Sadistic Metal评论,2007年

P –落叶松归来(音乐滥用,2005)

As metal continues, like a snowball rolling over open ground it assimilates all that went before it 和 thrusts it forward in recombinations hoping to find another powerful aesthetic voice for the eternal metal spirit (which also picks up details, but rarely additions, to its sense of being). P is the side project of 炼金术member P 和 can be described as a black metal-informed death-doom band, with influences primarily in the Asphyx 和 Cianide camp with touches from Paradise Lost 和 Master. Its strengths are its booming, bassy, cinderblock-simple riffs that thunder through repetition in a trancelike resonance. Where many simple riffed bands can be irritating, these are sustaining. Songs move from one perspective to a final response to it without ado because the goal of this music is to carve tunnels of explosive sound through the rock face of silence, enacting mood 更多 than drama. P needs to work on its rhythmic transitions 和 vocals, the former being stiff 和 the latter overacted; the local-band 风格 of shout/rasp does nothing for a listener who might prefer to not be reminded of vocals at all should the question arise. Influence might also be gained 通过 pacing riffs, especially introductory ones, differently to radically offset each other 和 effect a smoother convergence of forces. Three songs are of solid death/doom, 和 then there’s junk —令人难以置信的Aldo Nova封面,与一个有趣的年轻女孩的二重唱以及一首关于棒球的漫画歌曲,淡化了心情—但这之后是最终的器乐,它像不专心的眼睛一样美丽,是听起来很粗心的声音集合,是如此自然,以至于它在情感上的影响既不被察觉又深刻。如果这个乐队决定采取方向并掌握它,那么它们将在死亡/末日领域成为一支强大的力量。

炼金术– 炼金术(Alchemy, 2004)

Reminiscent of Abyssic Hate 和 Xasthur 和 I Shalt Become, 炼金术creates Burzum-styled 周围 drone in a song format that seems inspired 通过 Dark Funeral 更多 than anything else. It is elegant 和 embraces the listener but beyond getting into said mood, goes nowhere: it is not directionless but each song is monodirectional to the point it might not be said to be a narrative or even statement as much as observant glimpse. If this band wishes to go to the next level, it needs to divide the formative material of each song into two parts, 和 layer the first one for 2/3 of the song until an apex, at which point it can switch into the conclusion for the last third 和 be 更多 effective 和 satisfying to a listener. Far from incompetent, it is best viewed as something in transition.

润滑剂– Nookleptia (1992)

在死亡金属的声音最初固化之后(1988-1990年),许多新兴乐队使它像叶子分支的树枝状扩张一样,探索与过去元素和风格可能性的每种可能组合。有这种趋势的产品中有芬兰 ’s Lubricant, who sound like a 进展ive death metal band hybridized with hardcore punk under the direction of a hard rock conductor. Like countrymen Sentenced produced on Amok, these bouncy songs use a melodic core to create two-part expansions, bouncing between not call 和 response but hypothesis 和 counterpoint. Riffing makes extensive use of dissonant chords, some voicings in contexts familiar in both black metal 和 emo, 和 strip death metal riffs of much of the downstrum-empowered, recursive rhythm complexity so that they ride on a few notes 和 the rhythms of their presentation like a hardcore band. Although goofy experimentation like spoken 和 sung vocals in opposition to death growls are now rarities, in part thanks to the overuse of this technique 通过 dreaded nu-metal bands, they occur here with enough ingenuity to be presumed innocent 和 not MTV in intent. Yet 风格 is only half of a band; the melodies 和 rhythms here are simple but unencumbered 和 often beautiful in their spiralling cycle around a fragment of vision, in a way reminiscent of both Ras Algethi 和 Discharge. They are not quite decisive enough to encapsulate the sensation of a generation or era as some of the greater bands did, but they achieve a powerful observational facility from the periphery. My guess is that this band was overlooked because of its bouncy hard rock rhythm 和 its tendency to structure songs around breakdowns that filter through past riffs like computer code comparing arrays 和 finally reduce to a simple riff measurably 更多 poignant than its counterparts. In other words, this is not only unfamiliar ground for death metal listeners, but is less discretely concise like beaded water sliding down plastic sheeting, 和 therefore, harder to identify 和 appreciate.

贝齐达– Nine Worlds (1996)

在吉他音色和构图上,这都类似于圣体圣乐,具有打击金属和拍子的死音感,旋律上旋成一圈的旋律引线引导节奏以抵消偏移,但借鉴了短暂的“dark metal”在死亡和黑色之间过渡的流派(其最持久的人工产物是第一张Darkthrone专辑):周期性的琶音即兴演奏取代了彩色渐进的节奏或更松散的短旋律,以不同的间隔按组成每首作品的音阶重复。像《解剖》(Dissection)一样,存在一种趋势,即刻划出跨越和谐水平的戏剧性甚至均匀的旋律,然后将其回缩到逐渐减小的渐进状态以实现闭合。尽管这是有效的,但必须谨慎使用,以免观众因其效果而饱和, ’那里。使这个乐队摆脱重要时刻的确可能是类似的东西,那就是它倾向于建立某种形式的恒定运动,并且在下降到它之后却没有经历动态变化。它的大部分措辞都赞扬了分辨率和起始之间的对称性,创造了一种吱吱作响的干净明显性,与其他流派不同,金属中的这种乏味迅速变得乏味,并且像《解剖》一样,它有将旋律音阶分解为相反方向并与之相反的趋势,然后在主导向量中反流,然后反其反对,然后反其反过来,产生一连串的音符,这些音符像一条河一样弯曲以便直行。缩放比例功能,并整体查看专辑:像大多数后现代艺术一样,它用过多的外部修饰代替了缺乏内在的力量(鼓励自我牺牲或延迟满足的价值观,例如英雄主义和冒险)。 ,包括笛子来修饰繁琐的图案和键盘的精致版本。像“解剖”一样,它获得了沉浸式美学的包络;像“金属乐队”(和弦进行中的偶然相似之处)一样,它保持了一种内部复苏的能量,但是当人们剥夺这种外部性时,这里的引人注目的本质要比无瑕但过头,无方向的少。美学。

萧条– Chronische 萧条(1999)

尽管从美学角度上讲,该乐团类似于早期打击乐死亡金属乐团(如Morpheus(下降)或Banished)的主导版本,但在组成上却最像grindcore:一个主题即兴重复,除非被de回对立点打断,然后进行一系列分解和过渡回到原来的即兴段的和声开始和有节奏的包装。就像乡下人Blood一样,这支乐队擅长于简单而权威的轰鸣声,但是重复产生的音乐发展则更为稀疏,并且在一段时间后以不同节奏和琴键位置重复演奏母题的anthemic因素会变薄。不可否认,这支乐队有才能并很好地运用它,但受到音乐概念的限制,无法制作音波艺术,尽管如此有力,但重复性很强,以至于那些对音乐纯净和彻底解构感到震惊的人来说,很少有人会再次听音乐。这些大多是两段式歌曲。声调是嗓音交替,带有尖叫的耳语类型,而不是抵消这种效果,而是使其突出,但这似乎是意图—这个乐队渴望成为早期《凝固汽油弹》死亡的无情攻击,但是刻板而不是“organic” chaotic structure, 和 thus they take a concept sometimes unknown 和 sometimes built as a subset of known variants (Dies Irae themes, monster movie music, old hardcore 进展ions) 和 hammer it home over a sequence of staggered tempos, interweaves with oppositional riffs, 和 rhythmic breaks. Underneath it all is the kind of sly iconoclasm 和 gleeful weirdness that comes naturally in times when one must be careful 关于 which truths one tells unmasked. Probably this grinding death 光盘 is the closest we will have in this era to an updated version of DRI/COC-style thrash, 和 true to this form, it incorporates a number of figures from hardcore music. This will not be for everyone 和 will not be heard every week, but for an approach to this ultra-deconstructed 风格, 萧条are one of the better efforts on record.

Phlegethon– Fresco Lungs (1992)

重金属迷的许多早期贡献者是重金属迷,他们想避免令人讨厌的光泽人声,戏剧性的情歌和重金属的单向一维美学,因此他们结合了重金属的美学和艺术指导,但在如果将其应用于FM广播,则可以与Van Halen竞争的音乐。 Phlegethon就是这样一种行为。喜欢“交响弥撒:何达龙何梅加斯”这是一张重金属专辑,来自Therion,使用的是即兴沙拉,围绕着死亡金属的叙事主题发展,并以键盘和不寻常的歌曲结构作为重音,以创造出回避主流奶酪的史诗般的音乐。每首歌都具有回旋感,但又不失低调,就像将难以抗拒的节奏的手榴弹扔到房间里,然后跳下大厅吹口哨(一首可口的模仿技术)。键盘引导和弦的根音,但为了得出结论或强调而改变和声。歌曲的结构从介绍性材料中弯曲成一系列候选词,以引入或过渡到诗歌和合唱,结果是聆听者在不同形状和声音冲击的轻快音之间前进时,就像芬兰人Amorphis一样具有建筑感。的光线勾勒出一个宽敞房间的特征—同样,长时间的休止旋律花式节奏突出了下降的和弦即兴重复,因为该乐队过去也发挥了很大的作用。令人敬佩的是,鼓声在各个音阶之间移动,这些音阶形成了反响,并预示着熟练的节奏变化。人声是低喉音死亡咆哮,它们会伸展到支离破碎的地步,在每个短语中敲打节拍,并在每个重音节之后衰减,以创建超现实的不完整节奏的参照系。该CD的无限创造力和富有感染力的节奏使它呈现,这有力地暗示着一种更完整的音乐语言,以至于重金属衍生音乐的入侵通常看起来像是稀释,但即使从这瞥见中也可以清楚地看出世界错过了关于这个乐队的未来发展。

阿瓦塔尔“光影碰撞” (光盘 ,2006)

A cross between In Battle 和 Summoning, this band attempts to make epic music but in the uptempo 风格 of black metal such as Mayhem or Abigor. Like The Abyss, this band wield such a lexicon of technique that tendencies in their music become evident early on 和 seem repetitive 通过 the end of the album. For background listening it is preferrable to the disorganized noise 和 posing produced 通过 the black metal underground, but one wonders if this is not like most art in the modern time good with technique/appearance but poor at confronting the inner world of meaning.

