All customer reviews by Sergey P.
Posted on: July 25, 2017
Bravo, Sodom!
All unsuccessful experiments, something ever come to the end, either complete collapse, or attempts to return all the good that the code was. Sodom long tried to experiment with hardcore and punk, the experiment failed. Tom looked back and realized that thrash metal is what he does best. In most groups, "returning to the roots" is a long and complicated process, and the Sodomites took it and just created an excellent album that is in no way inferior to their old creations. True, when you turn it on for the first time, you think that the team is still influenced by hardcore, the first two songs are very angry, fast and dirty: "Code Red" and "What Hell Can Create", just a hodgepodge of some kind. But since "Tombstone", the very return that everyone had been waiting for, the excellent bass intro, and then the whole song and the whole album, only pleases the ear - the Teutonic thrash in all its glory. I especially note "Tombstone", "Spiritual Demise" and "The Wolf and the Lamb" - in my opinion, the main hits of the album. Bravo, Sodom!
Posted on: July 17, 2017
Gods of death!
Gods of death! With these words, I will begin to review the second album of Morbid Angel. This album can be called one of the best in the group. It is with such a sound that we know. The music is great, the mixing is excellent, the musicians play at their best. I do not cease to admire the game Pete Sandoval and Trey Azagthoth. I also like vocals, this is not too typical growling, it is present the proportion of black screaming. On this album there were short instrumental compositions that are not related to the death. But they are incomparable, just a topic, give the music a special originality. Some write that music is not very heavy, but in general I think in principle that the Morbids never really were a heavy team. Someone may disagree, pointing to the last albums. I must say that some riffs are unusual for a tepid death.
Posted on: July 6, 2017
It's fine
It's fine. Napalm Death are undisputed revolutionaries. They gave us a sample of super-fast game, expressive chaos, social problems of songs, and in the field of form - an example of noise segments, the duration of which at best is 1.5 minutes (the exception is a couple of songs for 3 minutes). In my opinion, the best in the early Napalm Death is the punchy energy and the pathos of destruction and anarchy. This is fully reflected in this album. "From Enslavement to Obliteration" is a collection of songs with a number of classical collected works of Marxists. It may seem that the filling of the album is too homogeneous, but such is the classic - these are the pioneers whose mission is to give an example of the musical style of "grindcore" in its most radical manifestation.
Attention is drawn to the epic introduction of "Evolved as One" in which Lee Dorrian reads the unchanged position from the time of "Scum": long live freedom (physical and spiritual), down with exploitation, oppression by the dominant social consciousness. And then, starting with "It's a M.A.N.S World!" - a series of destructive language with a frenzied rhythm, only occasionally slowing down its movement. My favorite is the title "From Enslavement to Obliteration". There are no failing "songs" at all and (this is obvious) can not be. The vocals of Lee Dorrian are horribly brutal and absolutely indecipherable. As soon as someone turned the language to call Bill Steer's riffs "the standard of primitive"? Nothing of the kind is the specificity of the style. Sometimes he plays superfast (the fastest thing on the album is "Mentally Murdered"), sometimes he plays at a slower pace, but is very powerful and impressive ("Unchallenged Hate", the title track), and sometimes pampers the listener with his branded distorted soloks, rushing to In the unknown ("Uncertainty Blurs the Vision", "Think for a Minute", "Emotional Suffocation"). Well, the blasts of Mick Harris, the inexpressible words of drumming riot and his auxiliary vocals - this is one of the leading arguments in favor of this disc.
Conclusion. The second album Napalm Death - unconditional ten, Mick Harris - a medal for courage.
Posted on: July 6, 2017
It's fine
It's fine. Napalm Death are undisputed revolutionaries. They gave us a sample of super-fast game, expressive chaos, social problems of songs, and in the field of form - an example of noise segments, the duration of which at best is 1.5 minutes (the exception is a couple of songs for 3 minutes). In my opinion, the best in the early Napalm Death is the punchy energy and the pathos of destruction and anarchy. This is fully reflected in this album. "From Enslavement to Obliteration" is a collection of songs with a number of classical collected works of Marxists. It may seem that the filling of the album is too homogeneous, but such is the classic - these are the pioneers whose mission is to give an example of the musical style of "grindcore" in its most radical manifestation.
