Posts Tagged “Tempo Changes”

Neuweltmusic conducted an interview with NILE mainman Karl Sanders on September 13 at The Button Factory in Dublin, Ireland. You can now watch the chat below.

NILE‘s recent U.S. tour consisted of 28 shows supported by three of the best local bands in every market. NILE played two massive sets with music spanning their prolific, twenty-year career.

NILE‘s seventh full-length album, “At The Gate Of Sethu”, sold 3,800 copies in the United States in its first week of release to debut at position No. 131 on The Billboard 200 chart. The CD landed at position No. 2 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200.

In a recent interview with Alarm magazine, Sanders stated about the songwriting process for “At The Gate Of Sethu”: “Every day, after I’d gotten warmed up with a bunch of technique and stuff, I’d sit with the guitar and the lyrics sheet and just start riffing. I’d just play a gazillion riffs. The next day, I’d sit down and sift through them. I had so many riffs for this fucking album. It was insane. You could make a couple of albums out of all of the riffs that got thrown out.”

He continued: “About halfway through the songwriting process, George Kollias, our drummer, sent me an e-mail. He said, ‘Karl, what the fuck are you doing? All these fucking insane time signatures and tempo changes and fucking weird, fucking odd-time riffs. Dude, please! You’re killing me! Will you please just write something like old NILE? Something simple and classic, because you’re driving me crazy with all of this shit.’ So I thought about it for a while, and I was like, ‘There’s some reality to what he said.'”

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On September 10, Daniel Cairns of Metal Hammer magazine conducted an interview with Karl Sanders of South Carolina-based extreme technical death metallers NILE prior to the band’s concert at The Garage in London, England. You can now watch the chat below.

NILE‘s recent U.S. tour consisted of 28 shows supported by three of the best local bands in every market. NILE played two massive sets with music spanning their prolific, twenty-year career.

NILE‘s seventh full-length album, “At The Gate Of Sethu”, sold 3,800 copies in the United States in its first week of release to debut at position No. 131 on The Billboard 200 chart. The CD landed at position No. 2 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200.

In a recent interview with Alarm magazine, Sanders stated about the songwriting process for “At The Gate Of Sethu”: “Every day, after I’d gotten warmed up with a bunch of technique and stuff, I’d sit with the guitar and the lyrics sheet and just start riffing. I’d just play a gazillion riffs. The next day, I’d sit down and sift through them. I had so many riffs for this fucking album. It was insane. You could make a couple of albums out of all of the riffs that got thrown out.”

He continued: “About halfway through the songwriting process, George Kollias, our drummer, sent me an e-mail. He said, ‘Karl, what the fuck are you doing? All these fucking insane time signatures and tempo changes and fucking weird, fucking odd-time riffs. Dude, please! You’re killing me! Will you please just write something like old NILE? Something simple and classic, because you’re driving me crazy with all of this shit.’ So I thought about it for a while, and I was like, ‘There’s some reality to what he said.'”

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On September 10, Daniel Cairns of Metal Hammer magazine conducted an interview with Karl Sanders of South Carolina-based extreme technical death metallers NILE prior to the band’s concert at The Garage in London, England. You can now watch the chat below.

NILE‘s recent U.S. tour consisted of 28 shows supported by three of the best local bands in every market. NILE played two massive sets with music spanning their prolific, twenty-year career.

NILE‘s seventh full-length album, “At The Gate Of Sethu”, sold 3,800 copies in the United States in its first week of release to debut at position No. 131 on The Billboard 200 chart. The CD landed at position No. 2 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200.

In a recent interview with Alarm magazine, Sanders stated about the songwriting process for “At The Gate Of Sethu”: “Every day, after I’d gotten warmed up with a bunch of technique and stuff, I’d sit with the guitar and the lyrics sheet and just start riffing. I’d just play a gazillion riffs. The next day, I’d sit down and sift through them. I had so many riffs for this fucking album. It was insane. You could make a couple of albums out of all of the riffs that got thrown out.”

He continued: “About halfway through the songwriting process, George Kollias, our drummer, sent me an e-mail. He said, ‘Karl, what the fuck are you doing? All these fucking insane time signatures and tempo changes and fucking weird, fucking odd-time riffs. Dude, please! You’re killing me! Will you please just write something like old NILE? Something simple and classic, because you’re driving me crazy with all of this shit.’ So I thought about it for a while, and I was like, ‘There’s some reality to what he said.'”