乱序“Dawn Bringer”(Shivadarshana唱片,1994年)

在地下音乐中几个上升的概念性指导的联系下,《混沌的秩序》将它们巧妙地融合到了一种潜意识的操纵之中,这种音乐由于拒绝整合更长的旋律而仍然滞留在前几代朋克和金属中。它是纯粹的节奏模式和歌曲结构,是瓦格纳式表演的示范,通过即兴演奏的感觉发展起来,就像场景一样引导听众通过戏剧表演。正是这种戏剧性的感觉打断了即兴演奏的反合唱螺旋,伴随着鼓声,人声和贝司的力度不断增强,当前向动作停止时,歌曲下降到呈现和均衡的时刻,而整个动作则变得安静。在这种情况下,就像早期的克里格一样,音乐是一种即兴表演,表现出人类经验的原始身份,当这种经验代表足够聪明的人看到现代社会及其假设(秩序,合法性,道德性)是如何完全破产的时候,抗议的尖叫声,而不是必要的反构造。因此,尽管没有任何错误,但整体是令人毛骨悚然的,如果增加得当,它会变得更好。在民族主义者的乐队中(很高兴注意到这张唱片上对民族主义的暗示,“Die Fahne Hoch”在赛道上露面二)Skrewdriver仍然是杰出的,因为他们写的旋律,富有表现力—像拉蒙斯或性手枪那样俗气,夸张和戏剧化—歌曲给人们提供了生存的机会,而这正是对我们世界所缺乏知识的了解。随着未来专辑的运气好,这支乐队将以他们释放的能量来处理结构。第十四音轨(Golgotha)包含从“Reign in Blood.”

Vordven“Woodland Passage” (CD, 2000)

听到这张专辑就像奔向波士顿并尖叫“英国人来了! ”2006年:完全无关。它既是古老的皇帝风格又是格雷夫兰风格的混合体,完全可以胜任,但通过模仿过去,既不能秉承这种精神,又无法找到自己的方向。我们不’t need 新 风格s; we don’t need “progress”;我们确实需要音乐,它对想要交流的内容有所了解,并且可以使这种体验有意义。这听起来像是复古的或者是乐队的封套,其中的一切都被官僚地绘制了:在键盘插入音之后出现前主题,然后是主主题,然后中断以获得恶魔般的尖叫声和鼓声,将其全部带回家。显然,与许多原始乐队相比,沃德文(Vordven)的音乐家更好,他们的艺术家较少,因此对我们的兴趣不大。聆听1980年代的Muzak版本的Metallica流行歌曲感到不诚实。

战马“Warhorse” (光盘 ,2000)

Sounding like a hybrid between old Confessor 和 middle-period Motorhead, 战马is a rock band playing doom metal with a sensibility for both slow pumplike riffs over which vocals suddenly slow, causing a relative shift that makes the entire song seem to stand still, 和 the type of pick-up transitions 和 breakdowns for which both Motorhead 和 death metal bands are famous. In the sense of bands like Saint Vitus or Cathedral this band is intensely mated to the rock culture 和 its dramatic self identity, adding over it high pitched vocals that sound like a whisky-soaked Sigur Ros in an Alabama bar. For this reviewer it is a question of relevance: what does one need express in this 风格 that would take a band beyond the level of background music for a local bar? However, among those who undertake this format, 战马keeps a sense of 风格 和 intensity, even if 通过 appropriately keeping its horizons forshortened in the ambition department.

复仇“胜利。不宽容。精通” (Osmose, 2004)

Although in fundamentally the same 风格 as previous releases, the latest from 复仇improves upon it 通过 simplifying the chaotic stew of impulses diverging into every conceivable direction, therefore achieving a greater coherence 和 thus listenability. That being said, the same problems that plague previous releases are here: distracting directionless percussion, riff salad, a tendency to deconstruct without a replacement ideal. However, 通过 dropping all but the most necessary elements of their music, 复仇have come closer to making an expressive black metal album.

安克雷格“Lands of War”

哦,很整洁:有人将Impaled Nazarene与Gorgoroth混合在一起,组成了一支乐队,在锯切的朋克即兴演奏和旋律音阶花式颤音之间保持平衡。掌握了这项技术后,当他们试图寻找方向时,这支乐队就变得神经质无知。除非如此,他们就在一条通用的道路上定居下来,并将除了厨房水槽之外的所有东西都扔进去,创作出的乐曲在指南针的每个可以想象的点上跳跃,却一无所获。他们的技术是用这种持续不断的混乱来分散听众的注意力,并希望它不会被认为无关紧要。在此审阅者的陪审下,聆听环节结束了。比狗屎更糟,这是伪装成深渊的混乱。

复仇“胜利。种族灭绝。敌基督者。” (Osmose, 2003)

每当有人交出音乐或写作时,问一下“这项作品的艺术目标是什么?”艺术不是凭空存在的,就像对话并不存在。听众和创作者之间必须共享快乐。复仇是击鼓,不断追赶步伐,然后追赶加紧的速度,刺耳的和声,如洪水中的油彩虹般飞过头顶,而且常常是高质量的即兴演奏。像第一张Krieg专辑一样,它以不连贯的顺序排列这些内容,从而导致意识流激增,而没有赋予任何形式的更大智慧。因此,这张专辑是从黑金属所取得的成就中退步的,黑金属是表达黑暗的含义的拱形优雅和连续性,并下降到代表现代grindcore的无组织的解构主义中(似乎要强调这一点,在这里敲鼓非常让人联想到德里克·罗迪(Derek Roddy)’s work on Drogheda’s “Pogromist”)。为了传达故障,未必会以字面意思描述故障–在这里我们看到了很好的原料–强大的打击乐,熟练的技巧 – converted into a melange of confusion 通过 its lack of deliberation 和 planning. No 唱le part of it has anything wrong with it. The whole is a death of ambition, of heroism, of tragedy 和 meaning.

温特兰“欢迎我的最后一章” (2003)

This band is like The Abyss a template of black metal technique recombined around the most fundamental songwriting techniques, but to that mixture it adds lifts from Gorgoroth 和 Sacramentum to make it a flowing but gracefully intricate 和 arcane metal 风格. Nothing here is bad 和 it listens well, but it manages less suspension of disbelief than The Abyss (first album; the second one is random riffs 和 screaming) because although its songs are well-written 和 flow expertly it is hard to find a statement to any of them; what are they 关于? They’re 关于 being 旋律黑金属 songs. Undoubtedly 温特兰is 比几乎所有所谓的都要好“melodic black metal” since 1996, but it’仅仅是因为我们的标准下降了,所以这样的乐队被认为是良好的聆听。最好是一个更简单,更诚实的乐队,试图交流一种经历而不是成为会员。这部Vinterland和Deathspell Omega的相似之处在于,尽管两者在形式能力上均处于同类音乐的最高水平,但它们都没有抓住这首音乐的精髓,因为他们试图成为音乐,而不是试图成为最终会在音乐中表达自己的东西。音乐。嘶哑的嘶哑的Dimmu Borgir人声在片状旋律吉他即兴演奏中潜入并滑行,并充满了快速的琴行和下降的琶音。乐队知道什么时候该从杂乱的重复中解脱出来,使之平静下来,就像一艘船从急流中驶出一样。那些熟悉黑金属历史的人会听到来自远古,迪姆·博尔吉尔,萨克拉门托,深渊,萨特里克顿和萨克拉门托的举动,以及在盖茨和后来的皇帝的暗示。这不是很糟糕,但是’这不是重点:这张CD永远不会指向任何方向,而是尝试将过去的路径摘要用作浓缩的黑色金属综艺节目;虽然这是第一次令人愉悦的聆听,但它并没有像其他乐队那样坚强起来,因为没有什么可以使所有这项技术及其优美的时刻成为焦点,给人留下了一系列分散注意力的印象,而不是刻意的手工艺帮助揭示皮肤下的秘密。

贵族“Forgotten Tears”(Shiver Records,1995年)

这支才华横溢的音乐家乐队过分专注于个人乐器,因此制作出了一张专辑,成就了一半成就,一半是灾难。因此,由于无法通过作曲来组织歌曲而不是演奏,因此不得不依靠将不连续的音乐与由两部分组成的注意力跨度捕获器:重复的模式可以抓住注意力,然后停顿一下“unconventional” response to fulfil that expectation. If that is a desired compositional 风格, one wonders why this band did not simply make grunge music 和 derive actual profit from the endeavor? They mean well 和 play well —这里的声学乐器很漂亮,许多The riffs在较旧的Therion像沉睡的泥土般的简约中都非常出色,而且歌曲的概念很棒—但最终产品因其自身的炫耀性和对不同音乐冲动的尴尬吸收而受损。鼓声,非正常的鼓声,不和谐的吉他声和有节奏的颠簸不会使引人入胜的音乐动起来;它们前进了几英寸,消耗掉了能量,使乐队得以创作出具有世界意义的音乐陈述,使歌曲具有与众不同的表现力,使其表现出色。对于喜欢后来的尸体的人来说,该乐队采用了许多相同的技术并且具有相似的技术性。

m“超越本影” (光盘 ,2005)

