PREVIEW: Haema—Insurrection EP (2017)

Haema—Insurrection EP (2017)

Haema—Insurrection EP (2017)

About

Debut EP recorded at Initiate Audio & Media by Neil Hudson (Krysthla/Gutworm). Due for release in July 2017.

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Band

  • Jordon Calderwood—Vocals
  • Andrzej Jakubiuk—Guitar
  • Scott Stephenson—Bass
  • David Flitt—Drums

Tracks

  1. Eden
  2. Free Man
  3. Insurrection
  4. Thirte3n
  5. Two Minds

Review

So the email arrives and asks me if I’d be kind enough to review Haema’s forthcoming EP Insurrection. Sure! I’m always up for listening to new music. And then I listened to the preview. BLOODY HELL! THIS IS BRILLIANT!

Haema, a four-piece from Northamptonshire, UK, describe themselves as an experimental, industrialised, groove metal band. But that really doesn’t do them justice. Think: Rage Against the Machine meets Senser meets Circle of Dust meets Clawfinger. But heavier. Okay, let’s throw in some Fear Factory. Brilliant!

The EP opens with Eden (track 1). “What is the point of your existence?” a man asks. “To feel […] without love, without anger, without sorrow, breath is just a clock ticking.” A woman’s voice speaks above a soundscape. Then the riff kicks in. It’s tight and heavy. Jordon Calderwood’s vocals fluctuate between a Zack de la Rocha-style rap/rant and a metalcore-style bark. The song is both in your face and ponderous. There is space, plenty of space, plenty of depth and width to this song. It stops and starts and never ceases to be interesting.

Free man (track 2) rides a bouncy riff right from the get-go that morphs into a rap. “Now you can see / I’m not a puppet on a string / You know, I’m a free man…” The song is aggressive and melodic. It has an urgency and integrity that makes me believe without a shadow of a doubt that he is free.

The title track Insurrection (track 3) opens with the sound of an alarm—if Depeche Mode were in the alarm sound design business. Then a more traditional metal-style riff bursts in. It chugs along, steadily. And every time my head bounces in time to the beat. The vocals in this song remind me at times of early Mordred. There is a fragility about it, which is echoed in the guitar solo about three-quarters of the way through.

Damn! I could listen to this EP all day.

Thirte3n (track 4) is probably the most in-your-face metal track on the EP. It has a repetitive, blast-beat riff that sounds like someone is drilling through granite. The verses have this machine-gun burst riff. It’s interesting and gives the song movement. Then over the top of the carnage there is the most fragile and subtle of light melodies, like a butterfly floating across a battlefield.

The final track Two minds (track 5) is slower, more ponderous: a call and reply style riff that gives way to another RATM-style riff. It starts and. Stops. As it. Twists and turns. Following the. Rhythm of the. Vocals.

Conclusion

Haema EP coming soon

From my first play through of this extraordinary EP I’ve loved this collection of music. Sure people are going to make immediate comparisons to Rage Against The Machine and Senser, as I have done.  But that doesn’t detract from the quality of the playing, or the songwriting, or the production. Listen to the first two albums from Slayer—they wanted to be Mercyful Fate and King Diamond; Metallica played their first few years of gigs passing off Diamond Head and Budgie songs as their own until they found their own voice.

Given the chance Haema will also find their own distinct voice. But as a starting point, this is nearly perfect. I haven’t felt this excited by a not-entirely-metal release in a long time. I had the same burst of adrenaline and excitement listening to this as I did listening to Senser’s Stacked Up album in 1994. This album makes me smile and nod my head along to it for all the right reasons.

More like this please.

Review score: 100%

Bonus video

Disclaimer

In mid-June, Scott Stephenson (Haema’s bassist) contacted me inviting me to preview this EP.

I have no connections to Haema or any related companies or individuals; although I am a big fan of producer Neil Hudson’s previous work. I’m not being paid to review this.

