Cranial Fornication

Reviews! Music reviews!

[viruswithsaas]

This is the end...

It has been coming for a while now but let’s make it official now.

This blog will come to an end. Originally, it started out as a hobby when the online webzine Skulfukker went down and sure enough, I enjoyed doing this. Few things feel as rewarding as writing about a subject you’re passionate about.

Then what changed? What made me abandon this project?

The first reason is that I’ve noticed a shift in how I consume music. It rarely happens anymore that I put on a record and just sit down. Instead I’ll be working or doing the dishes or whatever needs to be done around the house. Music has shifted from the foreground to the background. 

Another reason is that my taste in music is also shifting. I still play a lot of metal but nowadays I find myself looking for more electronic, hip hop, funk and even jazz. In theory it is possible to shift the focus of the blog to those genres but I don’t feel confident enough to dedicate this blog to them.

That brings the question why I started listening to other genres. The sad truth is that my hearing is deteriorating.  When it’s quiet around me, it’s still okay. I may have lost some of the high frequencies but no big deal. Unfortunately that changes when there is background noise. Thus I’ve become very protective. I never leave for a gig without my earplugs and I avoid loud environments. And yes, electronic, hip hop and jazz tend to be easier on the ears than the very harsh sounds of metal and the accompanying aggressive high notes. While it has paid off and my hearing has healed a bit, loud environments remain a problem and on top of that one that is crippling me in a way. It’s not that easy to catch up with friends when you only hear about two thirds of a conversation.

Another reason is that I want to play music again. Over the last months I’ve been learning how to play Bach and Django’s “Minor Swing” and although I’m nowhere near the level where I want to be, it is more fulfilling to play music than to talk about it. In fact, the best way to intoxicate your motivation to practice is to put a lot of music.

But really, I have too little time for the blog.

I have a fulltime job and if I want to work on the blog, I have to do it after my hours. I also live alone and when I’m writing a review, I’m not doing the dishes or the laundry or my administrative BS.  I’m also working on a few comics (that I need to promote) and help other artists with their script. By the end of the day, I’m left with things that I need to do, things that I want to do and things that I want to pick up. And not enough time for all of them.

Obviously, I’m not entirely happy with the decision to stop this blog permanently but the current situation leaves me no other choice.

So, adieu.

[viruswithsaas]

“Phanerozoic I: Palaeozoic” - THE OCEAN

There are many albums that slipped under my radar last year but very few albums were so high profile as “Phanerozoic I: Palaeozoic” by German post metal-juggernauts The Ocean, which I will be referring to as the new album from The Ocean. Saves me a lot of typing. This is their eight album already and so far I can’t remember anybody ever giving them a bad review.

What can you really say about The Ocean aka the Godspeed You! Black Emperor of metal that hasn’t been said a million times already? Yes, it is intense but it is also incredibly melodic. Loïc Rossetti sings like every note could be his last but never does he resort to mindless shouting or forced emotions. Emotional but the band remains controlled and the instrumentation tight.

The Ocean can be loud and overwhelming but their music can also feel intimate and close. A painting of dynamics that’s never still, always in motion.

If you want to nitpick, you could say that on this new album that The Ocean ticks every box on the cliché-list.

Deep but unintelligible lyrics? Check.

So much melancholy that you want to step on the train with your diary to see your grandmother? Check.

Quiet passages that burst into thick walls of sound, able to crack the sky and bring down the heavens? Check.

Elaborated compositions that feel like an entire album put into one track? Check.

Yes, there are clichés but really, all of these clichés are all perfectly executed. Not good. Not great. Perfect.

There is not one single weak moment on this album that doesn’t do what it is supposed to do. Every note is there for a reason.

And the production! This album “shines”, it feels warm, it has depth and the mixing brings out all the details that otherwise would been buried under a mountain of amps and distortion. The new album opens your mind and tickles your imagination. It takes you to other places, other worlds and even other times, like post rock is supposed to do. It seeds, grows flowers, withers away and fossilizes only to start all over again. Beauty building up and ugliness crashing down.

Grab the new album of Godspeed You! Black Ocean right here;https://theocean.bandcamp.com/album/phanerozoic-i-palaeozoic-2

[viruswithsaas]

“All Within My Hands Helping Hands Concert” - METALLICA

If somebody were to ask me which 10 metal records are abso-fuckin’-lutely necessary, my answer would be the first 6 Black Sabbath albums and the first 4 from Metallica. No Slayer, no Iron Maiden and definitely no Anthrax. Sabbath and ‘tallica. All you need to know.

Granted, the band hasn’t exactly been on a creative high but the albums get more shit than they deserve. “St-Anger” was a half-assed dud and songs like “All Within My Hands” and “Some Kind Of Monster” couldn’t save the album, “Load” was not bad at all but the contrast between Metallica then and before was too much for the fans. “Lulu” was a mismatch: Lou Reed would have been better off with Opeth’s progressive noodling than Metallica’s high octane thrash metal. I’m still convinced that with Reed’s atonal, arhythmic mumbling we would have heard a decent Metallica album. The only album where the band really phoned it in was “Re-Load” but even that one has some very memorable tunes like “Fuel”, the collaboration with Marianne Faithful on “The Memory Remains” and “Unforgiven II”. Still, if the choice is either reviewing two local bands or James Hetfield barking in a mic, fuck the local bands. 

Plus, I actually like Metallica in this kind of very un-Metallica settings. Over the years, I’ve caught the band on tour a few times already and I no longer have the desire to watch them play “Master of Puppets” for the zillionth time or “Nothing Else Matters”. And what is more un-Metallica than an unplugged show for charity?

