domingo, 15 de dezembro de 2024
DOOM METALFEATURESHEAVY MUSIC HISTORY
In the depths of Upplands Väsby – a suburb of Sweden’s picturesque capital city Stockholm – in 1984, songwriter/bandleader Leif Edling and drummer Matz Ekström formed what would become one of the world’s seminal doom metal bands, CANDLEMASS. The band have gone on to have a glistening 40 year career and alongside the legendary BLACK SABBATH no less, they have had a defining influence on the doom metal genre. Labelled as epic doom metal, CANDLEMASS’s sound combines semi-operatic vocals with thunderous BLACK SABBATH-esque riffs. Debuting in 1986 with their genre defining album Epicus Doomicus Metallicus, they have since being hailed as one of the “big four of doom metal” along with PENTAGRAM, SAINT VITUS, and TROUBLE.
Before becoming CANDLEMASS the band were known as NEMESIS (1982-1984). When that band broke up bassist Leif Edling started CANDLEMASS with vocalist Johan Längqvist, – who was a session member at that time – drummer Matz Ekström, guitarist Mats “Mappe” Björkman and Klas Bergwall. This initial lineup would see the release of the band’s most influential album Epicus Doomicus Metallicus – which is dog latin translation rendering of “Epic Doom Metal” and is the name of the genre they helped pioneer.
Ironically, the band were dropped from their label Black Dragon Records after the album was released on 10th June 1986. However, it gained a cult status with Eduardo Rivadavia of the online music database AllMusic referred to the album as “a pillar of classic ’80s metal” offering “the strongest, most consistent songwriting of the band’s career”, although it “was let down by vocalist Johan Längqvist, whose performance failed to deliver with the power and command of his immediate successor Messiah Marcolin.”
With Epicus Doomicus Metallicus almost instantly securing their status in 1986, original vocalist Längqvist was replaced as vocalist by larger than life Messiah Marcolin (a.k.a. Eddie Marcolin). This would be the start of a revolving door of band members. When CANDLEMASS were he adding to the studio to record their second effort, Nightfall, in 1987, Bergwall and Ekström had left the band. Upon the completion of Nightfall, the gaps on the drums and guitars were filled by Jan Lindh and Lars Johansson respectively. The band released two more albums; Ancient Dreams (1988) and Tales of Creation (1989) alongside one live album simply called Live.
As 1991 rolled around, there was a dispute between the band members which lead to the departure of vocalist Marcolin. CANDLEMASS recruited Thomas Vikström to replace Marcolin to record they fifth studio album Chapter VI in 1992. However the album was unsuccessful and the band called it quits in 1994 after a turbulent initial run. With Edling starting another experimental project ABSTRAKT ALGEBRA.
Ultimately though, ABSTRAKT ALGEBRA was unsuccessful so Edling suddenly recruited a new line-up under the CANDLEMASS name and recorded the album Dactylis Glomerata (1998). The album was a combination of songs for a new ABSTRAKT ALGEBRA album alongside some new material. A year later the completely new line up released a second album From the 13th Sun, both featured vocals by Bjorn Flodqvist. After these two seemingly rushed but well received albums, in 2002 Edling reunited with and old school CANDLEMASS lineup including; Johansson, Björkman, Lindh and most noticeably Marcolin – differences has been put aside it seems.
This lineup played several live shows to the delight of fans and recorded a second live album. Alongside remasters for four of their albums and a documentary DVD being released called Documents of Doom. However, while the band were looking for a record deal to release their new material differences struck again and the band disbanded. The reunited again in 2005 and won a Swedish Grammy for their new self-titled album. In 2006 the band announced another album was being written and in 2007 it was announced Marcolin was out of CANDLEMASS for good.