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Oshiego has posted the song “Blade of the Conqueror” online, which can be heard through the player below and comes off the band’s latest release “The Heretic Priests of Amon.” The release features new drummer Fauzzt (ex-Impiety) and follows the “Woe To The Conquered” album. The following press release was issued about “The Heretic Priests of Amon:”

“This release consists of two epic tracks and a ‘bonus track’ with majestic guitar riffs, a series of tempo changes and technical extreme drumming accompanied by chugging subsonic bass and breakneck blast beat drumming syncopated to classic tremolo death metal riffs. The titular track is lyrically driven by evil practices of ancient Egyptian priests in the context of Islamic history. “

Umar Khan, song-writer and vocalist of Oshiego explains, “The priests of Amon were one of the most defiant groups of people who opposed the teachings of Prophet Moses. There’s no better figure than that to represent such an extreme song. The dark orchestrations of these priests definitely suits the violent approach of the song.”

Tom Ignatius, an indie producer based in Liverpool, quotes, “This song is by far the most aggressive and technical song Oshiego has came out with. The crazy guitar riffs and insane drumming has proven that Oshiego has matured tremendously over the years.”

Khan adds, “There were no edits, triggers or samples for this release. You’ll be getting the raw energy of the band, not like most of the heavily edited rehashed stuff you get today. Be prepared for some ear-bleed!”

Oshiego – Blade of the Conqueror (taken from the new EP “The Heretic Priests of Amon”) by Darkartconspiracy

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Sacrarium is another one in a long string of black metal bands that is essentially one person. The French black metal band’s leader is V.R.S., who contributes vocals, guitars, and drums to the album, with D.A.V. playing bass as a session player. While March to an Inviolable Death doesn’t rewrite the black metal book or bring anything particularly new to the table, it also doesn’t set the genre back in any way and it is an admirable, competent, and satisfactory throwback to the second wave of black metal.

March to an Inviolable Death was previously self released in 2009 but has now gained proper distribution from De Tenebrarum Principio, and Sacrarium certainly deserves that. Their debut record could easily have come out in the 90s, but if it did, it almost certainly would have been a stand out, classic record. At first glance, it may seem somewhat tongue in cheek or useless that a black metal band run by one guy would actually take the time to employ a session bassist.  Black metal as a whole has always had a tendency of overwhelming the bass and leaving it completely inaudible, but V.R.S. makes a mature song writing decision by allowing D.A.V.’s bass abilities to shine beneath the pummeling riffs. The added depth effectively adds to the atmosphere that Sacrarium is clearly trying to establish. Every song is a lengthy journey with multiple tempo changes along the way, to the point that it feels like multiple songs are crammed into one. However, this does not have a negative effect, as it really only contributes to the strength of each track.

In the end, it’s difficult to knock the band or album. The band absolutely accomplishes what it sets out to do; produce a classic black metal record. Any fan of classic black metal will undoubtedly find something to grab hold of  in the seven tracks that are actually songs (the first track is an intro, while the final track, “Outro,” is a completely unnecessary five minute closer of dissonance). But because the band doesn’t break any new ground outside of the innovative and refreshing bass work, giving Sacrarium any more credit than is deserved would be a disservice to the band and black metal fans. In any case, March to an Inviolable Death is a strong debut record, and it definitely hints at good things to come.

Good

Similar bands: Abigor, Gorgoroth, Mayhem, Darkthrone

1. A.C.R.H. 01:44
2. Heartless Visions 07:10
3. Demolish by Himself 05:57
4. In a Circle of Dead Seraphs 05:56
5. Phantomatic Landscape 05:05
6. Through Centuries 05:02
7. Terribilis est Locus Iste (Instrumental) 03:45
8. This Is the Final Warning 06:25
9. Outro 05:33

V.R.S. (Steve Renard) – Guitar, Vocals, Drums

A.m.K. (Stephane Scholl) – Lyrics

D.A.V.(David Mariteau) – Bass (Session)

De Tenebrarum Principio

http://www.myspace.com/sacrariumofficial

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Overall, 2010 was a bit of a disappointment for me, as far as releases I was looking forward to. Intronaut, Kylesa, The Ocean… a giant meh all around. But that’s not to say there weren’t some new bands that came to my attention and blew my mind. So, without farther adieu, here are my Top 10 Albums of 2010.