想象生物圈以“死者之舞”的敏感性执行:声音曲线中旋律的涵义上升到最大音量,然后像波浪一样脉动,然后消失以形成一个循环,歌曲是由连续的层次以偏移的节奏堆积而成的彼此。它缓慢,无敲击,细腻,部分归功于所使用的沉重混响,就像一个人的回声一样忧郁’s lonely voice in an abandoned cellar. The 更多 风格-heavy music gets 和 the 远ther it gets from something that can be easily played on one or two acoustic instruments, paradoxically, the easier it gets to create once one has mastered aesthetic, 和 if this music has a weakness it is the tendency to use four-note melodies as the basis of a song 和 only occasionally complement them with others. Biosphere helpfully used found melodies 和 instrumentals of greater detail to do this; mcould actually go further within their own aesthetic 和 layer keyboards as they have but give them 更多 to play than rising or falling modal lines. It would also help to even further vary the voices/samples used here, as too many echoed stringplucks or keyboard throbs start to sound the same; sometimes, one slips too 远 into the mood generated 和 boredom sets in. Yet there is something undeniable here in both aesthetic 和 composition, in that unlike almost all “ambient”从地下释放出来,具有优雅和目的感,将这些音轨组合成一个独特的音乐实体。留意这个乐队的未来发展并非不明智。

发射/发声“Split”

发射is 周围 soundscapes made from guitar noise, sampled instruments 和 silences; it is good to see this band branch out into a greater range 和 artistic inspiration, but they would do well to remember the listener should be both learning 享受聆听的体验:将艺术与哲学区分开来的是,使艺术成为通过知识的感官通道,其中哲学是对知识的描述。 Vrolok是Krieg / Sacramentary废除学校的成员,他们在鼓上快速发出嘈杂的吉他声,然后鼓动自己,然后赶上飞行的混乱声。一切执行得都不错,但这张唱片似乎是一位艺术家’对他最喜欢的乐队会做什么的印象;有一些不错的触感,例如背景无人机和令人作呕的自然弯曲弦谐波,但目的是什么?如果黑金属有另一代’并不是要改造过去的形式,而是要复兴过去的内容,即使所有的美学思想(就像早期的北欧乐队一样)都是巴斯里/地狱之锤的垃圾。

夜行者“Rex Ex Ordine Throni”

This is a competent black metal release with a Darkthrone/Graveland hybrid melodic guitar playing 风格, kettledrum flying battery in the Sacramentary Abolishment canon, vocals like later Dimmu Borgir 和 composition that, like that of Satyricon, assembles all of the correct elements but does not understand melody intuitively enough to keep the illusion going. If this band delved 更多 deeply into composition 和 had something to say, this 光盘 would be one of the best of the year because its aesthetic formula is perfect, but its melodies go nowhere 和 barely match harmonic expectation between phrases, when they’不完全对称且明显简而言之,当深度超过皮肤水平时,它就会崩溃。如果一个雄心勃勃的旋律思想家被移植到这个乐队中,或者其成员朝这个方向发展(一个巨大的飞跃),那将是一个重大的贡献。

受污染的继承“Ecocide” (光盘 ,1992)

This is one of those 光盘 s that came very close 和 with a little 更多 focus 和 depth of thought could have been a classic of the genre. It is death metal in a hybrid 风格 that includes jaunty post-speed metal expectant rhythms, such that incomplete rhythmic patterns provide a continuity through our anticipation of the final beat established through contrast of offbeats as necessary, 和 sounds as a result somewhere between Exhorder 和 Malevolent creation, with verse riffs that resemble later work from Death. Songs operate 通过 the application of layers of instrumentation or variation on known riff patterns in linear binary sequence, driven 通过 verse/chorus riffs 和 generally double bridges that convey us from the song’将争议的内容介绍到最终的清晰状态。这张CD可能对地下来说太有弹性,而对Pantera / Exhorder人群来说却过于粗糙,因此非常合逻辑且分析性强,使它看上去很对称且很明显。幸运的是,这支乐队将继续写作,并将提供更多的情感或观念上的参差不齐的边缘,这可能会使它成为一流的发行。

塔兰主义者“demo 2004” (光盘 ,2004)

“style” of constant melodic intervals popular with cheesy Sentenced-ripoff bands, but use melodic intervals at structural junctures in riffs that smoothly branch between phrasal death metal 风格d riffs 和 bouncy recursive heavy metal riffs. Over this lead guitar winds like a vine 和 favors the bittersweet sensation of melodies that decline in harmonic spacing until they trail off in melted tendrils of sound; riffing is most clearly influenced 通过 the NWOBHM 风格 hybridized with speed metal’s adept use of muffled 和 offtime strums to vary up what are otherwise harmonically static riffs. 塔兰主义者can achieve this melding of motion-oriented 和 pure rhythm riffing through their tendency to change song structure rapidly after having made their point, such that listening to this resembles going between different parts of a complex city, climbing stairs 和 finally entering a destination, then jumping back in the car for a manic deviation to another location. Highly listenable, this is impressive work for a demo band 和 represents a brighter future for metal than the kneejerk tedium of nu-metal or the repetition of past glories offered blankfacedly 通过 the underground. It is unabashedly musical, 和 takes pride in interlocking melodic bass 和 lead guitar lines that exchange scale vocabularies as freely as rhythm. The only area that seems unresolved are the gruff Motorhead-style vocals, which might be either updated or discarded for pure 唱ing, as there’在这项工作中有足够的声音距离来支持这样的事情。这里最明显的影响是《铁娘子》和《金属乐队》,但几乎可以听到对每种类型的最新金属的熟悉程度。在最近以这种方式发送的演示中,这是最可能获得重复聆听的演示,因为它首先关注音乐,其次关注美学… 更多

超越痛苦“濒临灭绝的物种” (光盘 ,2005)

Trying to mix the high-speed melodic riffing of black metal with the thunderous bassy trundle of mainstream death metal/nu-metal riffing, this band produce something that sounds like Acid Bath without the variation or 唱ing, 和 resembles Pantera in its tendency to match riffs with clear poised expectant endphrases to rapped vocals 和 shuffle drumming. It’s是以前多次看到的模式的变体。它’很难说出这些音乐家具有什么样的音乐能力,因为这些即兴演奏具有节奏感和非谐音,因为它们的旋律颤音的存在只是为了强调低端的电子和弦。一些Meshuggah粉丝可能会对此表示赞赏,成群的人认为Slipknot和Disturbed都可以,但是对于那里的地下死亡金属迷来说, ’这里什么都没有。这些家伙显然很专业,并且研究了该领域的所有其他产品,并且混合了足够的旋律以脱颖而出,显然这些歌曲的合唱性比您的普通nu-metal好,但是当人们选择了一种愚蠢的音乐概念时—实际上,整个Pantera / nu-metal风格都是:让白痴回弹的音乐,同时消除他们的民主权利被现实所宠坏和残酷约束的挫败感—人们将自己限制在制造事物上,无论它们变得多么聪明,其主要特征都是旨在支持和养育愚蠢。我什至会打蜡“open-minded” if I didn’我们不知道将金属分解为纯粹的愤怒,毫无意义的节奏节奏是该类型的最古老的趋势,并且总是使它误入歧途,因为这样做的乐队除了审美繁荣以外就没有办法相互区分,因此最终建立在外部因素而非竞争基础上的竞争。一些即兴演奏会接近美丽的时刻,但往往会以高度对称的对出现,这需要有弹性的起停节奏来将它们融入情境。它’都执行得很好,但是’的标准nu-metal / late Pantera,带有Iron Maiden和Slayer的气息。我们应该照顾吗?一些向已故的Pantera / Damageplan吉他手致敬的名人指出,他有能力演奏的音乐远超出他的风格’d选择;听起来这里似乎是同一件事,在我看来,这是个悲剧,因为这种款式如此笨拙,它吸收了所有的好东西,希望为疲惫的郊区青年提供沮丧的避孕套。

火斧“Food for the Gods” (光盘 ,2005)

如果你’我曾经希望老式重金属能少一点点儿沉迷和自我迷恋,并采取铁杆朋克对世界的直面态度,但要让它以金属闻名的盛大抒情主义为基础,您可能会发现一个朋友在Fireaxe。它’高科技,基本的制作过程没有令人愉悦的声音,使大型录音室的专辑如此丰富,而且通常离内容的位置还差一点–在连接各节的逻辑中通常是重复性的或过于基础的,好像由于过多的逻辑分析而导致对称性过多–但如果重金属长大,它可能就是重金属,介于Mercyful Fate,Queensryche和Led Zeppelin之间,这是一种史诗般的风格,渴望成为一位国王炉灶的吟游诗人,而不是体育场内的自我之星。布赖恩·沃特(Brian Voth)负责整个事情,使用电子设备进行打击乐,并用他可信赖的吉他,键盘和声音将其拖到收尾。他的声音像吉他声一样纤细,他的独奏曲调清晰,但不能让自己陷入混乱。他对键盘的使用让人联想到对Emperor的轻描淡写。这套3张CD集是人类及其宗教象征主义的尝试史学史,对本来可能是健康的想法反而成为操纵者的事情持愤世嫉俗的态度。“非道德意义上的真理与谎言”?也许吧,但这更土。真正的重金属形式“Food for the Gods”对超凡脱俗的字面表达感到高兴“truths.”总体音乐质量很高,艺术质量完美无缺,但是CD的设计通常不是为听众设计的,而是为了完成其思想循环,此处可以使用编辑方式。它是如此的分析,几乎是无言的,从字面上看,它几乎是对象征主义本身的一种阻碍(与后现代主义者已经流行了90年,可惜)。我对Fireaxe的建议是停止深入研究原因并开始研究精神解决方案,例如至“sing” in the oldest sense of praising the beauty of life even in darkness, 和 lifting us up not into educated obligation but into ignorant but healthy spirits. Think of a bard 唱ing 通过 his cup of mead, looking for a way to console 和 encourage those who might on the morrow die in battlefields, all through the symbols, song 和 sense of ancient tales. This album could be cut to a 唱le 光盘 with proper editing gain some denseness 和 unpredictability it lacks; right now, although its patterns vary its delivery is of such an even mien that it is nearly predictable. The roots of excellent music are here, including Voth’具有创新性和趣味性的线索,但需要对Fireaxe进行纪律化,使其成为一种更高级而又渐进的形式,以使Fireaxe拥有所需的完整语音范围。这是一种令人讨厌的转移,它摆脱了愚蠢和操纵性的体育场金属,以及掩盖了它的毫无恶意的宿命主义地下音乐(尽管它不会承认),尽管它在哲学上趋于自由,但并没有走向emo的极端极端。心脏紧紧围绕着音乐,而肉体则胜任,但不知何故,灵魂还没有抬起翅膀飞翔,而是静静地坐在辐射细节上思考正确的飞行路线。

诺斯替克“Splinters of Change” (5首歌示范,2005)

听到无神论鼓手史蒂夫·弗林(Steve Flynn)重新出现的消息后,我的好奇心立即激起。一世’d总是欣赏他在工具包后面的光彩,永远给人以挣扎不被自己创造的奇异节奏旋风所困扰的印象。令人惊讶的是,我发现在进行重大录音和沉浸于现实主义的现代工作场所之间的13年间并没有削弱他的创造力。实际上,他在节奏结构化方面令人耳目一新却又诡异的方法使人想起了他以前的作品,这一事实最初激发了希望。此外,Gnostic由才华横溢的玩家组成。前无神论歌手Kelly Shaefer制作了这张专辑。忧虑无声地打了个::这支乐队能否摆脱前任的阴影?

