Bonus: Not Above Evil—Always Darkest Before (2016)

Not Above Evil—Always Darkest Before (2016)

Not Above Evil—Always Darkest Before (2016)

Details

Written by Not Above Evil with Damien Levette (tracks 4, 5 and 9). Mixed and mastered by Daniel Mucs. Drum recording at Big City Jacks Studio. Engineered by Martin Corral.

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Band

  • Sideeq Mohammed—Vocals and bass
  • David Gwynn—Guitar and vocals
  • Daniel Mucs—Percussion

Tracks

  1. When the day comes
  2. Adrenaline
  3. Unleashed
  4. Fibre and sinew
  5. Elevation of the form
  6. The close
  7. Doors and desolation
  8. Compression
  9. Turning over
  10. And the skies return

Review

About a year ago I reviewed Not Above Evil’s second album  The Transcendental Signified (2011). I was impressed

“This is definitely a keeper for me. […] This is an album that I would seek out to listen to, not just not-skip-over if it came on random play. Good work Manchester metallers! ” (85%)

I kind of got that right. Three-piece melodic death metal outfit Not Above Evil hail from both Manchester, UK and Stockholm, Sweden.

In October, drummer Daniel Mucs messaged me on Twitter asking if I’d like to hear the new album. A few weeks later a CD metaphorically dropped through my letterbox. (It actually arrived at reception and I picked it up from my in-tray.)

Thanks to the madness that is wardennial work in a university hall of residence, the CD has been sitting on my desk teasing me for the last six weeks or so. What was I thinking?! I should have stuck it on straight away, because it’s brilliant!

“When the day comes” (track 1) begins quietly . I forget this every time and end up turning up the volume and getting a fright when the drums kick in about 20 seconds in. After that it’s a stately plod to the end. There is a slightly ‘doom’ feel to the song as it trundles along at around 76 bpm, but that gives it weight and it’s by far the heaviest thing that I’ve listened to all day.

“Adrenaline” (track 2) speeds things up a bit, with a straight forward, barked vocal and thundering tempo. The song breaks down about half way before building from a terrific riff that you can’t help but bang your head to.

“Unleashed” (track 3) has a horror feel from the start. Like the souls of a thousand death metal vocalists are trying to communicate something. This track lasts until about three-quarters of the way through before shaking things up a little. Then it’s back to the original riffs until it’s over the finishing line.

“Fibre and sinew” (track 4) begins with a delicate and harmonised guitar lick that sounds very old school Testament – someone has been listening to their copy of The New Order (1988) – before punishing the listener with another slice of modern, hi-gain over-driven death metal.

“Elevation of the form” (track 5) sees Mucs pounding about every drum on his kit as the song builds up to a no-holds-barred rich-sounding riff. It’s by far one of my favourite tracks on the album and they kept it for half-way through.

After such a huge song, it seems quite natural that the next track, “The close”, should be short, instrumental and contemplative. There is no indication on the sleeve notes, however, who the keyboardists/pianist is.

“Doors and desolation” (track 7) resets the proceedings to the to the original programme and we’re back into a fairly standard death metal offering.

Then just as you suspect the album may just see itself out with a few album fillers, the stop-start magnificence of “Compression” (track 8) begins. It has a slower, looser feel, but like the opening track it’s really heavy. It’s definitely one of my favourite tracks on the album.

“Turning over” (track 9) opens with a tremendous bouncing riff and drums that could summon an army of the dead. Not Above Evil demonstrate  yet again that they are not a one-trick pony when it comes to song writing. They introduce new elements and riff after riff that twists the song in different directions. It does follow a bit of a pattern though with the song quietening in the middle, heading off on an interesting meander before returning to a pounding riff.

Finally, “And the skies return” (track 10) closes out the album in style. Like the opening track this has a feeling of grandeur, but it soon steps aside to let out the churning, maniac of a riff that it has clearly been trying to control. Towards the end of the song, the guitars slow down and wail, and the song walks over the finishing line at a steady pace. Like that scene of the soldiers entering the sports arena towards the end of Black Hawk Down (2001).

