Music Review #144:

Blackalicious
A2G
1999
Quannum







EGYPTOLOGIST WISDOM! 

Arising from the Quannum Projects hip hop collective, duo Blackalicious complete their evolution into a bona fide group purporting their own legendary brand of rap with 1999's A2G EP. This evolution does well to differentiate themselves from their previously established A Tribe Called Quest-esque sound well by replacing it with a more caustic and funky production, which holds Gift of Gab's intricately woven intelligence much better and on a much higher and more appropriate pedestal. 

A2G also articulates Blackalicious' intelligence better not only with Gift of Gab's beautifully constructed flow, but also with Chief Xcel's craft. Said craft brings an old-school vibe with samplings of complex guitar and bass hooks to a modern record. Such is presented fantastically with 'Clockwork'- a bobbing 70's-style bass riff (reminiscent of Funkadelic, a band held in high esteem by Xcel) heading off the conscious-hip-hop elements that Blackalicious have been flagships of for over 20 years. Gab can also bring a unique flair to his flow when he uses perfectly placed cadence to freshen the sound. Though he can sound a bit silly when he tries his hand at vocals like on 'Deception', still I believe the message of staying within one's own boundaries regardless of the fame they've achieved is still important, along with all other moral lessons communicated on this.

Though still basically a prelude to even better and more progressive Nia LP to come a few months later, A2G is a quintessential piece of the legendary act's discography. Not only that, but it also contains the famous 'Alphabet Aerobics' in full. Absolutely recommended.

2017 - The Frying Pan & Thatcher 

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Music Review #143:

Livid
Beneath This Shroud, The Earth Erodes
2017
self-released

Minnesotan doomsters Livid finally hoisted up their trousers after drifting around in the ethos for two years and pumped out an egregiously titled debut.

True to their roots, Livid makes their presence known with a short track list of only five pieces, while at the same time making said tracks long enough so that they total to a contradictingly long album. This could be owed to the 'jam' being a very important facet to doom metal culture, stretching back to bands like Saint Vitus (who employed the same technique even back in 1984). Regardless it should be obvious that Livid takes this time to exercise their power and artfully overstay their welcome to make a point of it. But such a construction has been done before; many bands also self-labeled doom metal act the exact same way, which means that an artist should, especially in modern day, tweak the minute details to stand out from their peers. The way Livid does so is to be discovered.

Beneath This Shroud, The Earth Erodes is a monster, no doubt. As aforementioned it's structured similarly to a old-school doom metal album with lo-fi production to match, the latter of which does well to put them slightly above others that fall back on cleaner, sleeker production a la Pallbearer-- maybe a throwback just sounds more genuine than a rekindling sometimes (production-wise only though, probably). Aside from that however Livid's strong point is how they present the album. Almost every track bleeds into the next, starting from the ethereal opener 'Descend'. For example, said track closes with a 5-or-so second pounding drum introduction that could have been very easily placed on the second track instead, but with this design it is clear this particular album is meant to be enjoyed in one listen, akin to a forty-five-minute long monolith. For me this is undeniably the best way to experience a doom metal album but for another this approach may seem a bit clunky, especially if you choose a track out of the lineup at random and it closes like it's leading into another, even when it's not. Regardless the one-go method works particularly well for this album, with the aforementioned 'Descend' leading you slowly into the moody entrapment of 'Nothing', which blows the previously quiet and subdued vibe completely out of the water with a large, droning epic. While of course this is a doom metal album and the songs do tend to bleed into eachother, a noticeable increase in quality is clear as it proceeds, lighting up especially with 'The Fire'. More drum fills, more caustic guitar variations-- the whole shebang. All of this propped up on the sonorous howls of Cole Benson, who utilizes the semi-operatic style that I've seen used almost always very well in bands like Cave of Swimmers, and it certainly works well here. 

Though as much as Livid synthesizes their strengths from their forebears, they also do the same for their weaknesses. Contrivances litter this album, as it doesn't do much to show you any new sights that you haven't yet seen (especially if you're one at least semi-well versed in the doom genre). The debut is a throwback, sure. But there comes a time when the effect is worn out, and it feels like Livid treads that line a bit too enthusiastically. Furthermore, the art of repetition and lengthiness used on albums of old now have begun to feel a bit clunky in the modern era. Sometimes a short, punchy track is much more engaging and entertaining than a long, drawn-out humdrum of a looping guitar lead. 

Talent is on display here, clearly. Livid, similar to Avatarium and plenty of other latter-day doom acts, shows promise on their first outing. It's what they'll do with the power they now wield that remains in question. Good nonetheless.

pick up the album here: https://lividmpls.bandcamp.com/album/beneath-this-shroud-the-earth-erodes

2017 - The Frying Pan & Thatcher 

Have a nice day! 