And the surprising thing is that Metallica actually sounds superconfident. Lars Ulrich is perhaps too much of a powerdrummer to fit in perfectly but man, singer James Hetfield sounds like he’s having a field day - that slightly hoarse singing on “The Unforgiven”!!! -, the guest musicians are on point and the setlist is amazing.  The band kicks off with a slowed down version of “Disposable Heroes” from “Master of Puppets”. It’s strange how it seems like a totally different song from the one that so many have heard. Next up is a surprising heartfelt cover of Deep Purple’s “When A Blind Man Cries”. Later in the set follows Nazareth’s “Please Don’t Judas Me” and Blue Öyster Cult’s “Veterans of the Psychic War”.  Of course, there are more original songs from Metallica and although I think they will never not play “Nothing Else Matters” - a song that I can’t stand anymore - , there are a few more surprises that not often find their way to a regular set. “Bleeding Me” from “Load” and “All Within My Hands” from “St-Anger” are songs that I never would have expected, two songs that deserve a better status amongst fans.  “Bleeding Me” was already semi-acoustic so it is not all that different but “All Withing My Hands” has been altered and as with “Disposable Heroes” the song gets a completely different dimension. Like James says after the song, “beautiful but creepy”. A surprise that I didn’t expect either was the band to play a slightly different version of “Enter Sandman” that thrives on atmosphere instead of the iconic opening riff. Again, although I know the melodies by heart, it becomes something completely different. Too bad that the band doesn’t give final song “Hardwired“ the same treatment although Hetfield saves the song with some great singing. It seems fitting that in a very un-Metallica setting we get a very un-Metallica Metallica and the band just owns it. 

And it feels good to hear a really good Metallica again.

Awesome! Too bad that the limited edition-LP has already been sold out. So, just head on over YouTube.

[viruswithsaas]

Letter to Arch Enemy Inc.

Dear Arch Enemy,

What the actual fuck?

Seriously. Nobody really minds a bit of hustling and squeezing as much money as you can out of your brand name, especially with the current state of the industry and the falling popularity of rock and metal. You gotta do whatcha gotta do and all that nonsense.

But banning a photographer from shows because he complained about the unrightful use of your pictures by one of your endorsing companies? And then coming up with a lame excuse as “communication error” to save what’s left of your face? Weak. And to add insult to injury, there are rumors going around that this is a common practice for you.

The worst part is that you’re far from the only band resorting to this sort of legal bullying. Obviously, you get the attention because you’re a big name and handled the situation with the grace of a walrus in a tutu but you’re far from the only band.

Even bands that I respect musically - Sorry, Arch Enemy, but your squeaky clean, overcompressed death metal has always sounded outdated to me and I consider Alissa White-Gluz more of a Suicide Girl than a frontwoman - have ridiculous demands and protect their public image harder than a neckbeard its owner’s virginity. Some artists go to ridiculous lengths to prevent fans from finding out that their idol is no longer a young demigod with the stamina of a nuclear powered submarine but a middle aged, worn out, bloated jock who regrets not doing any better in school - looking at you, W.A.S.P -. Heaven forbids that the audience puts one and one together and realises that, due to an unattended drug problem, its idol has more kids than teeth.

In that regard, metal is not any different from its arch nemesis pop music. Due to the inherent restricted emotional spectrum however, metal tends to become a little ridiculous over time. Singing about the devil and that nazi-documentary you saw on television was probably the  coolest and most wicked thing ever when you were in your teens but when approaching 50? No so much.The same has happened to you as well, Arch Enemy. You used to be cool and rebellious. Now you’re just a bunch of ugly shoegazing dudes and a singer in an outfit from the BDSM-shop. It might not be too late to pick up jazz and play music that involves more emotional states than just “angry” and “ A  N  G  R  Y  “.

You shouldn’t have gotten mad at the photographer for being persistent. Just like you, he is trying to make a few bucks. Photography is in an even worse state than music and film; thanks to advancing technology, a phone is now just as good as an entry model Nikon or Canon, SD-cards never run out of film and every idiot with an Internet connection can steal your picture and meme the living shit out of it. There are still a few big names active but the amateurs are taking over. Photography is dead and the least you can do is allowing the serious photographers a bit of beer money.

You did a stupid, stupid thing out of either frustration, greed or desperation and it might have consequences. Although the tone of this letter has been harsh, the truth is that I don’t really care that much. I’m not a bitter ex-fan, I’m not one of those “IT SHOULD BE ABOUT THE MUSIC AND THE COMMUNITY”-types, I’m not a metal weeabo but the facts speak for itself.

But this is the point where I’m somewhat torn in two and cognitive dissonance sets in. I know rock is a business like any other, I’m a huge Metallica-fan but Metallica Inc is the biggest company in the business and Lars Ulrich is its CEO. Same with Foo Fighters. Behind Dave Grohl is a complete network of companies, firms and joint ventures protecting their client’s best interest.

Of course Lars and Dave have the resources to hire the right people and don’t have to rely on former bandmates like, let’s say, Dave “OBAMA IS THE ANTICHRIST” Mustaine for managing their public, legal and financial affairs.

You have Angela Gossow, your former singer, representing you, directly sending messages containing threats.

You’re a business run by people who probably shouldn’t be doing it, this ordeal was a bad business move and you might want to hire a consultant to help you out with this one.

Honestly, that looks a lot like amateur hour and it is unacceptable for a band that was once considered one of the spearhears of its genre. 

And that is actually what bugs me about you.

Sincerely yours,

Cranial Fornication.

