There’s really no reason to fault Moscow alt rockers Remark for wanting to ride the flannel-clad ‘90s bandwagon. It’s certainly a nostalgic commodity as of late, sure, but the five-piece execute those thick layers of guitar with the least conceit or egotism. Instead of marring their production with slight shoegaze elements, they keep their crisp arrangements muted and poised, letting the songs surge and sway with a more reflective and thoughtful tone.
Remark don’t really rage, either — two author tracks on the band’s new EP “Keep Running,” ‘Comeback’ and ‘Purple Haze’ come close to disrupting the album’s overall mud-tempo chug, while singer Yanas airs his grievances with a tuneful voice instead of falling into any aggro dramatics. But it never happens — “Keep Running” sternly approaches its dreary mood with just a dash of atmospheric distortion, letting its sepia-toned gloom flourish with a controlled tension. It’s grunge for a new generation, though you get a sense these guys would see that as a compliment.
Here is an excellent album from the debutants on the progressive rock scene: a French group DID put out their debut full-length release entitled “Dissociative Identity Disorder” in November last year, a concept record which in the band’s own words tells “the story of a man.” DID, in its core, operates as a quartet featuring Regis Bravi on drums, Didier Thery on bass, Patric Jobard on acoustic and electric guitars, and Christophe Houssin on keyboards. They are joined by a number of guest vocalists who helped them to tell the story. These include Michael Sadler of Saga, Marco Glühmann of Sylvan, Oliver Philipps of Everon, Alan Szukics of Opium Baby, and Maggy Luyten (Ayreon, Nightmare).
Allow me to truly begin by stating that many instrumental sections on “Dissociative Identity Disorder” are dazzling and intriguing and that the instrumental portion of the album is incredibly well-arranged. Talented solos and arrangements from the band members are easily the album’s highlights with tracks like “The Sun” and “Lock Up” presenting themselves as easy standouts.
The performances here are exceptional, both instrumentally and vocally, and sound natural despite the host of guests at band’s disposal. Diehard prog fans will relish the back-to-back synth solos.
With “Dissociative Identity Disorder,” DID has put attention on themselves as a group to look forward to within the progressive rock scene. While not necessarily groundbreaking, it’s exceptionally refined given how big its ambitions are, and it boasts some impressive production values. If nothing else, DID offer a work that balances instrumental and vocal performances more equally than on some of the releases of the similar orientation. It also manages to have just the right amount of camp and compelling drama, making it perhaps the most intriguing prog releases of 2018.
Forest God is a relatively new project coming from Aalborg in Denmark who recently release a new EP entitled Back to the Forest. The project is led by composer Peter Kiel Jørgensen, who is joined by a number of guest musicians throughout the record.
Back to the Forest requires careful listening in order to be fully appreciated. It is definitely not the kind of stuff you can put on as a soundtrack for other activities – complex music, full of twists and turns, yet not unnecessarily complicated, or weird for weirdness’ sake. In fact, the music has a beautiful, natural flow, a clarity and melodic quality. Even though guitars make up a prominent part of the sound, they never get to the point of overwhelming the other instruments. As in most experimental music, however, the foundation of the EP’s sound lies in the rhythm section, especially in the jaw-dropping drumming patterns provided by Martin Haumann (Myrkur).
Head-spinningly complex without being cold and sterile as other efforts in a similar vein, Back to the Forest can easily be listed as one of the top releases of 2018. In fact, the sterling musicianship, coupled with an admirable sense of restraint, focuses on creating cohesive, highly listenable tracks rather than pointless displays of technical skill.
French deathcore five-piece Bloody Rabbeat answered our questions about their recent EP “Use Your Head,” and more.
Alright, first thing is first. Before we dive into all the music stuff, how’s life?
Hi! Well despite the current situation in France in 2018 and our personal preoccupations, Bloody Rabbeat still brings us together as friends and in a positive and constructive atmosphere!
Speaking of new music, you have an EP. What can people expect from “Use Your Head”?
The EP was indeed released in May 2017. It is made of 4 deathcore-oriented tracks and lasts around 20min total. These four songs deal with self-reflexion and hindsight regarding oneself, it allows us to tackle issues which are dear to us with a twist of humour all the while remaining faithful to the metal universe.
You can expect our music to sound like some kind of atypical deathcore with other influences kicking in at times as well as elaborate compositions conjuring up different atmospheres. You will also hear a special guest on the last track, I’m thinking Ricky Myers from the band Suffocation.
What was it like working on the EP?
It was a rather natural process. We sought the right kind of compromise between our budget and our expectations. It was recorded at home so there was no pressure for us; once the recording phase was over and done with we forwarded the tracks to Mobo from Conkrete Studio who did a great job with the mixing and mastering. Jeff Grimal worked on the artwork in parallel then we took care of the marketing side ourselves, which turned out to be rather tedious!