Music Review #142:

Hellwitch
Syzygial Miscreancy
1990
Wild Rags

Hellwitch's Syzgial Miscreancy is less the product of progenitors and more the product of fans.

Although this album is technically considered to be "thrash metal", it's no big mystery where Hellwitch put their allegiance with, genre-wise. Atheist, Death, and Morbid Angel are just a few of the bands the band pride themselves on sharing the stage with. The influence of these particular bands are evident especially on the band's 1990 debut, arriving in the wake of other such debut releases like Piece of Time and Altars of Madness arriving but a year prior.

However although Hellwitch are clearly inspired by the late-80's technical death movement, they still retain the fan-tribute aura more than I've seen many other bands do. The music is amateurish, almost demo-like, making Syzygial Miscreancy really hard to differentiate from the six years-worth of demos leading up to it, production-wise. This doesn't necessarily detract from the quality, rather it actually sort of renders it it's own charm as a relatively shoestring-budget release. Of course though a not very technically diverse musical landscape can, more often than not, make an album sound rather flat and make tracks sound almost the same, which granted does happen a few times on this particular record. However a few factors make Hellwitch not actually fall on their face.

1. The musicianship. I know we've already rattled on about Hellwitch's influences, but it must be restated as it's extremely important to how they carry themselves. If they are to truly live up to the wrecking-balls that influenced them, they better be able to play like them. And they do. In particular the channeling of Atheist is made clear with the face-melting eclecticism of all three members, especially rapid tour de force on the kit with Joe Schnessel. The almost Voivod-ian guitar solos and the unexpected tonal shifts and guitar hooks all lend a very professional atmosphere even amidst all of the low-fi fuzz.

2. The overall structure of Syzygial Miscreancy is very laudable, with the aforementioned tonal shifts and surprise melodic riffs keep each track very interesting. The album has a short runtime of only 25 minutes, minuscule in terms of most albums of their caliber, yet this short time also makes it so the album doesn't get stale in an instant and doesn't contain filler. It is something I wish more bands would pay attention to- a shorter album could spell great things for how well it ages.

But Hellwitch does make a few mistakes here and there. For instance the random vocal filters Patrick Ranieri uses on some tracks just sound absolutely ridiculous and out of place, and really only serve to get a laugh out of me personally when they're there. Interestingly enough I find that Patrick Ranieri's vocals are the biggest problem with this album, and it could honestly be due to the production. Usually on other albums audio engineers are able to blend the musicians quite well so that, even when one might mess up, it can sometimes go unnoticed, shrouded amongst the music. Amateurish production is more dangerous in this sense because it is sometimes unable to cut the fat. Ranieri's vocal screams, especially on 'Nosferatu' can are extremely strange and silly because often times he sounds more like he's hyperventilating and not screaming. This happens a few times throughout but overall it isn't that huge of an issue as it doesn't seek to degrade any of the instruments, but when these vocal hiccups are there they are still quite distracting.

In all though this particular album is still a winner. Short, sweet, and charming in it's occasionally maladroit delivery, Hellwitch's debut is something definitely to check out.

2017 - The Frying Pan & Thatcher 

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Music Review #141:

Judas Priest
Rocka Rolla
1974
Gull

Judas Priest's 70's albums are usually cast in bronze as some of the earliest and most high-quality developments of heavy metal that have ever been. Not only did they expound on Black Sabbath's discordant proto-doom by evolving it into a faster, more explosive version of itself, but albums like Sad Wings of Destiny, Stained Class, and Sin After Sin all paved the way for the New Wave of British Heavy Metal that would dominate the Western charts for years to come.

It's hard to deny how beloved these albums are. They're practically legendary. All except for one. One that sets itself apart from Priest's 70's repertoire in both its obscurity and its strangeness. Funnily enough, it also happens to be the band's breakout first album.

1974's Rocka Rolla is a musical enigma. This isn't to say the music is impossible to understand, because it's not. For one, the album is much more progressively slanted as prog was in sort of phase two as bands like Rush emerged in the same year in the wake of the late-60's uprising. This can be seen on best on the sprawling eight-and-a-half minute long epic 'Run of the Mill' with the Floyd-esque guitar tuning and spacey vibes permeating the first chunk of the track. At the same time however, much of Rocka Rolla is infinitely more laidback than a tightly-strung album like Sad Wings, both lyrically and musically. The swaggering, bluesy knuckle-duster-knockout 'Rocka Rolla' especially exemplifies this side, wherein a young Rob Halford channels Bon Scott's greasy punk aura to deliver one of the oddest moments in Priest history. It maligns itself with any subsequent song Priest put out, but goddamn does it rock.

