Boss Keloid - Family The Smiling Thrush (Ripple Music) [Matt Bladen]
Continuing their magisterial run of form that began around their third album Herb Your Enthusiasm, Boss Keloid return with their fifth full length entitled Family The Smiling Thrush. It returns you to the kaleidoscopic world of Boss Keloid, a world full of positivity and people power. The album is based around the concept that the needs of the many outweigh the needs of the few and that we are all a collective family, flaws and all. It sees Boss Keloid retain the doom metal stylings but push much more into the progressive sound, with bands such as The Grateful Dead, Hawkwind, Yes and even Camel phased into the heavier styles of bands like Conan and of course Sabbath.
Decapitated – The First Damned (Nuclear Blast) [Paul Hutchings]Continuing their magisterial run of form that began around their third album Herb Your Enthusiasm, Boss Keloid return with their fifth full length entitled Family The Smiling Thrush. It returns you to the kaleidoscopic world of Boss Keloid, a world full of positivity and people power. The album is based around the concept that the needs of the many outweigh the needs of the few and that we are all a collective family, flaws and all. It sees Boss Keloid retain the doom metal stylings but push much more into the progressive sound, with bands such as The Grateful Dead, Hawkwind, Yes and even Camel phased into the heavier styles of bands like Conan and of course Sabbath.
Layers of dense organs add to a cacophony of clean, bright guitars, that flow out of the speakers at full dynamic range courtesy of Chris Fielding's immense production. His style of combining modern techniques with retro styles works wonders for these 7 spacial jams, which has Boss Keloid producing their cleanest sounding record, the sludge elements almost forgotten on favour of Canterbury/classic prog styling and folk flourishes. It's this more melodic, lighter styling that leads to lots of musical work outs every member given a chance to show their prowess and virtuosity without detracting from the overall delivery. The opening duo of Orang Of Noyn and Gentle Clovis having a start-stop sound, that brings you in to the record, whirling around your speaker system with woozy power.
I'm not saying however that they've gone all fluffy, they still retain that sense of foreboding heaviness that has punctuated previous releases and gained them lots of kudos but here it's savoured, nuanced blasts of stoner metal to shake things up rather than an all out assault. Hats The Mandrill, brings the heavy in droves starting off a run of more thunderous numbers as things get more wide eyed and crazy on Smiling Thrush highlighting the unique vocals of Alex Hurst. In the same way that a band such as King Crimson use a diverse range of styles in their music, Boss Keloid's songwriting has developed into something that sets them apart from many of the current stoner/psych crop. Family The Smiling Thrush is an album that requires multiple listens to truly enjoy the immense quality of the music on offer. Another fantastic record from a band rapidly becoming British prog-metal icons. 9/10
I'm not saying however that they've gone all fluffy, they still retain that sense of foreboding heaviness that has punctuated previous releases and gained them lots of kudos but here it's savoured, nuanced blasts of stoner metal to shake things up rather than an all out assault. Hats The Mandrill, brings the heavy in droves starting off a run of more thunderous numbers as things get more wide eyed and crazy on Smiling Thrush highlighting the unique vocals of Alex Hurst. In the same way that a band such as King Crimson use a diverse range of styles in their music, Boss Keloid's songwriting has developed into something that sets them apart from many of the current stoner/psych crop. Family The Smiling Thrush is an album that requires multiple listens to truly enjoy the immense quality of the music on offer. Another fantastic record from a band rapidly becoming British prog-metal icons. 9/10
It’s a fact that Decapitated are one of the most revered bands in the world of technical death metal. Although their more recent albums, Blood Mantra and Anticult have edged towards a slightly more groove-ridden feel, they still make music that makes the ears bleed.
Take a trip back to 1997 & 1998 and the early days of the band, with the line-up of Wojciech "Sauron" Wąsowicz (vocals), Wacław "Vogg" Kiełtyka (guitars) Marcin "Martin" Rygiel (bass) and Witold "Vitek" Kiełtyka (Drums – RIP) and their two tape demos. 1997’s Cemeterial Gardens and 1998’s The Eye Of Horus were the first recordings of the band and have long been sought after pieces of work. With both demos now being combined in a single outing, this release provides fans with the opportunity to own those early recordings. Transferred from the original DAT Masters, it is promised that there has been no remixing or remastering. The result is evidence, if it was ever needed, as to why Decapitated were such an exciting band nearly quarter of a century ago.
