Author Archives: Fraggle

Ian ‘Lemmy’ Kilmister (24/12/1945 – 28/12/2015)

Posted by Fraggle on

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“I might be killed by death. I might be killed by too much Booze, Women or Music, but it’s not a bad way to die.”
-Lemmy Kilmister

Pioneer, rock star, iconic. You can attribute any of these words or more to describe the gravelly sounding man who truly embodied the Rock and roll lifestyle, but I think this word sums it up best:

 Legend!

I could go on and on about his career, detailing the various bands he played in or with, the albums he had released, the songs he had wrote but if I did that I could not really do it much justice because whilst I was a fan of the music, I wasn’t necessarily a fan of the bands. Don’t get me wrong, I enjoy the in your face, amphetamined up rock and roll of Motörhead – they have wrote some tremendous songs and are easily some of the most recognisable tracks of the past seventy or so years, but I can honestly say I have never been really into them musically when it came to listening to full albums by them, preferring to listen to the greatest hits or live albums instead for a more rounded experience. Perhaps this makes me miss the point of a lot of Motörhead, maybe miss out on some hidden gems or under the radar classic album tracks which rarely saw the light of day… But they’ve just never had the same draw for me in the way they have done for a lot of my friends.

I do however share their pain… We all do. Lemmy despite saying he saw Motörhead as just a really loud rock and roll band was in a way, along with Tony Iommi, one of the godfathers/creators of metal as we know it. Iommi gave us the art of riffing and what would eventually become doom metal and stoner metal… Richie Blackmore laid the foundations for shred and virtuoso playing which wasn’t in the realms of Jazz… And Lemmy gave us the attitude and the sound. Fusing the anger of punk with a hefty dose of speed and some real intense loudness, Lemmy created what would ultimately turn into thrash and speed metal… And being a thrasher at heart, to have woken up this morning and found out that the father of thrash had left us hit me where it hurt.

His vision, his pioneering sense, his use of wild distortion, playing the bass like it was a guitar. Politically charged lyrics which were often deeper than what they appeared to be on the surface. There was always more to Lemmy than what met the eye and if you looked past the cowboy hat look, you found a deeply intellectual man who to put it bluntly, couldn’t have given a shit about what anyone thought of him because he stuck to his beliefs.

My first live experience of Motörhead was at Download 2005. A nineteen year old me was stood on the hill, waiting for System Of A Down to come on the main stage on a cool Sunday night when all of a sudden, a wall of noise erupted from the second stage. This wall of noise, monstrous and uncompromising turned out to be Motörhead‘s opening tracks. They did a fantastic job of reminding everyone there was still another band or two playing and in hindsight, maybe I should have ventured over to catch them then, but already possessing tickets to see them in Liverpool later in the year I stayed put.

Actually seeing Motörhead though and experiencing them live properly for the first time… I honestly don’t think my ears will ever recover from it.

Bringing along In Flames (back when they were good!) and Girlschool, the night was one to remember for me – I’d actually met Lemmy and had him sign the ticket #0001 for that show… Yes, I own the first ticket for a Motörhead show in Liverpool with Lemmy’s signature scrawled across it!

I managed to get to the front rail for Motörhead, acting as a kind of buffer for my girlfriend at the time who stood in front of me and little did we realize, but we were right in front of Lemmy’s Bass stack… Needless to say, we were blown away with the noise, noticing it going up and up between or even during a track. It was a full on aural demolition job which left me wanting more and over the years, despite not seeing them again indoors, I did manage to catch them at several festivals, with the full main stage sound system backing them… And that was phenomenally loud!

I’m fairly certain that if you spoke to any metalhead who was born in the 80’s or early to mid-90’s, they will have a Motörhead story to share or have actually met Lemmy somewhere down the line and they will all probably say the same thing – he had a drink in one hand, and a smoke in the other. When I met him, he’d just dropped £10 on the fruit machine in the Guild of Students!

It’s always hard when someone of significance dies. Whether they had a small or massive impact on your life, you feel it and deal with it in different ways. As I type this, shelves in off licenses and supermarkets and liquor stores worldwide are probably being stripped of all the Jack Daniels. Streaming sites and YouTube will have the number of hits on Motörhead related uploads intensify dramatically, and many a metalhead will have a raging hangover in the morning.

We all said Lemmy was immortal and he, along with cockroaches would survive a nuclear apocalypse, but sometimes, even Gods can die… But is he really dead? His legacy, a career which spanned five decades will forever live on. Sure, there will be no one who can truly take up the mantle from him. Lemmy was an original. Many have tried to copy him and all have failed. I mean the closest thing we have to Lemmy now is Keef Richards, and that’s purely because he too is an aging man who seems indestructible… But fuck Keef Richards, he’s not a rockstar and his band are shit!