事实证明,没有。乐队错过了该理论从根本上深奥的应用,这给无神论者带来了永恒的历史。说说您将如何处理诸如“populist”被用于音乐评论,但这仅仅是写给“sound good”从准编的角度来看。音乐框架的方程式的每个组成部分都遍历了其他所有部分,以证明器乐演奏者有能力,而失去了无神论者通过其受控混乱而带来的超越。 Gnostic在结构上遍及整个地图,Flynn竭尽所能将船固定在接缝处。除了一维工具论之外,这里没有其他信息。我们’十五年来,我已经听过相同乐队的这些歌曲。在此审稿人看来,该演示再次赢得了冗余平庸艺术的胜利。消费,消费,消费。– blaphbee

r“A’阿拉伯Zaraq清醒梦” (核爆,1995)

It’s hell on metal bands who want to leave the underground. In trying to popularize their 风格, they usually kill whatever appeal it had, because those who enjoy their music have found truth somewhere in the alienation 和 whatever values the band managed to sustain under that assault. Further, the band usually confuse themselves, 和 end up prostrating themselves as whores, thus losing the respect of their fans. This 光盘 is a collection of outtakes from Theli, a soundtrack 和 some rodds 和 ends that chronicle this band’逐渐商业化,同时整体上对金属风扇的重视程度也随之提高。前两首曲目代表了试图制作流行的新古典音乐的一切令人作呕的事情,因为它们首先专注于制作令人s目结舌的令人愉悦的音乐,并用一些古典典故之类的东西进行装饰,最终造成混乱的狂欢。下一首,“Fly to the Rainbow,”显然是旧Dio音乐的翻唱,考虑到它与Dio的相似程度,这很有趣“The Way” from r’史诗般的第二张专辑。其次是有史以来最便宜的铁娘子乐队之一,过分的人声淹没了原作的微妙之处,还有《狂奔》
这首歌表现得很笨拙,但重新制作的戏剧性较差,因此更受欢迎。这听起来很像朋克硬核和金属合唱。接下来是“死者交响曲”同样来自第二张专辑,但其混合效果突出了键盘,使之变成了muzak。好歌,糟糕的版本,和像Emperor键盘一样的Inno A Satana一样毫无意义。乐队失去了使早期材料变得出色的原因,因为它融合了原始和美丽,而不是像这张CD那样对广播电台进行了标准化。所有的技巧都消失了,所有的技巧都消失了,取而代之的是民粹主义的重金属心态。那里’这不是一个类别,也不是自尊心,尽管它的任何要素都非常强大,但整体而言却毫无意义。此综合症使这张CD上剩余的Therion音轨枯萎,然后将我们带到音轨部分–这些实际上是有希望的。就像《死人之舞》和《召唤》之间的综合作品一样,这些都是徘徊的键盘背景音乐,它们保持一种情绪,并通过减少破坏性注意力的需求而受到控制。尽管许多陈词滥调和明显的人物都参与了这种音乐的创作,’很明显(瑞典人控制好莱坞)是电影的原声带。“new” rbelong.

亚里西亚人“Dying Vine” (希望胜过,2005)

这张专辑演示了如果您随意混合各种优质食材,最终会感到恶心。这张专辑中大约有一半的即兴演奏非常出色,乐队的节奏感很棒。但它 ’s garish, gaudy 和 overblown. Like a metalcore band, they mix riffs in a merry-go-round of directionless ideas, never actually stating anything. In this case the riffs are of the melodic Swedish death metal meets technical speed metal 风格, with influences from “modern metal”和Showboat重金属。这其中的任何一个部分都可能很棒,但它什么也没说,因此最终被随机元素拼接在一起,形成杂乱无章的想法碎片的马戏表演。一些愚蠢的现代风格,例如合成声音,在棺材中钉上了钉子。那里’在这里喜欢很多东西,但是整体上不值得爱。我对这些帅哥的建议:打坐并研究您的乐队政治,因为如果这张专辑中的原始材料呈现方式不同,则可以收听,但是现在’s没有技术或美学意义的技术混搭。

哈科宁“Sermons of Anguish” (哈科宁,2005)

The good 新s is that 哈科宁have good concepts, write good riffs, 和 understand something of gradual mood shifts. The bad 新s is that they compress this process, remove the anticipation, 和 hammer it out in repetitive endurance tests that hide the actual talent of the members of this band. None of the elements are bad; in fact, they’远高于平均水平,并且乐队具有审美眼光– the 光盘 skirts metalcore but incorporates some of the 新er urban 和 rock influences into metal – that outpaces most of their contemporaries. However, they need to find some inner calm, 和 let it out slowly, 和 discover the poetry of their own vision, as right now, this album is unrelenting violence that becomes perceived as a 唱le unchanging texture because of its emotional disorganization. Luckily this experienced band has time to take some of their 更多 intense moments of riffing 和 put them at the end of each song, then re-arrange the other riffs (and maybe develop them 通过 another layer, meaning for each good riff, split out two complementary ones that can resolve into it, Suffocation 风格) to lead up to that point. If they do that, they will be on the path toward conveying meaning through their music –现在,它传达的是磨损,而过多的磨损会通过听众’使自己的情绪保持不变。

挖平尼克“Emotional Animal” (
大宪章,2005)

前国王’s X member comes out with 新 album. Any guesses? It sounds like a heavier, groovier King’X,这似乎是尝试使金属声音更像摇滚音乐。它’爵士乐和时髦音乐,并具有一些摇滚风格的金属格调,但总体而言,其构成与广播中播放的相同。品尼克(Pinnick)最好将自己的才能运用到像戈迪安·诺(Gordian Knot)这样完全成熟的事物上。

无光/黄昏“Split” (诅咒制作,2005)

与Cursed Productions的大多数发行版一样,此CD展示了以不寻常的形式包含的常规男歌手歌曲创作。 Aphotic是诸如My Dying Bride和Katatonia之类的配乐末日金属的融合,并融合了诸如Gordian Knot之类的渐进边缘,从而创造了一种可听取的,深度可听的乐器。其中许多重复听起来像是从Graveland专辑中借来的东西,但是在基本吉他的基础上,蓬勃发展的主音吉他和合成乐器成为主要主题,另类吉他演奏则着重强调金属闻名的内部节奏。尽管这些歌曲产生了很大的气氛,并且内心充满了动听的气氛,但对于激进的摇滚狂热者来说可能太过感伤,而对于1990年代早期的黑金属迷来说却太简单了。老式的踩脚重金属的支撑可能会使它们在当代金属观众中流行,如果有的话’这里有什么批评吗’这支乐队可以使他们的工具主义更加统治。另一方面,黄昏是末日金属和经典重金属/强力金属的更清晰融合,声音越来越大,引导弹力即兴弹奏到目标。它虽然精通,但总体而言还不够完善,无法拥有自己的声音或超越金属陈词滥调,但是对那些愿意’紧紧锁在大教堂和五爪的房间里,重新学习他们的构成材料。

恶劣的制裁“Three Song Demo” (2005)

即将发行专辑中的几首歌“没有生活动力”史蒂夫·莎拉蒂(Steve Shalaty)的才华横溢,他现在为《献祭》而战’关于他们的整个诉求。就像他在Shalaty的《肉体行动》中的工作一样’低音提琴和持续的击鼓声之间的精确相互作用已经使打击乐器成熟了,但除无休止的节奏节奏外,其上的音乐几乎没有任何东西。在Metalcore和Deathgrind之间的某个地方,它缺少大多数和谐的维度和任何旋律,导致发出嘶哑的机械噪音,对经验丰富的听众几乎没有作用。

发射“王子的死剑” (2005)

The microgenre of blacknoise is what happens when one fuses the abrasive Beherit-style cacophonious assault of minimal black metal 和 the droning sonic collages of acts like Mz. 412 or Claustrum. Where this 光盘 is excellent are the moments when being 令人震惊的ly extreme 和 unlistenable are forgotten, 和 overlapping patterns of melodic or textural fragments knot the listener into moods of darkness 和 contemplation. Here, 发射has found an outlet for its 风格, as the guitar is liberated from rigid hardcore/black metal 风格 riffing 和 can focus on the mournful 和 regal use of 周围, repetitive melody, hiding it amongst distorted voices 和 sampled aural experiences of modern life. The pretenses of black metal should be discarded, as this release has 更多 in common with Tangerine Dream 和 Godflesh than anything else. If this reviewer has anything to suggest, it is that this band not hold itself back, but plunge forward in the direction it is exploring, 和 use its dense layers of sonorous noise-guitar 和 vocals to develop a sense of melody 和 composition, as that is the strength of both this band 和 non-instrumental music in general, 和 — well, nothing’s been “shocking” for some time.

