KMFDM’s new album Enemy is just as visionary, vibrant and energizing as they’ve ever been. Though they have been through many lineups and hiatuses over the years, they still manage to keep their blueprint of nostalgia which can only be described as a factory floor on a spaceship which just so happens to be hosting a thrash metal gig.
KMFDM prioritizes a highly cinematic atmosphere that's action packed and dystopian with an unbeatable amount of spirit that’s gripping and has the potential to captivate the most cynical of metal listeners. There is a mixture of vocal styles, Sascha Konietzko’s signature loud and gritty shouted vocals and the softer more silky vocals by Lucia Cifarelli which plays a central role within this album.
Each track in Enemy has something interesting and unexpected sprinkled in; Outer National Intervention has a bouncy and electric atmosphere with an eerie synthesizer or theremin paired with some heavy-duty riffs which is campy, fun and kicky and a definite floor filler. It’s classic KMFDM, It’s technically explorative with a sci - fi spin.
Track 8, Stray Bullet is a Reggae cover of a fan favourite which is a switch up from the rest of the album just when you thought you might be getting bored and is just as much a delight to listen to and shows us the remarkable technical range KMFDM has as well as their clear knowledge of what we expect from them and how to keep us interested.
There is so much to listen to; you'll be picking up different elements every time you put it on. There's something so magnetic about KMFDM, even within a genre where arguably most of the music sounds the same, KMFDM’s Enemy brings us once again a well-crafted bridge between a mosh pit and a rave. I feel like it will be too satirical and clubby for some people, but they would be missing out on something truly fun, lasting and unique 10/10
There is so much to listen to; you'll be picking up different elements every time you put it on. There's something so magnetic about KMFDM, even within a genre where arguably most of the music sounds the same, KMFDM’s Enemy brings us once again a well-crafted bridge between a mosh pit and a rave. I feel like it will be too satirical and clubby for some people, but they would be missing out on something truly fun, lasting and unique 10/10
Induction - Love Kills! (Reigning Phoenix Music) [Matt Bladen]
Ah power metal always a long time love of mine and there are plenty of bands who can do it well as well as really badly. Induction are one of the former, as they put together a modern style of power metal that is full of pulsing beats but there's an old school edge that comes from the early speed metal days too. This is probably because Induction is led by Tim Kanoa Hansen, son of Kai Hansen of Helloween/Gama Ray so power metal pumps through his blood and through his guitar, linking up with Justus Sahlman for the twin axe attack of this record.
Now Induction have climbed the ranks very quickly picking up some high profile supports such as Sonata Arctica, Battle Beast and Accept. Across their two albums they've expanded their progressive power metal sound into wider realms than any previously. With their third record Love Kills! they've brought in the melodies of AOR on the duet Strangers To Love while War Of Hearts has the boisterous thump of the those pulsing synths that are all the rage nowadays, as does I Am Evil.
Ah power metal always a long time love of mine and there are plenty of bands who can do it well as well as really badly. Induction are one of the former, as they put together a modern style of power metal that is full of pulsing beats but there's an old school edge that comes from the early speed metal days too. This is probably because Induction is led by Tim Kanoa Hansen, son of Kai Hansen of Helloween/Gama Ray so power metal pumps through his blood and through his guitar, linking up with Justus Sahlman for the twin axe attack of this record.
Now Induction have climbed the ranks very quickly picking up some high profile supports such as Sonata Arctica, Battle Beast and Accept. Across their two albums they've expanded their progressive power metal sound into wider realms than any previously. With their third record Love Kills! they've brought in the melodies of AOR on the duet Strangers To Love while War Of Hearts has the boisterous thump of the those pulsing synths that are all the rage nowadays, as does I Am Evil.
From the industrial beginnings of Virtual Insanity (not a Jamiroquai cover) the galloping triumphal power metal of Steel & Thunder and Beyond Horizons. The rhythm section of Dominik Gusch (bass) and Markus “Maks” Felber (drums) drive the swaggering Gods Of Steel. They're also as behind the battery on The Veil Of Affection, which also shows off the vocals from Gabriele Gozzi, his range is wide and full of grit, the full range coming on the closing epic Empress.