Lemmy was one of the forefathers of the metal we listen to and love today even if he never saw himself as a metal musician. He wrote some of the most iconic songs in recent history and he wrote some of the greatest lyrics ever (Mama I’m Comin’ Home off Ozzy’s epic No More Tears album is the first which springs to mind).

He left a legacy which will forever live on as long as people continue to love and support it. The old guard has to stand aside for the next generation to take over and full credit to Lemmy, he carried the Old Guard to his grave, refusing to give up performing because of his deteriorating health and there will never be anyone as influential and as unique as him again and we just know, wherever he is now, it’s certainly got a lot rowdier and louder than ever.

In short, the man himself said it best:

“Death is an inevitability, isn’t it? You become more aware of that when you get to my age. I don’t worry about it. I’m ready for it. When I go, I want to go doing what I do best. If I died tomorrow, I couldn’t complain. It’s been good.”

Thanks for everything Lemmy.

Jess And The Ancient Ones – “The Second Psychedelic Coming: The Aquarius Tapes” (Svart)

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jess-and-the-ancient-ones-second-psychedelic-coming-cd Psychedelic six-piece Jess And The Ancient Ones (now refered to as JATAO from here out) hail from Kuopio, Finland and well, they prove that once again, if you want some brilliant music, look no further than the northern reaches of Europe. Scandanavia has always been a hotbed for great music – it was the birthplace of the melodic death metal scene, it helped augment the notoriety of black metal and some of the best doom acts hail from the frostbitten northern countries. Now we can add Psychedelic Rock to the list. The eagerly awaited follow up to their debut full length in 2011 and EP in 2013, “The Second Psychedelic Coming: The Aquarius Tapes” (Now refered to as The Aquarius Tapes from here out) promises so much. Let us see just what the second coming sounds like.

“Samhain” opens the album and right away, it’s like stepping back into the early 70’s. A blend of mysticism and classic rock with plenty of flair and dramatic vocal work combines fantastically. Blending sounds which can be likened to The Doors, Deep Purple, Pink Floyd and the mighty Blue Öyster Cult, it is a storming rock and roll boogie filled track with plenty of trippy vibes emanating from it. With a real retro-rock boogie feel, full of swagger and flair in the delivery, the six piece really throw out a captivating track to begin with. The organ which sits just ontop of the vocals and guitar work really brings it to life and the power in the vocals really brings the track to life, especially with the big, dramatic Jim Morrison-esque belted out vocal sections near the end of the track.

“The Flying Man” brings a shade of Hendrix to the album. With its wah-soaked guitar and massive drum roll into a more darker and slower paced track, it is full of atmosphere. Once again, the lead guitar fills and organ add that extra edge to the track as they dance their way across it whilst the solid rhythm section and vocals really carry the track, hammering it home. Flair filled blues fills turn into a full blown tasty bluesy feel guitar solo and not to be outdone, the bass even gets in on the lead melody and has some soloing of its own towards the end which leads into the powerful final chorus with a real massive big vocal outro.

“In Levitating Secret Dreams” we get the pomp and bite of Blue Öyster Cult – trippy feeling rock and roll. With call and response styled vocals over a lightly overdriven rhythm, flowing classic styled lead and hypnotic drums, it takes hold like the early 70’s BÖC sound. Wild sounding lead fills accompanying the Vocals, the chorus has some great melodic sections and the second verse shows a more darker and sultry vocal delivery, showing just how versatile JATAO really are. It’s a short and energetic track with some real classic rock flair behind it. “The Equinox Death Trip” is a fantastic track. The rhythm section really stands out on this one with some solid bass and drums which lead to an infectious groove which I challenge you to resist. With cleaner vocal delivery and atmospheric guitar and organ interplay, it has a really mystical quality to it, kind of like The Doors but with a heavier edge. The beefy riffs and organ interplay round the 2:40 mark give a real great sound, especially in the organ solo but the real magic happens at the 4:20 mark where big vocal wails, frantic and loud organ abuse and a bass solo under a guitar solo just lead to a convoluted but majestic maelstrom of creativity and expression which hits the mark!