没意见

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Sadistic Metal评论12-29-08

润滑剂– Nookleptia (1992)

在死亡金属的声音最初固化之后(1988-1990年),许多新兴乐队使它像叶子分支的树枝状扩张一样,探索与过去元素和风格可能性的每种可能组合。有这种趋势的产品中有芬兰 ’s Lubricant, who sound like a 进展ive death metal band hybridized with hardcore punk under the direction of a hard rock conductor. Like countrymen Sentenced produced on Amok, these bouncy songs use a melodic core to create two-part expansions, bouncing between not call 和 response but hypothesis 和 counterpoint. Riffing makes extensive use of dissonant chords, some voicings in contexts familiar in both black metal 和 emo, 和 strip death metal riffs of much of the downstrum-empowered, recursive rhythm complexity so that they ride on a few notes 和 the rhythms of their presentation like a hardcore band. Although goofy experimentation like spoken 和 sung vocals in opposition to death growls are now rarities, in part thanks to the overuse of this technique 通过 dreaded nu-metal bands, they occur here with enough ingenuity to be presumed innocent 和 not MTV in intent. Yet 风格 is only half of a band; the melodies 和 rhythms here are simple but unencumbered 和 often beautiful in their spiralling cycle around a fragment of vision, in a way reminiscent of both Ras Algethi 和 Discharge. They are not quite decisive enough to encapsulate the sensation of a generation or era as some of the greater bands did, but they achieve a powerful observational facility from the periphery. My guess is that this band was overlooked because of its bouncy hard rock rhythm 和 its tendency to structure songs around breakdowns that filter through past riffs like computer code comparing arrays 和 finally reduce to a simple riff measurably 更多 poignant than its counterparts. In other words, this is not only unfamiliar ground for death metal listeners, but is less discretely concise like beaded water sliding down plastic sheeting, 和 therefore, harder to identify 和 appreciate.

贝齐达– Nine Worlds (1996)

在吉他音色和构图上,这都类似于圣体圣乐,具有打击金属和拍子的死音感,旋律上旋成一圈的旋律引线引导节奏以抵消偏移,但借鉴了短暂的“dark metal”在死亡和黑色之间过渡的流派(其最持久的人工产物是第一张Darkthrone专辑):周期性的琶音即兴演奏取代了彩色渐进的节奏或更松散的短旋律,以不同的间隔按组成每首作品的音阶重复。像《解剖》(Dissection)一样,存在一种趋势,即刻划出跨越和谐水平的戏剧性甚至均匀的旋律,然后将其回缩到逐渐减小的渐进状态以实现闭合。尽管这是有效的,但必须谨慎使用,以免观众因其效果而饱和, ’那里。使这个乐队摆脱重要时刻的确可能是类似的东西,那就是它倾向于建立某种形式的恒定运动,并且在下降到它之后却没有经历动态变化。它的大部分措辞都赞扬了分辨率和起始之间的对称性,创造了一种吱吱作响的干净明显性,与其他流派不同,金属中的这种乏味迅速变得乏味,并且像《解剖》一样,它有将旋律音阶分解为相反方向并与之相反的趋势,然后在主导向量中反流,然后反其反对,然后反其反过来,产生一连串的音符,这些音符像一条河一样弯曲以便直行。缩放比例功能,并整体查看专辑:像大多数后现代艺术一样,它用过多的外部修饰代替了缺乏内在的力量(鼓励自我牺牲或延迟满足的价值观,例如英雄主义和冒险)。 ,包括笛子来修饰繁琐的图案和键盘的精致版本。像“解剖”一样,它获得了沉浸式美学的包络;像“金属乐队”(和弦进行中的偶然相似之处)一样,它保持了一种内部复苏的能量,但是当人们剥夺这种外部性时,这里的引人注目的本质要比无瑕但过头,无方向的少。美学。

萧条– Chronische 萧条(1999)

尽管从美学角度上讲,该乐团类似于早期打击乐死亡金属乐团(如Morpheus(下降)或Banished)的主导版本,但在组成上却最像grindcore:一个主题即兴重复,除非被de回对立点打断,然后进行一系列分解和过渡回到原来的即兴段的和声开始和有节奏的包装。就像乡下人Blood一样,这支乐队擅长于简单而权威的轰鸣声,但是重复产生的音乐发展则更为稀疏,并且在一段时间后以不同节奏和琴键位置重复演奏母题的anthemic因素会变薄。不可否认,这支乐队有才能并很好地运用它,但受到音乐概念的限制,无法制作音波艺术,尽管如此有力,但重复性很强,以至于那些对音乐纯净和彻底解构感到震惊的人来说,很少有人会再次听音乐。这些大多是两段式歌曲。声调是嗓音交替,带有尖叫的耳语类型,而不是抵消这种效果,而是使其突出,但这似乎是意图—这个乐队渴望成为早期《凝固汽油弹》死亡的无情攻击,但是刻板而不是“organic” chaotic structure, 和 thus they take a concept sometimes unknown 和 sometimes built as a subset of known variants (Dies Irae themes, monster movie music, old hardcore 进展ions) 和 hammer it home over a sequence of staggered tempos, interweaves with oppositional riffs, 和 rhythmic breaks. Underneath it all is the kind of sly iconoclasm 和 gleeful weirdness that comes naturally in times when one must be careful 关于 which truths one tells unmasked. Probably this grinding death 光盘 is the closest we will have in this era to an updated version of DRI/COC-style thrash, 和 true to this form, it incorporates a number of figures from hardcore music. This will not be for everyone 和 will not be heard every week, but for an approach to this ultra-deconstructed 风格, 萧条are one of the better efforts on record.

Phlegethon– Fresco Lungs (1992)

重金属迷的许多早期贡献者是重金属迷,他们想避免令人讨厌的光泽人声,戏剧性的情歌和重金属的单向一维美学,因此他们结合了重金属的美学和艺术指导,但在如果将其应用于FM广播,则可以与Van Halen竞争的音乐。 Phlegethon就是这样一种行为。喜欢“交响弥撒:何达龙何梅加斯”这是一张重金属专辑,来自Therion,使用的是即兴沙拉,围绕着死亡金属的叙事主题发展,并以键盘和不寻常的歌曲结构作为重音,以创造出回避主流奶酪的史诗般的音乐。每首歌都具有回旋感,但又不失低调,就像将难以抗拒的节奏的手榴弹扔到房间里,然后跳下大厅吹口哨(一首可口的模仿技术)。键盘引导和弦的根音,但为了得出结论或强调而改变和声。歌曲的结构从介绍性材料中弯曲成一系列候选词,以引入或过渡到诗歌和合唱,结果是聆听者在不同形状和声音冲击的轻快音之间前进时,就像芬兰人Amorphis一样具有建筑感。的光线勾勒出一个宽敞房间的特征—同样,长时间的休止旋律花式节奏突出了下降的和弦即兴重复,因为该乐队过去也发挥了很大的作用。令人敬佩的是,鼓声在各个音阶之间移动,这些音阶形成了反响,并预示着熟练的节奏变化。人声是低喉音死亡咆哮,它们会伸展到支离破碎的地步,在每个短语中敲打节拍,并在每个重音节之后衰减,以创建超现实的不完整节奏的参照系。该CD的无限创造力和富有感染力的节奏使它呈现,这有力地暗示着一种更完整的音乐语言,以至于重金属衍生音乐的入侵通常看起来像是稀释,但即使从这瞥见中也可以清楚地看出世界错过了关于这个乐队的未来发展。

阿瓦塔尔“光影碰撞” (光盘 ,2006)

A cross between In Battle 和 Summoning, this band attempts to make epic music but in the uptempo 风格 of black metal such as Mayhem or Abigor. Like The Abyss, this band wield such a lexicon of technique that tendencies in their music become evident early on 和 seem repetitive 通过 the end of the album. For background listening it is preferrable to the disorganized noise 和 posing produced 通过 the black metal underground, but one wonders if this is not like most art in the modern time good with technique/appearance but poor at confronting the inner world of meaning.

乱序“Dawn Bringer”(Shivadarshana唱片,1994年)

在地下音乐中几个上升的概念性指导的联系下,《混沌的秩序》将它们巧妙地融合到了一种潜意识的操纵之中,这种音乐由于拒绝整合更长的旋律而仍然滞留在前几代朋克和金属中。它是纯粹的节奏模式和歌曲结构,是瓦格纳式表演的示范,通过即兴演奏的感觉发展起来,就像场景一样引导听众通过戏剧表演。正是这种戏剧性的感觉打断了即兴演奏的反合唱螺旋,伴随着鼓声,人声和贝司的力度不断增强,当前向动作停止时,歌曲下降到呈现和均衡的时刻,而整个动作则变得安静。在这种情况下,就像早期的克里格一样,音乐是一种即兴表演,表现出人类经验的原始身份,当这种经验代表足够聪明的人看到现代社会及其假设(秩序,合法性,道德性)是如何完全破产的时候,抗议的尖叫声,而不是必要的反构造。因此,尽管没有任何错误,但整体是令人毛骨悚然的,如果增加得当,它会变得更好。在民族主义者的乐队中(很高兴注意到这张唱片上对民族主义的暗示,“Die Fahne Hoch”在赛道上露面二)Skrewdriver仍然是杰出的,因为他们写的旋律,富有表现力—像拉蒙斯或性手枪那样俗气,夸张和戏剧化—歌曲给人们提供了生存的机会,而这正是对我们世界所缺乏知识的了解。随着未来专辑的运气好,这支乐队将以他们释放的能量来处理结构。第十四音轨(Golgotha)包含从“Reign in Blood.”