Many thanks to Scott and the rest of Haema.

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PREVIEW: From Eden to Exile—Modern Disdain (2017)

From Eden to Exile—Modern Disdain (2017)

From Eden to Exile—Modern Disdain (2017)

Details

Debut album produced by Neil Hudson (Krysthla/Gutworm) at Initiate Audio and Media. Released on Attic Records/PHD. Released Friday 2 June 2017.

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Band

  • Matt Dyne—Vocals
  • Tom Kelland—Guitars
  • Mike Bell—Guitars
  • Joey Jaycock—Bass
  • Liam Turland —Drums

Tracks

  1. Gospel untold
  2. Modern disdain
  3. Volatile
  4. Victim
  5. The dreamer
  6. From Eden to exile
  7. What you’ve done
  8. Sentiment

Review

Having won the Corby finals of Bloodstock’s ‘Metal 2 the Masses’ competition in 2015, Northampton metallers From Eden to Exile appeared that year on the Bloodstock “New Blood” stage. Since then they seem to have gone from strength to strength, having been taken under the wing by Krysthla (and former Gutworm) guitarist and producer Neil Hudson to help produce this storming modern British metal album.

When asked about the experience vocalist Matt Dyne said, “It’s been an extraordinary time. We’ve taken our time and sweated bullets nailing this album to the point where everyone in the band can honestly look each other in the eye and confidently state this is the best of us, right now.”

“Yet there’s much more in the tank”, continued guitarist Tom Kelland, “Working with Neil [Hudson] at Initiate really opened our minds as to the possibilities with our music. The boxes we may have felt confined to in the past have been stripped away and we firmly believe we’ve got something really solid to offer the metal community.”

And it certainly shows.

From Eden to standing in a field

From Eden to standing in a field

I’ve been listening to this album off and on for the last couple of months and it’s really hard to fault. Modern Disdain is a solid album with enough certainly to keep me interested. Musically this album sits somewhere on the border between Lamb of God’s flavour of American groove metal and metalcore.

An almighty battering of the snare drum, barked lyrics, and a riff played at breakneck speed, “Gospel untold” (track 1) kicks off this album, as so many track 1s do. It reminds me very much of something from one of the early Lamb of God albums, until about 1′ 20″ when with a curt chugga-chugga the pace changes slightly and veers off into a more metalcore neighbourhood. I love the guitar solo on this song. It is rich and warm, it sours and adds something melodically beautiful to the soundtrack to the apocalypse that is raging beneath it.

Title track “Modern disdain” (track 2) opens with quite an acid, sour disharmony. Its stop-start metalcore riff morphs into an almost Exodus-style riff but with deep, Chuck Billy (Testament)-style, growling vocal. There are so many influences within this track but as a whole the song doesn’t feel contrived or stolen. Another soaring guitar solo marks the descent towards the track’s end.

“Volatile” (track 3) is another super-fast track that initially has quite a Slayer vibe to it. You can watch the video, below. About 1′ 25″, though, the sound gets stripped back to just a riff, and then gradually builds, steering towards a very shouty-metalcore sound, before returning to its original, galloping behemoth of a riff.

Track 4, “Victim” takes a different approach to what has come before. It has an almost epic, traditional heavy metal opening—think Powerslave-era Iron Maiden. It builds gradually, it has melody, duelling guitars. It then switches step into a metalcore gallop that weaves in and out of a Low-era Testament style riff. Overall, the track holds itself together but it doesn’t quite seem to understand itself. Maybe I’m wrong and I’ll return to this track in a few months with some kind of blinding epiphany, but having lived with it for a couple of months it, unfortunately, feels like one of the weaker songs on the album. I do rather like the start-stop descending riff outro, though.

“The dreamer” (track 5) is built around an old-school thrash style riff or two. It’s the shortest track on the album, but it gets in there, does its job, and gets out again.