10) Bison B.C. – Dark Ages

This probably won’t show up on many year end lists because it came out so early in the year, but Dark Ages was definitely the marquee album to come out of the stoner/sludge/thrash/beardo/whatever hybrid scene this year. It’s a focused follow-up to the equally immense Quiet Earth, and it really is a cornucopia of riffs. You can practically feel the bands’ beards tickling your eardrums as they shred away. Bison B.C. combines sludge with stoner metal and the result is fascinating; it has the grit of sludge but the slow rumble of stoner. The combination is Dark Ages. If a number 10 rating and analogy about beard tickling doesn’t make you want to listen to this album, I don’t know what to tell you.

9) In Mourning – Monolith

In Mourning gets accused of being an Opeth clone pretty often. Even if it’s not deserved, it is definitely complimentary, isn’t it? Being accused of borrowing a style of epic song structure and writing, diverse tempo changes, and unmatched intensity? Any band should be honored to be accused of being an Opeth clone. But the fact of the matter is, while embodying some of the elements of Opeth, In Mourning sticks to its own path. This is fully realized on Monolith, the band’s second release. The epic prog is in full force, but it’s much more catchy than the seminal progressive death metal band In Mourning gets compared to the most.

8) Torche – Songs For Singles

This would be higher up on my list if this wasn’t an EP. Torche’s first album since losing their second guitarist finds the three-piece in great form. Torche brings everything you’ve come to expect; short songs, high energy, and poppy melodies dipped in happiness. Songs For Singles is a logical follow-up, and somehow the band sounds even more dense without the second guitar, as the entire band seems to really explore the limits of sound their instruments can create. The effect is magnificent and in full force on Songs For Singles.


7) Enslaved – Axioma Ethica Odini

I don’t know what Axioma Ethica Odini means and I don’t care, because Enslaved has returned with yet another quality progressive black metal album. Enslaved is unmatched as far as consistency… since around 2003 they’ve been releasing truly top-notch quality black metal. It’s proggy without being pretentious, and it still maintains the blast beats we’ve come to expect out of snow covered Norway. Axioma Ethica Odini is a bit of a return to Earth for the band, as it’s predecessor, Vertebrae,  went to the moon and back as far as exploration of the band’s sound. However, even if this is a re-grounding of the band’s sound, it will certainly please any fan of Enslaved and any open minded fan of black metal.

6) Son of Aurelius – The Farthest Reaches

I stumbled onto this band pretty let into the game as far as 2010 goes, but the debut record from Son of Aurelius vaults the band automatically into the top of the technical death metal list. All of the trappings of typical tech death are here, but Aurelius takes everything a step farther. Of course the instrumental element is inherently complex (this is tech death, of course), but vocally Son of Aurelius stands alone. I seriously had to look up the band members to see whether they had two vocalists (they don’t). The use of high screams and low growls is fantastic. Son of Aurelius comes across as a more upbeat The Faceless, and hopefully like The Faceless they expand on their abilities with another high quality release in the next couple of years.

5) Lantlôs – .neon

Admittedly, I came upon this band and album via another top 10 of 2010 list. Sue me. Because this album is so dense and magnificent that is pretty much demands I stick it in my own top 10. I haven’t had too much time with it, so maybe in the next few weeks or months it will vault up or down a few spots. But as of now, after listening pretty much non stop the last few days to it, .neon shines so brightly that it gets the number 5 spot. The album (which has vocals from Neige, who will make an appearance later on in the list) is a sort of black metal/post metal hybrid that has found favor in the metal world in the last year or so. It’s dense, emotional black metal with significant periods of quiet transition linking up some of the most somber yet harsh blast beats you will ever hear. Plus, look at that cover art. Holy God (black metal pun intended).

4) Rosetta – A Determinism of Morality

Rosetta has been churning out fantastic post metal for years, and A Determinism of Morality is no exception. The band plays in a sub-sub-sub-sub-genre that is dominated by clone bands that just ape the post metal forefathers Isis and Neurosis, and because of this, it’s hard for any other band to separate itself from the heap. Rosetta deserves separation and admiration. They have established themselves as the marquee post metal band, and in a metal world without Isis and a Neurosis that’s less and less active as the years go by, it’s good to see a talented band like Rosetta step into those heavy hitting shoes. A Determinism of Morality is the post metal album of the year.

