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.

Encyclopedia Metallum | WebsiteBandcamp | Twitter

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%

Slit—Cronaca Nera (2005)

Slit—Cronaca Nera (2005)

Slit—Cronaca Nera (2005)

Details

Recorded at Temple Studios, Malta in 2004. Mixed and produced by David Vella. Mastered by Dave Chang.

Band

  • Frank Calleja—Vocals
  • Daniel Bezzina—Guitar
  • Joker (Jo Kerr)—Basilisk
  • Gerald—Drums

Tracks

  1. [Untitled]
  2. The devil’s location
  3. 7even demons
  4. Showcase
  5. God shaped hole
  6. Myriad
  7. Stone cold, shine
  8. Paean
  9. Integrity
  10. Magnolia part II
  11. Sinner beyond defile
  12. Shedding

Review

There is a lot to like about this album from Maltese metallers Slit. While Encyclopaedia Metallum lists Slit has “thrash/groove metal” the style of this album puts me more in mind of early industrial death metallers Fear Factory fused with Obituary (also death metal).

The production and mixing on this album is superb. The mids and bass are full but punchy. The riffs are ‘chunky’, the vocals are gruff but not distracting. This is one heavy, HEAVY album that stops and starts which allows the riffs space to breathe. Slit have a great sense of timing.

From start to finish this album captured my attention. This isn’t an album to play as background music, this demands a proper listen.

I’ve noticed over the course of this project that the albums that I like most I write less about, as if I want to keep the details to myself; as though I can’t fully sum up my appreciation in words. I guess that’s what I have here. If you are into modern thrash, mildly industrial death, or metalcore then I urge you to seek this album out.

Conclusion

This is an album that I expect to be listened to for a while to come. Each listen reveals something new, nuances that I hadn’t noticed on the last spin (if indeed you can spin mp3s).

I’m impressed. More like this please.

Review score: 98%

Ramming Speed—Brainwreck (2008)

Ramming Speed—Brainwreck (2008)

Ramming Speed—Brainwreck (2008)

Details

Recorded onto 2 inch tape by Jordan Levantini (with assistance from Nick Wolf) at New Alliance. It was then dumped into Protools before being dumped back onto tape for mastering by Nick Zampiello at New Alliance East. Released on Teenage Disco Bloodbath Records in 2008.

Band

  • Pete “Za” Gallagher—Vocals
  • Kallen “Lock ’em up” Bliss—Guitars
  • Ricky “Ta Speed” Zampa—Guitars
  • Derek “The Bass Player” Cloonan—Bass
  • Jonah “The Laser Storm” Livingston—Drums

Tracks

  1. Speed trials
  2. The threat…
  3. Lazer assault
  4. All in all
  5. Shane Embury is the Brad Pitt of grindcore
  6. Bogus facade
  7. Sound the alarm
  8. Immigrant song
  9. Political party
  10. Man vs machine
  11. Arrested development
  12. A modern myth
  13. Heavy metal thunder

Review

From the moment I listened to the first track I knew that I’d like this album. To be honest, I had a sneaking suspicion before that when I read through the lyrics printed on the inside of the CD packaging. This is a band with both a sense of humour and a political opinion.

I first noticed the song “Immigrant song” and wondered if it was a cover of the Led Zeppelin classic. It’s not. But it’s brilliant: a commentary on how badly migrants are treated. It ends with “We’re so fickle with the arguments we choose / Many of our ancestors faced hardships when they arrived / So let our new immigrant amigos just live their lives”. Well said!

Something I noticed too when typing out the band members’ names. How upset must Derek Cloonan be to get such an unimaginative nickname?! We Pete “Za” Gallagher on vocals, Kallen “Lock ’em up” Bliss and Ricky “Ta Speed” Zampa on guitars, and Jonah “The Laser Storm” Livingston on drums. How on earth then did Derek Cloonan only get given the nickname “The Bass Player”? That’s about as creative as when Jason Newsted joined Voivod and inherited the moniker Jasonic.

Conclusion

This debut album from US thrash / crossover merchants Ramming Speed is really rather good. It has a very old school thrash/punk feel to it. Think Evile meets early Suicidal Tendencies.