Of bands that have songs titles that are the same as their band name, off the top of my head, I can think of only Iron Maiden and Motörhead. And now “From Eden to exile” (track 6). Unfortunately, this isn’t the most iconic track on the album. It doesn’t have the same punch or drive as any of the tracks on the first half of the album—it feels, sadly, like a bit of an album filler.

“What you’ve done” (track 7) picks up the pace, with a handful of galloping riffs that wouldn’t feel too out of place on a Slayer record. About a third of the way through, it drops to a halftime tempo and a Pantera-style arpeggio that in the 90s would undoubtedly have been accompanied by a rich, deep voice spoken over the top of it. Each time I listen to this track I find myself grumbling some made-up metal nonsense libretto over the top of this passage. Back to the main riff, fade to black…

Album closer, “Sentiment” (track 8) is a strong track. It has a bit more urgency and drive than the rest of the second half of this album. It’s also one of the most Lamb of God-sounding tracks on the album, which is perhaps why it’s one of my favourites.

Conclusion

This album is, for me at least, very much a game of two halves. The first four tracks are really strong, and while I’m not a massive fan of metalcore—although I do love thrash and hardcore separately—From Eden to Exile do steer their sound close enough to thrash for me to really appreciate it.

What lets things down for me a bit is the second half of the album. While the songs, for the most part are still strong and interesting, they seem to lose focus a little around tracks six and seven. Thankfully, things are brought back into line with the final track on the album which closes the work nicely.

Overall, though, this is an album that I could quite happily return to again and again. This album is proof that metal isn’t dead yet, that it still relevant, and that British bands still have a lot to give.

From Eden to Exile are definitely a band to keep an eye on in the future, both live and recorded.

Review score: 90%

Bonus video

Disclaimer

Stampede Press UK contacted me a few months back, inviting me to preview From Eden to Exile’s forthcoming debut album.

I have no connections to either Stampede Press UK or From Eden to Exile. I’m not being paid to review this. But I did get a free digital copy of the album to review—which is pretty cool.

Many thanks to Rob from Stampede Press UK, and From Eden to Exile.

PREVIEW: Death Blooms—Death Blooms EP (2017)

Death Blooms—Death Blooms (2017)

Death Blooms—Death Blooms (2017)

Details

Recorded at Red City Recordings, Manchester by producer and mix engineer David Radahd-Jones, Death Blooms’ self-titled debut EP is released Friday 12 May 2017.

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Band

  • Paul Barrow—Vocals
  • Ad Lucas—Guitar
  • Ben Grimsley—Bass
  • Mel Stewart—Drums

Tracks

  1. Hate:Die
  2. Last ones
  3. I’m dead
  4. Sick

Review

Death Blooms are a new alternative metal band on the UK scene, hailing from Manchester and Liverpool in the north-west of England. This is their debut EP and it’s really rather good.

Death Blooms (band)

Death Blooms (band)

That old adage “always leave them wanting more” is certainly true for this self-released EP (launched on Friday 12 May 2017). By the end of this four track recording I felt quite disappointed that there wasn’t more.

Musically, Death Blooms have a very modern metal sound. Vocalist Paul Barrow offers a gruff hardcore/metalcore vocal that isn’t afraid of softening a little to carve out some beautiful melodies, accompanied by a very competent-sounding band.

The EP opens with an in-your-face, punchy little number with the cheerful title of “Hate:Die” (track 1).  From the very first note, vocals are screaming, guitars are riffing, drums pounding. It’s certainly a bold entrance and one that initially took me a little by surprise and somewhat off-putting.

But that initial explosion, is immediately responded with an almost-whispered response, “then hate, then die, then hate, then die” that reminded in some part of—of all things—”What makes you tick” by Terrorvision. About a minute in, the chorus reveals a melodic core. It’s a classic combination: hard exterior, soft centre.

“Last ones” (track 2) retains the urgency but softens things just a little with a little less brutal opening. The riff is more melodic, as is the chorus (“If the skies should fall, we’ll be the last ones standing”). The band thumps around, throwing in a few interesting twists and turns and some colossal sounding riffs.

