Constantine: Aftermath (Rockshots Records) [Matt]
Having always been somewhat of a prodigy, Athens born Constantine is flashy guitar for hire who has played with bands such as Nightrage (2007), Descending (2008-2012), Mystic Prophecy (2008-2012), Nightfall (2010-2013) and Primal Fear (2012) and now after a 7 year absence he is back with his second solo record, after Shredcore in 2010, that draws from the various styles of music he has been a part of during his career, but sticks with a modern metal style. To make sure these tracks stand up on their own he has a number of guest vocalists on the record they are: Ralf Scheepers (Primal Fear), Bjorn ''Speed'' Strid (Soilwork), Schmier (Destruction), Apollo Papathanasio (Spiritual Beggars, ex-Firewind) & Chris Clancy (Wearing Scars) so a pretty strong selection of singer's that allow Constantine to explore numerous styles that fit each singer.
The record starts with the sword wielding Bushido an instrumental that displays Constantine's obvious guitar prowess, the chunky riffs kick in for Hellfire Club which has double kick drums and Bjorn "Speed" Strid so there is an obvious Scar Symmetry sound to it, it's more of anthemic number for Press On Regardless with Ralf Scheepers. Apollo Papathanasio gives his soulful vocals to the fist pumping to Another Day and reappears on the galloping Deliver Us, Holding On 'til The End has Chris Clancy's emotive vocal range all over it and is actually one of the best songs on the record. As I've said there's a lot different styles on this record but most of it can be considered to be heavy metal but it means that there is a little of everything here, even thrash, on War On Pain featuring Schmier, Constantine is an immensely talented guitarist and this album is a real testament to his talent aided by a list of top names. Aftermath is proper guitar driven metal, crank it up. 7/10
The Chris Rolling Squad: Spitfire (Wormholedeath) [Matt]
Well Lemmy be praised! The Chris Rolling Squad play rock n roll, I mean rock n roll the old way that the likes if Chuck Berry and Bo Diddley made famous, albeit infused with a punk edge and even some rockabilly on Go Fuck Yourself. Back On The Horse Again opens the record with incendiary riffs peeling from Rolling's fretboard while Brice Duval (bass) and Thib Adlersend (drums) hammer down like a blitzkrieg, it's all very Motorhead who had a similar style of punk edged rock n roll as the 10 tracks whizz by switching between the spirit of Lemmy (The World Is Going Down) and the rockabilly sound of Volbeat especially on Tremors. It seems a lot more authentic than say Chrome Division with there being a distinct "been there, done that" attitude from Rolling who's vocals are as whiskey-soaked as you want. If the band are this frantic on record I can only imagine how they are live but from the album cover it looks like a total riot. Spitfire would be the soundtrack to your next wild night out, something that you wouldn't have thought would come from a band from France. 7/10
Hey Satan: Orange Moon (Cold Smoke Records) [Matt]
Characterised as two guitars and a drum kit Swiss stoner trio Hey Satan have got the fuzzy, vibes of Southern California desert rockers such as Fu Manchu and QOTSA, but the alternative garage edge of The Royal Blood (Prayers Are For Cowards). There's not a clean guitar sound to be heard on this second album as even on songs like the bluesy Pline L'ancien, We Salute You the fuzz is ramped up to the highest levels so every song bristles leaving it's mark on your speakers, but it's nothing really that different from their American influences. It's music perfect for the live stage, you can just picture this three piece setting it alight with some earthy grooves and psych-influenced numbers such as Heavy Like A Rose, however what makes them stand out a little from a number of their peers are the smooth vocals. Orange Moon is a record that takes those Southern Cali sounds and filters them through some Swiss professionalism for stoner rock album. 6/10
Death Tribe: Beyond Pain And Pleasure - A Desert Experience (Self Released) [Sean]
You know, I love a bit of death metal. Looking back over my previous entries, it wouldn’t take long to ascertain my appreciation for all things riffy and rotten. As does Anthony Kaoton, Lebanese born mastermind behind Netherlands based project, Death Tribe. Far from being some basement dwelling one man operation, Anthony has assembled an impressive array of collaborators ranging from Obscure to Dark Fortress. That’s certainly beyond the realms of a mere bedroom musician, ain’t it? With Mr. Kaoton being the sole songwriter of this impressive line-up, one would assume that we’re about to be treated to a tour de force, if the talent was anything to go by! As the man himself would put it, “Death Tribe is a celebration of death” and “an experience that you should not miss”. SO, with all the subtly of a coked up 80’s wrestler, does debut album Beyond Pain And Pleasure: A Desert Experience make good on it’s claims? Or is just all a bunch of hot air? There’s only one way to fine out, sucka! Opener, Hollow, isn’t the most convincing of starts. Generic groove laden riffs sail on by in workmanlike fashion, undertones of thrash here and there but overall, completely forgettable. Sure it’s loud and there’s a few blast beats here and there but this isn’t what anyone would dub as an “experience”. Round 1? Meh.