Attention is drawn to the epic introduction of "Evolved as One" in which Lee Dorrian reads the unchanged position from the time of "Scum": long live freedom (physical and spiritual), down with exploitation, oppression by the dominant social consciousness. And then, starting with "It's a M.A.N.S World!" - a series of destructive language with a frenzied rhythm, only occasionally slowing down its movement. My favorite is the title "From Enslavement to Obliteration". There are no failing "songs" at all and (this is obvious) can not be. The vocals of Lee Dorrian are horribly brutal and absolutely indecipherable. As soon as someone turned the language to call Bill Steer's riffs "the standard of primitive"? Nothing of the kind is the specificity of the style. Sometimes he plays superfast (the fastest thing on the album is "Mentally Murdered"), sometimes he plays at a slower pace, but is very powerful and impressive ("Unchallenged Hate", the title track), and sometimes pampers the listener with his branded distorted soloks, rushing to In the unknown ("Uncertainty Blurs the Vision", "Think for a Minute", "Emotional Suffocation"). Well, the blasts of Mick Harris, the inexpressible words of drumming riot and his auxiliary vocals - this is one of the leading arguments in favor of this disc.
Conclusion. The second album Napalm Death - unconditional ten, Miku Harris - a medal for courage.
Posted on: July 6, 2017
It's fine
It's fine. Napalm Death are undisputed revolutionaries. They gave us a sample of super-fast game, expressive chaos, social problems of songs, and in the field of form - an example of noise segments, the duration of which at best is 1.5 minutes (the exception is a couple of songs for 3 minutes). In my opinion, the best in the early Napalm Death is the punchy energy and the pathos of destruction and anarchy. This is fully reflected in this album. "From Enslavement to Obliteration" is a collection of songs with a number of classical collected works of Marxists. It may seem that the filling of the album is too homogeneous, but such is the classic - these are the pioneers whose mission is to give an example of the musical style of "grindcore" in its most radical manifestation.
Attention is drawn to the epic introduction of "Evolved as One" in which Lee Dorrian reads the unchanged position from the time of "Scum": long live freedom (physical and spiritual), down with exploitation, oppression by the dominant social consciousness. And then, starting with "It's a M.A.N.S World!" - a series of destructive language with a frenzied rhythm, only occasionally slowing down its movement. My favorite is the title "From Enslavement to Obliteration". There are no failing "songs" at all and (this is obvious) can not be. The vocals of Lee Dorrian are horribly brutal and absolutely indecipherable. As soon as someone turned the language to call Bill Steer's riffs "the standard of primitive"? Nothing of the kind is the specificity of the style. Sometimes he plays superfast (the fastest thing on the album is "Mentally Murdered"), sometimes he plays at a slower pace, but is very powerful and impressive ("Unchallenged Hate", the title track), and sometimes pampers the listener with his branded distorted soloks, rushing to In the unknown ("Uncertainty Blurs the Vision", "Think for a Minute", "Emotional Suffocation"). Well, the blasts of Mick Harris, the inexpressible words of drumming riot and his auxiliary vocals - this is one of the leading arguments in favor of this disc.
Conclusion. The second album Napalm Death - unconditional ten, Mick Harris - a medal for courage.
Posted on: July 6, 2017
It's fine
It's fine. Napalm Death are undisputed revolutionaries. They gave us a sample of super-fast game, expressive chaos, social problems of songs, and in the field of form - an example of noise segments, the duration of which at best is 1.5 minutes (the exception is a couple of songs for 3 minutes). In my opinion, the best in the early Napalm Death is the punchy energy and the pathos of destruction and anarchy. This is fully reflected in this album. "From Enslavement to Obliteration" is a collection of songs with a number of classical collected works of Marxists. It may seem that the filling of the album is too homogeneous, but such is the classic - these are the pioneers whose mission is to give an example of the musical style of "grindcore" in its most radical manifestation.
Attention is drawn to the epic introduction of "Evolved as One" in which Lee Dorrian reads the unchanged position from the time of "Scum": long live freedom (physical and spiritual), down with exploitation, oppression by the dominant social consciousness. And then, starting with "It's a M.A.N.S World!" - a series of destructive language with a frenzied rhythm, only occasionally slowing down its movement. My favorite is the title "From Enslavement to Obliteration". There are no failing "songs" at all and (this is obvious) can not be. The vocals of Lee Dorrian are horribly brutal and absolutely indecipherable. As soon as someone turned the language to call Bill Steer's riffs "the standard of primitive"? Nothing of the kind is the specificity of the style. Sometimes he plays superfast (the fastest thing on the album is "Mentally Murdered"), sometimes he plays at a slower pace, but is very powerful and impressive ("Unchallenged Hate", the title track), and sometimes pampers the listener with his branded distorted soloks, rushing to In the unknown ("Uncertainty Blurs the Vision", "Think for a Minute", "Emotional Suffocation"). Well, the blasts of Mick Harris, the inexpressible words of drumming riot and his auxiliary vocals - this is one of the leading arguments in favor of this disc.