“I’m dead” (track 3)—see the video below—returns to the same song structure as the EP opener with the vocals leading from the go, like Hatebreed’s “Straight to your face” does. The song gallops through a solid riff, gruff vocals throughout, until a slightly more melodic middle-eight sung in chorus leads the song to a stomping conclusion.

EP closer “Sick” (track 4) begins with a complex guitar riff that weaves itself through the drums and screaming vocals. By now, Death Blooms have already revealed their hand and so the song structure and song textures are quite predictable: bouncy, shouting vocals broken up with more melodic, multi-voice choruses.

And then it suddenly goes quiet and it feels somewhat unfinished… always leave them wanting more, right? And that’s a good thing.

Conclusion

There is a vitality, a freshness and a sense of urgency about Death Blooms’ music that I really like. It’s exciting to hear such good quality British metal being created and exciting that such music can be released independently and still distributed widely.

While the four songs don’t stray too far from the same hardcore/metalcore/alt-metal formulas, it’s a solid approach and it still sounds fresh and relevant. I’d love to hear a full-length album to hear where else Death Blooms could take their sound, and what else they could achieve.

As it is, I’m perfectly happy with this EP. It’s a great start. I can only wish the band well in the future. Definitely a band to listen out for and look out for—they’ve already been seen live alongside Skindred and Raging Speedhorn.

Review score: 80%

Video

Disclosure

Stampede Press UK contacted me inviting me to preview Death Blooms’ forthcoming EP, which I was delighted about.

I have no connections to either Stampede Press UK or Death Blooms. I’m not being paid to review this. But I did get a free digital copy of the album to review which is pretty cool.

Many thanks to Rob from Stampede Press UK, and to Paul, Ad, Ben and Mel for continuing to create fresh, interesting metal in the UK.

PREVIEW: GraViL—No More Forgiveness (2017)

Gravil—No More Forgiveness (2017)

GraViL—No More Forgiveness (2017)

Details

Produced by Dan Abela (Voices, Sarah Jezebel Deva). Self-released on Friday 5 May 2017.

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Band

  • Grant Stacey—Vocals
  • Tony Dando—Lead and rhythm guitars
  • Charlie Webster—Rhythm guitars
  • Sparx—Bass and backing vocals
  • Perrin—Drums

Tracks

  1. Detonate
  2. Are we alive
  3. I am the blood
  4. Plagues, thieves and murderers *
  5. Locate the traitor
  6. Choke in silence
  7. Fractured, divided
  8. Decommissioned
  9. Forever is a prison
  10.  One eyed king

Review

Until this album dropped into my email inbox, I’d never heard of London melodic death metallers GraViL. But they’ve been around for a few years. Their debut album Thoughts of a Rising Sun landed in 2013, the same year they headlined the Takeover Stage at the Download Festival, and a year before they played at Hammerfest and then supported HellYeah on their UK tour.

That experience shows in this their second full-length album. I’m told that this is a far heavier album than their debut. I can’t comment on the comparison, but it’s certainly a relentless barrage of first class British death metal.

According to Grant Stacey, vocalist and primary lyricist, the album has, woven through it, an underlying theme of loss in 2016: the personal loss of a baby a few years ago, the deaths of close friends, the loss of the EU through Brexit, and the loss of America to Trump.

The album kicks off to a majestic start with “Detonate” (track 1). A pounding wall of guitars and bass, drums kicked and beaten to within an inch of their life, and Stacey’s vocals passionately screamed. There are some lovely, classic metal guitar patterns towards the beginning of this track: guitar one plays a riff, guitar two joins in for the reply. The more I listen to this one track the more I connect with it. “I can’t let you go… can’t let you go!” Stacey screams. This could easily be talking about my experience of 2016, too.