From 2007 onwards CANDLEMASS have had significantly more stability with vocalists in two separate eras – one with Robert Lowe (2007-2012) and the other with Mats Levén (2012-2018). During the Lowe era the band would release King of the Grey Islands (2007), Death Magic Doom (2009), and Psalms of the Dead (2012) – the latter being released via Napalm Records and was slated to be their last studio album. Lowe would leave in 2012 and would be replaced by Levén, who didn’t feature on any new music.
In January 2013, CANDLEMASS were give the title of greatest Swedish hard rock/metal band of all time by the writers of Sweden Rock Magazine, Scandinavia’s biggest hard rock magazine. Despite the earlier claims that Psalms for the Dead would be their final album, bassist Edling stated that he was open to recording new music again.
In 2018 the band would release their twelfth album; The Door to Doom after reuniting Längqvist who had been out of the band for 32 years. The band stated “We wanted to find our way back to the roots of CANDLEMASS, back to the soul and essence of the band. Johan Längqvist is back and we hope this will give us some new energy and kickstart the heart of doom again”. The additional surprise with this album is that BLACK SABBATH‘s Tony Iommi, contributes to a guitar solo to one of the album’s tracks Astorolus – The Great Octopus. The band released their thirteenth album Sweet Evil Sun in November 2022.
CANDLEMASS have had a turbulent history over the last 40 years, yet their story is a testament to perseverance. While Edling is the consistent driving force of the band, the revolving door of band members has been a blessing and a curse as they have been able to adapt continuously but lacked consistently. Even so, the band have had a cult following since their inception and the seminal nature of Epicus Doomicus Metallicus has meant that they have stayed at the top of the doom scene despite the perpetual turbulence. Now they’re stronger than ever and continue to prove why they’re one of doom metal’s Big 4.
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MIKE MANGINI SHARES DRUM CLINIC PERFORMANCE OF DREAM THEATER'S "OUTCRY" (VIDEO)
Former Dream Theater drummer Mike Mangini has shared a new clinic video along with the explanation below:
"This version of the Italy clinic contains the album track to 'Outcry' by Dream Theater, with my drums on the recording and here live. To hear just the drums, which is a tough thing in matching the album exactly lest I get flams, which you'll hear when I start. I'm hitting very lightly for the room and situation. see the sister video here."
"Outcry" is taken from Dream Theater's 2001 album, A Dramatic Turn Of Events.
WHITE TOWER - NIGHT HUNTERS
Been two years since the Teutonic-minded Greeks released a highly enjoyable debut. While their musical geography hasn't changed, the intensity of the delivery has multiplied, adding a thrashy consistency to the old Accept (circa Restless & Wild) template. Cranking and dive bombing guitar runs scream from the speakers, on the introductory "Total Evil" (which follows a 93 second "Blood" sound effect).
Guess they wanted to show off the upgraded (and totally new) guitar tandem, right away! The title track follows, another hot blast of hyper riffs. Subtlety, thy name is not White Tower...everything about the presentation (including the occasional high pitched yelp: see "Knife In The Back") is OTT.
Somehow, the aggressive, no-holds-barred, borderline thrash construct recalls the early mentality of the ‘80s underground and sub-genre defying speed metal of Savage Grace, in particular. "Banshee" possesses more melody than its sequential neighbors and despite the title, never unleashes its namesake vocal inflection.
MORAL DECAY - TO BUILD AN END
What an absolute gem of resurfaced 1989 Canadian thrash this one is, Supreme Echo on a metal tear lately, reissuing the only recorded material from Victoria's Moral Decay here.
Opener “When I Die” is as good as thrash gets, smart, slightly tech, totally rocking, and moving in a way that few thrash bands managed to be. Musically, Sacrifice definitely comes to mind, but there's way more of a crossover/punk vibe as well, The Accüsed being a strong reference point. But what makes it a cut above are the vocals of Dave Wenger, who went on to be in some very great but very non-metal bands like Breakwater, M Blanket, Ache Hour Credo, and Daddy's Hands.