Not only in this way does Rocka Rolla set itself apart from other 70's Priest albums, but it also does so with it's sheer off-the-wall musical makeup. This is really where the main criticisms of the album come into play, as with an album such as this many are quick to claim it as underfocused and maldeveloped, and in most cases I would tend to agree. I suppose though that where this branches off is honestly dependent on personal taste. I personally love the elements Priest cobbles together on the album- the softspoken and melodious humdrum of 'Caviar and Meths' (an Al Atkins tune which, due to time constraints, had to be neutered from fourteen to two minutes), the snappy, riff-laden heel-clickers like 'One For the Road' or 'Cheater', etc. This is all without yet mentioning that Rocka Rolla showcases what I believe to be one of Priest's finest moments in their entire career- 'Dying to Meet You'. This particular song is divided into two sections: the first being a low-pitched Rob Halford lamenting over dual guitars shifting from muddy and pounding to austere and subtle with satisfying drum fills by one-timer John Hinch taking up the background. The song then shifts to it's second part, a rollicking rocker similar to the title track, and is also reminiscent of 'The Ripper' from Sad Wings with an early showcase of Halford's high notes, albeit in bluesier fashion.

The talented band's earliest incarnation is mainly what the quality of this album is owed to. The aforementioned John Hinch is a fantastic drummer, with his off-kilter, almost jazz-like playing that makes even the most simple of moments on this album seem intricate. I do agree with the band's decision to dismiss Hinch though. Although I think that Glenn Tipton's words of him being "musically inadequate" might have been a bit harsh, his style was not very well suited to the band's heavier future as opposed to someone like Alan Moore. Rob Halford needs no introduction, but I will say that the lower octaves he hits were scarcely replicated in the band's future endeavors, which I find unfortunate because they are pretty good. I quite enjoy Ian Hill's pounding performance on 'Dying to Meet You' especially on the second part, and of course the dual ripcord guitar duo that is Glenn Tipton and K.K. Downing are a force to be reckoned with, even with their more synthesizer-fronted sound before their evolution.

Well, this was a bit of a ramble. But in all honesty I've listened to Rocka Rolla more times than I can count and it's always remained a staple in my favorite records, even if it might not be the heaviest nor the most high-quality Judas Priest record to exist. To say I have a soft spot for it may be a gross understatement- I fucking love it.

2017 - The Frying Pan & Thatcher 

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Music Review #140:

Anathema
Serenades
1993
Peaceville








Serenades' story is an unfortunate one, mainly due to the album being unknowingly doomed from the start to be cast aside because of how much of a reputation Anathema would gain with preceding albums. I'm not the first one to say it, but it's fairly cut-and-dry that Anathema's debut does not match up in quality to nearly every other release the band had following it. This goes for not only Anathema's progressive rock material but also in terms of their doom metal albums, because they made leaps and bounds with their previously half-baked ideas with the Silent Enigma two years later. So really what makes Serenades generally thought of as bad?

Well aside from the aforementioned comparisons it gets to later material (that is usually judged to be much higher quality), Serenades is generally not very interesting. It's unnaturally melodic in unfitting places with overly loud guitars drowning out dull, growling vocals from Darren White, making for a seemingly confused doom metal album that shows a different genre within it but refuses to show it to it's full potential, in this case the progressive side of Anathema. I will admit on first listen it packs quite a punch- the double kick, crisp drumming from John Douglas really contrasts well with the very large-sounding guitar duo of the Cavanagh brothers. And then they do it again. And again. And so forth. It really is a neat concept that could use more exploring, but here it's just really maldeveloped. The melodies also get stale extremely quickly. 'Eternal Rise of the Sun''s opening hook isn't anything really special, but it is substantial. Then it gets repeated so much that it just gets annoying.

Honestly I think the biggest problem is Serenades doesn't want to be a gritty, Winter-esque album with very low production value and little eclecticism. Young Anathema wanted to be more than that, obviously, but how they show that is with an underwhelming release that can't decide whether it wants to be complex or simple. And don't even get me started on the twenty-three-and-a-half minute long pseudo-orchestral snooze-fest that is 'Dreaming: The Romance". Usually when you see a song of that length you'd assume something spectacular. Instead you get almost a half-an-hour of flat, programmed strings with very little variation, and sounding like an intro or interlude stretched out twenty minutes too long. Really it's a disappointing ending to an already disappointing album.

Serenades is an album remembered among really only fans, and not really for a good reason. It's an underdeveloped...well, I wouldn't really call it a "mess" but more along the lines of a misstep. It was corrected fairly well but it's a tangled debut with bigger aspirations than it can fit in it's tiny box.

