All customer reviews by Tan S.
Posted on: July 31, 2017
Good
“Under Jolly Roger† is an album by Running Wild, released in 1987. It’s considered the first ‘pirate metal’ album, because of the front cover and some songs on the album. But how does ‘pirate metal’ sound?
Well, let me start saying that ‘pirate metal’ isn’t really a sub-genre of heavy metal music. It’s just what everyone calls the music of Running Wild because of their pirate themes. So let me explain how Running Wild sounds.
Everything you could want is all counted and present. They have the up beat power metal War In the Gutter, The fist pumping Raise Your Fist or the plodding eerie number Land of Ice. Of course you have to mention the absolute classic title track, Under Jolly Rodger. A great power metal anthem if there ever was one. The dual guitar playing is great and the guitar solos are just brilliant.
So the song selection is about as perfect as a German power metal album ever will be. But it fails pretty badly in the production side of things. The album suffers from that horrible boxed sound that has plagued pretty much every rock band that did not have a budget. It is clearly in dire need of remastering and it is a serious shame that it has not received the treatment it deserves.
This album alone has more originality and creativity in it then you will find in Slayer’s entire back catalogue. Despite the not so great production, the album still rocks as a timeless piece of heavy metal that every true metal head should own.
Posted on: July 30, 2017
Must have!
Any discussion of Left Hand Path should start with its eponymous opening track, which is one of the best metal songs in any genre. The opening scream and subsequent riffs, leading to a bone-crushing groove, set the tone for what the Swedish death metal scene was all about. Heavy, down-tuned guitars, perfectly placed tempo changes and vocals delivered with reckless abandon. It even has a haunting melodic coda (the only one of its kind on this album, and one that might fit better on a closing track) that predicts the sounds of their countrymen in the future Gothenburg scene.
In 1990 there were just a few death metal bands around. Florida's Death, Morbid Angel, and Obituary already had albums out, but Entombed hails from a place far from Florida: Sweden, and they helped define the Swedish death metal movement. The opening title track starts off eerie-sounding with an ominous scream, but suddenly explodes with a guitar solo so wet it could drown a shark - which brings me back to the guitar tone! Every track on the album is filled with killer riffs and solos that are immersed in the signature tone. Vocals are as to be expected in a death metal release: guttural. But not too guttural. Lars Pertov's growls are just right. More comparable to David Vincent's vocals on Altars of Madness than, say, Chris Barnes' almost incomprehensible vocal style. The drums and the bass also complement the guitar and vocals. Most tracks are fast and thrashy but definitely a death metal album for sure. One can also pick out some parts of the death 'n' roll style that the band would exercise more later in their career.
All in all, Left Hand Path in my opinion is a death metal masterpiece: one of my favorites, if not my all-time favorite of the genre. And of course it features my favorite guitar tone. If I had to pick my favorite tracks (which is difficult), they would be "Morbid Devourment", "Drowned", and "Left Hand Path".
Entombed did not have the technical skill or inventiveness of some of the bands that made true landmark albums in the genre--the ones that transcend death metal and are recommended to all who are interested extreme music--but it is a stark reminder of why I got into this style in the first place: it's fun. I love meaty riffs and busy drums and vocals that are silly to the average music listener. If you do, to, Left Hand Path is a required listen.
Posted on: June 26, 2017
Good
So, is A Matter Of Life And Death as good as classics Powerslave and Dance Of Death? Yes; the quality bar is raised once more. Maiden again prove their uncanny ability to write great lyrics wrapped around guitar orchestration that rock fans crave.
"For The Greater Good Of God" and "The Longest Day" are outstanding with the partnership of guitar, bass and drum (and now even keys) flowing and developing throughout. "Lord Of Light" is one of those epic tracks destined to be listened to again and again - each time giving something new.
A Matter Of Life And Death is the sound of a band who have been together for thirty one years, mostly spent on the road. The album manages to preserve the raw element of a live performance because, as with their other albums, the band recorded A Matter... together in the same studio as live. Every song provides evidence that the band feed off each other and share a common energy.
In this world of hopeless auto-tuned mediocrity here is a British band that consistently crafts fantastic music that surprises reviewers and fans alike. Some may dislike the controversial lyrics, but isn't that what rock music is supposed to be all about?
Posted on: June 25, 2017
War is The Law
Its good to look back at what Death Metal used to be, heavy and loud with some brutal lyrics (not just gore). Especially now since the current metal scene seems to be filled with metalcore groups which never really cut it for me. I like my solos and actual lyrics, not screams and breakdowns. For me, War Master really delivered. From the first track to the last its a never ending stream of grinding Death Metal that obliterates everything in it's path. With a sound that so many could only hope to emulate because no other band carries the same weight that Bolt Thrower does. If you like your old school Death Metal like Carcas and Morbid Angel, then this is a must have.