Are there any touring plans?
We did a tour in France in late 2017. It was a terrific experience and we would gladly do it again. In the meantime we’re working on the next instalment and on upcoming shows.
While we are on the subject of touring, what countries would you love to tour?
Ideally we’d like to go on tour quite about everywhere; but if we are to be reasonable why not go and visit a couple of European countries now that we’ve played in many regions in France. The only problem is that it’s rather time-consuming and the logistical side is also demanding, all the more so since we do not have a tour manager, also we’re quite busy with our respective jobs.
Who and what inspires you the most?
We draw inspiration from many things from our daily routine to write and compose. We’re also influenced by a certain number of bands that we like, the main ones being As Blood Runs Black and All Shall Perish for the more deathcore side of our music.
What other genres of music do you listen to? Have any of the other genres you listen to had any impact on your playing?
We all have different tastes: some listen to classical, jazz, trip hop, others prefer trap and all of this nourishes our music.
I really appreciate you giving us your time today. Is there anything else you would like to tell us and the fans before we wrap things up?
Well first of all thank you very much for the interview! Come and follow us on social networks where you can keep up with the latest news, watch our videos, check our tour dates… You name it!
Russian trio Lautreamont were brought to life to assault the senses, striking the listener continuously with discordant walls of pandemonium and persecution. “Evil” causes this immediate impact with extremely huge basslines and hypnotizing strident guitars before breaking. The instruments almost decline, slipping away delicately into descent before launching an avalanche of dissonant guitars and a frenzied attack of blast beats, signalling a chaotic finish. If there was ever an assertion of what Lautreamont are about this first track is surely that.
“Father” may be a more brutal and destructive track. Moments shatter into an uneasy state whilst others fall into a decay where its nothingness consumes your very being. Lautreamont have showcased an adept mastery of the sickening malady that this genre elicits, packing on layer upon layer of abhorrence, neurosis, and absolute cruelty as is further explored in tracks such as the title song. The unendurable pressure of its soundscapes is at times unfathomable. A song-by-song dissection is of no use, as each song displayed here pursues the same code of sweeping disarray, assembled to be music that demands to be swallowed as a whole.
Whilst not the most severe in spatial terms the drumming by Vladimir Fomenko on “Silence of the Deceased” is near perfect. Lautreamont play smartly, often settling on for ear-shattering cannonade of noise rather than counting on the blast beat to strike desolation.
The sound of “Silence of the Deceased” simply destroys; the mix is completed with as much intricacy as can be absorbed. Lautreamont can take you into contemplation and then let you down in your own decay in just a few seconds. This is intelligent metal.
“Silence of the Deceased” is out on May 7th; pre-order it here.
Technical death metal perfection. That’s pretty much all that need be said about Nafrat’s brilliant new release “Abnegation.” From the moment that you lay eyes on the terrific album art until the final notes of album closer “The Axis of Perdition” leave you jaw agape, this album takes you on a journey through ethereal beauty and Earth-shaking brutality.
The musicianship is astounding and inventive. Even in the moments of calm in the eye of this storm, Nafrat never let you forget that this record is HEAVY in nearly every conceivable sense of the word. Stream below the full album while you’re reading through the review.
Nafrat is a Singapore-based band and “Abnegation” is their second full-length offering. Their previous releases, “Invoking the Masses” EP (2005) and “Through Imminent Visions” (2008), were nothing short of a masterful display of technical death metal musicianship. “Abnegation” ups the ante to dizzying heights. This record edges other death metal releases from 2018 due to it’s sheer inventiveness. Furthermore, I believe that it has actually accomplished the task of ranking right up there with the best overall metal album of the year.
This is where I usually list the highlights of the record. In this case, the entire record is the highlight. DO NOT miss this album if you are a fan of technical death metal and insanely great musicianship.
What the Beijing-based post black metal band Asthenia, formed by Asthen, delivers on this wonderful album is exactly what the band moniker describes—something truly personal and I would add exception. As cold as the melodic, fuzzy, atmospheric black metal musical world is, it is also richly layered and meticulously planned.
Take a listen to Asthen’s vocals. They are harsh and scratchy, and yet they achieve a remarkable harmony with the droning chord progressions, icy notes, and underlying vocal melodic drifts sang by Yiti.
Nucleation has no fewer than five superbly, specifically memorable moments, which, particularly for an atmospheric black metal album, is a tremendous accomplishment. The melodic progressions are exquisite, sometimes bringing into the fold just enough of what is best about Progressive music, and other times embracing gigantic, ocean-like melodies.
Nucleation‘s genius is in how it is both chainsaw black metal and an expression of moving, titanic, weeping melodic beauty. The parts are all simple, but together, they are magic. One of the best albums of the last year.