Vordven“Woodland Passage” (CD, 2000)

听到这张专辑就像奔向波士顿并尖叫“英国人来了! ”2006年:完全无关。它既是古老的皇帝风格又是格雷夫兰风格的混合体,完全可以胜任,但通过模仿过去,既不能秉承这种精神,又无法找到自己的方向。我们不’t need 新 风格s; we don’t need “progress”;我们确实需要音乐,它对想要交流的内容有所了解,并且可以使这种体验有意义。这听起来像是复古的或者是乐队的封套,其中的一切都被官僚地绘制了:在键盘插入音之后出现前主题,然后是主主题,然后中断以获得恶魔般的尖叫声和鼓声,将其全部带回家。显然,与许多原始乐队相比,沃德文(Vordven)的音乐家更好,他们的艺术家较少,因此对我们的兴趣不大。聆听1980年代的Muzak版本的Metallica流行歌曲感到不诚实。

战马“Warhorse” (光盘 ,2000)

Sounding like a hybrid between old Confessor 和 middle-period Motorhead, 战马is a rock band playing doom metal with a sensibility for both slow pumplike riffs over which vocals suddenly slow, causing a relative shift that makes the entire song seem to stand still, 和 the type of pick-up transitions 和 breakdowns for which both Motorhead 和 death metal bands are famous. In the sense of bands like Saint Vitus or Cathedral this band is intensely mated to the rock culture 和 its dramatic self identity, adding over it high pitched vocals that sound like a whisky-soaked Sigur Ros in an Alabama bar. For this reviewer it is a question of relevance: what does one need express in this 风格 that would take a band beyond the level of background music for a local bar? However, among those who undertake this format, 战马keeps a sense of 风格 和 intensity, even if 通过 appropriately keeping its horizons forshortened in the ambition department.

复仇“胜利。不宽容。精通” (Osmose, 2004)

Although in fundamentally the same 风格 as previous releases, the latest from 复仇improves upon it 通过 simplifying the chaotic stew of impulses diverging into every conceivable direction, therefore achieving a greater coherence 和 thus listenability. That being said, the same problems that plague previous releases are here: distracting directionless percussion, riff salad, a tendency to deconstruct without a replacement ideal. However, 通过 dropping all but the most necessary elements of their music, 复仇have come closer to making an expressive black metal album.

安克雷格“Lands of War”

哦,很整洁:有人将Impaled Nazarene与Gorgoroth混合在一起,组成了一支乐队,在锯切的朋克即兴演奏和旋律音阶花式颤音之间保持平衡。掌握了这项技术后,当他们试图寻找方向时,这支乐队就变得神经质无知。除非如此,他们就在一条通用的道路上定居下来,并将除了厨房水槽之外的所有东西都扔进去,创作出的乐曲在指南针的每个可以想象的点上跳跃,却一无所获。他们的技术是用这种持续不断的混乱来分散听众的注意力,并希望它不会被认为无关紧要。在此审阅者的陪审下,聆听环节结束了。比狗屎更糟,这是伪装成深渊的混乱。

复仇“胜利。种族灭绝。敌基督者。” (Osmose, 2003)

每当有人交出音乐或写作时,问一下“这项作品的艺术目标是什么?”艺术不是凭空存在的,就像对话并不存在。听众和创作者之间必须共享快乐。复仇是击鼓,不断追赶步伐,然后追赶加紧的速度,刺耳的和声,如洪水中的油彩虹般飞过头顶,而且常常是高质量的即兴演奏。像第一张Krieg专辑一样,它以不连贯的顺序排列这些内容,从而导致意识流激增,而没有赋予任何形式的更大智慧。因此,这张专辑是从黑金属所取得的成就中退步的,黑金属是表达黑暗的含义的拱形优雅和连续性,并下降到代表现代grindcore的无组织的解构主义中(似乎要强调这一点,在这里敲鼓非常让人联想到德里克·罗迪(Derek Roddy)’s work on Drogheda’s “Pogromist”)。为了传达故障,未必会以字面意思描述故障–在这里我们看到了很好的原料–强大的打击乐,熟练的技巧 – converted into a melange of confusion 通过 its lack of deliberation 和 planning. No 唱le part of it has anything wrong with it. The whole is a death of ambition, of heroism, of tragedy 和 meaning.

温特兰“欢迎我的最后一章” (2003)

This band is like The Abyss a template of black metal technique recombined around the most fundamental songwriting techniques, but to that mixture it adds lifts from Gorgoroth 和 Sacramentum to make it a flowing but gracefully intricate 和 arcane metal 风格. Nothing here is bad 和 it listens well, but it manages less suspension of disbelief than The Abyss (first album; the second one is random riffs 和 screaming) because although its songs are well-written 和 flow expertly it is hard to find a statement to any of them; what are they 关于? They’re 关于 being 旋律黑金属 songs. Undoubtedly 温特兰is 比几乎所有所谓的都要好“melodic black metal” since 1996, but it’仅仅是因为我们的标准下降了,所以这样的乐队被认为是良好的聆听。最好是一个更简单,更诚实的乐队,试图交流一种经历而不是成为会员。这部Vinterland和Deathspell Omega的相似之处在于,尽管两者在形式能力上均处于同类音乐的最高水平,但它们都没有抓住这首音乐的精髓,因为他们试图成为音乐,而不是试图成为最终会在音乐中表达自己的东西。音乐。嘶哑的嘶哑的Dimmu Borgir人声在片状旋律吉他即兴演奏中潜入并滑行,并充满了快速的琴行和下降的琶音。乐队知道什么时候该从杂乱的重复中解脱出来,使之平静下来,就像一艘船从急流中驶出一样。那些熟悉黑金属历史的人会听到来自远古,迪姆·博尔吉尔,萨克拉门托,深渊,萨特里克顿和萨克拉门托的举动,以及在盖茨和后来的皇帝的暗示。这不是很糟糕,但是’这不是重点:这张CD永远不会指向任何方向,而是尝试将过去的路径摘要用作浓缩的黑色金属综艺节目;虽然这是第一次令人愉悦的聆听,但它并没有像其他乐队那样坚强起来,因为没有什么可以使所有这项技术及其优美的时刻成为焦点,给人留下了一系列分散注意力的印象,而不是刻意的手工艺帮助揭示皮肤下的秘密。

贵族“Forgotten Tears”(Shiver Records,1995年)

这支才华横溢的音乐家乐队过分专注于个人乐器,因此制作出了一张专辑,成就了一半成就,一半是灾难。因此,由于无法通过作曲来组织歌曲而不是演奏,因此不得不依靠将不连续的音乐与由两部分组成的注意力跨度捕获器:重复的模式可以抓住注意力,然后停顿一下“unconventional” response to fulfil that expectation. If that is a desired compositional 风格, one wonders why this band did not simply make grunge music 和 derive actual profit from the endeavor? They mean well 和 play well —这里的声学乐器很漂亮,许多The riffs在较旧的Therion像沉睡的泥土般的简约中都非常出色,而且歌曲的概念很棒—但最终产品因其自身的炫耀性和对不同音乐冲动的尴尬吸收而受损。鼓声,非正常的鼓声,不和谐的吉他声和有节奏的颠簸不会使引人入胜的音乐动起来;它们前进了几英寸,消耗掉了能量,使乐队得以创作出具有世界意义的音乐陈述,使歌曲具有与众不同的表现力,使其表现出色。对于喜欢后来的尸体的人来说,该乐队采用了许多相同的技术并且具有相似的技术性。

m“超越本影” (光盘 ,2005)

想象生物圈以“死者之舞”的敏感性执行:声音曲线中旋律的涵义上升到最大音量,然后像波浪一样脉动,然后消失以形成一个循环,歌曲是由连续的层次以偏移的节奏堆积而成的彼此。它缓慢,无敲击,细腻,部分归功于所使用的沉重混响,就像一个人的回声一样忧郁’s lonely voice in an abandoned cellar. The 更多 风格-heavy music gets 和 the 远ther it gets from something that can be easily played on one or two acoustic instruments, paradoxically, the easier it gets to create once one has mastered aesthetic, 和 if this music has a weakness it is the tendency to use four-note melodies as the basis of a song 和 only occasionally complement them with others. Biosphere helpfully used found melodies 和 instrumentals of greater detail to do this; mcould actually go further within their own aesthetic 和 layer keyboards as they have but give them 更多 to play than rising or falling modal lines. It would also help to even further vary the voices/samples used here, as too many echoed stringplucks or keyboard throbs start to sound the same; sometimes, one slips too 远 into the mood generated 和 boredom sets in. Yet there is something undeniable here in both aesthetic 和 composition, in that unlike almost all “ambient”从地下释放出来,具有优雅和目的感,将这些音轨组合成一个独特的音乐实体。留意这个乐队的未来发展并非不明智。

发射/发声“Split”

发射is 周围 soundscapes made from guitar noise, sampled instruments 和 silences; it is good to see this band branch out into a greater range 和 artistic inspiration, but they would do well to remember the listener should be both learning 享受聆听的体验:将艺术与哲学区分开来的是,使艺术成为通过知识的感官通道,其中哲学是对知识的描述。 Vrolok是Krieg / Sacramentary废除学校的成员,他们在鼓上快速发出嘈杂的吉他声,然后鼓动自己,然后赶上飞行的混乱声。一切执行得都不错,但这张唱片似乎是一位艺术家’对他最喜欢的乐队会做什么的印象;有一些不错的触感,例如背景无人机和令人作呕的自然弯曲弦谐波,但目的是什么?如果黑金属有另一代’并不是要改造过去的形式,而是要复兴过去的内容,即使所有的美学思想(就像早期的北欧乐队一样)都是巴斯里/地狱之锤的垃圾。

夜行者“Rex Ex Ordine Throni”

This is a competent black metal release with a Darkthrone/Graveland hybrid melodic guitar playing 风格, kettledrum flying battery in the Sacramentary Abolishment canon, vocals like later Dimmu Borgir 和 composition that, like that of Satyricon, assembles all of the correct elements but does not understand melody intuitively enough to keep the illusion going. If this band delved 更多 deeply into composition 和 had something to say, this 光盘 would be one of the best of the year because its aesthetic formula is perfect, but its melodies go nowhere 和 barely match harmonic expectation between phrases, when they’不完全对称且明显简而言之,当深度超过皮肤水平时,它就会崩溃。如果一个雄心勃勃的旋律思想家被移植到这个乐队中,或者其成员朝这个方向发展(一个巨大的飞跃),那将是一个重大的贡献。

受污染的继承“Ecocide” (光盘 ,1992)