3) Cloudkicker – Beacons

Cloudkicker is a one man project from Ben Sharp. Sharp has a real job, and Cloudkicker is a hobby for him, so he releases the music for free on his bandcamp page. What makes this hobby different from others, is that this is some of the freshest, djentiest, altogether amazing releases of the year, hobby or not. Cloudkicker is prolific with his releases, as he’s constantly putting out new music because he’s not held back by a label. You can choose to make a donation to him, or you can buy a physical CD/vinyl and, as of a few days ago, a shirt. If this reads like an advertisement, I’m sorry (not really), he deserves it. I only chose Beacons because it’s an LP; this spot on the list is for the Cloudkicker project and body of work in general, with Beacons serving as the flag ship.  This is djent taken to a new level.

2) Alcest- Écailles de Lune

Welcome back Neige, how kind of you to join us. And how kind of you to put out one of the best albums of the year with your shoegaze/post/black metal project. Écailles de Lune is epic. There is no way around it. It’s visceral and it is beautiful and it is diverse. Most of all, it is amazing. Écailles de Lune is a lot like the previously listed .neon, except it is much more majestic. While .neon is a pretty brutal outing with mostly screamed vocals, Alcest is mostly soothing. There are certainly some screamed vocals, but they’re not intense at all and only add to the effect. If .neon is harsh reality, Écailles de Lune is a dream. The lyrics are about a land Neige dreamed of as a child, and all the lyrics come in French. Somehow, every small element makes a contribution to the result; one of the best albums of the year, and one of the best albums to come out of the post/black metal world.

1) Kvelertak- Kvelertak

It’s been a year of black metal hybrids, and a year of surprises. This album is both. When you think of a black metal band from Norway, you automatically have a template in your mind of what it will sound like. Take that template and light it on fire, stomp on it, shred it, anything. Because Kvelertak is a band that is unlike anything you’ve heard. It combines hardcore punk with healthy doses of rock ‘n’ roll with it’s black metal to create easily the most upbeat black metal album this year and probably ever recorded. Kvelertak sounds like it’s fueled less by Satan and burning churches and more by beer and the desire to party. The riffs are all catchy-as-hell, and they all bring something new to the table. The black metal screams, when combined with the thrash-esque shouts of the entire band sets the band into a league of its own. A tour of the United States is demanded.

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Combining the oddities of Japan’s Sigh and Austria’s Abigor, with the blasting ferocity of Behemoth and folk melodies of Vintersorg, Romania’s Negura Bunget have released the first of two full length albums this month, called Maiestrit. While technically Maiestrit is simply a re-interpretation of 2000’s M?iastru Sfetnic (which, to be fair, I have not heard), it works as a stand alone piece. As you could tell from my catalog of comparisons, Negura Bunget have solicited the proverbial kitchen sink in terms of different types of sounds orientated into one record, yet these Romanians just don’t strike my fancy.

I think what ultimately serves as the catalyst for my distaste for Maiestrit is the monotony from song to song, despite the sheer amount of depth to the music. Is that crazy talk? Can you really have a boring, yet in depth album? Maiestrit is demonstratively so. While every song is rife with progressive riffs and tempo changes, there is little life to the music, it’s song after song ranging from blistering black metal to post rock, all of which colors within the lines with a palette that a listener is going to come to expect, especially as each new tune begins. There are a few moments, especially during the softer songs, where I felt my interest perk and pay attention, but that doesn’t last to the end of the those respective tracks. Where’s the challenge that great black metal brings? I wasn’t swayed one way or another with Maiestrit, but merely underwhelmed by its banality.

Maiestrit is an album with much depth for the avid listener, one that I think will reap a ton of praise, but my keenness will be not a part of that equation.

NOT BAD

Similar Artists: Abigor, Sigh, Vintersorg, Behemoth

1.    Vremea locului sortit
2.    În-zvîcnirea apusului
3.    A-vînt în abis
4.    Al locului
5.    Bruiestru
6.    Plec?ciunea mor?ii
7.    A-vînt în abis (Acoustic Version)
8.    Plec?ciunea mor?ii (Acoustic Version)

Corb – Vocals, Guitars, Dulcimer, Tulnic
Spin – Guitars
G?dine? – Bass, Pipes
Inia Dinia – Keyboards
aGer – Vocals, Percussion, Xylophone, Pipes, Tulnic (2003-)
Negru – Drums, Percussion

Lupus Lounge/Prophecy Productions

http://myspace.com/negurabunget

Review by CODY

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truthcorroded_uponthewarlordscrawl

Fast, aggressive and in your face are the chief hallmarks of Australia’s Truth Corroded, and their really isn’t any variation from that style on 2008’s Upon the Warlords Crawl, which ultimately serves as the band’s biggest weakness despite doing what they do effectively.