Conclusion

Not Above Evil certainly seem to be finding their voice but it is in the slower, more progressive numbers like “When the day comes”, “Elevation of the form”, “Compression” and “Turning over” that I feel they have most to say. The song writing is layered and complex and, essentially, very interesting. More like this please.

If you are into heavy music, definitely check out Not Above Evil. Definitely another keeper for me.

Review score: 90%

Twin Obscenity—For Blood, Honour and Soil (1998)

Twin Obscenity—For Blood, Honour and Soil (1998)

Twin Obscenity—For Blood, Honour and Soil (1998)

Details

Recorded and mixed at Sound Suite Studio from May to June 1998. Produced by Atle Wiig, Knut Naesje and Jo Arlid Toennessen. Engineered by Terje Refsnes. Mixed by Terje Refsnes and Twin Obsenity. Mastered at DMS, Marl, Germany.

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Band

  • Atle Wiig—Vocals and guitars
  • Jo Arlid Toennessen—Bass
  • Knut Naesje—Drums

Guest musicians

  • Mona Undheim Skottene—Keyboards and vocals
  • Alexander Twiss—Guitars

Tracks

  1. In glorious strife
  2. The usurper’s throne
  3. For blood, honour and soil
  4. Upon the morning field
  5. The wanderer
  6. Riders of the Imperial guard
  7. The thrice-damned legions
  8. The 11th hour
  9. Lain to rest by the sword

Review

Well, here it is… four and a quarter years after I began this project I’m staring at the cover of the final CD: For Blood, Honour and Soil the second of three albums by Norwegian black/pagan/death metallers Twin Obscenity.

I can’t quite put my finger on it, but this album isn’t your usual black metal release. It’s strangely melodic, and has echoes of Celtic Frost’s early work, with avante garde flourishes and female vocals weaving in and out of the riffs and solos. The guitars are strummed quickly, the drums beat and crash at a m, and the bass rumbles beneath it all. The album is dark but grand, melodic but atonal in places (there are a few solos like this), and keyboards gentle tinkle a haunting melody.

Melodic black metal isn’t really my thing, so to me this isn’t a great album, but it is played with passion and conviction. I can see why someone might really enjoy this.

Conclusion

I had hoped for an outstanding album to be my last review of this collection of CDs. But I guess you can’t have everything (I mean, where would you put it!—Steven Wright). If I was played my albums on random and this one came on then I certainly wouldn’t skip it, I’m just not certain that I’d go hunt it out.

Review score: 70%

Twelve Tribes—The Rebirth of Tragedy (2004)

Twelve Tribes—The Rebirth of Tragedy (2004)

Twelve Tribes—The Rebirth of Tragedy (2004)

Details

Recorded in January 2004 at Trax East. Engineered and mixed by Eric Rachel. Produced by Eric Rachel and Twelve Tribes. Additional engineering by Eric Kvortek. Mastered by Alan Douches at West West Side Music.

Wikipedia

Band

  • Adam Jackson—Vocals
  • Kevin Schindel—Guitar and vocals
  • Andrew Corpus—Guitar
  • Matt Tackett—Bass
  • Shane Shook—Drums

Tracks

  1. Post replica
  2. Baboon music
  3. Translation of fixes
  4. Venus complex
  5. Backburner
  6. Chroma
  7. The train bridge
  8. Godshaped war
  9. Luma
  10. Flight of the pathogen

Review

Twelve Tribes were a metalcore band from Dayton, Ohio. The Rebirth of Tragedy (2004) was their second album, and third release after 2000’s Instruments EP.

Their sound is very much metalcore (metal fused with hardcore punk) with more than a handful of other influences thrown in for good measure, not least of all Rage Against  the Machine.

The album opens with “Post repulica” (track 1) a twisting riff that soon opens up to a metalcore shout-fest. This is the thing that I really can’t connect with easily in metalcore: the incessant shouting. But it’s not that I can’t stand shouting in music, it’s this particular style of shouting.

But the riffs are good. “Baboon music” (track 2) has a storming riff: fat and bouncing. But by track 3, “Translation of fixes”, I’m beginning to wonder if Twelve Tribes are simply recycling the same riff again and again.