Beyond Pain And Pleasure pick things up a wee bit, traces of black metal icing well with the traditional DM riffing. Implode Explode improves things once again, presenting an aural image of Death trading blows with Gojira. Neurotic Breakdown is another solid number as is Psychopathetic, though nothing that will truly land an impactful blow. Sure, there’s a lot of shouting and the promise of violence but it never fully materialises. Shame, as the songs are built on a fairly sound structure but are just so……austere, plain even. Death Blues provides a reprieve from the beige blasting, opting to go full speed/power metal. An amusing sideshow, though it’s done with an amiable conviction that I can’t help but admire. It’s the most convincing Death Tribe has sounded thus far, even it is just aping Riot. I’d even go as far as to state that Kaoton choose the wrong sub-genre to worship, coz that was pretty fun! Narcissistic Bastard Nation brings us back to boring reality, unrelenting in it’s mundanity as is Nuclear Hate. Face The Facts is completely and utterly pointless, taking the forgettable parts of every thrash song and playing them all at once.
So what it boils down to is something of an identity crisis. Look, I understand that bands shouldn’t limit themselves to just one direction. Accommodating outside influences into ones oeuvre can greatly enhance once compositional prowess, but it still requires a deft hand and compositional cohesion. I even understand that Death Tribe is meant to be a celebration of something larger than just one sub genre, but Beyond Pain…. is just too…..unfocused as an album. It wants to be a jack of all trades, but has ultimately mastered only it’s most basic precepts. That’s not to say that that the songs are bad, as Kaotoan certainly understands song structure but all the constant sound hopping? Whatever core lies at the heart of Death Tribe is sadly left underdeveloped, resulting in a passable but unremarkable and collection of songs. 6/10
Having always been somewhat of a prodigy, Athens born Constantine is flashy guitar for hire who has played with bands such as Nightrage (2007), Descending (2008-2012), Mystic Prophecy (2008-2012), Nightfall (2010-2013) and Primal Fear (2012) and now after a 7 year absence he is back with his second solo record, after Shredcore in 2010, that draws from the various styles of music he has been a part of during his career, but sticks with a modern metal style. To make sure these tracks stand up on their own he has a number of guest vocalists on the record they are: Ralf Scheepers (Primal Fear), Bjorn ''Speed'' Strid (Soilwork), Schmier (Destruction), Apollo Papathanasio (Spiritual Beggars, ex-Firewind) & Chris Clancy (Wearing Scars) so a pretty strong selection of singer's that allow Constantine to explore numerous styles that fit each singer.
The record starts with the sword wielding Bushido an instrumental that displays Constantine's obvious guitar prowess, the chunky riffs kick in for Hellfire Club which has double kick drums and Bjorn "Speed" Strid so there is an obvious Scar Symmetry sound to it, it's more of anthemic number for Press On Regardless with Ralf Scheepers. Apollo Papathanasio gives his soulful vocals to the fist pumping to Another Day and reappears on the galloping Deliver Us, Holding On 'til The End has Chris Clancy's emotive vocal range all over it and is actually one of the best songs on the record. As I've said there's a lot different styles on this record but most of it can be considered to be heavy metal but it means that there is a little of everything here, even thrash, on War On Pain featuring Schmier, Constantine is an immensely talented guitarist and this album is a real testament to his talent aided by a list of top names. Aftermath is proper guitar driven metal, crank it up. 7/10
The Chris Rolling Squad: Spitfire (Wormholedeath) [Matt]
Well Lemmy be praised! The Chris Rolling Squad play rock n roll, I mean rock n roll the old way that the likes if Chuck Berry and Bo Diddley made famous, albeit infused with a punk edge and even some rockabilly on Go Fuck Yourself. Back On The Horse Again opens the record with incendiary riffs peeling from Rolling's fretboard while Brice Duval (bass) and Thib Adlersend (drums) hammer down like a blitzkrieg, it's all very Motorhead who had a similar style of punk edged rock n roll as the 10 tracks whizz by switching between the spirit of Lemmy (The World Is Going Down) and the rockabilly sound of Volbeat especially on Tremors. It seems a lot more authentic than say Chrome Division with there being a distinct "been there, done that" attitude from Rolling who's vocals are as whiskey-soaked as you want. If the band are this frantic on record I can only imagine how they are live but from the album cover it looks like a total riot. Spitfire would be the soundtrack to your next wild night out, something that you wouldn't have thought would come from a band from France. 7/10
