Gorod - The Perfect Absolution - Review

Gorod - The Perfect Absolution - 2012

Gorod whom hail from France, peaked my curiosity with their webisodes via Youtube for the recording process of The Perfect Absolution. As usual in my usual fair of research, I became fascinated with their presentation. From what I could hear Gorod where taking major cues from classic groups like At The Gates, Death, Obituary, Malevolent Creation, and Incantation.  Their brethren like Origin, Pathology, and Cryptopsy accentuate the technical virtuosity, where I've always felt that this new breed lingers in a sameness stasis. I think bands today try distinguishing themselves yet I've found it's a tad more difficult because of the sameness of brute technicality.  One has to have a keen ear for the aesthetics, and Gorod give a fresh perspective to the saturated field. Today's bands typically are missing something uniquely their own, in Gorod's  case they strike with familiarity, but also giving balance and respect to what has been missing: new blood, new approach.

What drives this record? The mixture of the aforementioned classic bands are a great reference to what has come before. Yet, it also gives the listener a sense of fresh perspective, as sometimes there a twinge of blandness that can bellow without reason. Since I haven't really been acquainted with any of Gorod's material, I had a unbiased aspect, pure curiosity, without pretenses.

The first track The Perfect Absolution is descending into darkness, wavering in a stasis of what is about to embark. Birds Of Sulphur envelops the listener into a blister of cascading notes, and ferocity. Sailing Into the Earth stretches out a little more, but it begins to falter somewhat because of  similarity. Elements and Spirit  slows down the spastic and connects me to a real place of true passion. I enjoyed the bass work, drumming immensely. As Carved in The Wind shows off the virtuoso guitarist, the main breadth of the presentation in this song gives clarity to the craft. Varangian Paradise gives a nod to the classic 70's funky guitar riffs, which is something unexpected, and I think that is cool. 5000 At The Funeral  pushes out the harsh, with a intro quasi mellow piano piece, and shifts into a speedy, and brash texture.

I should clarify I'm not crazy about some of the 'core element as it wavers heavily in a sameness that borders on disinterest for me. The presentation is in the musicianship, and crafting the material around riffage. I felt that it doesn't go beyond its capabilities, but I do think that it accentuates all the various modern metal styles into a strict cohesive result.

The only downside I can give this record, and this goes for Cryptopsy, Origin, Pathology is the overdrives in the hyper guitar modularity. Some of the songs can work well if there isn't a whole lot of crazy intermixed note variances, as I believe it breaks up the cognitive flow. Its where it yanks, and peels away what a song should be. I felt that The Perfect Absolution tries to reinvent the style little bit by stretching out what is expected, and that is okay. I feel that I came into this band at the right time. I am indeed curious to see what they will do next. Thanks for reading.

B.

Gojira - L'enfant Sauvage Review

Gojira - L'enfant Sauvage - 2012

The further Gojira move along in this stratus of time, the more removed they become in the unique aspect of their presentation. L'enfant Sauvage is more of the same, a continuation of The Way Of All Flesh. This record felt boring, and that is saying a lot about the high platitudes Gojira often gets, I have never really seen the connection. I suppose that Gojira found their niche, and worked it to great effect. At this time I don't really care about the message, as it comes across a tad bit preachy, and a little militant.

L'enfant Sauvage is subdued, and minimized as to cheat the listener at what could have been. To me their sound on this record is missing something tangible and coherent. Four years is a long time to wait; I've moved on, learned about other music, and lived my life. Little was known until late last year, hinting at a new label (Roadrunner) and record to be released.  I was unaware of their activities until much later, and I find this to be unacceptable in the age of online information. Otherwise this was the end result, and boy I am just bored with it.

Its harder to broach a subject without seeming like one is repeating themselves, but in this case L'enfant Sauvage is just that. This is a record which employs the same kind of emotive fragmentation that presents the listener with sticking to the tried and true formula. Either way, the songs are prepared in the formula Gojira is most known for. Rarely does Gojira go near or past the point of experimenting (a few keyboards), and then its back to the same paint by numbers repetition.

Drumming is predictable. Guitar work is bland, and heavily formulaic. Vocals are about what you expect. The motif here is a continuation of Flesh, in and around about flaccid attempt at brokering life to the elements. Neither really work for me, it comes across as flat, and unappealing. If your into your environmental conscious music, this is the band, whereas I'll continue to look for something else that is inventive. Thanks for reading.

B.

Prong - Carved In Stone - Review

 Prong - Carved In Stone - 2012

Carved In Stone Prong's 8th offering, comes five years after Power Of The Damager(2007) was released. Front man, and sole original member Tommy Victor sounds clear, meaner, crunchy, and as always unmistakably vintage Prong.

I've been a longtime fan of since 1991,  twenty one years later circa 2012 sees Prong in a strange place and time where the music industry is concerned. A paradigm shift of major label involvement, is now relegated to an online presence. Sure Prong, I've felt has adapted as well as they could to the next wave of music promotion, but as I write this, something is very apparent there is age and it shows.

I feel Prong's era has moved on and is largely forgotten in today's scene. Sure they have cemented their legacy as the first of many DIY'er's (Do it yourself) groups, and the unflappable connections to the CBGB"s club scene in New York City when hardcore was pronounce in the mid to late 80's. In contextual  discussion, Prong's last formidable period was 1994's Cleansing. In today's standards that is ancient history or rather dinosaurish.

What will Prong today be like? Carved In Stone sees Tommy Victor bearing his ferocious teeth, while being in reflective mode. The problem I had with this offering was rather blandish, it meddles too much in the same riff foundation, and often the lyrics meander all over with predictable cliche overtones.