Track 4, “Venus complex”. Nope: different riff. Plus some exotic scales.

The rest of the album is in a similar vein. Fairly generic metalcore riffs with the kind of screamed vocals that I just don’t connect with. “Godshaped war” (track 8) feels like the mirror reflection of “Venus complex”; Penultimate track “Luma” (track 9) is perhaps the most melodic on the album, and turns out to be my favourite.

Conclusion

With my appreciation of good ole new wave of American  heavy metal and hardcore, you would think that metalcore would be right up my street. So would I, but oddly it’s not.

Sadly, then, this album didn’t really resonate with me. Sorry guys, I tried and wanted to enjoy it more than I did.

Review score: 60%

Turrigenous—A Slight Amplification EP (2008)

Turrigenous—A Slight Amplification EP (2008)

Turrigenous—A Slight Amplification EP (2008)

Details

Produced by Chris Fasulo and Greg Giordano. Mastered by Will Quinnell at Sterling Sound.

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Band

  • Greg Giordano—Vocals and guitars
  • John Vullo—Guitars
  • Mike Murray—Bass
  • Mark “The Sorcerer” Dara—Drums

Other musicians

  • (Ch)arles Midwinter—Spoken word on “A slight amplification” (track 1)

Tracks

  1. A slight amplification
  2. Emptiness, darkness, acceptance
  3. War inside

Review

Turrigenous are a progressive thrash band from Long Island, New York: think Annihilator meets Dream Theater. A Slight Amplification is their fourth release, their first EP (18 minutes long) following three full-length albums.

The song writing and arrangements are good, the playing is flawless, and the production is clear.

The title track “A slight amplification” (track 1) opens with a bit of widdliness but soon develops into mature thrash song, with more than a few nods of the hat to Megadeth, not least the spoken part about four minutes in.

“Emptiness, darkness, acceptance” (track 2), the longest of the three tracks on the disc, begins quietly and ponderously. It bubbles and bounces before bursting into life. It stops and starts, it soars and dips. In the words of my son Joshua (7) it is “good”.

The EP closes with “War inside” (track 3) which opens with a very spacious and uncharacteristic ‘chug-chug’ riff. It is the only song of the three that introduces any growling death vocals; this track in particular could have benefited from more of them. The solo about halfway through breaks up the song nicely and takes the listener on a bit of a progressive jaunt, even if it is a bit too formulaic.

Conclusion

All in all, this is decent release. I didn’t end with a burning desire to listen to the rest of their back catalogue, but I would probably listen to this again, and may grow to like it more. It didn’t set my ears on fire, but it didn’t offend them, either.

Review score: 70%

Toxic Holocaust—An Overdose of Death… (2008)

Toxic Holocaust—An Overdose of Death… (2008)

Toxic Holocaust—An Overdose of Death… (2008)

Details

Recorded 11 to 20 May 2008 by Jack Endino at the Soundhouse, Seattle, WA. Released on Relapse Records.

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Band

  • Joel Grind—Vocals, guitar and bass
  • Donny Paycheck—Drums

Tracks

  1. Wild dogs
  2. Nuke the cross
  3. Endless armageddon
  4. Future shock
  5. War game
  6. In the name of science
  7. March from hell
  8. Gravelord
  9. War is hell
  10. The lord of the wasteland
  11. Feedback, blood, and distortion
  12. Death from above
  13. City of a million graves

Review

And the award for metal band logo that looks most like some kind of geometric shape jigsaw goes to… Toxic Holocaust, multi-instrumentalist Joel Grind’s speed/thrash/black metal outfit.

This is one of those albums that when I heard the first song my heart sank a little. Opening track “Wild dogs” isn’t entirely representative of the whole album. It has a bit of a raw, punk feel which contorts about halfway through into a fairly palatable early thrash-style riff.

But the rest of the album improves greatly. It has quite an old school thrash vibe to it, in the same way that Evile does. The more the album progressed the more I really began to get into it… riff after riff, twist after twist, classic 80s-style thrash with modern production.

