FOR THE LOVE OF METAL
Do not expect anything hi-fi from this Illinois based one man band of a rare breed of music that barely reaches the tolerable low-fi standard due to production that is more raw than that of early records from Satyricon and Darkthrone.
Regardless of whatever commercial success this final album brings for them, the band’s attempted to recapture their past glories and I’ll give them their due propers for it. Put it this way: If you cut your teeth on albums like Blackout or Love At First Sting, I’d hazard a guess that you’ll dig this record too.
I’m new to Ludicra. Bad timing kept me from even checking out their live show opening for Hammers of Misfortune last summer. The Tenant has convinced me I’ve got some catching up to do.
Immortal never failed to acknowledge the momentous occasion that their appearance was for the diehards in the crowd. From their frequent praising of the crowd to Abbath’s invocation of fan worship during “Tyrants,” the band’s antics never failed to garner overly-excited cheers from fans who had obviously been long bursting a gut to see their heroes in the flesh. While there was no fire-breathing to be had, Abbath and company didn’t fail to prove their musical chops.
Jonathan Smith reviews Immortal’s March 27th concert at Toronto’s Opera House. Panzerfaust and Eclipse Eternal also appeared. All concert photos by Adam Wills.
Unleashed’s tried and true formula is a simple yet very effective one: big, meaty old school death riffs, songs that engage audiences instead of challenge, and loads and loads of good, old fashioned Viking shtick, thicker and tackier than Mackintosh toffee. It’s been done to death to the point where Unleashed couldn’t be more predictable, but from 1991’s seminal “The Dark One” to 2004’s brilliant return to form “The Longships Are Coming”, this is one band where we’re totally willing to ignore their lack of new ideas, and simply relax and have fun.
Boasting the most robust guitar tone of the band’s career, Trouble shifted to a riff-heavy approach and embraced the almighty groove. Trouble did not abandon its zeal for all things 70s so much as it reconciled this enthusiasm with a straight-up metallic punch. However, what truly allowed Plastic Green Head to stand out was its songwriting.
Firmament’s sound places the album squarely within ambient black metal territory, more Drudkh than Darkthrone. As such it’s probably more likely to appeal to those looking for something like the former than the latter. Think Circle of Ghosts but with more thunderous kick.
Jay H. Gorania didn’t actually get into NAMM, one of the world’s largest music product trade shows in LA; however he did manage to soak up the event’s pretentious atmosphere, as well as some killer performances by The Devin Townsend Experience, Cynic, Scale The Summit, Suicide Silence and The Iron Maidens.
Last Sunrise is a challenging album. It’s not something that will come to you first listen. It, like many of the best albums released by clear singing, true doom bands (think Solitude Aeturnus, Candlemass, Isole) is an album that needs a few solid run throughs(preferably by headphones) to fully let it sink in.
Could it be that after three decades as metal musician Fischer has found his voice after playing with so many different styles? Eparistera Daimones is not that different from Monotheist, but that’s not a detriment when following an album that revived your career and reputation. Triptykon’s debut is a worthy piece in Fischer’s enigmatic but always provocative musical career.