FOR THE LOVE OF METAL
Although they aren’t too creative with the written word—all songs are entitled Acts I through VI, and the band name itself is cringe-worthy—Seattle’s Roareth does have something to offer musically with this, their debut album. Take Zoroaster circa Dog Magic, sprinkle in a few non-distorted slow passages a la Neurosis, and a handful of Cisneros bass grooves, and you’ve got a solid 45 minutes of slow-moving sludge.
Pairing Polaris with a 14 track live disc recorded around the world, is a great move on Armoury’s part. It is a chance for fans and detractors to hear the new guitar player (Matias Kupianinen) in live action, and he more than stands up to the challenge. Recording this over a few shows means the band can make sure it’s their best performances before it’s put out. Of course Stratovarius don’t have bad performances so I’m sure it was tough picking the tracks.
“I have no bone to pick with VOLBEAT at all. Their heavy metal/rockabilly/early rock’n’roll gangster aesthetic is fantastic. They’re greasy, twangy and a hell of a lot of fun to see live. Michael Poulsen embodies their sound: lean, punchy muscles, the lines of his brow and cheekbone just a little haggard from hard living, slicked back, dark hair and covered in old-school tattoos. His voice is surprisingly clean. Volbeat’s set was idiosyncratic and playful.”
Natalie Zed reviews the August 17th Toronto performance by VOLBEAT, THE SLEEPING and DOMMIN at the Mod Club. VOLBEAT live photos by Adam Wills.
The production and mix are crystal clear but there is a condensed and compressed feel to the overall sound. Killing Season had one of the best productions I’d heard in many years, organic and vibrant, and I think Relentless Retribution would have benefited from that same production. As would any record for that matter.
Natalie Zed reviews the August 6th performance of FATALITY, TERRORHORSE and HALLOWS DIE at the El Mocambo in Toronto, ON
Mares of Thrace are one hell of a lot of fun to watch live and they will blow you away. If the new song they played at Kilroys is any indication (Pale Neck), their next record is also going to be a monster, possibly better than The Moulting but I’m not sure if that could happen.
Picture a buncha hipsters jamming to Kyuss and The Stooges along with Mark Farner and company in a Brooklyn basement, and you’ve basically got the idea.
The band sound like a mix of Burnt By the Sun and, in a way, Blessings the Hogs (but not as unfocused as BTH). Contained within the riffs are elements of thrash and hardcore but it’s a great blend, like nabob coffee or that guy on the donkey coffee. If you like modern metal with adrenaline fueled rage and with a little of intelligence thrown in, feel free to pour a cup
Now, with all that praise for Judas Priest’s Setlist on the proverbial books, it doesn’t need to be questioned why – with six live albums already in circulation, does a compilation need to exist? In Judas Priest’s case, their entry into the Setlist series marks a fantastic proof of the band’s faculties as a love act. The band proves that they have never dramatically changed or experienced a decline in the thirty-year span of time that this record offers glimpses into. That, in a word, is unbelievable.
Since hearing about its upcoming release, I’ve wondered what kind of compilation Astbury and a band whose output has been as diverse as Boris’ has been would produce. Well, now I have an answer: such an effort is short and sweet, which is a problem when only half of it is really good.