“Wolves Inside My Head” is more ominous and slightly harder in its musical delivery. Almost like it has been laced with Venom for some real impact, it opens up with an ominous rumbling synth under a soundbyte sample which goes into a quick lively burst before it eases off in the verse. With a punchy rhythm and real build up element to it in the verse, the lead guitar subtly mirrors the vocal progression as it enters the chorus and the spooky feeling organ sounds just make for a rich atmosphere to get caught up in. With some real storming grooves which are infectious as hell, it has that classic rock-come-blues boogie feel to it at times but with a darker tone and it eases off into a hypnotic bass/vocal combo to end it in a real solid display. “Crossroad Lightning” brings back the mysticism again, starting off with something which sounds almost Native American-like , giving it a slight ‘epic’ feel. With overarching synths over a steady and melodic verse, it has a big feel and the synths essentially dictate the dynamics of the track – as they grow louder, so does the vocal delivery. Round 3:40, the bass really kicks in and there’s some fantastic vocal work and bluesy riffs and as the track progresses, it picks up that BÖC feel again with the raw sounding riffs and a really good bass riff/solo spot. Round 5:40 we get a real big melodic moment with some massive vocals and piano before it starts to wind down towards the Native American sound once more to end it.

“The Lovers” is a short burst of energy. A bouncing feel rock and roll groove underpins the track as it’s infectious nature takes hold of you once again. With some great vocal delivery and solid synth voicing’s, it really has a kick to it, especially in the choruses where it gets louder and the vocal and lead melodies shine through before we get a real blistering paced solo. This then leads into “Goetia Of Love” which keeps up the lively feel. With some solid musicianship providing the energetic and slightly bouncy feel backing for the vocals which just roll off so smoothly, it’s got a great sound to it. The chorus brings the retro rock feeling back into full swing with some backing “oooh’s” and a memorable descending run for the main hook and later on in the track we get a touch of some Robert Plant styled vocal wails which really add to the sound.

This of course leads us to the final track of the album which is also the longest. Clocking in at just over 22 minutes, “Goodbye To Virgin Grounds Forever” is an epic in every sense of the word. Given how the rest of the album has had that big rock feel with a lively pace to it, this track is the polar opposite. It’s slower and more sorrowful in its delivery which in a strange way, makes it rather beautiful sounding. The track opens up with a lone piano melody which is joined by a flute and some periodic cymbal clashes to up the mood and to set the scene, building a sorrowful but captivating sonic landscape to get lost in. The rest of the band joins in and it is more bluesy – subtle bassline, vocal freestyling in the Plant wail delivery and subtle guitar licks and progressions steadily build up and the first real change in dynamic is round the 6 minute part. The drums pick up, the vocals get slightly softer in their delivery and the guitar becomes more prominent. This approach leads to a smooth bluesy solo before it picks up again round the 8:30 point, growing in volume and intensity, giving a sense of a bigger, more dramatic musical shift to come, especially when the vocal delivery gets more dramatic and horns and building feel drums join in, making it even louder.

Round the 10 minute spot, we find ourselves dipping into the BÖC style again and the rich bassline and strong piano really ties it all together well before it changes again. Easing off on the volume but speeding up with regards to some instruments, the 11:30 point leads to another major shift as the piano gets faster and it gets more frantic and the guitar and horns get a little more intricate. Cascading into a Hendrix styled section round 14 minutes, it picks up again and then two minutes later, it shifts again, with more power coming from the vocals and the twisting bass and turbulent drums, really shifting it more to the classic psychedelic stylings.

Eventually the track begins to slow down before the final major change – a near enough all vocal three minute outro with a folk-like melody which follows the vocal harmony lines to great effect. Initially this shift doesn’t quite work, but as it progresses, it works out rather well and brings a very dynamic track and album to an epic close.

Overall, “The Aquarius Tapes” is another astounding release from Svart Records. It’s got everything you want from psychedelic rock and blues – its arrangements, phrasings and progressions get you caught up in them so much you cannot help but have your mind wander through the rich sonic landscape which Jess And The Ancient Ones have created. With slick guitar chops, infectious and feel dictating synth and organs, a solid rhythm section and some magnificent vocals, JATAO have created a real hit here.

(8.5/10 Fraggle)

https://www.facebook.com/jessandtheancientones

Out 4th December!

Night Viper – “Night Viper” (Svart)

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Before I get into this album, I want to say the following:

Svart are a fantastic label. You should check out their roster and some of the releases. From classic rock infused metal to full on dark atmospheric doom and the more mystical qualities of stoner doom, there are some cracking releases on the Scandinavian label and if you do one thing, make this a purchase from it in 2015!