[viruswithsaas]

Cranially Fornicated: the 2018 lists

General blabla

2018. Great year. A lot of high profile artists dropped new releases, there was a lot of interesting stuff and sometimes it was hard to pick an album to review. I didn’t get to reviewing the new Yawning Man and Krakow. Or the new Endtime Odyssey album. Too much, too little time and too much other, really urgent stuff. It still isn’t clear what 2019 will bring but wait and see. There is one thing that I’d like to add before getting to my lists of 2018 and that is a trend that I’ve been noticing. Thanks to YouTube and Instagram, the emphasis on the visual and aesthetic aspect of artists has never been greater. Look at Die Antwoord, IC3PEAK, Little Big, Cardi B., 6ix9ine, Ghost and many others. Instagram is beating the living shit out pop magazines because it’s on demand and instanteneous, YouTube is the new MTV and the platform has made and destroyed artists. If I were young again, I’d probably wouldn’t be interested in learning bass or piano again but instead I would pick-up photography, light and sound. In that regard, I think TikTok is interesting. It could become a laboratorium for producers and creatives, a hint of where the curve is going. It could but there are so many factors to take in; the technological landscape, the business side, the online community (there are some disturbing rumours about sexual predators being active on TikTok) and trends. But enough about that, time for the lists.

:D :D :D The best stuff of the year :D :D :D

(in rising order)

“The Sciences“ - SLEEP

The best damn stoner/doom album of the year without a doubt! And a record so heavy that it sorta destroyed the scene. As for why Sleep stands out so prominently from the rest of their peers, there are two aspects to it; one is the incredible chemistry between the bandmembers, the other is the incredible musicianship of the members. Sleep might seem to be more about long spaced out jams and gnarly fuzzes than actual songwriting but a jam band relying solely on “feeling the moment” could never have written something like the long and ambitious “Dopesmoker”-juggernaut. To write songs that feel like they were written on the spot, that takes mad skills and an unrelenting trust in your bandmembers. Great creatives make something intricate look something spontaneous and there is no greater stoner/ doom band than Sleep.

“Antipositive Pt 1 & 2″ - LITTLE BIG

Yes, Little Big. The collective of Saint-Petersburg based musicians, directors, EDM-producers and vloggers that has been raising the DANK-bar on the Internet for 5(!) years now already. At the time Little Big had the bad luck that Die Antwoord blew up before they did but now Little Big is Little Big and no longer “the Russian version of Die Antwoord“. If you look beyond the pseudo-cheap appearance and the irony, you will see a group of highly competent, passionate and driven creatives. And with a set of balls like concrete ostricheggs. Anyway, that group has created a brand that stands for something, that is not just “random weirdness”. There is something to it, a genuine sentiment and a punk-attitude. Otherwise, there is no explaination to why I’ve listend to much to these albums. The music is an updated version of Scooter and the Vengaboys but if it was just that, I would have abandoned these albums almost immediately. So, unironically, I’m including Little Big in this list.

“Unsung Prophets and Dead Messiahs” - ORPHANED LAND

In a more and more polarised world where the lives of the common folk are decided far above their heads, where the bile and venom run in wild rivers, Orphaned Land from the powder kegg that is the Middle East, is a necessary band and a reminder of who we are and where we stand. And an invitation to stand outside of the flock and meet the others. Musically, this is perhaps their most ambitious record with gorgeous arrangements, a deep theme and an urgent message. It is a bit of a shame that this metal band is not any bigger and is still touring little shitrooms in Europe but then again, their music is hard to digest. I love the band and all but I have to sit down with this album to fully enjoy it. Still, it is totally worth it. Compare it to eating fastfood in your car versus sitting at a table in front of beautifully seared steak.

“Cosmic Gods II: Astroatlas”- DOL AMMAD

Producer and Dol Ammad-mastermind Thanasis Lightbridge’s music is not just a gimmicky fusion between techno and metal, nor is the latest episode in the “Cosmic Gods”-saga a Star Wars-ripoff, it is an experience. An eclectic experience with not just pounding beats, unwordly synths, blazing guitar and larger than life choral lines but also nods of ambient, funk, classical and Greek folk-music. During the entire duration of said experience, your mind will wonder among the stars and fix your gaze to far away suns. Afterwards, you will feel refreshed and energetic. With renewed optimism, you will rise up and press that replay-button. The album of the year for me. Not only because of its amazing musical feats and gorgeous artwork but also because this should be the new beginning for metal music, much like Omrade did last year and Ulver. Taking the music in a brandnew, exciting directions. Guiding the music from the 80′s to 2019 where the lines between the scenes have been blurred, where variety is the rule and not the exception.

(:  (:  (: Other good stuff :)  :)  :)

“Revolution Against The Tired Noises” - YAWNING MAN “Death Bringer“ - NIGHTSTALKER [BE] “Anatomical Venus” - BLACK MOTH “Gateways” - THE VINTAGE CARAVAN “Cleave” - THERAPY?

Euh :s ????

I honestly still don’t know why I’m not liking the new rap/rock/rave combo Death Grips and Norwegian postmetal band Krakow. Neither album has elements that I dislike but they never really connect with me. Especially Krakow left me deeply underwhelmed. Despite having heard it five times, I stil don’t know what’s wrong with the album.

Duds :(

What I call duds, are records for which I’ve had high expectations but that disappointed me. The biggest one was the debut album of  Servants of the Apocalyptic Goatrave, the new project of Dutch d’n’b-producer Bongra. On paper, the album had everything to cause a braingasm but at its best, it was a black metal perody with a dry and thin sounding drum computer.

Insect Ark’s “Marrow Hymns” never really did it for me. At the time, I desperately tried to figure out the album because I really didn’t want to say that it’s not good but I never listened to it again after reviewing and the disappointing show at Roadburn left me somewhat empty.

Zeal & Ardor’s “Stranger Fruit” was not bad but it never really captured the overwhelming live experience of their gigs and it contained a little too much filler.

Another bummer was the new Corvus Corax. Live, this band is magnificent and epic, on record about as sterile and exciting as an operating table.