Hey Satan: Orange Moon (Cold Smoke Records) [Matt]
Characterised as two guitars and a drum kit Swiss stoner trio Hey Satan have got the fuzzy, vibes of Southern California desert rockers such as Fu Manchu and QOTSA, but the alternative garage edge of The Royal Blood (Prayers Are For Cowards). There's not a clean guitar sound to be heard on this second album as even on songs like the bluesy Pline L'ancien, We Salute You the fuzz is ramped up to the highest levels so every song bristles leaving it's mark on your speakers, but it's nothing really that different from their American influences. It's music perfect for the live stage, you can just picture this three piece setting it alight with some earthy grooves and psych-influenced numbers such as Heavy Like A Rose, however what makes them stand out a little from a number of their peers are the smooth vocals. Orange Moon is a record that takes those Southern Cali sounds and filters them through some Swiss professionalism for stoner rock album. 6/10
Death Tribe: Beyond Pain And Pleasure - A Desert Experience (Self Released) [Sean]
You know, I love a bit of death metal. Looking back over my previous entries, it wouldn’t take long to ascertain my appreciation for all things riffy and rotten. As does Anthony Kaoton, Lebanese born mastermind behind Netherlands based project, Death Tribe. Far from being some basement dwelling one man operation, Anthony has assembled an impressive array of collaborators ranging from Obscure to Dark Fortress. That’s certainly beyond the realms of a mere bedroom musician, ain’t it? With Mr. Kaoton being the sole songwriter of this impressive line-up, one would assume that we’re about to be treated to a tour de force, if the talent was anything to go by! As the man himself would put it, “Death Tribe is a celebration of death” and “an experience that you should not miss”. SO, with all the subtly of a coked up 80’s wrestler, does debut album Beyond Pain And Pleasure: A Desert Experience make good on it’s claims? Or is just all a bunch of hot air? There’s only one way to fine out, sucka! Opener, Hollow, isn’t the most convincing of starts. Generic groove laden riffs sail on by in workmanlike fashion, undertones of thrash here and there but overall, completely forgettable. Sure it’s loud and there’s a few blast beats here and there but this isn’t what anyone would dub as an “experience”. Round 1? Meh.
Beyond Pain And Pleasure pick things up a wee bit, traces of black metal icing well with the traditional DM riffing. Implode Explode improves things once again, presenting an aural image of Death trading blows with Gojira. Neurotic Breakdown is another solid number as is Psychopathetic, though nothing that will truly land an impactful blow. Sure, there’s a lot of shouting and the promise of violence but it never fully materialises. Shame, as the songs are built on a fairly sound structure but are just so……austere, plain even. Death Blues provides a reprieve from the beige blasting, opting to go full speed/power metal. An amusing sideshow, though it’s done with an amiable conviction that I can’t help but admire. It’s the most convincing Death Tribe has sounded thus far, even it is just aping Riot. I’d even go as far as to state that Kaoton choose the wrong sub-genre to worship, coz that was pretty fun! Narcissistic Bastard Nation brings us back to boring reality, unrelenting in it’s mundanity as is Nuclear Hate. Face The Facts is completely and utterly pointless, taking the forgettable parts of every thrash song and playing them all at once.
So what it boils down to is something of an identity crisis. Look, I understand that bands shouldn’t limit themselves to just one direction. Accommodating outside influences into ones oeuvre can greatly enhance once compositional prowess, but it still requires a deft hand and compositional cohesion. I even understand that Death Tribe is meant to be a celebration of something larger than just one sub genre, but Beyond Pain…. is just too…..unfocused as an album. It wants to be a jack of all trades, but has ultimately mastered only it’s most basic precepts. That’s not to say that that the songs are bad, as Kaotoan certainly understands song structure but all the constant sound hopping? Whatever core lies at the heart of Death Tribe is sadly left underdeveloped, resulting in a passable but unremarkable and collection of songs. 6/10