What I've always liked about Prong is the no holds barred approach to guitar tone. Mr. Victor has this down pat, as it works for his palate that he will paint. I also bring up Mr. Victor's connection to being Danzig's, and Ministry's guitar player. Because of this his time is often marauding and shifting and this pushes Prong into having infrequent releases.

Choosing to wait long periods, trying and perfecting the final result. I think that being the sole member of a group that has a revolving door of musicians doesn't give a lot of stability to this inconsistent foundation.

Today's scene is tailored to fit a younger, more virile audience. Sure Carved In Stone should reach a new generation of fans, but it gives the listener a great dose of what Prong is on the surface i.e. uncompromising, and full of attitude. For me nothing on Carved represents anything innovative. What Carved In Stone does provide is another record to an already established foundation.

For new fans, this is a great start, but I suggest trying out their Force Fed, and Primitive Origins first, followed by Beg To Differ, Prove You Wrong, and Cleansing records to get an idea of how Prong evolved. Thanks for reading.

B.

Somnae - Forever More EP - Review

Somnae Forever More EP - 2010

Hailing from the darkest reaches of Seattle in the Pacific Northwest, Somnae employ a very specific and strategic nod to the Swedish Gothenburg sound. Somnae also elicits a wink to Opeth’s first three records, but that doesn’t detract anything from what they’re accomplishing here. Being a long time fan of the Swedish style, to hear it so close to home is a little strange, yet its alluring. Little is known about this band, they employ guitarists Ernesto Oropeza, Rob Steinway, bass and vocalist Krelian. I picked this up at the now defunct Dissonant Plane record store on a whim, and was blown away.

Forever More sounds different, in that there is a prose and fluidity. Guitar tone is heavy, using a flexible ambient texture, with an emotionally atmospheric timber. Vocally its gruffer, sometimes bleeding out into the background, perhaps because of the mix. The drumming is precise, and somewhat moodily driven. The overall feel is dark as hell, but temperate in its conceptual scope. Its vast and illuminates with each of the three tracks: Forever More, An Ominous Strain, and Fragile Tomorrow. For me this experience was short, and I yearn to hear more as there was talk of a full length down the road. I eagerly await its eventual release.

Thanks for reading.

****/*****

B.

Ceremonial Castings - Salem 1692 - Review

Ceremonial Castings - Salem 1692 - 2008

Here we have a band from Battle Ground Washington state. A somewhat obscure place in Washington I’ve never even heard of. Otherwise, this group’s offering Salem 1692 puts the listener back during the witch trials, in full on black metal mode. A retelling of a sad period of pre-American history, this record somewhat paints this period in full on sad desperation.

First impressions the vocals I cannot understand, its a lot of screaming rasps, whereas the musicianship is pretty ferocious.  I would have liked the sound on this record to not be so treble happy. From a production standpoint, it sounds like it was mixed in a abandoned warehouse.

The one element that gains attention here is a female singer. My first thought was an obvious attempt at being a close resemblance to Therion, but with a cadence that swipes at the listener just enough to notice the similarity.

The augmented scraping of impression towards the end of this record is treated with a female only song. Going from an all out attack, err pummeling all senses, to a melancholy missive is a letdown. I was taken aback. I literally had to stop what I was doing to double check this was the same band, and indeed it certainly is.

The atmosphere is pretty cool if you can get passed the horrendous production, if I could understand what the hell the vocalist was saying through his screamy rasps, this would have been an interesting affair. I do know they’ve been active for about ten plus years. If you like raw black metal, produced in a hollow can, and like it really fierce, Ceremonial Castings Salem 1692 is your band to check out.

Thanks for reading.


B.

Turbocharged - AntiXtian - Review

 

Turbocharged ~ AntiXtian - 2011

I am a seeker of new music. I’m on a constant lookout for anything different. My process involves separation of prior knowledge of any genre. It can be a dead weight especially when it comes to prior proclivity, and it helps be impartial until one has fully grasped the intent. One has to separate oneself from the equation, while letting the ear ingests the premise. It helps to have a solid foundation with an open mind and a distinguishable ear.  I am forever grateful for having spent my younger years combing through anything I could hear. Though I’m an older listener, and fan of metal in a general terms, I am always open to fresh minds, and new ideas.

During my downtime I’m usually parsing the Internet's for whatever strikes my listening fancy. Upon my many online jaunts last year, I stumbled upon Turbocharged via their Myspace page. My first impression was their rawness and unrelenting attitude. The production on with their demo material was a work in progress. Little did I know they had released a full length  late in the year.

AntiXtian is full of gnarly vocals and a lethal dose of dislike toward anything related to Christianity. Whereas the guitar tone is like a chainsaw rumbling around inside my skull, tussled with a fuzzy distorted bass tone, all while the drumming is unforgiving, and pummeling.

The intro track is a warning, whereas track 2: AntiXtian builds its slow ascent. Bass, and guitar are distinguishable at first, as the drums settle into a groove. Then track 3 slams the listeners ears with a razor blade bass and guitar. The record itself is a wall of smeared vestiges of darkness, and death to all religions.

Every song evokes major aggressive tendencies. Nothing about this album says please be fair because I’m timid. AntiXtian is brutal and nasty to its core. Turbocharged are a pissed off roaring metal band, and employ it in gapes and maws.

But where does this lead me the listener? Does this impact stay upon repeated listens? I hope this isn’t going to be it, but then again I’m kind of tripping over wanting to like this, and other the hand want rip this release asunder for all its uses of lyrical cliches, and by the paint by numbers metal anthems.

To be fair, they get kudos for being fierce, damning, and focused. On the flip side, its some of the most redundant concepts I’ve heard. I would have liked a little variety with the lyrical content, otherwise the group doesn’t lack strong musicianship, nor aggression. I give this record two out of five stars. Maybe their next release will have something more varied? One can hope right? Thanks for reading.

**/*****

B.