No doubt the late Wenger was an artist, and he put his all into all his projects, as the vocal performance on “This God” (which rules but certainly could have some fat trimmed at 8:59) proves, Moral Decay delivering thrash with passion, ambition hinting at prime-era Metallica pretty hard here. There's five songs in half an hour on this LP, and they're all great, the amount of potential—and maturity, shocking considering their youthfulness—this band had sort of tragic, but it makes what's left behind all the more special; “Winds Of Death” is the best example of the band's smarts beyond their years, musically and lyrically.
There's a booklet with interviews and photos, and this comes with a sticker too, so it's hard to find any reason to pass up this excellent, unsung piece of Canuck metal history.
MORAL DECAY - TO BUILD AN END
Greg Pratt
Rating: 8.5
ANTHRAX - FAN-FILMED VIDEO OF ENTIRE KATOWICE, POLAND SHOW AVAILABLE
Anthrax are currently on their 2024 European Tour with Kreator, and special guests Testament. On December 11th they played at Spodek in Katowice, Poland. Fan-filmed video of the entire show can be viewed below.
Setlist:
"A.I.R."
"Got the Time" (Joe Jackson)
"Caught in a Mosh"
"Fight 'Em 'Til You Can't"
"Madhouse"
"Metal Thrashing Mad"
"Be All, End All"
"I Am the Law"
"Medusa"
"Antisocial" (Trust)
"Indians"
"Efilnikufesin (N.F.L.)"
domingo, 8 de dezembro de 2024
ARAPACIS - NUCLEUS OF CHAOS
ARAPACIS - NUCLEUS OF CHAOS
December 6, 2024, a day ago
(BONGO BEAT)
Larry Toering
Rating: 8.0
review hard rock arapacis
I have done my share of publicity on this band from Montreal, CA, but Nucleus Of Chaos takes all things a step beyond, with some seriously down and dirty stuff to reckon with. Killer guitar riffs and solos from Jerry Fielden, excellent keyboards, and a more varied vocal performance from the Scottish born Michelle Macpherson. These eight solid tracks are among the best in their catalog, which features guest heavyweight artists such as Don Airey and others.
This is my first AraPacis review with Gillan Macpherson-Briggs on keyboards, as it is his first album with the band on keys, but the last one I covered did feature Derek Sherinian, who returns for this opening track. But the point about Gillan Macpherson-Briggs, is that he is the 13-year-old son of the singer and guitarist in this family affair (named after Ian Gillan of Deep Purple). And what an effort he put into the songs, as well as Sherinian turning in some world class touches on the first (already released) single "Let It Love feat. Derek Sherinian." This song alone takes some of the cake before the rest is even served up.
Next up is "The Park," which is the second single, as the acoustic intro plays through (guitar and piano), but things quickly go in another direction with a sweet vocal refrain over a very proggy backing with keyboard progression and galloping guitars that eventually go through some keyboard complimented breaks. This song is blistering at every turn, as the guitars and keys spar throughout with some interesting percussion. Worth the price of admission alone.
HAVOK - NEW EYES
New Eyes is a taster of new music for Havok as they crash the road with Exodus on their North American tour. This is their first bit of new tunes since 2020’s V and vocalist/guitarist David Sanchez leads the Denver group alongside drummer Pete Webber, bassist Nick Schendzielos, and guitarist Reece Scruggs.
The two new tracks explores different ground, but it’s still Havok through and through. They put aside the political lyrics for scientific ground and thermodynamics in opener “Death Is An Illusion”. Havok opts for a punkier approach to their songwriting and quick-hitting vocals and guitars. The energy has a hardcore aspect and fits in well – as does the title track “New Eyes” that dives deeper into a punkish blaze that reminds of Overkill’s “I Hate You”.
Two covers round out the EP with the surprising rendition of Credence Clearwater Revival’s “Commotion” as Havok gives a mid-paced, abrasive vibe to it. Last track consists of Metallica’s “Eye Of The Beholder”. Smart move to pick an underused tune from …And Justice For All and they properly cover it with that mid-paced bite and snarl.
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