Now back to the review…

 

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Night Viper are a five piece classic sounding heavy metal band based out of Gothenburg, Sweeden who include in their ranks, musicians who have played in Miasmal, The Order Of Israfael, Church of Misery, Guerilla, Radiation and Firebird. Formed in 2014, the five piece are set to unleash their debut album, the self titled release “Night Viper” on Svart and given the interest and buzz about this band, this is one album which surely excites.

Opening up with the title track, “Night Viper”, the classic rock meets classic metal feel hits right away. With its high octane rhythm consisting of well structured chords and riffs to a solid drum beat with some flair filled bass licks added for good measure, it kicks in with that attitude and snarl you’d expect from the early NWOBHM bands like Judas Priest and Iron Maiden. The female vocals were not expected at all, and the clean delivery of them with plenty of weight and power behind them is sublime. With a real rocking feel and rawness to it, this opening track sinks fangs in and injects the classic metal venom into you, putting you completely under its spell. Blistering guitar work is strewn across the song, from crafty little fills to a wild but melodic solo which even has some harmony and trade off sections in it for good measure and all of this together creates a fantastic opening track.

“The Hammer” follows on with more of a harder sound to it. With more beef in the sound, its low end rumbles like a chopper, making sure everything around knows where it is. With that metal attitude oozing from it and the passionate vocal delivery which brings back the feeling of the first three Iron Maiden albums but with less punk snarl and more vocal control, it just hits you right on the head. Catchy hook laden riffs provide a fantastic backdrop for headbanging and the semi-thrash like soloing just adds that kick at the right time to really up the tempo.

“Curse Of A Thousand Deaths” is this album’s ‘epic’, clocking in at seven and a half minutes. Opening up with a sinister atmosphere setting progression of guitars laden with chorus and reverb playing a dark sounding arrangement, it really sets the scene for what promises to be an enticing sonic experience. The softly delivered vocals, almost like a ghostly whisper but full of haunting melody seep out from the melody, giving one of those raise the hairs on the back of your neck moments. As it slowly progresses, growing in volume and atmosphere, the anticipation builds and builds as the melodies become more intricate and cleverly arranged to the point where you’re just expecting an all mighty wall of noise to smash into you and leave you lying there in its wake. That wall doesn’t exactly come crashing down, but after four minutes, the fast paced metal seems to seep through the dense atmosphere of the song and inject some life into it with a fast paced section. With the solid vocal delivery and soaring feel riffs, it has an epic feel to it and the payoff is wonderful, especially the lead guitar section… Simply fantastic!

“Run For Cover” has a slight thrashy vibe to it. Bringing in the classic palm muted gallop, it charges ahead at a good energetic pace which encourages headbanging. The vocals are delivered faster and with more attitude behind them and in the chorus there is a slight hint of balls to them as they come off really powerful. With the fantastic riffs and wah-laden shredtastic solo, it is a classic 80’s metal track if there ever was one and it wouldn’t have sounded out of place on an album like “Killers” or “British Steel”. With some great fist in the air feel and rawness to it, it blends the heavy metal wildness and classic metal sound to maximum effect and that wild second solo sandwiched between some more gritty delivered vocals with sneering attitude behind them really nails it!

“Warrior Woman” follows on and this is another seven minute epic of a track. With a dramatic building harmony lead over some spoken word samples and war like drums, it grows in volume, creating another atmosphere before the big bass slide brings in a colossal sounding slow paced monstrous sound. Pounding riffs at an almost doomy pace really ramp up the loudness factor of the album and by the two thirty mark, it finally kicks in. Faster drums and hook laden guitar riffs drive the song on. As with the previous tracks, the well articulated and clean vocal delivery really comes through and holds its own. With the right mix of attitude and balls to it, the vocals really bring the track to life with some real metal flavour and those riffs are just great. Simple and effective, it is minimal input with maximum effect. The guitar and bass harmony section right before the raw sounding solo is great and when that solo comes in, it’s so simple it works brilliantly, allowing you to enjoy the solid rhythm work underneath whilst still finding your hands working up and down that air guitar’s fretboard. The post-solo breakdown is bass and vocal driven and it really builds the mood once more so when the guitars come in, the power really rings out in the vocals and wow… It’s fucking fantastic when it kicks in for the final run down with some big classic sounding Maiden chord work.

