lot of worthwhile content here; It just doesn’t tell a story as much as give scattered visions that are not arranged properly, do not have clear beginnings, and even less conclusions. The painstaking composition in a self-conscious style with a corrective attitude is extremely promising. This is admittedly the hard route as it requires extreme discipline; it is the classical composer’s way for reaching to perfection on all fronts. However, composers need many, many errors before turning trial into triumph.

As it stands, The Last Witness is a collection of exquisite details into which a very attentive reader can dive. He will discover many forms but nothing solid enough to materialize a clear vision. In part, this is due to the tendency towards extreme variation and superficial indulgence of musicianship, and too much escapism in the codas. Follow the title track attentively to hear what I am referring to. The problems here mirror those of Monsieur Tougas on his side project except that Zealotry has a much more individualized voice.

Zealotry would also do well to stay away from the death and war metal influences with atmospheric pretensions seen in the empty music of Phobocosm. Instead, they should work on their motific death metal,  develop the themes to establish long-range links, and fully utilize their proper sense of breathing space. Zealotry should play to their strengths instead of diverging horribly and incoherently as in the final track, “Silence”. I am sure with practice and discipline, the time will come when this band will dominate a wider range of expressions. For now, shaping up this very narrow music into that which breathes, lives, and envisions a story is still a goal.

Readers may listen to The Last Witness on Zealotry’s Bandcamp page.

3 Comments

Tags: , , , , , ,

Cornell & Diehl Small Batch – The Beast (2016)

cornell_and_diehl_small_batch_-_the_beast_-_tobacco_tin

Interest grows in The Beast, the latest concoction by famed blending house Cornell & Diehl, which was inspired by Aleister Crowley and built around his favorite recipe of rum soaked Perique. As it turns out, all of the lore and fame is deserved, because The Beast is a densely flavorful blend for the experienced smoker without going overboard and becoming the dreaded “acquired taste” that is not enjoyable by the casual smoker.

St. James Parish Acadian Perique is notoriously difficult to work with. This tobacco is fermented under pressure in barrels to remove some sugars and bring Nicotine to the fore, giving it a reputation as an ingredient in high-powered blends. In the presence of different tobaccos, it reveals multiple faces of its flavor: sometimes an acidic fruity taste, or the sensation of pepper on a dried fig, and in some cases, it tastes almost like a pickled jalapeño. For most smokers, more than one part in ten within a blend causes uncomfortable levels of spiciness and Nicotine, so these blends are kept in the back of the pipe cabinet for the hardcores and well-worn codgers.

With The Beast, Cornell & Diehl brings a new face to Perique. At first open, the tin gives off a smell like fertilizer and olives in brine, but then the smell of the rum comes through clearly over a strong natural tobacco scent. As it dries, the tobacco and rum combine to give off an impression of fermentation with a rich undertone, like fall leaves decaying into humus. In addition to the St. James Parish Acadian Perique, the blenders added Black Cavendish, Red Virginia Cavendish and a tobacco that I think is as intense as Perique, the Dark Fired Kentucky Burley that originates as a strong leaf which gains potency when it is smoke-cured and aged.

The first match brings out the top note of rum and successive waves of sweetness as the Cavendishes and Perique wake up to the heat. Then, the dark and smoky taste of the Dark Fired Kentucky Burley rises to the fore. At this point, the tastes combine, and it is this singular flavor that dominates the taste profile of this blend to the bottom of the bowl. Imagine a summer day barbecue, with meat dipped in a sauce of tomatoes, wine, molasses, teriyaki and a shot of rum. Ablaze over the grill, it gives off an enticing scent: a rich natural smell, giving rise to a flavor as powerful as the olfactory stimulation.

cornell_and_diehl_small_batch_-_the_beast_-_tobacco_blend

The Beast smokes smoothly and gives off a milder but still potent version of Crowley’s famous recipe which is its heart. You will taste the Perique basted in rum as a spicy fruit, like peppered date-stuff jalapeños that have been charred over an open campfire. Its supporting cast is just as important. The Red Virginia comes through as a tomato-like, vinegar-ish flavor, and together with the black Cavendish, it sweetens the blend and makes the spice and fruitiness blend into the rest of the leaf to create a single flavor. The Dark Fired Kentucky Burley creates the barbecue effect and lifts this blend up into the realm of serious intensity in both Nicotine and woodsy, nutty, natural flavors.

The wisdom of the blenders comes through in how little the top flavor obstructs the natural flavor of tobacco underneath, and how well these different leaf types meld together into a single flavor that is all their own. Some will taste notes of ketchup, leather and perhaps a hint of a fine stout beer; others will note the smoky tempest of the dark leaf alone. But really, these are fragmentary descriptions. The whole comes together into a mulled, smoky flavor with the fruity/peppery flavor of the Perique channeled into a sweet and spicy mixture. It burns evenly, down to fine grey ash, and while it pops out of the tin relatively moist, requires little if any drying. I left these samples in the pipe for only a few minutes before setting them gratefully ablaze.

Now, a bit of warning. This is a Crowley-inspired blend, and it probably is not for the newly-minted pipesmoker or those who look for the word “mild” on the shelves of their local brick & mortar tobacconist. In intensity of Nicotine strength, The Beast is probably medium to strong or slightly stronger, with the mysterious effect of the Perique which brings out additional dimensions to the Nicotine effect. You may find yourself making goat horns on the side of your head with your fingers, or perhaps chanting in mixed Hebrew and Enochian toward the stars… it is not a knock-yourself-flat blend, but this leaf has a potency that will satisfy even the most hard-driven pipe smokers while not damaging the rest.

As the bowl winds down, the flavors separate from that singular core and mingle. Olives, wine, teriyaki, blood, and the fires of Hell, with hints of a sweet inner core like the smell of death on an August afternoon… mysteries from beyond the boundaries of time and space… strange eyes move in the darkness as fell voices are heard. My favorite time to smoke this is at twilight, looking out into the forest hung with Spanish moss, as human sounds recede and the tumult of nature takes over. There, a kindred sensation is felt to The Beast: a fierce independence and great strength, tempered into a picture of beauty and solitude, under infinite stars.

2 Comments

Tags: , , , , , , ,

Classic reviews:
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z