“Are we alive” (track 2) opens with a galloping riff and soaring guitar solo before the lyrics explore the feeling of losing control in the face of change. Again, another theme that resonates with me these past two years. This track has more of a metalcore feel than the opener.

“I am the blood” (track 3) feels like the second part of “Are we alive”. It features a melodic, multi-voice chorus that gives it a bit of a nu-metal feel (but not in a pejorative sense). About two-thirds of the way through it heads for a fairly inevitable solo and middle eight but the predictability doesn’t detract from the excellence of its execution. It’s a welcome and carefully penned hiatus from the onslaught.

“Plagues, thieves and murderers” (track 4) is one of my favourite tracks on the album. In parts it has an almost ethereal feel, a haunting wave played over a deep, pounding beat that stops and starts, and twists its way through the track. Towards the end they do that thing with the recorded voices from a TV show over the top of the music. I like that thing. It’s a steady, stomping track. “Slow burn” indeed.

“Choke in silence” (track 5) ends the first half of the album with a very Lamb of God-style riff that they take and twist into their own shape and run with it. This song features the best solo of the album so far—more solos like this please. Such is the strength of this album that we have another very strong song buried in the middle of the album.

“Locate the traitor” (track 6) sounds like how I imagine an underground train that had to bore its own way through an erupting volcano might sound if it hit a particularly gnarly piece of rock. It has an unusually melodic chorus and a rather more delicate middle eight, but it all works together beautifully.

“Fractured, divided” (track 7) has an almost folk-metal feel in its opening riff. It features guest vocals from Theresa Smith (Metaprism). Grant Stacey: “This is again, a tale of me dealing with loss. It tackles the feeling I had that I was solely to blame for the  baby’s loss and that it was my fault that I couldn’t give my partner the one thing she wanted so much. I felt like my heart and soul was being pulled apart.” It’s a powerfully emotional song, a fine balance between light and dark, between melody and noise. Theresa Smith’s vocals take this song to another level. Beautiful stuff.

“Decommissioned” (track 8) will be GraViL’s first single from the album (see their lyric video below). It’s a terrifically punchy track that talks—screams—about friendship betrayal. As with a few of their songs, I love the tranquil melody that glides effortlessly above the pummelling machine beneath.

“Forever is a prison” (track 9) has a really interesting starting-stopping riff that feels like it’s changing direction or pace every few bars. This gives the song quite an unsettling feeling, which is fitting given that the theme of the lyrics includes domestic abuse. About halfway through the song morphs into a beating, primal bass and drum rhythm, over which sings a melodic guitar solo.  The guitar solos are few and far between on this album, which is a real shame as when they do come they are really great, and add something special to each track.

The first time I listened to the final track “One eyed king” (track 10) I couldn’t believe they kept this track till last. It’s so different to the rest of the album. It’s brilliant! It opens with a grinding bass riff through which weaves a staccato guitar riff that builds and pummels into a full-on guitar-led assault. About a minute in the vocals bounce and build into a full-on rant. Each time I listen to this song I can’t help but smile: this song is perfect.

And then silence.

Conclusion

It’s often in the silence after an album has burned itself out that you really begin to appreciate its greatness. And this is a great album.

This is an album that was written largely online using home recording equipment, and over the phone. The lyrics were written within a week.

People often talk about the “difficult second album”. Well, GraViL have certainly made it sound easy—though, I’m pretty sure it wasn’t. They have poured out and honed their creativity into a solid body of music that feels both raw yet honed.

This is an exciting, fresh album from an up-and-coming British band. I just hope that the disappointments about the state of the music industry that are reflected in track 4 “Plagues, thieves and murderers” doesn’t destroy their passion before it flourishes more.

This is certainly a band to keep an eye and an ear out for. If this album is in any way indicative of the health of British metal just now then we are in a really great place right now. Thank you GraViL, 2017 is looking up already.

Check it out on Friday 5 May 2017.

Review score: 98%

Bonus video

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.

Encyclopedia Metallum

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%