Posts Tagged “Intro Track”


Nile: Cairo practice

South Carolina metal behemoths, Nile, wound their way to our shores for the first time in over two and half years to lay customary waste to the UK’s metal hordes.

Daniel Cairns was on sentry duty in Highbury, London, and not only sent back this report, but spoke to lead general Karl Sanders about the perilous effects of modern technology on the ancient arts of death metal demon-summoning. Check out the video and live review below!




SVART CROWN [8] are yet another example of just how far ahead of the pack the French are when it comes to extreme metal. They’re clearly indebted to the discordant likes of Deathspell Omega and Celeste, but they’re also adept at throwing in some beastly Gojira-style grooves too, for when you feel like a bit of a dance. There’s a good turnout for them, and their momentum will only increase. It’s a smashing set, and the bass is absolutely devastating, every thump of the instrument, eliciting a rattle in the chest. EX DEO [8] are a more simplistic and much sillier affair, but by god, they’re fun. It’s genuinely difficult to dislike any band when they come out dressed as Roman Legionnaires and sing songs about fighting and battles. It’s like a heavy metal musical version of Spartacus, without the gore and gratuitous nudity obviously, but still. There’s some excellently heavy metal posing by frontman Maurizio Iacono, as he wails stuff like ‘Hold the line’ and ‘You killed my father’. There’s a fantastic response from the Garage crowd, fists bumping in unison.

NILE [9] come out to an intro track that isn’t a million miles away from the theme of ex-WWE wrestler Goldberg, before going on the warpath. Basically, they sound absolutely devastating tonight. Messrs Sanders and Toller Wade know it too, as a giant, shit-eating grin spreads across Karl’s face constantly. They’re excellent on record obviously, but seeing them live is a different matter altogether. Their mummified, balls to the wall, death metal attack is jaw-dropping in its sheer smothering brutality, even invoking a completely un-ironic throwing up of the metal horns. Highlights include a churning, vicious sounding Sarcophagus and Ithyphalic, featuring the unlikely singalong, ‘Anoint my phallus with the blood of the fallen’. Lovely stuff.

Check out Nile’s Homepage here.

And their Facebook page here.

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After listening to Delta, they become one of those bands where you ask yourself, “How the hell have I never heard of them?” These Chilean progressive rockers are extremely talented in every facet from individual musicianship, to song writing, and even with the production. These very accomplished musicians showcase their skills in ways that so many other people wish they could do only half as well. Their latest release, Deny Humanity, is packed full with extreme solos, epic choruses, and heavy riffs that will satisfy any fan of progressive rock. If you end up listening to this record, chances are it will be played many times over.

The band opens things up with their intro track “Fatal Error” which sounds a lot like it belongs in a Hollywood movie with its ambient sounds and very anxiety-inducing tones. It makes me feel like something either really scary or really bad is about to happen.

This leads into the first musical piece, “Over and Over Again”, which also starts off with a similar suspense movie soundtrack feel and even borrows some of the exact same elements as “Fatal Error”. I’m not really sure that it was necessary to include the song “Fatal Error” since the very next song literally repeats it. The suspense of the Hollywood sounding intro builds nicely and finally ties in real well with the hard hitting music. Drummer Andrés Rojas keeps a real thick and solid beat while matching his kick drums with the aggressive guitar syncopations played by Benjamín Lechuga. The musical syncopation reminds me slightly of Meshuggah, but these guys certainly won’t be confused with them. Singer Felipe del Valle brings a higher ranged vocal ability that fits very well over the heavy and progressive music. He certainly has elements of some 80’s notables like Sebastian Bach. Bassist Marcos Sanchez even makes a pretty impressive appearance during a brief solo section around the 3:50 mark which really demonstrates his competence on the fret board.

The album continues to develop into a real progressive masterpiece showcasing the skills of every band member. They also include other elements into their music that are not always typical of progressive rock such as the vocal crowd chants on “Revolution” and “Doors Keep Spinning” that add a unique twist to the music and remind me of a hardcore style. Keyboardist Nicolás Quinteros is also a very prevalent member as his keys play a vital role and fit in very well. His skills are showcased during solos on songs such as “Revolution” and “Desire Within” as well as the intro to “Doors Keep Spinning”.

Desire Within” starts off with a really cool folk/traditional sound that seems like it’s coming straight from the jungles of Chile. There is a real cultural vibe in this song as the percussive sounds are backed by a unique synth effect that segues into hard hitting guitars and drums. After the traditional percussive instruments fade off, they again return to tie the intro of the song into the rest of it.

Perfect Insanity” has an intro that could be from a melodic death metal band or a hard rock band based on its heavy and aggressive guitar intro that leads into a more staccato single note picking verse. The song moves from the heavy drum and guitar chugging to smoothly syncopated verses that are very bass and vocal heavy. While still encapsulating the amazing musicianship of the band, this song tends to be more straight forward and hard rocking. Delta certainly do know how to keep things interesting by having their signature breakdowns like on “Perfect Insanity” that let you know you are listening to a progressive rock band and not some cookie cutter made for radio band.