This is one of those 光盘 s that came very close 和 with a little 更多 focus 和 depth of thought could have been a classic of the genre. It is death metal in a hybrid 风格 that includes jaunty post-speed metal expectant rhythms, such that incomplete rhythmic patterns provide a continuity through our anticipation of the final beat established through contrast of offbeats as necessary, 和 sounds as a result somewhere between Exhorder 和 Malevolent creation, with verse riffs that resemble later work from Death. Songs operate 通过 the application of layers of instrumentation or variation on known riff patterns in linear binary sequence, driven 通过 verse/chorus riffs 和 generally double bridges that convey us from the song’将争议的内容介绍到最终的清晰状态。这张CD可能对地下来说太有弹性,而对Pantera / Exhorder人群来说却过于粗糙,因此非常合逻辑且分析性强,使它看上去很对称且很明显。幸运的是,这支乐队将继续写作,并将提供更多的情感或观念上的参差不齐的边缘,这可能会使它成为一流的发行。

塔兰主义者“demo 2004” (光盘 ,2004)

“style” of constant melodic intervals popular with cheesy Sentenced-ripoff bands, but use melodic intervals at structural junctures in riffs that smoothly branch between phrasal death metal 风格d riffs 和 bouncy recursive heavy metal riffs. Over this lead guitar winds like a vine 和 favors the bittersweet sensation of melodies that decline in harmonic spacing until they trail off in melted tendrils of sound; riffing is most clearly influenced 通过 the NWOBHM 风格 hybridized with speed metal’s adept use of muffled 和 offtime strums to vary up what are otherwise harmonically static riffs. 塔兰主义者can achieve this melding of motion-oriented 和 pure rhythm riffing through their tendency to change song structure rapidly after having made their point, such that listening to this resembles going between different parts of a complex city, climbing stairs 和 finally entering a destination, then jumping back in the car for a manic deviation to another location. Highly listenable, this is impressive work for a demo band 和 represents a brighter future for metal than the kneejerk tedium of nu-metal or the repetition of past glories offered blankfacedly 通过 the underground. It is unabashedly musical, 和 takes pride in interlocking melodic bass 和 lead guitar lines that exchange scale vocabularies as freely as rhythm. The only area that seems unresolved are the gruff Motorhead-style vocals, which might be either updated or discarded for pure 唱ing, as there’在这项工作中有足够的声音距离来支持这样的事情。这里最明显的影响是《铁娘子》和《金属乐队》,但几乎可以听到对每种类型的最新金属的熟悉程度。在最近以这种方式发送的演示中,这是最可能获得重复聆听的演示,因为它首先关注音乐,其次关注美学。

超越痛苦“濒临灭绝的物种” (光盘 ,2005)

Trying to mix the high-speed melodic riffing of black metal with the thunderous bassy trundle of mainstream death metal/nu-metal riffing, this band produce something that sounds like Acid Bath without the variation or 唱ing, 和 resembles Pantera in its tendency to match riffs with clear poised expectant endphrases to rapped vocals 和 shuffle drumming. It’s是以前多次看到的模式的变体。它’很难说出这些音乐家具有什么样的音乐能力,因为这些即兴演奏具有节奏感和非谐音,因为它们的旋律颤音的存在只是为了强调低端的电子和弦。一些Meshuggah粉丝可能会对此表示赞赏,成群的人认为Slipknot和Disturbed都可以,但是对于那里的地下死亡金属迷来说, ’这里什么都没有。这些家伙显然很专业,并且研究了该领域的所有其他产品,并且混合了足够的旋律以脱颖而出,显然这些歌曲的合唱性比您的普通nu-metal好,但是当人们选择了一种愚蠢的音乐概念时—实际上,整个Pantera / nu-metal风格都是:让白痴回弹的音乐,同时消除他们的民主权利被现实所宠坏和残酷约束的挫败感—人们将自己限制在制造事物上,无论它们变得多么聪明,其主要特征都是旨在支持和养育愚蠢。我什至会打蜡“open-minded” if I didn’我们不知道将金属分解为纯粹的愤怒,毫无意义的节奏节奏是该类型的最古老的趋势,并且总是使它误入歧途,因为这样做的乐队除了审美繁荣以外就没有办法相互区分,因此最终建立在外部因素而非竞争基础上的竞争。一些即兴演奏会接近美丽的时刻,但往往会以高度对称的对出现,这需要有弹性的起停节奏来将它们融入情境。它’都执行得很好,但是’的标准nu-metal / late Pantera,带有Iron Maiden和Slayer的气息。我们应该照顾吗?一些向已故的Pantera / Damageplan吉他手致敬的名人指出,他有能力演奏的音乐远超出他的风格’d选择;听起来这里似乎是同一件事,在我看来,这是个悲剧,因为这种款式如此笨拙,它吸收了所有的好东西,希望为疲惫的郊区青年提供沮丧的避孕套。

火斧“Food for the Gods” (光盘 ,2005)

如果你’我曾经希望老式重金属能少一点点儿沉迷和自我迷恋,并采取铁杆朋克对世界的直面态度,但要让它以金属闻名的盛大抒情主义为基础,您可能会发现一个朋友在Fireaxe。它’高科技,基本的制作过程没有令人愉悦的声音,使大型录音室的专辑如此丰富,而且通常离内容的位置还差一点–在连接各节的逻辑中通常是重复性的或过于基础的,好像由于过多的逻辑分析而导致对称性过多–但如果重金属长大,它可能就是重金属,介于Mercyful Fate,Queensryche和Led Zeppelin之间,这是一种史诗般的风格,渴望成为一位国王炉灶的吟游诗人,而不是体育场内的自我之星。布赖恩·沃特(Brian Voth)负责整个事情,使用电子设备进行打击乐,并用他可信赖的吉他,键盘和声音将其拖到收尾。他的声音像吉他声一样纤细,他的独奏曲调清晰,但不能让自己陷入混乱。他对键盘的使用让人联想到对Emperor的轻描淡写。这套3张CD集是人类及其宗教象征主义的尝试史学史,对本来可能是健康的想法反而成为操纵者的事情持愤世嫉俗的态度。“非道德意义上的真理与谎言”?也许吧,但这更土。真正的重金属形式“Food for the Gods”对超凡脱俗的字面表达感到高兴“truths.”总体音乐质量很高,艺术质量完美无缺,但是CD的设计通常不是为听众设计的,而是为了完成其思想循环,此处可以使用编辑方式。它是如此的分析,几乎是无言的,从字面上看,它几乎是对象征主义本身的一种阻碍(与后现代主义者已经流行了90年,可惜)。我对Fireaxe的建议是停止深入研究原因并开始研究精神解决方案,例如至“sing” in the oldest sense of praising the beauty of life even in darkness, 和 lifting us up not into educated obligation but into ignorant but healthy spirits. Think of a bard 唱ing 通过 his cup of mead, looking for a way to console 和 encourage those who might on the morrow die in battlefields, all through the symbols, song 和 sense of ancient tales. This album could be cut to a 唱le 光盘 with proper editing gain some denseness 和 unpredictability it lacks; right now, although its patterns vary its delivery is of such an even mien that it is nearly predictable. The roots of excellent music are here, including Voth’具有创新性和趣味性的线索,但需要对Fireaxe进行纪律化,使其成为一种更高级而又渐进的形式,以使Fireaxe拥有所需的完整语音范围。这是一种令人讨厌的转移,它摆脱了愚蠢和操纵性的体育场金属,以及掩盖了它的毫无恶意的宿命主义地下音乐(尽管它不会承认),尽管它在哲学上趋于自由,但并没有走向emo的极端极端。心脏紧紧围绕着音乐,而肉体则胜任,但不知何故,灵魂还没有抬起翅膀飞翔,而是静静地坐在辐射细节上思考正确的飞行路线。

诺斯替克“Splinters of Change” (5首歌示范,2005)

听到无神论鼓手史蒂夫·弗林(Steve Flynn)重新出现的消息后,我的好奇心立即激起。一世’d总是欣赏他在工具包后面的光彩,永远给人以挣扎不被自己创造的奇异节奏旋风所困扰的印象。令人惊讶的是,我发现在进行重大录音和沉浸于现实主义的现代工作场所之间的13年间并没有削弱他的创造力。实际上,他在节奏结构化方面令人耳目一新却又诡异的方法使人想起了他以前的作品,这一事实最初激发了希望。此外,Gnostic由才华横溢的玩家组成。前无神论歌手Kelly Shaefer制作了这张专辑。忧虑无声地打了个::这支乐队能否摆脱前任的阴影?