“Faces In The Mirror” brings back the more thrash/speed metal approach with a rapid guitar riff over a fast paced heavy groove. Vocally sharp and laced with great riffs and tricky fills, it really brings the action back to life after the previous track slowed it down by just the right amount. With a great headbang worthy pulse, it simply captures the attention and keeps hold of it, bringing tremendous energy to it and that shreding solo with some pounding riffs underneath hits the spot. Getting wilder as it goes on, the solo leads into a complicated sounding fast riff section where the guitars and bass harmonise with each other to great effect before the final chorus really brings it home. Short but with a great impact. “Never Be Enslaved” sounds like something out of the Iron Maiden back catalogue. Any moment now in the intro I’m expecting a “SCREAM FOR ME…..” shout ala Bruce Dickinson. The fantastic harmony lead and chordal approach from the bass with gradual drum build up really pumps the song up and when it explodes to life with that classic Maiden approach, it just sounds great. A sublime solo with a great bass groove underneath it nails the mood and the verse has the right pace to keep the energy going. Vocally its delivered great with the melodic voicing’s acting as an instrument in their own right, giving the chunky sounding riffs some flavour but when the chorus kicks in, it has that big moment feel. Powerful vocals, a rich bass tone which comes from an intricate bassline and some well phrased chords work to maximum effect. The break before the solo has a heavy kick to it and when the solo comes in, the rhythm is full on galloping power under a slick and technically sound dual guitar solo which hits the right balance between flair and structure. The harmony which follows again builds the mood, building the feel for a big sounding ending which really wraps it up nicely.

“The Dagger In Hand” kicks off with a bassline which has buckets of groove to it and a sweet sound. Steady drums and growing feedback slip into a heavy, chunky sounding riff fest with some tight vocal work which has some great power behind it and the simplicity of the chorus, those stabbed chords which pound away work great. Returning to the bassline and feedback, the second verse follows the same path as the first. It’s a classic metal track at just the right pace to headbang or drink and nod in approval to with plenty of scope for some fantastic sing along moments in the live setting. The twin guitar solo harmonies come in again over that pulsing bass riff and as the guitars work their way up the neck, it gets more intricate, growing more and more complicated with each passing phrase in the sequence and the end pay off – a furious sounding wild short solo which explodes to life before shifting into the chorus with no fuss in the slightest and it wraps things up nicely for the album closer. “The Wolverine” brings a close to proceedings with a rapid bass drum and guitar riff heavy intro which goes into that classic NWOBHM feel for one last time. With faster vocals, subtle but effective riff changes and tricky harmony fills, it just oozes heavy metal goodness. With a storming chorus it gets heavier and the dynamics, rolling the second guitar and bass in and out to give it an extra kick before the verse is a great touch. It ‘s just a solid track and like every track before it, it has that classic sound but played with a more modern feel, keeping both the great sound and appeal to it. For the final time we head into a slick sounding dual guitar solo run over a steady rhythm and as the two guitars trade off against each other, it gets faster and explodes into a great harmony ending before that classic metal riff comes in for the final chorus which draws a close to the album, ending in the most rock and roll way possible – the wild flailing round on instruments to give a chaotic and dramatic end to what has been a thoroughly enjoyable album!

On the whole, Night Viper is an astounding debut. It’s the kind of release which makes you sit up and take notice. It takes the classic, much loved NWOBHM style approach and sound and injects some modern kick into it, making the band sound like they belonged there in the early 80’s, on the road alongside Maiden, Priest, Saxon, Diamond Head and the other greats of 1980-’84. This is essential listening for all metal fans! You cannot miss out on this album. It is an all round solid with no weak moments whatsoever.

For me, this is a serious contender for Album of the Year.

(10/10 Fraggle)

 

Release date: December 4th

Anomalie – “Refugium” (Art Of Propaganda)

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CD Digi Wallet.indd

Anomalie is the project of Austrian Black Metallers Selbstentleibung’s guitarist Marrok. Unlike his main band’s work, Anomalie is more of a Post-Black Metal sounding project. Using the core elements of black metal song writing and structure – blastbeats, pounding rhythms, tremolo picked guitars and harsh vocals which border between scream and rasp at times and most importantly, the art of being able to craft a vast sonic landscape to explore whilst you listen to it. With this being Marrok’s own personal vision, we join him on his journey through a vast spectrum of emotions and states – hope, despair, beauty, bleakness, reality, the surreal, liberation and oppression. With the album name translating to ‘refuge’, let’s see what we could be seeking refuge from.

Opening up with a haunting and atmospheric acoustic tinted progression, “In Fear Of Tomorrow” begins to draw you in. With almost tribal like drum patterns and dramatic sounding tremolo picked distorted lead melodies, it creates a slightly surreal and intense feeling before it kicks in fully with a massive sound. Raw and passionately delivered vocals over a solid rhythm and melodic dark sounding lead riff make for a stunning sound in the verse and this continues to the first major feel change round the three minute point. Here the vocals take on an eerie sound with a softer delivery before a minute later, it explodes into a melodic death metal sound reminiscent of Dark Tranquillity but with black metal overtures in the vein of Ishahn. It’s a stunning opening effort.