Induction bring more influences to their already formidable sound with their third album Love Kills! a band who will be the knocking at the door of the genre leaders sooner rather than later. 8/10
In Aeternum - Of Death And Fire (Soulseller Records) [Mark Young]
Capping this first week of February, In Aeternum have undergone something of a resurrection themselves, returning after a period away to usher in a brand-new release of black death metal. Generally speaking, any metal that comes from Scandinavia comes with an almost ingrained way of doing things, an unconscious choice made to make sure that the music to follow is as extreme as possible. Its doesn’t mean that every album is a world breaker, but it means that they know what constitutes good metal.
Of Death And Fire is such an album. It has all of the right ingredients needed to make a death metal album but suffers at times from a lack of focus, utilising speed as a means of bludgeoning the audience when a lighter touch would have sufficed. There is the now de rigueur intro track that morphs into Beneath The Darkened Tomb which represents the unfocused aspect here. It rumbles in, on that front foot opting to batter you from start to finish. Trem picking, double bass and heady melodic lines it’s a fine opening track but one that tries to bring a number of threads together.
In Aeternum - Of Death And Fire (Soulseller Records) [Mark Young]
Capping this first week of February, In Aeternum have undergone something of a resurrection themselves, returning after a period away to usher in a brand-new release of black death metal. Generally speaking, any metal that comes from Scandinavia comes with an almost ingrained way of doing things, an unconscious choice made to make sure that the music to follow is as extreme as possible. Its doesn’t mean that every album is a world breaker, but it means that they know what constitutes good metal.
Of Death And Fire is such an album. It has all of the right ingredients needed to make a death metal album but suffers at times from a lack of focus, utilising speed as a means of bludgeoning the audience when a lighter touch would have sufficed. There is the now de rigueur intro track that morphs into Beneath The Darkened Tomb which represents the unfocused aspect here. It rumbles in, on that front foot opting to batter you from start to finish. Trem picking, double bass and heady melodic lines it’s a fine opening track but one that tries to bring a number of threads together.
The Day Of Wrath continues in that same aggressive vein, again its ok as it observes the rules of engagement for heavy metal – never be boring, bring riffs and a lead break if you don’t mind. Both do what they need, its that they don’t feel essential to me. When Spirits Of The Dead kicks in, it becomes a different proposition. This slower, muscular approach is ideally suited to them, and it’s a quality track that has this bullet proof main riff to it. Here the melodic touches shown earlier shine through without softening it up. It is a cracker, and then followed up with Mortuary Cult.
Here, the speedy attack returns, but with a difference. It keeps the build simple, going for efficiency which in turn aids the increased velocity. The Vile God Of Slime completes this early hat-trick, with a grinding tone and that mid-tempo pace. Its takes its time, unhurried and like Spirits, shows that this is the right way for them.
I’m not suggesting for one second that their faster attempts are poor. Far from it, they are decent examples of the form. Its when they go for that measured attack, the music seems to have more time to breath. Bow To None manages to combine both ways to a good effect with Goddess Of Abominations a particular favourite with climatic melodic breaks and crawling rhythms making it one of the strongest tracks here. Was it a confidence thing that they needed to kick off the way they did here? Maybe but as it goes there is more fun to be had with those mid-paced affairs, they just seem to fit them better.
I’m not suggesting for one second that their faster attempts are poor. Far from it, they are decent examples of the form. Its when they go for that measured attack, the music seems to have more time to breath. Bow To None manages to combine both ways to a good effect with Goddess Of Abominations a particular favourite with climatic melodic breaks and crawling rhythms making it one of the strongest tracks here. Was it a confidence thing that they needed to kick off the way they did here? Maybe but as it goes there is more fun to be had with those mid-paced affairs, they just seem to fit them better.
