All customer reviews by Sergey P.
Posted on: June 6, 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 has 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. However, when you turn it on for the first time, you think that the team is still under the influence of 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 perfect bass intro, and then the whole song and the whole album just pleases the ear - 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: June 2, 2017
100% musthave
A wonderful debut of the wonderful bay-area legend. Let them not embarrass you with these praises, because the album is close to me as a breath of fresh air from the era of honest iron. It was with this group that I started my really in-depth acquaintance with the classics of thrash. Then there were hurricane Violence, Defiance, Intruder, Realm, Toxik and other worthy acts, mentioning the full list of which will take one more review. What is so special about what I saw in Forbidden, you ask. And then the feeling of pure energy and the spirit of freedom, which are so inherent in the commands of that jet. The rear covers, sitting behind the drum set, none other than Paul Bostaph, cementing an already very precise rhythm. Graig Locicero and Glen Alvelais create soulful riffs and solo parts. Russ Anderson broadcasts a distorted purgatory about "deal with the mind and humanity". Matt Camacho pretty much reminds himself of the blood rushing blood stream bass guitar. So that no one has any doubts why I put this work the highest score. 100% must have for fighters thrash front.
Posted on: May 28, 2017
This is Running Wild: And they're back
Sometimes I really want to write a review of "Shadowmaker" "Running". But each time I stop myself, because this is just the case when it is impossible to be objective. Even in relation to himself, not to mention the masses, whose phrase "Running Wild" does not cause sacred trepidation, like your recalcitrant. What polar and contradictory responses about this disk were heard (and still can be heard) from all over the world! Impressive power of this resonance can be felt when you see that the release of a new album of the revived "pirates" even of real fans has split like a wedge driven into the heart of a tree. And the RW fans are strong in their love of the band, you can take it on your word. And more than a thousand times you can erase the tongue in the corn, repeating that already with the "Brotherhood" Herr Kasparek covered the group as such, replacing the close-knit team of musicians united by one goal, into the one-person and one-sided rule of the name of Himself with rare glimpses of talented (but, Alas, mute) of the session attendants. And about the devilish apparatus that stuffed it with the soul of the deceased Angelo Sasso, who now answers for the percussion. And about the overall roll of late creativity Running Wild from purebred heavy in the direction of hard rock. Can. As well as, wiping with precious emotions, the precious vinyls Under Jolly Roger, Port Royal, Death or Glory, grieve that the frigate that left the dock lost several high-speed sails, and drunken sailors were stripped from the stern by gilding, Replacing it with rum and girls. But is it necessary? To live in the past, which is undoubtedly fine (and we, Neptune, do not take it away from it), at the moment when Kasparek, after long expectations (think about it, almost eight years ago!) Brought his new creation to the joy of the public. The cunning Teutonian grinned, looking at the camera, saying that the "Creator of the Shadows" would be his best album. And personally I want to believe that his words - not an advertising gimmick, but an expression of sincere pleasure from the work done.