“Spiritual Distortion” doesn’t take the easing you in approach however. From the off its pounding and dissonant sounding intro hits you at a steady pace with thunderous force. Picking up the pace a little, the slightly symphonic sounding lead melody adds an extra layer to the sound and has a Borknagar like feel to it. Clever use of clean lead fills add a good touch and more dynamics to the track and the riff sections come heavy and at a decent pace with precise drums, a tight melodic progression and a solid vocal delivery. As it progresses, it slips between a smooth flowing and jarring feel with minimal fuss or momentum lost and the melodic solo towards the end is well composed and has some brilliant phrasings and tone behind it.

“Untouched Walls” keeps the dramatic feel up. With a synth and sample heavy intro, a faint guitar riff comes in which is just about audible, especially when the meaty sounding rhythm guitar section kicks in. The main melodic guitar progression is simple but has a good quality hook to it which keeps it feeling familiar and the subtle vocals which are barely audible in the build up finally come to life with venom and ferocity in their delivery round the 1:30 point. Despite being overly nihilistic sounding, it does have some brighter melodies in it to provide a good contrast to the rhythm and vocal delivery and at times it descends into entropy with a furiously delivered middle section which eventually eases off and ends on a clean, melodic acoustic section which draws the track to a close.

“Between Reality And The World Beyond” brings back the livelier feel with that Dark Tranquillity edge to the sound despite the dark overtures of the track. Once again, the musical delivery is tight. The simplistic progression of the rhythm with the expressive lead melodies which dance across the track add more layers to the sonic landscape Marrok is creating here and it sounds even bigger than what it actually is. With a melodic solo leading the way to a faster feel section, its delivery is spot on. The bass sounds huge and like the rest of the tracks so far, it has a real powerful delivery which certainly gives a good impact and brings that intensity to it in terms of atmosphere and not heaviness or volume. “Solace” slows it down with a heavy chugged rhythm and the slow building lead melody gives a great build up feel so when it does kick in to the pounding rhythm with fast paced riffs and a real thunder to it, it comes across even more venomous. Once again, the simplistic rhythmic structure of the song provides a great backdrop for the dynamic vocal delivery which really dictates the dark feel and the lead guitar melodies which help bring the track to life and the only real intricacies lie towards the end when it shifts into a clean and acoustic progression with a warm sounding distorted lead which fades the track out.

“Leaving Somina” brings back the drama and flair. With a hypnotic acoustic guitar line over a thick chugged distortion and clean, spoken vocals, it builds the anticipation and round the 1 minute mark, it kicks into life with some melodic riffs before it really gets going at the 1:30 point. Faster pace, thicker sounding rhythm and more complex drum patterns really up the heaviness and intensity of the track and as always, the lead melodies augment the rhythmic backdrop brilliantly, giving it a massive sound and feel. With some real powerful vocal displays across the track, this is one of the stand out moments of the album, especially with the acoustic and distorted guitar interplay sections but the ending is the best – a real blackened approach to a mid-90’s In Flames sounding progression with some powerful primal roar like vocals. “Freiflug 48° 23´ N, 16° 19’ O” translates to ‘free flight’ and what I assume to be co-ordinates (A quick look in google isn’t much help but possibly it’s Austria, if any readers crack this, please let me know!). It has a slower, more melodic approach to it with a bright tone which is a welcome change given how dark the majority of the album has been. With multiple layers intricately weaved on top of one another, it has a complicated sound initially but when you focus on the individual parts and not the entire thing, it’s easier to follow. The layers eventually clear up to a stripped back acoustic progression which has a warm sound and very uplifting feel to it but this doesn’t last too long as the distortion kicks in with the harsh vocal screams once more. What is unique though is how despite the heavy sound and style of music, it still maintains its upbeat edge and the rich bassline underneath all this is a delight to take in. With a clean melodic progression adding extra to the scope of the track, it goes near enough totally acoustic round the 4:20 point before a powerful vocal roar soon after snaps it back into the distorted progressions to bring the track to a close.