This album will definitely be on my playlist throughout 2016.

Review score: 90%

Raise the Dead—Hymns of War (2005)

Raise the Dead—Hymns of War (2005)

Raise the Dead—Hymns of War (2005)

Details

Mixed, mastered and brutalized by Stu McKan and Jamie Graham. Recorded at Studio 6, Wooton Bassett, England. Released on Thirty Days of Night Records in 2005.

Band

  • Dean of the Dead—Vocals
  • Jamie Graham—Guitars and backing vocals
  • Khaled Lowe—Guitars and backing vocals
  • Chris Varnham—Bass
  • Chris Claydove—Drums

Tracks

  1. Prelude to war
  2. Zone of magical immunity
  3. Warcraft
  4. The curse of years
  5. Sea of dead souls
  6. Cloak of mist

Review

It feels like an age since I’ve mentioned CD packaging, so let’s start there. The front cover, as you can see from above, features a very beige-dominant mediaeval battle scene; assuming that the crusaders fought armies of skeletons. I wouldn’t be surprised if there was more than a little Tolkien influence here with his armies of the dead from The Lord of the Rings.

What I really like, though is the booklet which has the feel of a stylised Book of Kells, like an illuminated manuscript from the Middle Ages. The first five pages contain song lyrics, resplendent in a thankfully-readable Old English style typeface; the last page lists thanks.

Hymns of War in a mediaeval style

Hymns of War in a mediaeval style

Of course, the booklet looks more like a ye olde gospel than a hymn book but we’ll let that one pass. It does look fab and it’s nice to see the band putting in some thought about the packaging. It’s just a shame that (and this is obviously entirely subjective) the art quality in the cover doesn’t match that of the booklet. It would have been great to have the two tie-in much more than they do.

Anyway, it’s the music we’re really interested in.

Raise the Dead were a thrash / death / metalcore band from London/Peterborough between 2004 and 2006. They released only two records in their three years: a three-track demo, Famous Last Words, in September 2004 and this six track EP in December 2005. The only common track was “Warcraft”.

The album opens with an atmospheric track (“Prelude to war”) of monastic chant interrupted from time to time by peals of thunder and a continuously ringing bell. When the chanting ends, footsteps lead to a single note, more thunder and the gentle growl of who knows what monster.

“Zone of magical immunity” (track 2) is a fast paced death metal song. The guitars have a pleasing overdriven tone, double-kick drums underpin the rhythm and Dean of the Dead’s guttural vocals sound terrifically meaty—it’s not just uncontrolled screaming. There are certainly enough dynamics within the song to hold interest. It almost has a progressive metal feel to it.

“Warcraft” (track 3) offers more of the same, the whole song built around a very death metal lead guitar riff. Towards the end the track slows right down into an almost sludge metal-style riff. Curiously track 4, “The curse of years”, follows exactly the same recipe right down to the sludge style stomp towards the close.

“Sea of dead souls” (track 5) opens with a very Annihilator-style arpeggio riff that reappears throughout the song. Thankfully this song closes differently with a very Slayer-like screaming and diving solo: fast and tight right to the end.

The closing song, “Cloak of mist” (track 6) is perhaps the most death metal song on the EP, both musically and lyrically. It’s a study in hatred. “Hate is a strong word / but I feel it for you / I should have buried you in a ditch / the day you were born”.

“Cloak of mist” is probably the strongest song on the album and I can’t help wondering if it indicates the direction that Raise the Dead would have taken had they not split nearly ten years ago. Perhaps we’ll never know.

Conclusion

All in all, this was a pretty solid debut EP from a UK extreme metal band. I really can’t help feel anything but admiration for the band and the recording. It’s by no means perfect but it is pretty darn good none-the-less. They certainly showed promise. Wherever you are now guys, I raise a glass to you—I can’t quite manage raising the dead.

Review score: 85%

Gravehill—Metal of Death / Advocation of Murder and Suicide EP (2008)

Gravehill—Metal of Death / Advocation of Murder and Suicide EP (2008)

Gravehill—Metal of Death / Advocation of Murder and Suicide EP (2008)

Details

Recorded, mixed and engineered by A. Vorgaloth at Helheim Studios from March–April 2008. Released on Enucleation Records.