[viruswithsaas]

Miniature reviews

“Electric Messiah“ - HIGH ON FIRE

The shirt hating guitar giant Matt Pike strikes again! Earlier this year, he and the other members of Sleep dropped the best stoner rock/doom metal album of this year with “The Sciences” (and accidentally killed that scene in the process) but now he shines again on “Electric Messiah”, the new album from his other band High On Fire.

Where Sleep is thick, gnarly and slow, High On Fire is crunchy, fast and angrier. Think SunnO))) versus Slayer.

Any good? HOF has never released a bad record so far and “Electric Messiah” is again quality stuff. However, HOF’s albums tend to be a little interchangeable meaning that if you rather stick to “Death is his Communion”, you won’t miss much.

“Become” - Zardonic

Venezuelan producer Zardonic was not the first to mix electronic music with metal but he was the first to start from the perspective of a producer and not a band member. Over the years, he has delivered a steady stream of songs that are characterized by high energy, aggression and, despite the unholy mix of d ‘n’ b, dubstep and metal, relatively slick and easily digestible.

Any good? Most of it, yes. Zardonic does however heavily rely on the guest musicians making an appearance on this album and they make or break the track. For instance the Qemists deliver the goods on “Takeover” but Jørgen Munkeby (SHINING [NO]) is a disappointment, perhaps to his jazz-mindset being incompatible with the club-vibe of Zardonic.

“СКАЗКА“ - IC3PEAK

Who? A Russian horror-pop duo that makes gorgeous videos. The gothic version of Little Big.

Any good? The band cleverly use dynamics and style changes to create eerie, unsettling atmosphere but it gets boring really quickly due to the lack of variation, the run-of-the-mills instrumentation and the rather limited voice of the singer. The videos however are amazing.

“Queen of Darkness” -  SERVANTS OF THE APOCALYPTIC GOATRAVE

The new artistic life of d'n'b producer Bongra with a lot of atmospheric black metal-influences.

Any good? No. The artistic intentions are there, I applaud every attempt to present rock in a more contemporary setting, there are some great passages and I really REALLY want to like it but honestly, this sounds like a black metal parody and the drumcomputer playing superfast, dry blast beats doesn't really help either.

[viruswithsaas]

“Antipositive, Pt 2” - LITTLE BIG

Russian rave band and YouTube sensation Little Big have finally released, "Antipositive, Pt. 2", the follow-up to "Antipositive, Pt 1".

At the time I described the first Antipositive EP as not good but I also pointed out that Little Big is not about making the next “Electric Ladyland”. That opinion still stands but I don't think there is an album that I've put on more often than this one. For some reason this album, the music, the ideas behind the music along with the anger and disdain resonate with me. Plus, it is excellent work music.

And now its follow-up is here and stylistically, Little Big is still all over the place. My initial impression was that it sounded sillier than its predecessor. First single "Skibidi" is a dadaistic pop song. Seemingly made with extremely little effort or meaning but it worked and became the band's biggest hit so far (of course, the skibidi-challenge had a huge part in it). "Follow Me", featuring Estonian rapper and friend Tommy Cash, is an EDM banger that is just so incredibly catchy. "Mon Ami" is again Eurodance in a strange "frussian". The angry and more political critical side of LB does show up but only on the dub-dancehall track "Real People" and both versions of raver "Liar". One track that feels somewhat strange on the album is closer "Little Boy (Thank You Mom)", a rather tasty and modest ode to frontman and mastermind Ilya Prusikin's mother, even if it's by numbers. This track is far away from and even in contradiction with all the dank shit that built Little Big's career, all the weirdness that drew the world's attention to this collective of musicians and moviemakers in Saint-Petersburg. Perhaps it fits in the idea of the title track "Antipositive" on the first EP and the listener shouldn't see " being antipositive" as "acting pessimistic and cynical" but rather being sincere with one self. Or perhaps I'm overthinking and seeing things that aren't really there. That's up to you, dear listener. Still, it doesn't matter how you interpret this album. Little Big has managed to create their own little scene, they've not only trademarked their own style but expanded upon it and now they "own" it. Little Big has been doing this already for five years now with great succes and on their own terms. It is easy to forget about this with their high production videos but until now, the band remained unsigned. You might not like Little Big's music but they are very good at what they do. Time will tell if we're dealing with a fad band or the next Sex Pistols.

So, Little Big, "Antipositive, Pt 2", any good? Again, no but that's not the point. The album is fun in the same way as "Mystery Science Theater 3000" but there is a genuine sentiment behind everything presented here.

Anticheck the antialbum through this antilink; https://open.spotify.com/album/0kIcx4ojwAIHwIIPPm7UnN

[viruswithsaas]

“Deathbringer” - NIGHTSTALKER[BE]

The blog is not dead yet and starting from december, updates will follow more regularly. Before the end of the year, I still want to review the latest releases of Yawning Man, Little Big, Zardonic, High On Fire and Krakow.

But first "Death Bringer", the first full album of Belgian synth/grave-wave act Nightstalker[BE], annoying suffix added because there are a million acts called Nightstalker or Night Stalker. About one year and a half ago, Nightstalker surprised and charmed many people with his debut EP "Destination Dystopia" on which he presented a mix of synthwave, horror soundtracks and crunchy guitar. I was pretty enthusiastic about it at the time although that the EP lacked a money shot meaning that the vibe was there, the tracks were there but the "punch" and climax were missing. For "Death Bringer", Vincenzo Salvia was brought in to do the mastering and obviously Nightstalker[BE] took his time to work on the tracks.

And it paid off.

The beats are right on and cut through the mix, the synths sound MASSIVE but the biggest improvement I think are the guitars. On "Destination Dystopia", they sat a little too far in the back to have a profound impact. When you check out the album you will immediately notice how much more crunchier, richer and in-your-face on "Death Bringer" they sound. Despite everything going on, the record remains easy on the ear, unlike for instance the last Gost album.