Upon the Warlords Crawl is chiefly a death metal album but with liberal inclusions of modern thrash metal. I think suitable comparisons to Truth Corroded’s style could be modern Exodus, who while not explicitly death metal, is certainly much heavier than their 80’s era. Also, oddly enough, despite their overt style, I think Truth Corroded has much in common with latter day Behemoth specifically in the rapid fire drum work. This combination of heralded thrash and death metal is a strong point on Upon the Warlords Crawl, and has it’s share of quality tunes as a result, however, I think that the strict, no nonsense approach on this album also limits it’s capabilities of being so much more.

A good example of a similar style done right, Grimfist’s 2003 album Ghouls of Grandeur was one of the catchiest albums of that year for one very simple reason, you didn’t know what to expect next. When you play with thrash metal, you must be willing to surprise your listener with sudden breakdowns and tempo changes, and with the added aggression of death metal thrown into the mix, that only makes the effect that much more potent. Truth Corroded fails to deliver on the potent punching power that is required on an album with such direct intentions. Because of the relative lack of authority and surprises, I felt fairly underwhelmed by Upon the Warlords Crawl.

Nevertheless, Truth Corroded have manufactured an effective album with plenty of quality solos, riffs that work all around, and better than average drum work, I just wish there was much more to back up the initial impact.

NOT BAD

Similar Artists: Behemoth, Exodus, Grimfist, Lamb of God

1.    Crown the Apocalypse
2.    The Immolation Seen
3.    Salute the Horrors
4.    Decimate
5.    Buried Alive by Demons
6.    We are Failed
7.    When God is Murder
8.    (Dust)
9.    The Waste That is Their Word
10.    The Disfiguring
11.    Despair Your Black Earth

Mark Lennard – Guitars, Vocals
Damon Shaw – Bass
Jason North – Vocals
Liam Okninski – Drums
Darren McLennan – Guitars

Truth Inc. Records

http://www.myspace.com/truthcorroded

Review by CODY

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While Fozzy has had a few heavy numbers in the past, there haven’t been as many metal thrashers as there are on Chasing The Grail. “Under Blackened Skies” is an auspicious opener, a thrilling spectacle that gets the blood flowing. “Pray For Blood” brings forth a death metal vibe, with blast beats and harsh vocals, while “Paraskavedekatriaphobia (Friday The 13th)” is a pummeling head banger tailor-made for the mosh pits.

The shining achievement on the album is the 14-minute prog masterpiece “Wormwood,” a song straight out of the Dream Theater playbook. Going through countless tempo changes and musical passages, the closing track is Fozzy’s most stunning work to date. Jericho’s soulful vocal performance is subtle and masterful; it’s a sharp contrast to the studio enhancing that is done to his soaring vocals on a few of the other tracks.

Read the complete Fozzy – Chasing The Grail Review

(CD cover courtesy Riot Entertainment)

Fozzy – Chasing The Grail Review originally appeared on About.com Heavy Metal on Friday, January 29th, 2010 at 00:33:57.

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Doom metal has always been centered on the concepts of death, grief, and the cold denseness of life. These ideas are fully implemented into Swallow The Sun’s latest gloomy spectacle, New Moon. The pace is agonizing, the mood is constantly sterile, and the lyrics are submerged in darkness. While the Finnish band’s fondness for epic melodic doom metal is apparent, tempo changes and catchy songwriting surface in several key places.

While opener “These Woods Breathe Evil” has superb harmonic guitar work and an eccentric mix of deep bellows and raspy screams from vocalist Mikko Kotamäki, “Falling World” is an upbeat track with a sullen atmosphere. Kotamäki’s clean vocals on “Falling World” are fantastic and brought to the forefront again during the powerful melodic title track. These two numbers introduce a streamlined – some may even call mainstream – sound to the band that is a nice contrast to the rest of New Moon.

Read the complete Swallow The Sun – New Moon Review

(CD cover courtesy Spinefarm Records)

Swallow The Sun – New Moon Review originally appeared on About.com Heavy Metal on Friday, November 20th, 2009 at 00:47:24.

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