事实证明,没有。乐队错过了该理论从根本上深奥的应用,这给无神论者带来了永恒的历史。说说您将如何处理诸如“populist”被用于音乐评论,但这仅仅是写给“sound good”从准编的角度来看。音乐框架的方程式的每个组成部分都遍历了其他所有部分,以证明器乐演奏者有能力,而失去了无神论者通过其受控混乱而带来的超越。 Gnostic在结构上遍及整个地图,Flynn竭尽所能将船固定在接缝处。除了一维工具论之外,这里没有其他信息。我们’十五年来,我已经听过相同乐队的这些歌曲。在此审稿人看来,该演示再次赢得了冗余平庸艺术的胜利。消费,消费,消费。– blaphbee

r“A’阿拉伯Zaraq清醒梦” (核爆,1995)

It’s hell on metal bands who want to leave the underground. In trying to popularize their 风格, they usually kill whatever appeal it had, because those who enjoy their music have found truth somewhere in the alienation 和 whatever values the band managed to sustain under that assault. Further, the band usually confuse themselves, 和 end up prostrating themselves as whores, thus losing the respect of their fans. This 光盘 is a collection of outtakes from Theli, a soundtrack 和 some rodds 和 ends that chronicle this band’逐渐商业化,同时整体上对金属风扇的重视程度也随之提高。前两首曲目代表了试图制作流行的新古典音乐的一切令人作呕的事情,因为它们首先专注于制作令人s目结舌的令人愉悦的音乐,并用一些古典典故之类的东西进行装饰,最终造成混乱的狂欢。下一首,“Fly to the Rainbow,”显然是旧Dio音乐的翻唱,考虑到它与Dio的相似程度,这很有趣“The Way” from r’史诗般的第二张专辑。其次是有史以来最便宜的铁娘子乐队之一,过分的人声淹没了原作的微妙之处,还有《狂奔》
这首歌表现得很笨拙,但重新制作的戏剧性较差,因此更受欢迎。这听起来很像朋克硬核和金属合唱。接下来是“死者交响曲”同样来自第二张专辑,但其混合效果突出了键盘,使之变成了muzak。好歌,糟糕的版本,和像Emperor键盘一样的Inno A Satana一样毫无意义。乐队失去了使早期材料变得出色的原因,因为它融合了原始和美丽,而不是像这张CD那样对广播电台进行了标准化。所有的技巧都消失了,所有的技巧都消失了,取而代之的是民粹主义的重金属心态。那里’这不是一个类别,也不是自尊心,尽管它的任何要素都非常强大,但整体而言却毫无意义。此综合症使这张CD上剩余的Therion音轨枯萎,然后将我们带到音轨部分–这些实际上是有希望的。就像《死人之舞》和《召唤》之间的综合作品一样,这些都是徘徊的键盘背景音乐,它们保持一种情绪,并通过减少破坏性注意力的需求而受到控制。尽管许多陈词滥调和明显的人物都参与了这种音乐的创作,’很明显(瑞典人控制好莱坞)是电影的原声带。“new” rbelong.

亚里西亚人“Dying Vine” (希望胜过,2005)

这张专辑演示了如果您随意混合各种优质食材,最终会感到恶心。这张专辑中大约有一半的即兴演奏非常出色,乐队的节奏感很棒。但它 ’s garish, gaudy 和 overblown. Like a metalcore band, they mix riffs in a merry-go-round of directionless ideas, never actually stating anything. In this case the riffs are of the melodic Swedish death metal meets technical speed metal 风格, with influences from “modern metal”和Showboat重金属。这其中的任何一个部分都可能很棒,但它什么也没说,因此最终被随机元素拼接在一起,形成杂乱无章的想法碎片的马戏表演。一些愚蠢的现代风格,例如合成声音,在棺材中钉上了钉子。那里’在这里喜欢很多东西,但是整体上不值得爱。我对这些帅哥的建议:打坐并研究您的乐队政治,因为如果这张专辑中的原始材料呈现方式不同,则可以收听,但是现在’s没有技术或美学意义的技术混搭。

哈科宁“Sermons of Anguish” (哈科宁,2005)

The good 新s is that 哈科宁have good concepts, write good riffs, 和 understand something of gradual mood shifts. The bad 新s is that they compress this process, remove the anticipation, 和 hammer it out in repetitive endurance tests that hide the actual talent of the members of this band. None of the elements are bad; in fact, they’远高于平均水平,并且乐队具有审美眼光– the 光盘 skirts metalcore but incorporates some of the 新er urban 和 rock influences into metal – that outpaces most of their contemporaries. However, they need to find some inner calm, 和 let it out slowly, 和 discover the poetry of their own vision, as right now, this album is unrelenting violence that becomes perceived as a 唱le unchanging texture because of its emotional disorganization. Luckily this experienced band has time to take some of their 更多 intense moments of riffing 和 put them at the end of each song, then re-arrange the other riffs (and maybe develop them 通过 another layer, meaning for each good riff, split out two complementary ones that can resolve into it, Suffocation 风格) to lead up to that point. If they do that, they will be on the path toward conveying meaning through their music –现在,它传达的是磨损,而过多的磨损会通过听众’使自己的情绪保持不变。

挖平尼克“Emotional Animal” (大宪章,2005)

前国王’s X member comes out with 新 album. Any guesses? It sounds like a heavier, groovier King’X,这似乎是尝试使金属声音更像摇滚音乐。它’爵士乐和时髦音乐,并具有一些摇滚风格的金属格调,但总体而言,其构成与广播中播放的相同。品尼克(Pinnick)最好将自己的才能运用到像戈迪安·诺(Gordian Knot)这样完全成熟的事物上。

无光/黄昏“Split” (诅咒制作,2005)

与Cursed Productions的大多数发行版一样,此CD展示了以不寻常的形式包含的常规男歌手歌曲创作。 Aphotic是诸如My Dying Bride和Katatonia之类的配乐末日金属的融合,并融合了诸如Gordian Knot之类的渐进边缘,从而创造了一种可听取的,深度可听的乐器。其中许多重复听起来像是从Graveland专辑中借来的东西,但是在基本吉他的基础上,蓬勃发展的主音吉他和合成乐器成为主要主题,另类吉他演奏则着重强调金属闻名的内部节奏。尽管这些歌曲产生了很大的气氛,并且内心充满了动听的气氛,但对于激进的摇滚狂热者来说可能太过感伤,而对于1990年代早期的黑金属迷来说却太简单了。老式的踩脚重金属的支撑可能会使它们在当代金属观众中流行,如果有的话’这里有什么批评吗’这支乐队可以使他们的工具主义更加统治。另一方面,黄昏是末日金属和经典重金属/强力金属的更清晰融合,声音越来越大,引导弹力即兴弹奏到目标。它虽然精通,但总体而言还不够完善,无法拥有自己的声音或超越金属陈词滥调,但是对那些愿意’紧紧锁在大教堂和五爪的房间里,重新学习他们的构成材料。

恶劣的制裁“Three Song Demo” (2005)

即将发行专辑中的几首歌“没有生活动力”史蒂夫·莎拉蒂(Steve Shalaty)的才华横溢,他现在为《献祭》而战’关于他们的整个诉求。就像他在Shalaty的《肉体行动》中的工作一样’低音提琴和持续的击鼓声之间的精确相互作用已经使打击乐器成熟了,但除无休止的节奏节奏外,其上的音乐几乎没有任何东西。在Metalcore和Deathgrind之间的某个地方,它缺少大多数和谐的维度和任何旋律,导致发出嘶哑的机械噪音,对经验丰富的听众几乎没有作用。

发射“王子的死剑” (2005)

The microgenre of blacknoise is what happens when one fuses the abrasive Beherit-style cacophonous assault of minimal black metal 和 the droning sonic collages of acts like Mz. 412 or Claustrum. Where this 光盘 is excellent are the moments when being 令人震惊的ly extreme 和 unlistenable are forgotten, 和 overlapping patterns of melodic or textural fragments knot the listener into moods of darkness 和 contemplation. Here, 发射has found an outlet for its 风格, as the guitar is liberated from rigid hardcore/black metal 风格 riffing 和 can focus on the mournful 和 regal use of 周围, repetitive melody, hiding it amongst distorted voices 和 sampled aural experiences of modern life. The pretenses of black metal should be discarded, as this release has 更多 in common with Tangerine Dream 和 Godflesh than anything else. If this reviewer has anything to suggest, it is that this band not hold itself back, but plunge forward in the direction it is exploring, 和 use its dense layers of sonorous noise-guitar 和 vocals to develop a sense of melody 和 composition, as that is the strength of both this band 和 non-instrumental music in general, 和 — well, nothing’s been “shocking” for some time.

P –落叶松归来(音乐滥用,2005)

As metal continues, like a snowball rolling over open ground it assimilates all that went before it 和 thrusts it forward in recombinations hoping to find another powerful aesthetic voice for the eternal metal spirit (which also picks up details, but rarely additions, to its sense of being). P is the side project of 炼金术member P 和 can be described as a black metal-informed death-doom band, with influences primarily in the Asphyx 和 Cianide camp with touches from Paradise Lost 和 Master. Its strengths are its booming, bassy, cinderblock-simple riffs that thunder through repetition in a trancelike resonance. Where many simple riffed bands can be irritating, these are sustaining. Songs move from one perspective to a final response to it without ado because the goal of this music is to carve tunnels of explosive sound through the rock face of silence, enacting mood 更多 than drama. P needs to work on its rhythmic transitions 和 vocals, the former being stiff 和 the latter overacted; the local-band 风格 of shout/rasp does nothing for a listener who might prefer to not be reminded of vocals at all should the question arise. Influence might also be gained 通过 pacing riffs, especially introductory ones, differently to radically offset each other 和 effect a smoother convergence of forces. Three songs are of solid death/doom, 和 then there’s junk —令人难以置信的Aldo Nova封面,与一个有趣的年轻女孩的二重唱以及一首关于棒球的漫画歌曲,淡化了心情—但这之后是最终的器乐,它像不专心的眼睛一样美丽,是听起来很粗心的声音集合,是如此自然,以至于它在情感上的影响既不被察觉又深刻。如果这个乐队决定采取方向并掌握它,那么它们将在死亡/末日领域成为一支强大的力量。

炼金术– 炼金术(Alchemy, 2004)

Reminiscent of Abyssic Hate 和 Xasthur 和 I Shalt Become, 炼金术creates Burzum-styled 周围 drone in a song format that seems inspired 通过 Dark Funeral 更多 than anything else. It is elegant 和 embraces the listener but beyond getting into said mood, goes nowhere: it is not directionless but each song is monodirectional to the point it might not be said to be a narrative or even statement as much as observant glimpse. If this band wishes to go to the next level, it needs to divide the formative material of each song into two parts, 和 layer the first one for 2/3 of the song until an apex, at which point it can switch into the conclusion for the last third 和 be 更多 effective 和 satisfying to a listener. Far from incompetent, it is best viewed as something in transition.

一线

辛劳– Demo I

能力和外表光鲜,但像格雷夫兰的开明,忠实,相同的外表一样无聊,无聊’s “Thurisaz.”

食人尸体– Kill

基本上延续了类似说唱音乐和《六英尺之下》(Six Feet Under)的惯例,基本上与其他所有Cannibal Corpse专辑一样。除非您喜欢设计用于协调被电击的智障儿童的头部动作的音乐,否则避免它的唯一原因就是避免这种情况。

没意见

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