Thanks to the extended playtime of the record, it's also more clear to me what Nightstalker[BE] is trying to recreate with "Death Bringer" and what he had in mind in a lesser degree for “Destination Dystopia”. For a full-blown dance album it is a bit too slow but the sinister melodies, the eerie harmonies, the brooding atmosphere and most of all the dialogues from horror movies… This is not just a soundtrack to a non-existent movie but rather an abstract soundplay. An idea is being implemented in the brain of the listener and he then recreates the movie in his mind.

Does Nightstalker keep this intricate idea up for an entire record? Almost. Most songs instantly connected with me;  “Death Has Come To Town” with its menacing and grand opening, I find “Beyond Darkness” fantastic in its simplicity,  “Repulsive Compulsion” has some soaring guitarwork.  “Alice In Chains” strangely enough feels more like a rock song but it is also one of the more uptempo tracks on the album. Thanks to the saxophone parts of Martin Le Vilain, ”Grave Pleasures”, the first single let’s say, has a smooth vibe. The tracks like “Gates of Hell” and “City of the Dead”... I don’t know. “City of the Dead” sounds a bit anticlimactic after the violent interlude that was “Cursed” and I flat-out don’t like “Gates of Hell”. Luckily, they are followed by the splendid finale with “Haunting the Night” and “Don’t Fall Asleep”; two tracks where all of Nightstalker[BE]’s characterics, mentioned all over this piece, come together: the grimm conclusion of the “Death Bringer”.

So, Nightstalker[BE], “Death Bringer”, any good? Definitely but it might need some time to grow on the listener. Despite that it has “VHS HORROR” written all over it, I found this one of the more “soothing” sounding electronic records of the year.

Get the Death Bringer  here! Keep in mind that neither the artists involved nor the nerd maintaining this blog are responsible for any stabbing events, mysterious disappearances, epidemic outbreaks or summoned demons. https://thenightstalker.bandcamp.com/album/deathbringer

[viruswithsaas]

“Cleave” - THERAPY?

Alright, about the lack of updates... I'll be moving to a new place soon. That means handling the red tape, finding and stuffing boxes an preparing my old place for the new tenant. To make things even more interesting, I'm living alone and have a full time job. Obviously, that means little time and even less energy. Once I've moved in, things will be back to normal again.

But back to the new Therapy?-album "Cleave", their 15th already. This Irish punk noir-band was one of THE bands in the 90's that put alternative rock on the map with catchy and yet very dark and violent songs. Perhaps Therapy? was darker and more violent than a Soundgarden or a Pearl Jam due to their punk rock influences (their biggest hit "Diane" is a Hüskür Dü-cover). Although the band peaked commercially years ago, they have never stopped music and even more, good music. "Suicide Pact - You First" came out quite some years after their platinum record "Infernal Love" and almost like clockwork, the band drops a song that can compete with the best songs in their by now huge catalogue. "Teethgrinder" and "If It kills Me" come to mind but also most recently the very sombre "Deathstimate" with the chilling line "the road ahead looks shorter than the one behind". So, Therapy? is more than a nostalgia band and their latest album "Cleave" confirms this.

The band has always been very good at fast punk rock songs with strong hooks and a very brooding atmosphere and ofcourse nobody expected them to start making trap at this point in their career but I was still very surprised by the very modern, almost djenty openers "Wreck it Like Beckett" and "Kakistocracy". Also "Dumbdown" is a fierce but modern track with a few jazz/fusion elements if my ears are right. The band can’t hold up that murderous tempo for an entire album which is understandable but even when Therapy? takes the foot off the pedal, it results in memorable moments. "Success? Success Is Survival" might not be propelled by a massive riff that pounds like a sledgehammer but it still has enough beef to stand out as one of the top tracks. Same with the single "Callow" that somehow felt more "fuller" in an album context than as a single. There are however a few weaker moments. "Expelled" sounds a bit too much like 2018 Therapy? trying to sound like 1994 Therapy?. Same with "Crutch" and "I Stand Alone" I'm still not sure what to think of "Save Me from the Ordinary". I like the bouncy feel of the verses but it never builds up something. Still, compared to what's played on the radio, even the least solid tracks presented sound fresh and "substantial". That's partially the achievement of Therapy? but unfortunately also partially the rather pathetic state of popular rock music.

So, Therapy?, "Cleave", any good? Oh, it is good. This band is just so damn competent at what they do and unlike other bands still have a very strong drive, a hunger and a sense of urgency. Just for that Therapy? deserves your attention. Be sure to catch them live if you can. Formidable live reputation.

Cheaper than therapy, here is Therapy? https://www.pledgemusic.com/projects/therapy-cleave

[viruswithsaas]

“Stranger Fruit” - ZEAL & ARDOR

A few years ago, nobody had heard of Zeal & Ardor or its American-Swiss frontman Manuel Gagneux, apart from the Roadburn-afficiandos. At the time of writing, Z&A just set Pinkpop on fire with a furious set before embarking on a North-American tour. It all went really fast and as far as I'm concerned, this band totally deserves it. Although the idea of throwing together gospel and black metal started out as a joke on 4Chan, the mix turned out to be extremely enchanting and explosive. As if the two genres were made for each other. I have yet to see the band live but judging from what I've seen, it is nothing short of an energetic experience, a dark mass that grabs your attention and doesn't let go until the lights go back on.