Closing the album is the title track, “Refugium” and it is an 11 minute epic. From the start you have a sense that this draws the entire album together and you wouldn’t be wrong. The huge hybrid of melodic death metal and black metal composition brings a multi-layered chaotic sound. Blasting drums, rapid fire guitars with that melodic hint to them and powerful bass brings the ferocity once again but as the verse comes in, it slows down. The sound is huge and the vocals are as raw as ever but when it springs back to life again round the 1:46 part, we get one of the best faster paced sections of the album. It has a real melodic hook to the lead progression and this pops up again several times through the track, often preceding or following the shifts to a more black metal sounding section where the chaotic feel comes back once more. Near the halfway point it eases off to a lighter distortion before heavy chugged guitars come back in before the black metal urgency explodes again and at the 6 minute point, there is a fantastic lead melody section which has a great atmosphere building effect and a real rich sounding bassline. As mentioned before, the switches between fast melodic progressions and slower intense heavy progressions continues and round the 9:30 point, the distortion slowly eases off, being replaced by a haunting keyboard based melody and clean sounding ringing guitars which fade out and draw this experience to a close.

Overall, “Refugium” is a fantastic album for a genre of music which is not one of my preferred ones. It takes the core elements of black metal and applies a more progressive slant to them instead of primal and animalistic one, giving a better atmosphere and a different kind of intensity and listening experience to the more traditional black metal bands who are all about harshness, dissonance and grim sounds. With the melodic death metal touches, the blackened metal journey through Marrok’s immersive sonic landscape is an interesting one and even if you aren’t much of a fan of the melodic side of extreme metal, I do recommend checking this out at least once, you may be pleasantly surprised.

(7.5/10 Fraggle)

https://www.facebook.com/The.Anomalie.Experience

Psycroptic – “Psycroptic” (Prosthetic Records)

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psycroptic-album-cover

Up until September of this year, I’d never even heard of the technical death metal four piece from Tasmania but finding out that they were playing in a tiny venue in Liverpool at the start of October with Luxembourg’s Scarred, I would have been a fool to pass up on the chance to see what they were like. Needless to say, I was blown away by the precision musically and the showmanship and engagement they had with the crowd, really winning them over with little fuss and destroying the place with a fantastic set. Anyway, formed in 1999, the Aussie tech death outfit are uncompromising both on record and live, and this year’s release, the self titled “Psycroptic” is no different.

Opening up with a slow building sample and some effects laden acoustic and clean guitars to give a real sense of anticipation, “Echoes To Come” opens the album up. The slightly exotic clean line coupled with some powerful distortion and drums really brings the energy and out of nowhere, the vocals kick in and all chaos breaks loose. Vocally solid with a harsh shout which borders on scream at times but delivered in a totally audible way, it really grabs hold and the intricate riffs from the guitar are delivered with precision. Effortlessly slipping between simple structured riffs and twisting fills and breaks, the track flows smoothly, never once seeming to lose momentum or the power its delivery gives. Moments of heavy groove give way to blasting fury. The lead work is sublime, flowing perfectly with minimal fuss or regard for the precision and technicality contained within in, making for a real great opening effort.

“Ending” follows up with another twisting styled riff similar to one you might find on a Necrophagist release. The winding almost solo like verse lines with the raw vocals and gratuitous double kick go great and the heavier and slightly slower chorus sections add an extra touch to it, balancing the intricate with the heavy. The shifting feel, from slow to fast halfway through works fantastic. The brutal pounding atonal chords stabbing away slipping into a winding ascending and descending lick before another raw sounding chorus which trails out into a furious drum heavy ending with some real deep and raw sounding vocals. “A Soul Once Lost” has a slightly thrashy quality to its build up initially but the intricate and precise runs of the technical death metal sound quickly force their way in, dominating the track. With incredible precision it will have many fans of this style of music wondering just how to play the quick runs without ruining their wrists or have them simply listening in awe. Despite this technical brilliance, there is a real steady but hard hitting groove to the song fueled by some relentless double kick from the drums and the harsh vocal screams which all combine to make it a real powerful track. Sounding angry but controlled, it slows a little round the halfway point to a dark melodic section with some samples adding a big sound feel. Here is where the drum groove really comes to life and the interplay between the tormented vocals and virtuoso performance on the guitar really makes this one of the stand out moments of the release so far. A flowing lead section follows before some real polyrhythmic riff and lick tradeoffs, punctuated by machine gun like bursts before the revisiting of the intro caps it off nicely.