Band

  • Mike Abominator—Vocals and Bass
  • Bodybag Bob—Guitars
  • Vorgaloth—Guitars
  • Thorgrimm—Drums

Tracks

Tracks 1–3: Metal of Death EP
Tracks 4–5: The Avocation of Murder and Suicide EP

  1. A promise made in heresy
  2. Purifier of flesh
  3. Ravager
  4. Murder
  5. Suicide

Review

I’m running behind this week, on the run up to Easter. It seems somewhat wrong to be reviewing a black metal album in Holy Week, but here we are.

I seem to be on a run of black metal albums these days, in my alphabetical stomp through the yet-unplayed 195 metal CD collection. I’ll be journeying through ‘G’ for the next month or so.

But this ‘G’: Gravehill, is a death/black/thrash metal band from Anaheim, California, USA. This is a compilation album that was put out a couple of years after the band reformed.

It’s a decent enough album, but nothing particularly groundbreaking, which is ironic given that’s literally what you need to do to dig a grave.

In many ways it’s extreme-metal-by-numbers. The first few songs have the production-feel of a slightly modernized Show No Mercy (Slayer, 1983) or Hell Awaits (Slayer, 1985) with some elements of Obituary thrown in there too for good measure.

The last two songs “Murder” and “Suicide” have a slightly different feel. “Murder” reminds me a bit of Gorefest for the most part, until it hits a groove around 2′ 30″—definite headbanging fodder.

“Suicide” sounds like Gravehill have swallowed the Celtic Frost back catalogue. That said the ‘chorus’ sounds like it was lifted from Testament’s “COTLOD” (Curse of the legions of death).

Conclusion

This compilation seems to get better the further down the track listing you find yourself. I’d like to hear some of their newer material, because this early stuff shows definite promise.

Review score: 65%

Hallowed Point—Fatal Judgement EP (2006)

Hallowed Point—Fatal Judgement (2006)

Hallowed Point—Fatal Judgement (2006)

Details

Recorded at QWAX studios, Huddersfield, UK 25–30 June 2006. Produced by Stuart Comins. Released by Hallowed Point Music.

MySpace

Band

  • Andy Phillips—Lead voals, lead and rhythm guitars
  • Daniel Whitehouse—Lead and rhythm guitars, bass, backing vocals
  • Dave Herbert—Drums and percussion, backing vocals

Tracks

  1. The wrath of insanity
  2. Fatal judgement
  3. Neckbreaker
  4. Night of terror

Review

I wanted to like this. Hallowed Point were a UK-based thrash band who cited various well-known Bay Area and European thrash bands amongst their influences. Sadly it’s not enough.

Putting to one side the rather poor production on this EP and clichéd artwork—I can surely excuse those for a debut EP, it then comes down to the music alone.

The opening track “The wrath of insanity” is a thrashy romp in the vein of very early Slayer, which is perhaps fitting given the name of the band. The vocals are gruff, the snare is far too high in the mix, and the guitar ‘doodles’ sound incongruous. If the effect they’re looking for is to chisel their songs into granite then the guitar solos are like silver car paint sprayed at random across them.

The title track “Final judgement” follows in its not-so-final second place on the recording. It’s a flippin’ power ballad! It reminds me very much of Blaze Bayley-era Iron Maiden. Yeah… no!

“Neckbreaker” opens at a suitably analogous speed. It’s actually not too bad. Good riff, good shift of tempo in the middle, and the solo (mostly) fits and doesn’t detract from the song. It is by far the standout song of the EP. It’s a shame the other tracks couldn’t have been in the same ballpark.

Lastly “Night of terror” rounds up the disc with a rather acidic twin guitar dual, rather like the audio equivalent of sucking lemons. Sadly it doesn’t get much better.

Conclusion

I wanted to like this. I wanted to support the British metal scene (even though I realise that Hallowed Point split four years ago). In the end I liked “Neckbreaker”.

Review score: 25%