The records however never really convinced me. The first album "Devil Is Fine" was with a running time of 25 minutes flat a little bit too short. The second album "Stranger Fruit", a fine reference to the sinister Billie Holiday classic, feels too long. Not that Gagneux is phoning it in, on the contrary, he has further refined his formula and consequently proved that Z&A is not a gimmicky throwaway product but a full fledged band on the rise. He has broadened the emotional spectrum of the band. "You Ain't Coming Back" has a more emotional vibe than, let's say, the sinister title track or the funky, danceable "Row Row". "Built On Ashes" has despite the grim message, an uplifting vibe. I like to think that the listeners gets a foreshadowing in the intro where a simple blueshook and the sound of carpenting sets the tone of the album before it bursts into blazing atmospheric black metal. Apart from the strange interludes "The Hermit", "The Fool" and "Solve", there is nothing bad to say about the album. In fact, I think the first of the album is right there with Orphaned Land and Dol Ammad but right after "The Hermit", which doesn't fit on the album at all, the flow seems to be gone and the rest of the album feels more like a collage than a full album to be experienced from beginning until end. For instance, the second last track is this wicked mix of pseudo-gregorian chanting with gospel and massive black metal. It builds to something apocalyptic, to a scene of fire and brimstone but instead it ends with "Built On Ashes". I really want to like this album and maybe this is something that can be arranged with cutting a few tracks, rearranging the song order. Still, no matter how much I want to like the album, I honestly feel this is the fresh air that metal desperately needs, even I have to admit that "Stranger Fruit" and "Devil is Fine" never fully succeed in capturing the energy and the demanding presence that makes this band such formidable ensemble.

Still, keep an eye on this band and if you can, buy a ticket to one of their shows.

REPENT! CONFESS! AND PRAY FOR YOUR SALVATION! Or just head over to Bandcamp: https://zealandardor.bandcamp.com/

[viruswithsaas]

“Gateways” - THE VINTAGE CARAVAN

And 2018 is turning out to be not just a good year but a great year. After Orphaned Land, Dol Ammad, Little Big and Sleep, Icelandic retro-rock threepiece The Vintage Caravan have just released their third album “Gateways”. Although, “retro-rock”… Yeah, not really.

I’m shorthanding The Vintage Caravan with that label. The band obviously draw a lot of inspiration from the 70’s and they use a very vintage, almost classic tone, certainly guitarist/singer Óskar Logi Ágústsson. However, compared to other retro bands, Blues Pills and Kadaver come to mind, TVC has a more modern approach to their songs. The attack of the band has more bite and punch, their attitude is little bit cockier and the grooves are harder, more outspoken. All this results in what I think is one of the most exciting live bands at the moment. To give you an idea, I once skipped Motörhead at Wacken 2015 -give or take a year- to see The Vintage Caravan and nobody in that Marquee missed Lemmy at that moment.

“Gateways” is the next logical step for TVC. The band has always sounded very mature but their confidence never came out quite like this. You might hear it on a the fast, swinging bangers like “Reflections” and opening track “Set Your Sights” or not. I mean, these guys have always been really good with that kind of songs, due to their tight and compact sound. But check out songs like “On The Run” and “Nebula”. Those are slower songs but still with that irresistible groove that will your girlfriend shake what her momma gave her. “Nebula” even has an instrumentation that goes way beyond the classical three piece. I mean, it is not the first track that doesn’t keep strictly to guitar/bass/drums/vocals, all over the album are organs, acoustic guitars and synths audible but “Nebula” is the most ambitious track and about as close as TVC comes to a space rock opera. Not a track that a band would attempt to write.

Also the singing and harmonic layering are more ambitious. I think the band does it best on “On the Run”. The extra vocals give a little bit of a melancholy feel. “Reset” is perhaps a bit barkier than “On the Run” but listen to the harmonies in the pre-chorus and how comfortably they nest in your ear. That’s craftsmanship. But I’m just rambling now and there is one song that pretty much sums up the entire album. All the thing I’ve mentioned, the improved songwriting, the confidence, the singing all come together in what just might be the best track on the album “Hidden Streams”. The band plays very clever games with the listener and unleash some of their hardest riffs along with a clever use of the synth and choral singing. All that without sacrificing the vocal hook or deliverance. Brilliant track. 

So, The Vintage Caravan, “Gateways”, any good? Just shut up and play the record already.

YEAH! WHAT THE MAN SAID! https://www.nuclearblast.de/en/products/tontraeger/vinyl/2lp/the-vintage-caravan-gateways-black-vinyl.html

[viruswithsaas]

“With Animals” -  MARK LANEGAN & DUKE GARWOORD

You know what the most important thing in life is? 

Sincerity. It is the first dominostone

From sincerity comes acceptance.

And acceptance brings clearity.

And clearity makes way for wisdom.

Sincerity commands me to admit and accept that I've outgrown Mark Lanegan. There was a time that I followed his career passionately and I've seen him live quite a few times. Happy times and younger me was very happy and adored how Lanegan could even shroud a story about a unicorns that farts kittens in darkness. Older, wiser me however is no longer impressed by that trick and once described Dark Mark as an one trick pony with a limited vocal range. Nothing that he has done since the Gutter Twins album back in 2008 has really moved me or surprised me. On his latest release "With Animals" Lanegan collaborated with English multi instrumentalist Duke Garwood and the result is one of the most boring records I've ever heard.

Garwood does very little in terms of instrumentation to keep it even remotely interesting. Everything he does, is so sparse and yet forgettable that the best way to describe it would be "elevator music". Think drum samples without punch, clichéd guitar parts from a million other semi-rootsy, ambient blues albums and a boutique verb pedal. Without Lanegan nobody would even bother looking Garwood's way.

And Lanegan, he does his thing like he has done a million times by now but with each new record, he seems to lose some conviction and drive. What makes this extra painful is that I remember how Lanegan sounded in the past. It is hard to believe that the vocalist who phoned it on "With Animals" is the same mess of a person who growled and snarled on the incredibly dark and edgy "Here Comes That Weird Chill" EP.