Moving along on the record, my favorite song would be “Fragile” as it starts with a guitar part that briefly reminded me of Top Gun – yes the movie. The keyboards come in over the guitar with a particular sound that really reminds me of Yanni – but it’s a good thing since it adds a unique sound and fits very well with the music. As the song develops there is some nice bass work performed by Sanchez as he fits in perfectly with the music and does not try to show you how flashy he is. Sometimes less is more, and this song is a perfect example of this. The song continues from the softer verses to the epic and grand choruses. In my opinion, the bass work on this song is the most impressive on the album; not because of how fast Sanchez can play, but how he utilizes his bass with his slides and unique rhythms. For any bass player, this is surely a song to check out and take notes on.

The song “2702” is a unique one on the record since it has a large acoustic guitar role playing throughout. The smooth acoustic playing segues into some fantastic electric guitar leads that play into even more excellent keyboard work by Quinteros. This song is the albums instrumental that gives everyone a chance to shine as Sanchez is at it again with his incredible bass work around the 2 minute mark. For any fans of musicianship, this is certainly the song to check out.

Most bands are lucky if they have one incredible musician. Delta has somehow managed to acquire five incredible musicians. I must admit, I had never heard of these guys until this record, but I have been pleasantly surprised. It’s almost impossible for any progressive rock/metal band to not be compared with Dream Theater. It’s also almost impossible for any progressive rock/metal band to be able to run step for step with the guys from Dream Theater, and Delta certainly give them a run for their money. These guys have several releases and impressive concerts with the likes of Dream Theater, Symphony X, and Sonata Arctica to their name. I only wish they could have played those shows in the USA because it would have been awesome. Delta is a nice little secret hiding down in Chile and I really hope they can find their way to the US because I will be there to see them.


Similar Artists: Dream Theater, Symphony X, Sonata Arctica, Stratovarius

1. Fatal Error 01:23
2. Over And Over Again 05:08
3. Revolution 03:54
4. Desire Within 05:52
5. Doors Keep Spinning 05:37
6. Perfect Insanity 05:49
7. Fragile 07:07
8. 2702 03:15
9. Virtual Life 06:41
10. God Or Science 06:41
11. The Human Touch 07:33

Andrés Rojas – Drums and percussions.

Marcos Sanchez – Bass and backing vocals (Actual bass player)

Felipe del Valle – Lead vocals.

Benjamín Lechuga – Electric, acoustic guitars and backing vocals

Nicolás Quinteros – Keyboards, Theremin and backing vocals

Australis Records

Review by DEVIN

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There are only so many riffs in a lifetime. That sentence pretty much sums up Onslaught’s Sounds of Violence, the English thrash band’s fifth album overall and second album since their 2004 reunion. What do I mean by this? There is a strict limit on the amount of creativity in someone’s body, and the members of Onslaught have clearly exhausted their supply.

That’s not to say Sounds of Violence is bad, however. On the contrary, Onslaught shows that after their 1991 break up and subsequent reformation thirteen years later, they still maintained the ability to craft driving, pulverizing thrash metal. This was shown on their 2007 album Killing Peace. The problem is that it comes at least fifteen years too late and it turns into a “where-have-I-heard-this-riff-before” guessing game. The first real song (which comes after the painfully cliché intro track “Into the Abyss”), “Born for War,” is a song that serves as a prime example of what the rest of Sounds of Violence is; a mish mash of different thrash metal bands past and present with different sounds and melodies cherry picked, but very little in the song recipe sounds like it’s from Onslaught. No, it sounds like the band took The Gathering era Testament and Heathen and Forbidden, slammed them into each other, and then pieced together the results into songs that feel much, much longer than their actual duration.

Onslaught sounds polished, and they’ve held onto their chops, but no riff makes you bob your head in the slightest, let alone head-bang. Every solo is acceptable, but none make you blink back into reality from the day dream you inevitably end up having while listening. Every song runs together with the last one, and while it’s respectable that they were able to put together a thrash album this deep into their middle ages, it does beg the question of why this band even reconvened in the first place. Like many other obscure thrash bands that never quite took off in the ‘80s, Onslaught put out some respected but not acclaimed albums before being dropped by their label and calling it quits after the inability to get picked up by another label. Did they really believe they had some more left in the tank that just had to be heard? Or did they see their contemporaries like Heathen, Death Angel and Nuclear Assault come back together to the fanfare they craved but never received in their original incarnations, and decided to give it a go to recapture the 80s?

I don’t know the answer. Maybe Onslaught really is all about the music. Maybe they don’t care about the fanfare or the thrash package tours they’ll inevitably get offered to do. Maybe it’s just for themselves. I really hope all of the above are true. But Sounds of Violence isn’t an album that will be enjoyed by the casual thrash fan; it will only be appreciated and enjoyed by Onslaught purists and stalwarts, and it won’t be for the quality of music; it will be for the novelty.


Similar Bands: Heathen, Testament, Forbidden, Nuclear Assault, Death Angel, Dark Angel

1.    Into The Abyss (Intro)
2.    Born For War
3.    The Sound Of Violence
4.    Code Black
5.    Rest In Pieces
6.    Godhead
7.    Hatebox
8.    Antiheist
9.    Suicideology
10.    End Of The Storm (Outro)
11.    Bomber (Motörhead cover)

Sy Keeler
Nige Rockett
Andy Rosser-Davies
Jeff Williams
Steve Grice

AFM Records

Review by Matt

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