Above I casually listed the main (and objective) shortcomings of the new album. They are, they can not be hidden, they are conspicuous (or still in the ears?) As an insidious awl, thrust into a sack. But at the same time, who does not bribe and do not fall in love with this cheerful enthusiasm, rolling out from the very first chords of the "Piece of an Action" opener, and not weakening to the very end of the album? Who does not take a heart attack of nostalgia for the sounds of a double solo in the song "I Am Who I Am" (the best, according to many, on the album)? Was not Mike Mothi back from the distant times "The Port of the Royal" to help Rolf in this passage? And the joyous ease of "Riding on the Tide" and the heavy power of "Locomotive"? Or is this spirit-filled rock'n'roll hymn "Me and the Boys"? By the way, it was this song that became for many fans of the band a real stumbling block. Reading the comments on various sites, I vividly imagined how an indignant individual, hearing this composition, grabbed his head and ran out from behind the table with shouting: "Oh, Mine Gott, what is this?". It's here that it is checked, who lives past, and who is ready for experiments and creative search. Personally, I'm entirely on the side of the second. For me, "Shadowmaker" has become really easy to perceive, a strong and energetic work, made from the heart, catching and not releasing from the cutscene to the final chord of the final epic album "Dracula". And although I remind myself that "Death or Glory" and "Black Hand Inn" are harder, more monumental, interesting and just steeper at times, launching a new album RW in the player, I feel the most positive emotions and say to myself: "This is Running Wild: And they're back. "
Posted on: May 17, 2017
Ancient, dirty, evil trash
Now I decided to touch this album, which probably already became a classic of German thrash, an album. I do not know, maybe somehow I always like debuts, but I find this work to be the most interesting. I'll try to explain. Here you have a high tempo (read speed), and aggression, pressure, almost black vocals, and drive riffs, and the thrash hit "Flag about Hate" also first appeared here. Yes, the quality is lame, but this creates only a sort of special taste of hell and death inherent in such works. And what will happen next? And then there is a scheme planned for almost all German groups, any genres, styles and directions. First a good debut, then there will necessarily be a release with poorly recorded drums (especially in the style of thrash metal), then another album that looks like a debut, and then the level of technicality takes off to heaven and listeners enjoy super-professional, super-technical, super-quality , But absolutely soulless and identical albums (except for some experiments). Fans of Kreator-a will argue with me passionately, but in the rest of the work of this gang I hear all the same riffs and texts presented on this release. Therefore, I recommend listening to this album as a sample of that ancient, dirty, evil, black and (probably) sincere trash. All songs are very drivey, although a bit similar, and of course you want to shake your head. I bet "5".
Posted on: May 11, 2017
Old black-thrash
"The Final, the final and the final ..." - can be repeated endlessly, listening to the creation of Tom Angelripper and his team. Apparently, the guys missed the old "dirty" resemblance of the black-thrash of the early and mid-80s. It is noteworthy that the overall sound of the album (its quality) just returns the listener in the specified period of time, naturally, with a slight correction for the present. There is an impression of quality recording in the basement conditions. Probably, sodomists decided to repeat or at least return that old, dark, oppressive, but very catchy atmosphere. Although this work is recommended to listen to the old fans of the team - they will understand something. The current generation will most likely not be imbued with twelve "all-destructive" tracks, among which the EP "In the Sign of Evil" was completely rewritten, plus a whole new set of new songs. The presence of the song "Outbreak of Evil" will not surprise anyone. This thing will persecute everyone for a long time. Immediately remember Kreator with his "Flag of Hate", which also appeared on one, then another release. Well, that's the fate of the thrash hits.
Posted on: May 10, 2017
It's classic!
The third album of the Bundes-thrash legend once again confirms the rightness of the fundamental philosophical law about the transition of quantity to quality. And in everything, because it was with "Terrible Certainty" Kreator became a quartet (forgive me, the apologists Sodom and Destruction, but I think that this treshnyak can only play 2 guitars). And the hours spent by Mille together with the rehearsals have paid off, as the level of play on Kreator instruments has grown significantly compared to the previous album. Beginning with "Terrible Certainty", the Germans in their music acquired what I always liked about them, namely: a clear militaristic rhythm, rigid, complex guitar riffs, sane solos, and cold and merciless, like a surgeon's scalpel, mood. The quality of the recording was improved by an order, this crooked sound disappeared, which spoiled the whole impression of "Pleasure to Kill". Concerning lyric affairs, everything has also become all right, Mille strained his brains and worked out instead of stupid texts on the basis of cheap horror films, clever, sharp-social lyrics. In his texts, Herr Petrozza addresses the problems of environmental pollution ("Toxic Trace"), madness and "internal demons" (Behind the Mirror), the persecution of the first Christians in the Roman Empire ("Blind Fate") and so on. In general, there is no point in getting deeper, and so everything is well known to everyone. In a word - a classic!
Posted on: May 4, 2017
Elite work
After the frantic and garage three releases, Voivod on "Dimension Hatross" made a giant step forward - the compositions became more meaningful and incredibly complicated. "DH" is made at the junction of techno-thrash, thrash of classical and progressive metal, but, unlike many representatives of the techno-thrash scene, the melodic component is not sacrificed for technicality. The compositions are very complex, but not "loaded". On this album there is almost no such a favorite Voivod punk component. Elite work is the vanguard outside the traditional boundaries of understanding the term.