Nothing against Beneath The Darkened Tomb, or The Hourglass, they are just not as interesting as Spirits Of The Dead or Goddess Of Abominations. Of course, a lot rests on the closing track to finish things off. To Those Who Have Rode On (ft Erik Danielsson) is a belter. It is the definition of leaving the best for last, a super-strong climax bringing the lead breaks and all the atmosphere you could possibly want. On the whole, we have a 11 tracks that can be split into ok and very good. Ultimately, its decent if unbalanced return for In Aeternum, one where the good is outweighed by the better. 7/10
Jack Harlon And The Dead Crows - Inexorable Opposites (Magnetic Eye Records) [Rich Piva]
Only recently did I come to know that the Jack Harlon from the band Jack Harlon and the Dead Crows was not a real dude, but the fictional hero that band leader, Tim Coutts-Smith, created for the universe that makes up the band’s (amazing) back catalog. In speaking with Tim on The Rich & Turbo Heavy Half Hour, Jack is a sort of a Ziggy Stardust alter ego that has really driven his songwriting and output up until this point. The band’s new record, Inexorable Opposites, still has some elements of Jack, but Coutts-Smith has created his most personal material in the form of the eight tracks on what is his best record till date.
Why is this the best work from the entity known as Jack Harlon and the Dead Crows? First, the songwriting is next level, with Coutts-Smith incorporating more of his personal experiences and work in the mental health field into this set of songs. Songs like Dave Is Done and To Die would not have shown up on a prior JHATDC record. Inexorable Opposites is infinitely better for it. Second, new drummer Brayden Becher makes the Harlon sound so much bigger and so much heavier. Just check out the opener, Moss, and the killer track Seer, for evidence of his impact on the record.
Jack Harlon And The Dead Crows - Inexorable Opposites (Magnetic Eye Records) [Rich Piva]
Only recently did I come to know that the Jack Harlon from the band Jack Harlon and the Dead Crows was not a real dude, but the fictional hero that band leader, Tim Coutts-Smith, created for the universe that makes up the band’s (amazing) back catalog. In speaking with Tim on The Rich & Turbo Heavy Half Hour, Jack is a sort of a Ziggy Stardust alter ego that has really driven his songwriting and output up until this point. The band’s new record, Inexorable Opposites, still has some elements of Jack, but Coutts-Smith has created his most personal material in the form of the eight tracks on what is his best record till date.
Why is this the best work from the entity known as Jack Harlon and the Dead Crows? First, the songwriting is next level, with Coutts-Smith incorporating more of his personal experiences and work in the mental health field into this set of songs. Songs like Dave Is Done and To Die would not have shown up on a prior JHATDC record. Inexorable Opposites is infinitely better for it. Second, new drummer Brayden Becher makes the Harlon sound so much bigger and so much heavier. Just check out the opener, Moss, and the killer track Seer, for evidence of his impact on the record.
The heaviness of the record overall, not just from the drums but certainly influenced by it, takes the fuzzy heavy blues sound of JHATDC and ratchets up their definition of what heavy sounds like. Venomous is a track that outlines this, with its killer riff and grungy tones. The songs on Inexorable Opposites sound bigger too, with more atmosphere and a wall-of-sound leaning direction, like on Mt. Macedon. The aforementioned To Die, the closer, is where Jack steps back and Tim steps forward.
The quietest, yet heaviest song ever put on a Harlon record, this is Coutts-Smith stripped naked, stepping into the light, leaning less on a character and more on himself, akin to how Igor Sydorenko from Stoned Jesus did the same on his closer, Quicksand, from last year’s amazing Song To Sun. Both are breathtaking and inspiring songs, not because of the content, of which both are amazingly deep, sad, impactful, and emotional, but from a standpoint of putting yourself out there, out of your comfort zone, for all the world to see. Amazing stuff.
The world of Jack Harlon is not dead on Inexorable Opposites, but the line between the creator and the character has certainly been blurred, and the outcome could not have been better. An excellent record that everyone should check out. 9/10
The world of Jack Harlon is not dead on Inexorable Opposites, but the line between the creator and the character has certainly been blurred, and the outcome could not have been better. An excellent record that everyone should check out. 9/10
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