Bolt Thrower's refined formula is immediately recognizable on the opening track "Intro... Unleashed (Upon Mankind)", a song that brilliantly combines doom oriented atmospheres with mid and up-tempo sections. The track that follows, "What Dwells Within", starts with an epic riff, followed by an impressive and powerful vocal entrance by the inimitable Karl Willetts. After the first two songs, the listener easily understands that "War Master" is a different creature from "Realm of Chaos". Regarding the songwriting, although it feels slightly repetitive, it is carefully arranged now, while it focuses on building different but coherent dynamics within the songs and canalizing more effectively the aggressiveness of previous releases. Colin Richardson's effective production and sound engineering also helps the band in finally establishing its distinctive signature sound. This well sensed balance with respect to sound and arrangements, continues throughout the album with songs such as "The Shreds of Sanity", "War Master", "Afterlife" or the epic "Cenotaph", a thematic and musical continuation of the previous classic "World Eater". As it becomes evident from the song titles, "War Master" is lyrically focused on all aspects of human warfare, continuing the established tradition of previous releases.
Despite the slightly repetitive songwriting, "War Master" remains an excellent effort, based on interesting musical performance from a band that finally found its identity. As for the album itself, it still remains one of the most respectable death-metal albums ever released.
Posted on: June 6, 2017
Essential
After two excellent EP's, CF came out with their proper full-length debut. Characterized by a more sinister and morbid sound than ever before, as well as a fine sense for the experimental, 'To Mega Therion' is one of the jewels of the extreme metal genre.
I consider Celtic Frost one of the biggest influences of the "Death Metal" scene period. They had more raw power, and more dreamy-evil than any band during it's time. They were completely over the top with this release....A MUST!!There is not one single song on here that wont scare you. That's what kept me coming back to it, and eventually turned me into a Frost fan. They are so unpredictably cool. Talk about chilling!!!
When I first heard this, I was a long-hair headbanger kid who loved bands like Iron Maiden and Judas Priest.....Frost was a complete change for me. I first had it on tape, and this tape was no ordinary tape....It called to me. This is some of the most possessive music ever made by anybody. I know, and love good "Death Metal", but this is something from beyond the doors of the dark. It stands alone, along with Morbid Tales/Emperors Return, I consider them two of the most important releases in the history of "Death Metal"....
Back in the mid-80's, there was nothing even close to this when it comes to darkness. This is nothing short of genius.
Even today, this is very enjoyable. My personal favorite DM band from the 80's no doubt. Celtic Frost will unchain the wild beast that lurks inside of you, and all of us. Give it a shot, and if you don't like it, just wait, it'll be back in your head before you know it.....YOU HAVE BEEN GIVEN FAIR WARNING.
Posted on: May 28, 2017
Doom!
After the legendary "Epicus Doomicus Metallicus" that gave birth to a new genre, doom metal, influenced by what Black Sabbath started back in the early 70s but taking many steps further making it more complex and atmosphere/emotion-evoking, Candlemass continued their delightful course with another masterpiece, "Nightfall". The title and the cover (Thomas Cole's painting "Nightfall") of the album prepare the listener of what will follow, a bleeding "nightfall" and its mourning darkness evoked by Marcolin's stunning voice, the mourning at times, heavier at others, impressive guitar riffing and the imposing rhythm section creating unbreakable walls of sound. Let night fall†¦
The album flows in a mourning way with "Samarithan", a slow doomy with an intense epic feeling composition with inspired guitar riffing and a small but incredible solo with Messiah interpreting in a devout way the lyrics dealing with the well-known Christian story of the good Samarithan. "Marche Funebre" which is an instrumental piece continues the album in a funeral way leading to "Dark are the veils of Death", an utterly inspired composition with everyone in the band showing by what they are made of; the unerring rhythm section lends groove to the song creating unbreakable walls of sound whilst the guitar riffing and the wonderful solo that are deeply inspired and in a heavier mood accompany Marcolin's stunning interpretation.
Posted on: May 28, 2017
Still essential
An album title should give the listener an idea of what they’re getting into and very few albums have as fitting a title as Celtic Frost’s second full length studio release from 1987, Into The Pandemonium. From the album cover and Hieronymus Bosch’s interpretation of Hell to the sonic mélange infused within the grooves, Into The Pandemonium is the full package of chaos, ominous despair, and overwhelming persecution of the senses. In the mid to late 80’s, metal bands simply weren’t supposed to incorporate anything other than guitars, bass, drums, and vocals to a mix. Eh, you might get away with a few sound effects, but no one . . . absolutely no one mixed in violins, operatic female vocals, techno beats, and electronica over the fundamental instruments, nor orchestrated all of the sounds to such epic proportions as Celtic Frost.
Into the Pandemonium is far and away my favorite album from Celtic Frost. Having listened to this one over and over again for the past twenty years, it’s become part of my being and despite it’s avant moments, it feels like a natural progression for a band who was so rooted in traditional heavy metal. Definitely the bands high water mark, Pandemonium is one of those albums that gets better with each listen, mainly because there’s so much going on that it’s impossible to pick up all of the intricacies on the first run through. I also appreciate this album for the fact that the band stretched themselves to the point of collapse to create a work of art. Sonically detailed and extravagant, listening to Pandemonium is like staring at a painting for hours on end, adjusting your eyes to pick up the subtle use of brush stroke, color, and texture. In this case, we’re not adjusting our eyes so much as our ears, keying in on the background elements that inspire the foreground actions. I hope that in another twenty years that I’m still finding something new buried deep in the mix of this album.