Conclusion

If anything, in opinion this album could have done with a little editing, fewer tracks perhaps, to deliver a more consistent and focused album. As it is, it’s a pretty decent thrash album.

Review score: 88%

Toxic Bonkers—Seeds of Cruelty (2004)

Toxic Bonkers—Seeds of Cruelty (2004)

Toxic Bonkers—Seeds of Cruelty (2004)

Details

Recorded at P J-Reda Studio in April 2003. Mastered at Kutno in February 2004.

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Band

  • Qboot—Vocals
  • Mumin—Guitars
  • Sme—Guitars
  • Grela—Bass and vocals
  • Klimer—Drums

Tracks

  1. Seeds of cruelty
  2. Homeless
  3. TV god
  4. Wrong way direction
  5. Weep
  6. Poisoned
  7. Can you see
  8. Free world
  9. Liars
  10. Don’t be afraid
  11. Vision

Review

Seeds of Cruelty represents album number three of five for Polish death/grindcore  metallers Toxic Bonkers and it is quite tremendous.

They sound like a perfect fusion of Florida’s Entombed with Brummie grindcore pioneers Napalm Death, certainly from the turn of the millennium.

The production on the album is a little poor, it’s very quiet which I particularly noticed while switching between Obituary, Napalm Death and Toxic Bonkers albums to compare them. The better supported artists certainly enjoy a clearer sound. But it’s nothing that turning up the volume doesn’t fix!

But the playing is fabulous. Not a note out of place. The bass and drums are tight, the guitars produce a wall of sound, which Qboot yells over.

The whole album weighs in at just a little over half an hour and it certainly doesn’t outstay its welcome. I would quite happily have listened to an album twice its length.

Conclusion

While I’m not overly fond of the band name, or the album cover, the music is fabulous and that, after all, is what it’s all about. If you like your grindcore to have a socio-political and anti-nazi slant, then I thoroughly recommend Toxic Bonkers.

Other than the production, I really can’t fault this album. It’s going up there with my favourites from this project.

Review score: 100%

Tangorodrim—Justus Ex Fide Vivit (2007)

Tangorodrim—Justus Ex Fide Vivit (2007)

Tangorodrim—Justus Ex Fide Vivit (2007)

Details

Band

  • Heller Larenuf—Vocals, guitars and bass (riffs end vocals)
  • Terno Graderz—Drums (volcano grind)

Tracks

  1. When heirs of the horned shamelessly attack
  2. No light
  3. Cold flame of death
  4. The wolves are also coming…
  5. Justus ex fide vivit (Latin for “The just shall live by faith”)
  6. Without eyes and anything above

Review

This is the fourth full-length album from Russian-Israeli black metal band Tangorodrim. If readers of Tolkien are curiously wondering why the name looks so familiar, the name Tangorodrim (or Thangorodrim) is indeed taken from the Middle Earth world of JRR Tolkien; it means “Mountains of Oppression”. According to The Lord of the Rings wiki:

As Morgoth finished rebuilding Angband, the slag and debris created by his vast tunnelings was plied into three huge volcanoes, collectively known as Thangorodrim. He hastened then to rebuild his forces, breeding innumerable orcs and other fell beasts.

The album, sadly, doesn’t live up to the Tolkien heritage. It is more-or-less black metal by numbers: a treble-heavy mix of transistor-quality distortion played over a bag of jangling cutlery, and sneered over by a Tom G Warrior-wannabe.

Which isn’t a bad comparison. The six track EP reminds me very much of Hellhammer. But while that Tom Gabriel Warrior/Martin Ain early collaboration forged new trenches into the battlefield of heavy metal and embodied a determination, enthusiasm and naivety I don’t sense the same thing here. That path has already been forged. This is not much more than pastiche.

That said, the EP does improve the deeper into it you delve.

Conclusion

If you like your metal served black and with a Hellhammer flavour then I can thoroughly recommend it. However, if Hellhammer and early Celtic Frost are your thing then I recommend you stick with the originals. This is the metal equivalent of buying a fake Rolex from a Singaporean market stall.

Review score: 49%