Conclusion. The second album Napalm Death - unconditional ten, Mick Harris - a medal for courage.
Posted on: July 4, 2017
The metal classics have returned
The metal classics have returned to recall what a real British heavy is, and how to play it. Iron Maiden ... magic words for a connoisseur of heavy music. The group, which became a cultural phenomenon, gained world success and actually established itself in the mainstream, simply creating amazing music, while never changing its style. They did not play punk when he dominated the British scene, did not flirt with glam when he was in fashion, did not "cut" grunge and nu-metal when it was so relevant. In this case, some compositions created by the genius of Steve Harris and Co., in the musical plan simply plug all the directions listed above (with all due respect to glam!). The only thing that divided the IM fans is the group's experiments with the program and the overall complexity of the music after Brave New World (or even after The X Factor, if you like). On "AMOLAD" these experiments reached their climax and I was personally forced to doubt their expediency. Too overwhelmed and difficult to perceive, the music turned out. And there was no reason to believe that "The Final Frontier" will be written in a different way. Fortunately, the fears were not confirmed.
Posted on: June 23, 2017
Yes - it's Iron Maiden!
Based on the opinion of previous reviewers, we can safely conclude that the album is very ambiguous. Someone considers it a new milestone in the development of the group's style, someone perceives it as, sorry for the indiscretion, a hybrid of "The X-Factor" and "Brave New World". The problem is not whether the group could, after so many years, bring something new into the musical genre created by their hands and the hands of their colleagues from the distant 80's, and certainly not how skillfully they "rehash" their own ideas, But rather in their ability to maintain a stable, time-tested path of development and presentation of material. The fact remains that stability has always been with them. For 27 years they have been following a number of rules: most of the songs are written in E-minor, harmonic progressions have not changed for a long time, the melody and the general mood of many compositions hint at each other, but ... After all, everyone is listening! Even after so much time, this is perceived as a revelation, as the next chapter in the history of a group of glorious British people who managed to change musical standards in a different direction and at the same time leave a rich heritage for the next generation of young enthusiasts whose minds and hearts continue to seek, Be aware ... Say what, yes - it's just another album from Iron Maiden!
Posted on: June 18, 2017
Horror-dark-wave
Time goes by, and people begin to forget the true heroes, dissolves, so the fingers are fan in the dispute who is the most spiteful, brutal, atmospheric, etc. by the list. But in spite of time Celtic Frost remains with the very first EPs of "Morbid Tales / Emperor's Return".
Rubbing, already teeth reduces, thrash-black-death rough, gloomy and murderous, striking imagination with its original power and infernal aesthetics. It was with "Morbid Tales" that he started his death metal march in the form of a hit of all times and peoples "Dethroned Emperor". You can paint this mess for a long time, but it's easier to list the bands that replayed these songs:
Obituary & Opeth - "Circle of the Tyrants", Sepultura & Enslaved - "Procreation (of the Wicked), Benediction -" Return to the Eve ", Mayhem -" Visual Aggression ", Anthrax -" Into the Crypt of Rays "and" Dethroned Emperor "(concerts with Phil Anselmo), Vital Remains, etc.
P.S. The song "Danse Macabre" is actually horror-dark-wave.
Posted on: June 14, 2017
Great album!
Great album! Heavy riffs have never been so hard for Iron Maiden, as on this album. Acoustic elements and vocals are extremely emotional and atmospheric, from some similar introductions - as much frost goes on the skin! Prescribed on this album a gloomy, and in some places an arsessive mood, of course, will not be to the liking of many hardened admirers of the "joyful" Maiden of the times "Powerslave". But those who love the band's music for its unique mood, melodism and drama - the album will be the best gift this year.
In general, bands like, for example, Metallica or Iron Maiden, are often reproached for radical changes in their music. And if such changes in the work of Metallica can really cause bewilderment (thrash metal, then "rocked" rock / metal and, finally, low-budget garage metal with the elements of the alternative - as a rule these genres have "incompatible" fans), then constant quibbles to The music of Iron Maiden personally is completely incomprehensible to me. Bruce did not sing the "growling", the guitarists did not stop playing solo and melodic passages (on the contrary, the ingenuity of the musicians knows no bounds, as this album shows), the group did not deteriorate the standard of its studio work (like Metallica). The band just composed NEW good songs, DIFFERENT from the previous ones. And whoever does not say diversity that does not go at the expense of quality - in the music world it means progress. And the new album Iron Maiden is really progressive (and in all senses of the word).