Recorded at the Astoria venue in London’s Soho, Malicious Damage captures the power and industrial intensity of Killing Joke in concert. If you’ve ever seen them live, you’ll know that they are captivating, supported by their army of Gatherers. This show features one of the last shows with bassist Paul Raven, who died in 2007. Alongside Raven, guitarist Geordie Walker, drummer Ted Parsons (Prong, Godflesh), keyboardist Nick Walker and of course Jazz Coleman on vocals. Coleman’s vocals are trademark raw and raspy from the early parts of this recording, but in some ways that captures the uncompromising and violent environment that Killing Joke generate live.
By 2003 the band had not only reformed but had released one of their best albums in the second Killing Joke named release, with Dave Grohl guesting on drums. That album contributes five tracks to this release and heralded the return of Raven to the band although Youth and Geordie Walker also played bass on the album. With the world in meltdown, the USA flexing its muscles across the world with the Second Gulf War, Coleman and Grohl had collaborated in response to what they felt was the, Axis Of Evil, one of the working names for the album. Coleman commented at the time: “It's the beginning of the American Empire. They're taking over the world. That's what's happening, and here we are at the heart of the fucking enemy. I never thought I'd see the day”. Malicious Damage captures the raw rage and reflection from that period and the 2003 Killing Joke album, with the tracks Blood On Your Hands, Total Invasion and The Death And Resurrection Show all particularly poignant.
Mixed in with the tracks from Killing Joke are a smattering from their extensive discography, switching from opener Communion from 1996’s Pandemonium to 1980’s Requiem with seamless ease. Their post-punk and industrial style has crossed many genres from the first days, and they remain an essential band today. This recording gives a taste of their power and potency in the live arena. It is a remarkable representation of a band at their most aggressive, compelling and intense. 8/10
Alunah: Violet Hour (Heavy Psych Sounds) [Paul Hutchings]
Fresh from their superb performance at HRH Doom Vs Stoner comes the latest release from Birmingham doomsters Alunah. The band has undergone a couple of line-up changes in recent times, but vocalist Sian Greenaway and guitarist Dean Ashton have slotted very comfortably into the band and Violet Hour is a very neat slab of doom filled metal. Greenaway’s voice broods with melancholic malevolence throughout, the riffs rain down and the clouds gather overhead in celebration. This is miserable in a way only this type of band can conjurer up. The heavy doom and psych blend are delivered with aplomb, the songs creative and original, allowing the listener to sit back and enjoy the art that is created. From the pomp and ceremony of opening song Trapped & Bound, the bounce of centrepiece song Hypnotised through to the stunningly composed and performed Lake Of Fire which closes out this album, there is versatility, melody and enough heft for this to be an album on repeat play for months to come. 8/10
Asagraum: Dawn Of Infinite Fire (Edged Circle Productions) [Val D'Arcy]
Dutch black metal band Asagraum return with their second full length album and follow up to their 2017 debut, Potestas Magicum Diaboli. Having shed a third of the band, the remaining female duo seem set for greatness with Dawn Of Infinite Fire. Before anyone gets excited over the fact that I dared make reference to their gender (or even assume it for that matter), like it or not, it's a distinction. The truth is, there is not an abundance of successful, entirely female acts in the genre and this one may come as a surprise to many traditionalists. Beyond that superficial distinction and somewhat irrelevant hint at a statistic, there is nothing in this auditory experience that bares any relevance to that whatsoever, it's very much about excellent music, as is the rest of this review.
I must admit when I first came across this band, playing at London's Incineration festival back in 2018 I didn't pay them a great deal of attention. It wasn't until the announcement of the upcoming release of this album did I look again. I was curious to hear and read what others in the field made of it; what was interesting is the number of comparisons I have read, particularly of this album, which compares the sound to that of 90s Norwegian Black Metal which, in my opinion is all wrong. This is distinctly a Swedish sound, reminiscent of Dark Funeral, Watain, Setherial, Naglfar and would appeal to fans of such. If anything, I can sense some cross pollination at work here with the sounds coming across the Atlantic from the likes of Uada, Vukari, Nightbringer, adding that dark, atmospheric, ritualistic stench to the rapid fire riffing of the Swedish style. I must say, it works very well.
They Crawl From The Broken Circle is a complete mix of techniques and sounds, from the fast paced triplets and chord progressions of the opening bars to the melodic bridge to more mid-paced groove rhythms in the second half; it's a strong opener. The Lightless Inferno charges straight onwards without hesitation into the next four and a half minutes, which are densely laden with that all too familiar Swedish fast paced, aggressive torrent of riffs and blasts; It doesn't relent throughout its entirety. Straight into Abominations Altar which, again, showcasing more diversity opens with a Black n Roll riff, before moving back into melodic, groove territory. Gauhaihoque takes us on a slight detour introducing a slower, ambient atmosphere, invoking darkness, again present in Waar Ik Ben Komt Dood with the addition of monotonous and haunting chants dragging us into their satanic rite.
There is nothing groundbreaking or particularly original in terms of approach or styles when it comes to this record, but that's OK, there doesn't have to be. All too often I listen to new Black Metal albums lately which try far too hard to differentiate themselves by any means possible. Addition of obscure non-metal instruments, fusions with atypical genres or outlandishness for no reason other than to claim the title of world's first. None of that here, just Black Metal played really well. 7/10
Deaf Rat: Ban The Light (AFM Records) [Rich Oliver]
Ban The Light is the debut album by Swedish hard rockers Deaf Rat. Deaf Rat are a band that blend together elements from classic rock and contemporary hard rock and add to it a metalized edge so you have a bunch of songs with solid riffs, big melodies and plenty of groove. The band perform with plenty of energy and enthusiasm and frontman Frankie Rich has a great set of pipes on him whilst the songs themselves are lively with the majority of them being made up of high octane rockers with only ballad Bad Blood and keyboard led atmospheric rocker Welcome To Hell being the exceptions. Ban The Light is a great debut album for Deaf Rat but it is a little formulaic and safe sounding for my tastes. If you want a mix of classic bands such as Guns N’ Roses and W.A.S.P. mixed with more contemporary bands such as Black Stone Cherry and Alter Bridge then you will definitely enjoy this. A great effort and enjoyable album but it didn’t wow me. 7/10
No comments:
Post a Comment