“Cold” has a tribal feel to it as it starts. With a steadily growing in volume clean guitar line, the intricate arrangements and feel really work well, serving as a slight reprieve from the ferocity of the previous tracks but still showcasing the technical elements of the band. As it kicks in distorted, it’s a lot faster than some of the previous tracks with one hell of a groove to it, perfect for headbanging to. The slight thrash feel comes back again just before the verse and it’s full pelt as the vocals kick in. Raw and powerful shouts combined with some real intense rhythm work provides the perfect accompaniment for the winding guitar lines which cut through and sound great. It’s heavy and intense but not overpowering. Towards the end it eases a little with the bass playing the main riff for a brief period before the final chorus once again, drawing the slight break from the insanity to a close. Thankfully the blitzkrieg in the form of “Setting The Skies Ablaze” takes no prisoners. Full speed ahead, it smashes into you with rapid guitars, bass, blasting drums and some frantic vocal delivery which just pummels you, only briefly letting up for the chorus which has some decent groove buried in it courtesy of the drums once again. Getting heavier after the second chorus, it picks up the intensity, the vocals are harsher and the riffs are more groove laden but still maintain that technical precision required of this sub genre of death metal. Whilst it’s not Dream Theater levels of complexity, it’s pretty fluid and that says just how good and well respected Psycroptic are in the technical death metal scene. The heavy breakdown section with its descending winding riffs and tight pinch harmonics towards the end really ups the groove section and once again, it’s not just about the gain or volume used to make it heavy, but how the music is delivered.

“Ideals That Won’t Surrender” has an ominous tone to begin with. The slower pace with haunting guitar melodies combined with the harsh vocal work has an unsettling edge to it but this is quickly dismissed as it picks up speed into a frantic and highly controlled yet chaotic sounding series of riffs. Heavy and full of groove, the headbang friendly verse has some rapid but flawless vocal delivery and the intricate guitars are only matched by the impressiveness of the drums and the bass keeping everything locked in place. Shifting between ominous and chaotic, it keeps you guessing, never quite letting you get accustomed to it, but at the same time, keeping the intensity up there, never letting it drop once, which is quite a feat, especially as technical death metal can sometimes be stale, something Psycroptic can never be accused of being. “Sentence Of Immortality” is another fast paced intro with some buzzing heavily muted guitars over relentless rhythm work. Vocally, it builds in intensity, from a hoarse yet harsh whisper to some full on hoarse and raw shouting as it progresses and by the 1:20 point, the vocals are back to their usual sound in terms of volume. Coming across as more twisted and tormented, the vocals really add to the intensity of the track and come the 2:10 point, everything changes up again. With an odd element of melody in the hoarse vocals, the guitars take on a more grand tone, giving a big moment feel which builds up great before crashing back into another heavily muted, pinch laden heavy section which transitions back into the haunting melodic section once more to wrap it up.

“The World Discarded” kicks back in with that familiar sound to the earlier tracks of the album, the technically intense and uncompromising approach. Heavy, groove laden and twisting, the music just does its thing with no fuss at all. Vocally its back to the same earlier powerful displays, full of power and some real venom in the delivery. The twisting lead licks into storming riffs really keep it bouncing and actually experiencing this one live was phenomenal. It’s just as intense in the live setting as it is on record. Just watch the video in the link below and you’ll see why anything I write about this track won’t do it the justice it deserves.

Closing the album is “Endless Wandering”. The raw and heavy intro really builds it up and once it kicks in, the great groove and vocal assault combines in a solid way. Relatively straight forwards in the verse, it gets more complicated as the track goes on with the intricate and rapid riffs paving way for a sinister sounding chorus which despite being short, really hits hard. The middle section really changes the sound, a harmonic laden fast riff section and scathingly delivered vocals up the heaviness of the track and as it goes on, the subtle synth backing and chugging guitar fade out brings the album to a close, wrapping up a 38 minute long masterclass in technical death metal.

It’s a tough genre to be a part of. Technical death metal has so many solid acts and in a crowded scene, you have to find ways to be innovative and Psycroptic have managed that. With every track being so different yet feeling familiar, it is so easy to listen to and when they perform live, you can get a measure of how the intensity on CD is given off when performed. Even though this album has been out since mid-March, it’s worth picking up, purely because in a year laden with agressive, heavy and intense grind and death metal releases, a controlled burst of chaos like “Psycroptic” is exactly what is needed to show just how diverse death metal is and how you can be heavy without cranking it up to ten.

(9/10 Fraggle)

https://www.facebook.com/psycroptic

About the site.

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Welcome to Sonic Recapitulation.

Let me tell you a little bit about myself first. My name is Fraggle and I am a writer for Ave Noctum, a webzine which deals with music, film, live and interviews predominantly with metal and its sub genre’s for sound and cult and classic horror for films.

I’ve been a reviewer since March 2014 when I was prompted to give it a shot and since then, I have not looked back. I have had the pleasure of listening to some fantastic albums, seeing some incredible gigs and speaking to some incredible people over the past year and a half and I intend to continue this for as long as I can.

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