2017 - The Frying Pan & Thatcher 

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Music Review #139:

Nothingface
Violence
2000
TVT








With nu metal, the quality can go one of too very polar-ended ways: either it is structurally basic, repetitive, laughably edgy, or just plain uninteresting, or it's surprisingly competent and able to incorporate more interesting elements than the genre is known to allow. This is not an original observation by any means, but it is important to keep in mind as to distinguish quality nu metal releases from the mountains of drivel that also occupies the genre. And this pile of drivel is enormous- so enormous that I wouldn't really put it past someone to dismiss the medium in it's entirety. In my case when I find something actually good that happens to be golden-age nu metal, it is surprisingly and extremely refreshing. Today's pick is Nothingface, an act arising from the surprisingly vivacious hotpot of Washington D.C. They were rather early to the scene with their 1993 emergence and shot a slew of well-judged bullets through their 90's career, and didn't even end of up petering out by the time An Audio Guide to Everyday Atrocity came out in '98.

Then came Violence. This breakout disc was the band's second to last release but also happens to be their most caustic, interesting, and violent. Right off the bat it's clear from the title and the minimalist cover bearing only the album and band's titles and a strip of a Roy Lichtenstein-esque illustration that Violence is about as blunt as a ball-bearing cosh swinging at your skull at 25 mph. Fear not, the music certainly reflects that. Thematically it is very reflective of the era's newly born alternative metal scene with somber and often times volcanically pugnacious lyrics, which blend very well with Matt Holt's low-pitched and melancholic self-harmonizations. The raw aggression is conveyed through snarling guitar licks and barely-restrained yet pretty complex at-times drum fills from Chris Houck (who has probably become one of my favorite nu metal drummers of all time). Also, some of the hooks on this album in particular are extremely catchy at times either with the vocals or the guitar. I think 'Can't Wait For Violence''s chorus had been stuck in my head for several days after listening all the way through the album. Going back to Matt Holt; harmonizations are present but something that really brings the apoplectic rage is his extremely raw vocal screams, which would likely not sound out of place on any other more respected metal album. Not only are these screams very well done and do well to get my heart kicked up a few notches at some points, the unapologetic use of juvenile curse words is a good motif and a conveyance of a sort of loss of humanity amidst the animalistic fury that is used on this record. I think the line: "FUCK! SCRAPE OUT HIS EYES!!" from 'Hidden Hands' will go down in my books as one of the unabashed incitements of ultra-violence I've heard in music.

Violence, as well as Nothingface in general, is a real diamond in the rough and I hope they do get more recognition, especially considering Matt Holt's horribly unfortunate death a few months ago. Even nu-metal naysayers I believe are safe near this record.

2017 - The Frying Pan & Thatcher 

Have a nice day! 

Music Review #138:

Voivod
Killing Technology
1987
Noise

In the short time span of a year following Voivod's second album the band reinvented themselves drastically and almost frighteningly well in time for their third release. It marked a short lived second generation of Voivod, one that mediated the hardcore punk infused, lo-fi thrash that they represented in their earliest years, and the eccentric and boundlessly creative prog thrash that would garner the group their most popular image. Thus Killing Technology represents a half-and-half mix of both sides, still bearing anarchic similarities to Rrröööaaarrr but also bearing the fruits of a more technical, progressive edge in its earliest Voivod incarnation.

The actual music of Killing Technology though is, at times, hard to swallow, and it's not hard to see why it can be polarizing to some. The riffing is obviously enthusiastic and full of youthful energy, but it's also rather unmelodious and rather unpleasant (the metal kind, more as in interesting than bad) at times. The searing scratch of the guitar can broadside the vocals at a completely different melody to what Snake is singing, creating at times an almost black metal vibe such as on songs like 'Tornado'. To counter this, Piggy's guitar can rip into a battering crunch that blends perfectly with the even faster and furious drumming but also the heavy twang of Blacky's bass creates a monstrous, pulse-pounding combo. Not only this but with the unspoken quasi-concept of the dark and horrifying unknown side of space attached like a tag onto many of the songs does well to give Killing Technology an almost alien feel comparative to many of the bands other releases. This is of course what gives Voivod such uniqueness as it hits home the point that very few Voivod releases sound similar, giving the band an ever-present freshness that many other bands of their caliber could not achieve.

Nonetheless it cannot be denied that Killing Technology was the mark of a truly upward slope in quality for Voivod, it terms of quality, creativity, and overall success. One of thrash and prog metal's biggest names are on the fast-track to the upper echelons of greatness and it seems nothing can stop them.

2017 - The Frying Pan & Thatcher 

Have a nice day!