Founded in 2012 and initially intended to indulge the band members’ love for emotional black metal, post-metal and depressive rock, Ukrainian act Devildom has since become its own monster. Releasing their debut album “Curse of Flesh” in January, they look set to take things up another level with their absorbing, genre-straddling release.
“Curse of Flesh” examines the eternal cycle of life and death by way of chugging riffs, tender interludes, atmospheric soundscapes and an impressive array of vocal deliveries.
Atmosphere on “Curse of Flesh” is built meticulously and carefully in each of its eight tracks, with amazing attention to detail. You get pulled along on the crest of this dark and emotional wave as the songs build and fall. It really is very clever and an intense and brilliant listening experience.
Shades of Judas Priest, Iron Maiden with their self-titled debut LP, and Helloween are abound on this album, which is a throwback to the ’80s Metal that started it all. War of Thrones started some six years ago, and features heavy metal veterans Wade Black on vocals, Rick Renstrom on guitar, Rich Marks on bass, and Jason Marks on drums. Their debut album Conflict in Creation does a perfect job in enveloping that one-of-a-kind feeling that one can only get from the true Heavy Metal of old days. While the influences (of which there are many) are certainly audible within the structures of each and every track, War of Thrones manage to keep their listeners engaged throughout the record by doing what they do right.
Conflict in Creation is rich in its falsetto rebel yells and guitar-driven anthems. In fact, the album is primarily guitar-heavy — a route rarely taken in the world of Metal today. This is a big part of what gives it success in its attempts to recapture the sound that existed exclusively in the early to mid-80s, when Heavy Metal was truly coming into its own as a genre.
From track one (“Ascending”) we get a clear picture of exactly where War of Thrones is planning on taking us: the very bowels of the bleak and dark universe where Heavy Metal saw its birth. Guitars switching tirelessly between rhythm and lead excerpts, 1980s style vocals, driving percussion, and those deep, rolling bass lines that define Heavy Metal. The lyrics are perfectly dark, and that mood is reflected in the music with little effort. The second song on the record, “Creation”, kicks up the pace with its relentless drumming and angst-ridden picking, reminding those of us who are older of those long lost days of yore where our school books were adorned with brown paper bag covers that were literally covered in the names and logos of our favourite bands and slogans oh, so long ago.
Conflict in Creation delivers this emotion throughout its entirety without fail, evoking images of long hair drenched in Aqua Net hairspray, black leather chokers, and all the things that helped shape Heavy Metal as both an image and a sound. As the album winds down with its final track, “Descending”, I am confronted by the one and only gripe I could possibly have with this record — wishing that it were just a bit longer. Regardless of its length, however, I do realize that this wonderful recording from War of Thrones is an essential when it comes to those feel-good albums that have that special something that takes one back to their own youth, giving that carefree feeling back to them that is all too often forgotten and ignored in the dull regularity that is our adulthood.
As if Progressive Metal met Extreme Metal forms for lunch and the two later casually partook in rough coitus, Sydney-based Deus Omega make some heavy, heavy music. Call it progressive metal or even an incredibly atmospheric derivative of death metal, the act’s new record, In Absentia of Light is an oppressive sea of fury, and it resonates with me in a way few bands of its style manage to do. The songwriting may be solid and the production some of the best I’ve seen in metal, but it’s the ubiquitous atmosphere that has this album screaming ‘masterpiece’.
Too many bands in metal ultimately sound indistinguishable from one another, and it is a bleak statement. True enough, Deus Omega’s aka Alex Moore’s resistance from this heavy metal clone complex pays off. Although the project’s dark brand of tech metal can still find itself associated with a number of prescribed genres, In Absentia of Light feels like a natural collision of influences from across the spectrum, from black and doom metal to modern and extreme variant of prog.
As a whole In Absentia of Light relies on a sickening atmosphere of rage and fear. Although Deus Omega sticks exclusively to guitars, drums, and bass, the music sounds vast. After the short introduction “Star of Morning,” “Carved from Flesh” introduces the sinister mood that pervades the majority of the album. By the cornerstone “This Black Soul,” Deus Omega has developed its riff energy into a dense fury complete with burstfire picking. All the while, Moore layers his music with atonal atmospheric guitars. This project’s style will certainly draw a number of comparisons with other bands, but Deus Omega combines the elements and make the sound truly its own.
Although it’s not the biggest reason why In Absentia of Light has stood out to me so much, it’s worth mentioning that Deus Omega enjoys some of the richest, most organic production I have heard on a metal record for quite some time. Perhaps it’s the heavy presence of the bass guitar, but Deus Omega finds an incredible balance between a live ‘raw’ energy, and a clear mix between instruments. It certainly doesn’t hurt that Deus Omega channels its atmosphere-laden heaviness through such an organic studio execution. Those willing to set the time aside to fairly digest the atmosphere will find an incredible world to explore with In Absentia of Light, one governed by anger and chaos. I give my highest recommendation.