So, Mark Lanegan & Duke Garwoord, "With Animals", any good? To be honest, I don't think even they like the album because at no point do either of them show any enthusiasm. This record is really going nowhere and it is taking the most monotone way.

Are you lying awake at 3AM thinking of new ways to punish yourself? http://heavenlyemporium.com/mark-lanegan-and-duke-garwoo/

[viruswithsaas]

"Cosmic Gods Episode II: Astroatlas" - DOL AMMAD

YES! This was another release that I was eagerly awaiting. Greek producer Thanasis Lightbridge won me over several years ago with Dol Ammad's first Cosmic Gods LP "Hyperspeed" and its mix of techno, extreme metal and epic choral vocals or, in his own words, electronic art metal. Anyway, it was a new, fresh sound that was exciting and unique. Still is, actually.

By the way, Dol Ammad is one of three electro-metal projects from Lightbridge. There is obviously Dol Ammad which strives to be larger than life, then you have the more atmospheric Dol Theeta and if you feel like getting nice and filthy and disgusting, you should check out the grindcore-esque Dol Kruug but back to the matter at hand.

Compared to "Hyperspeed", "Cosmic Gods Episode II: Astroatlas" is one huge level-up. Thanasis Lightbridge has grown and matured as a composer and a producer and it shows most prominently in the choral arrangements: more dynamics, more complex lines and the singing is in general just far more effective. You hear it right away on the opening track "Force of Freedom" and the closing track "Silent Arrival at the Alpha Leonis Lighthouse". Especially the singing on the last act of the latter hits all the right spots.

Instrumentally, this is some of the most adventourous, diverse work Lightbridge has ever done. The track "Astroatlas" is very metal-based and can compete with bands like Epica and Nightwish in terms of grandeur but will win in other fields because this song is just so fierce and, pun intended because Greek mythology, heavy. "Nebula 71" then again is heavily influenced by old school funk and soul and I find it equally irresistible,just listen to the bridge and tell me you don't feel like your penis has grown three extra inches. And then there is another part in "Planet Doomsday" that has a Greek/Turkish vibe with exotic percussion and rhythms.

But I'm picking up the most flashy bits of earcandy. The entire album is really one overhwelming piece of work and yet, it's so reviving and energising. There is so much going on but at no point does Lightbridge exhaust the listener. Partially he's able to keep it all reasonalble due to the unpredictable nature of his own blend of electro and metal but also by cleverly cueing resting points like "The Healer" and "Biobomb".

I've said this a few times already in other reviews but here I go again: discovering this album for yourself is a big part of the fun and with the carefully orchestrated mayhem that's "Cosmic Gods Episode II: Astroatlas" there is a lot to explore.

So, Dol Ammad, "Cosmic Gods Episode II: Astroatlas", any good? You have no idea. It's an album that you have to hear to believe and it will end up very high on my list of favourite records in 2018.

Thanasis Lightbridge deserves your support! I'm not saying that the Greek economy is still bad but if you found it in the toilet, you'd flush it. So, go and support his amazing work over at Bandcamp! https://dolammad.bandcamp.com/

And now for no reason, here’s a screenshot of Lightbridge’s cat Batman from the “Astroatlas“-video linked above.

[viruswithsaas]

Mini-reviews

This week, there hasn't really been a record that caught my eye or really intrigued me. Or rather, I was curious about a few releases but none of them moved me enough to write a long piece. So instead, you will have to do with three mini-reviews.

"Qualm" - Helena Hauff

One of the much anticipated and hyped releases from the legendary Ninja Tune label. The pitch to Hauff's latest album was "dark and gritty". I just heard underproduced minimal. Maybe that people who are deeper into the genre than me will find it interesting but I prefer my electronic music nice and slick.

"The Healer" - Charlotte De Witte

Belgium's leading lady in techno. The domestic press is quick to praise her. While she certainly has achieved a lot in a short amount of time (remember, she had already made a huge career as Raving George). I was underwhelmed by her latest album. It's good, it's slick but the songs build up too slowly for my liking.

"Skál" - Corvus Corax

I don't know what it is with this German folk-band. Corvus Corax is one of the most exciting and fun live acts, an absolute must see for everybody, but their records, especially the latest ones, are so sterile that it becomes the soundtrack for a clean room. This one isn't really different except that here CC tries to copy Norwegian folk act Wardruna every now and then. 

[viruswithsaas]

“Terminal Leeches” - SLAVE TO SIRENS

A bit later than usual but a) it’s hot, b) the heat keeps me from getting a decent night of sleep and c) the heat is turning my right leg into mush, causing major infections and agony.

Anyway, Slave To Sirens, the all female thrash/melodic death metal band from Lebanon then.

Why Slave To Sirens, the all female thrash/melodic death metal band from Lebanon?

Partially to remind you that metal is no longer just a thing of North-America and Western-Europe but it has become a global movement. Brazil has delivered some top notch metal bands, the whole of Latin America has a thriving hardcore punk scene. Metal is big in Eastern Europe. You have some insanely technical oriental metal bands and Bloodywood from India is slowly taking over the Internet with a hectic but fresh modern take on crossover metal. Obviously you can’t forget Orphaned Land and Melechesh. Even African metal bands are slowly beginning to find their way to the rest of the world.

And another reason is that I have a soft spot for the bands of Northern Africa and the Arabian peninsula simply because it is a totally different world where religion and traditions unfortunately still play a large role in everyday life and in the political landscape. There are activists in the EU, Canada and US who complain a lot about islamophobia and communism and nazism and political islamism being on the rise and what not. You can agree or disagree, it doesn’t matter to me, but at least those activists enjoy freedom of speech and they are free to say whatever they want and the same goes for their adversaries. Unfortunately, that freedom of speech is not a given thing in for instance Iran or Saudi-Arabia, let alone starting a black metal band or following a bunch of Israeli musicians.