The Eye Of Horus is perhaps the more accomplished of the two demos, with the band demonstrating their sheer intensity and power over 30 minutes of brutal yet controlled and crafted death metal. Tracks such as the title track, The First Damned And Blessed hold their own today whilst the cover of Slayer’s Mandatory Suicide is every bit as punishing today as it was back then. The musicianship from a band who were all in their teens remains breathtaking, with Vitek’s battery drumming still an overall highlight. Whilst Cemeterial Gardens is the rawer of the two works, there is little to criticise here either. The haunting intro may be a little ‘Casio Keyboard’ but the riff that kicks in on Destiny is perfection. As you’d expect from a first demo, the pace is relentless, with Vitek’s drumming and the sheer energy of the overall music massive. The explosive power of Way To Salvation, complete with Sauron’s low-key gravel-soaked growls, and the experimental synth work all combine to produce a track which veers more towards black than death metal.
This will be a pleasing addition to those fans who worship at the Decapitated altar, and for those who want to trace back the origins of possibly the finest band to emerge from Poland, then this is a piece of work well worth getting those paws on. 8/10
Somnuri - Nefarious Waves (Blues Funeral Recordings) [Matt Bladen]
From the rough concrete streets of Brooklyn New York, Somnuri's music is as brash and brutal as their hometown. The three piece play neck-wrecking progressive sludge metal that has the hardcore aggression of Converge along with explorative riff scapes of Mastodon. Nefarious Waves is the band's second album and what you have on offer here is another sizeable slab of sludge metal power, tracks like Watch The Lights have a dissonant, thumping groove and echoed vocals, it carries things into the progressive while Tied To Stone is a battering hardcore-influenced number. The both styles manifesting themselves throughout fusing together perfectly, with numerous tempo shifts (In The Grey).
From the rough concrete streets of Brooklyn New York, Somnuri's music is as brash and brutal as their hometown. The three piece play neck-wrecking progressive sludge metal that has the hardcore aggression of Converge along with explorative riff scapes of Mastodon. Nefarious Waves is the band's second album and what you have on offer here is another sizeable slab of sludge metal power, tracks like Watch The Lights have a dissonant, thumping groove and echoed vocals, it carries things into the progressive while Tied To Stone is a battering hardcore-influenced number. The both styles manifesting themselves throughout fusing together perfectly, with numerous tempo shifts (In The Grey).
Somnuri is made up of Justin Sherrell (guitars/vocals/album bass) and Phil SanGiacomo (drums), they added Philippe Arman (bass) for live shows (when they happen) in 2019, bringing the huge scope of their albums to the stage. As the title track lays waste to what's left of your stereo the power of Somnuri is felt fully. Progressive sludge can be a little polarising but Somnuri do full of grit and power. 7/10
With a history dating back to 1988, and a catalogue that includes eight full length albums, the four-piece that currently comprise Desaster don’t waste any time in bringing the noise and blackened thrash that they have carved their reputation from over the past three decades. Influenced by Venom, Hellhammer and Destruction, Desaster leave no quarter in their full out aural assault. Vocalist Guido Wissmann, a mainstay celebrating his 20th anniversary with the band rips, growls and roars his way through track after track. The vocals sit comfortably alongside the aggressively paced intense riffing, the hammering drumming, and the overall metallic storm that rages over the course of the 46 minutes. It’s pretty much similar in theme and tempo from the opening blast of Learn To Love The Void, with only the industrial tinged Aus Asche changing direction or style.
Elsewhere the frenetic power and pace which has surged through their works for 30 plus years is very much in evidence with long term members Infernal and Odin in fine form. Newest member, drummer Hont is on point with a barrage of thunderous drumming which rarely lets up. Infernal’s snarling guitar wails and screams above the pounding rhythm section and it’s a demonstration of muscular fire power which works on every level. With a new wave of blackened thrash metal crawling through the open metal borders, Desaster take a huge fist and smash back hard. The pretenders to the throne are pushing hard, but one can only say that on this performance, those youngsters will need to wait a bit longer. 8/10
No comments:
Post a Comment