Posted on: April 27, 2017
Good job
The fourth album of Swedish Vikings Amon Amarth at the time of its release was probably their best work. "Versus the World" is practically devoid of the vices of its predecessors - monotony. There are mid-tempo and swing tracks, such as "Where the Silent Gods Stand Guard", "Across the Rainbow Bridge" (which, incidentally, is still equipped with a beautiful melody), and fast and powerful "Death in Fire", "For the Stabwounds In Our Backs. " And the central place in this album is occupied by one of the best songs of the band - "Thousand Years of Oppression", which is the quintessence of the whole album - magnificent lyrics and melodies, unmatched work of the vocalist Hegg.
To the work of musicians, there are no complaints: the guitarists are pleased with their quality work, occasionally pleasing with fast solos, the rhythm section does not lag behind, regularly supplying the sound with whirling, and about the vocals and say nothing - Johan Hegg, in my opinion, one of the best vocalists in metal.
The work is very decent, and would be praised from me, but after the last album of the band "Twilight of the Thunder God" it looks bleak, as in other and other works of this team.
Posted on: April 25, 2017
Crazy trash
I will also contribute my humble contribution to the description of this sound squall, which came out from the pen of Herr Petrozza in the distant 1986 now. I heard it for the first time in the year so 1997, being a seventh-grade student and tightly pierced by a thrasher. The first sensation was a wild misunderstanding. After the sane and clearly structured albums of Slayer and Megadeth, I was hit by a flurry of aggression and desperate rage. The choking voices of Mille and Ventor, who, as crazy and drumming on the drums, made an unforgettable impression on me, which has remained so far. Pros of the album: wild fumes and expression, the enthusiasm of these young boys. It is felt that they tried to play at the limit of physical possibilities in terms of speed of execution. But the minuses - it's a lousy crusty sound and not yet a good possession of the instruments, there is a lack of a second guitar in terms of the density of the guitar sound. But this Kreator will be corrected already on the next album, inviting to itself to pomuzitsirovat its school friend Jorga Tritze. In the meantime, Kreator has not gained momentum yet. But in any case, it is necessary to listen, and shame on you, if you are an amateur of the old school thrash, and do not have this album in your collection.
Posted on: April 21, 2017
ARMOR!
Undoubtedly, if not the best, then boldly claiming this title album in the discography of Unleashed. It's not even an album, but a set of heavy hymns to the glory of death metal. ARMOR! And if not for the exceptional sincerity of music, then such pomposity would look, at least, tasteless. There are no passages. Each song (and here the Songs are represented) is similar to the armed Viking, who was made to attack. The album is made soundly and tastefully, with a simple, but very juicy, slightly muffled sound. Clear, expressive vocals are more like military appeals. Every word literally shoots a death metal throat Johnny. Songs, having an uncomplicated compact structure, are diverse and trump memory. Each riff is sharpened to the limit and ideally falls on a well-adjusted rhythm. The drums sound thorough and weighty - here you will not find fussy blast beats. If you do not get smart, using typically professional terms, then you can compare the drums, say, with Sodom, which gives some compositions a shade of shade. Other songs, having an average tempo, are ideal for old-school headbanging. As smart people in the West say: "slam groove."
Some wise people can say that the instrumental parties are too primitive. Well ... Talent is not in the intensity of the game and not in its complexity, but in writing really memorable, logically and intelligently sounding tracks, where each note is in its place. And all of the above "Warrior" has quite.
What else has proved "Warrior" is a direct succession of death metal heavy metal. Songs such as "Hero of the Land" directly send the listener to the legacy of Black Sabbath. Given the dingy, typically Swedish sound, "Warrior" can boldly boast of a kind of atmospheric sound, without using all sorts of keys and acoustics. All of the above in its entirety reveals before us the inimitable style inherent in Unleashed, confirming their legendary status.
In general, one of the best examples of the Swedish death metal. Typically male music, which became an unquestionable classic.