Although Lebanon has a reputation of one of the more progressive, multicultural countries in the Middle-East, things are never certain in the region or easy. For now, christians and moslims co-exist in Lebanon but who knows what Iran in the form of Hezbollah is up to or how the crisis with neighbour Syria is going to develop. And although women can attend college in Lebanon, they are apparently not expected to pursue a flourishing career. Playing in a metal band is not the same as risking your life but as a musician you become a target of gossip/slander and being labeled an outcast.  In that regard, I have a deep admiration for metalheads from that part of the world.

As for the EP “Terminal Leeches” by Slave to Sirens, it is thrash/death, it’s about as straight forward as it can get but it is made with love and guts.

Falafel, hummus and Terminal Leeches, truly a feast fit for a king; http://hyperurl.co/ulcop6 P.S. If you know more bands from Africa, the Middle-East, Pakistan, Afghanistan, Indonesia or any other country where plugging a BC Rich into a Peavy is not without risk, hit me up with links!

[viruswithsaas]

“Northern Chaos Gods” - IMMORTAL

After the legal battle, the mud slinging, the waiting and Abbath’s solo album, Immortal is back with a brandnew album called “Northern Winter Gods”. For those unfamiliar with this Norwegian black metal threepiece, Immortal is both one of the most ridiculous, memiest, worst black metal bands and the most recognisable and beloved act in the genre with quite a few classic tracks to their name. To give you an idea, their album “Battles in the North” is often considered to be one of the worst black metal albums ever but “One by One”, “Tyrants” and “At The Heart of Winter” are actually great songs with crisp production and tasty riffs. But enough about the past, now back to 2018, the new album, the first one with Demonaz back on guitar and vocals after almost 20 years (not counting lyrics) but without frontman Abbath.

Despite the line-up change, it doesn’t sound too different from business as usual although opening tracks “Northern Chaos Gods” and “Into Battle Ride” seem to grab back to the band’s earlier harsher, less heavy metal influenced style.

Maybe not super original but with magnificent, larger than life tracks like “Gates to Blashyrkh”  and “Called to Ice” who can complain? Even more, apart from closing track “Mighty Ravendark” that goes on too long, there is not a single bad track on the album.

But again, this band is not really about originality or making a groundbreaking album but making a solid album. It is an Immortal album and if you are into this band, it is going to sound familiar and you are going to love it. The differences between this Immortal and the old one are present but subtle. It really is business as usual.

Now my my favourite Immortal-meme.

Oh, Northern Chaos Gods, hear my humble prayer and take my money! https://media.nuclearblast.de/shoplanding/2018/Immortal/northern-chaos-gods.html

[viruswithsaas]

“Year of the Snitch” - DEATH GRIPS

No idea what you think about 2018 but so far, it has been an excellent year for music. There was Orphaned Land's "Unsung Prophets and Dead Messiahs", Little Big dropped a very Little Big-album with "Antipositive Vol. I", "The Sciences" by Sleep seemed to come out of nowhere but it just might be the best damn stoner album of the last years. Bloodywood from India is giving metal a much needed firm kick in the behind. I'm also a big fan of the Nebula Records compilation "Cassiopeia A" and Black Moth's "Anatomical Venus", two albums that I enjoy for different reasons. And I'm still awaiting new releases from NightStalker[BE], Dol Ammad and a few others. Again, 2018 is an excellent year when it comes to music.

Another big release that seemingly came out of nowhere is the new Death Grips album, "Year of the Snitch". This US trio is immensly respected by indie fans who don't really belong to this or that scene. Not that Death Grips is bland, far from it, but the band itself doesn't really fit into a macro genre either. In a nutshell, Death Grips uses hip hop and rock instrumentation to create raves. That is honestly the best description that I can give for this band.

Before continuing, I need to confess that I'm not all too familiar with the rest of the discography and although I like what they are doing, it took me a while to figure out what that exactly was. I'm going to give my opinion but I encourage you to give this band a fair listen with an open mind. Consequently, I won't go over the songs in detail. Discovering what you hear is half the fun with Death Grips and their unpredictable style which means that we can immediately jump to the big question.

So, Death Grips, "Year of the Snitch", any good? It definitely has some Grade A cuts. "Black Paint" and "Shitshow" are absolute killer tracks and bonustrack (?) "Disappointed" is a complete mindfuck. There are a few tracks that leave me somewhat indifferent like "The Fear" although I can't really figure out why. The deliverance is top notch, the track is unpredictable yet exciting and bounces all over the musical spectre. Same with “Little Richard” and "Dilemma". There is something that prevents me from loving these songs and the same could be said about the album in its entirety. I’m not entirely sure what that something is but it might be one of the following three options.

Option a. It's missing a "Get Got" and "I Keep Giving Bad People Good Ideas". Those classics songs had this urgent vibe, this attitude of "let's get this out before our heads explode". "Year Of The Snitch" doesn't have a track like that although it comes close with "Flies".

Option b. There is a message that I am missing. Again, I am by no means an expert when it comes to Death Grips and it might be very possible that there is a theme going on that is somewhat hidden. If this should be the case, let me know.

Option c. The tracklisting is off. If you find yourself in the same situation as me where you can't figure out what the fuck is wrong with this album, do this. Start the album but don't play the songs in their entirety, just play the intro until the first verses then skip the to the end of the song and then fast forward to the next track. This is something that I do when I'm putting together a playlist for Bulldogs-radio to make sure that the "flow" is right. When I do this with "Year of the Snitch", it feels “off” or “wrong”. It jumps too much from mood to mood and is leaving me somewhat confused and unfullfilled.

Now it’s up to you to make up your mind.