Music Review #148:

Nothingface
Nothingface
1995
Emporium Records

Nothingface's little-known 1995 debut unsurprisingly shows them at their most vulnerable and creatively amateurish. As a result the band seems to play much of their sonic onslaught safe, leaning heavily on their contemporary influences to guide them through the ordeal of a studio debut. These influences mainly revolve around the increasingly-popularized Korn sound with stocky, punchy drum fills and semi-reserved riffing to make way for what is generally the most-sought piece- the vocals. Such a production choice is a bit of a problem though as Matt Holt in his earliest stages really hadn't quite perfected his scream nor his clean vocals, both of which would become hallmarks of the classic Nothingface sound. At his best, Holt sounds like a mediocre proto-Chad Grey-esque character, with his emotional value not nearly being up to par with his future work.

The band occasionally hits some marks though- mainly because these lovable bastards are so talented- with really well-thought-out constructions in their music. For example, 'Severed' is likely the most epic and impressive tune out of the bunch, showcasing not only Houck at his best with his blistering syncopation but also a rather fantastic and roaring breakdown that makes the track hold up to even some of their greatest hits. I cannot for the life of me understand why it wasn't chosen as a track to re-record for Pacifier in '97. Another highlight is the atmospheric 'Communion', another very Korny track where Holt channels Jonathan Davis with a warbling, weak-sounding whisper layered on with microphone distortion effects, creating quite the formidable atmosphere for fresh-out-of-the-underground band. But while these tracks are indeed great and a fun romp either way, Nothingface 1995 is still an album that could do with much improving, which is almost certainly to be expected with such a new band who hasn't quite found their footing at this point in the music world.

2017 - The Frying Pan & Thatcher 

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Music Review #147:

Ministry
Filth Pig
1996
Warner Bros.







A string of fantastic albums preceded what is likely to be Ministry's least experimental yet their most brash release they've ever put out- 1996's Filth Pig.

Up to this point, Ministry's music had been extremely eclectic, installing them permanently as one of the greatest industrial metal acts to ever be. Psalm 69 marked their entry into the 1990's, as well as the third album to achieve fantastic reception and hailed as fantastic upon it's release. Four years later however Filth Pig changed that landscape as Ministry opted for a much more caustic and barbaric version of themselves- one that skipped the pleasantries of unusual influences and time signatures and skipped straight to the meal. This meant much more focus on down-tuned guitars and a newfound (and rather perplexing) sludge metal synthesis. This means that much of the "industrial" sound that made Ministry unique was replaced with a much more by-the-numbers heavy metal approach, replete with pounding drum hooks, throbbing guitar riffs- the whole shebang. But such a drastic change is hard to actually accomplish with a straight face...and it seemed that not even the great Ministry could manage the feat.

When it comes down to it, Filth Pig lacks the substance it's predecessors. The track 'Lava', while being a guilty pleasure song with it's wavering distortion and Al Jourgensen's hissing vocal backdrop, is a perfect example of how fleeting the experience this album brings is, as it follows practically the same structure as most of the other songs like 'Crumbs' and 'Useless'. To contrast, The Mind is a Terrible Thing To Taste had a tracklist that constantly changed from song to song, each one having a unique vibe. Filth Pig's songs seem to just bleed into eachother boringly, to the point where it sometimes becomes hard to tell between one and another. The sludgy hooks and beefy atmosphere seems more often than not bloated and overblown and are not nearly enough to keep the album afloat. The overall result is a group of brooding tunes that leave little-to-no lasting impact with their grandiose potential, but ultimately no extra spice to get them kicking like classic Ministry tunes.

2017 - The Frying Pan & Thatcher 

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Music Review #146:

Great White
Great White
1984
EMI

If it weren't for the fact that Great White emerged from the United States, I would certainly confuse this release to be a part of the New Wave of British Heavy Metal movement of the early-1980's. This is because it's clear from their first record that Great White not only synthesized sounds from contemporary glam acts like Mötley Crüe and Quiet Riot, but also from emerging European groups such as Accept and Iron Maiden. This could be because the history of glam metal and the NWoBHM are very similar and happened at similar times, though on different continents.

But what differs Great White's 1984 breakout from albums like Killers or Breaker is the more pronounced hair metal nature of the record; from Jack Russel's catchy vocal hooks to punkish melodies, Great White channels the fabulosity of glam enough to differentiate them from their "darker"-in-tone European cousins. This also goes for lyrical value which, while not seemingly as brash and promiscuous as something Crüe might come out with, is still beautifully cheesy like on songs like 'Bad Boys'.

When it comes time to get heavy though, Great White certainly deliver. 'Substitute''s rollicking drum interlude interspersed with a chugging dissonant riff, the slowly rumbling and oddly dark 'Streetkiller"- these are just a few examples of how Great White uses the glam tradition of being able to please a stadium to bring an enjoyable (and often surprisingly intimidating) performance throughout. Though I will confess that Great White are prone to breaking the great atmosphere they create with awkward segues into uninspired cheesecake sections of pretty-boy rock, admittedly similar to what most glam-style bands do, which are presented seemingly as more of obligations than for sake of actual substance.

Great White's debut is much like a sore thumb compared to the rest of their discography. It's much more heavy, pugnacious, and raunchy than the more commercial style that they would go on to adapt. It remains a rather obscure and underappreciated piece of the sprawling puzzle that is 80's metal.

2017 - The Frying Pan & Thatcher 

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Music Review #145:

Topaz
The Zone
2002
Velour Recordings






It had already been five years since tenor saxophonist Topaz McGarrigle's Texan jazz act made it's debut by the time the group's third studio album rolled around. It's hard to judge whether or not they were earning the fruits of their labor because, other than the occasional resurfacing of McGarrigle such as his new band Golden Dawn Arkestra, the group has practically erased themselves from all the books. 

Topaz were hampered down their whole career by a changing music scene after their pilgrimage from Texas to bustling New York City. McGarrigle's idea was to take advantage of the reinvigorated neo-futurist (as I like to call it) jazz casually gaining momentum in the 90's and market his and his groups talents within it. Problem was, hip-hop and R&B had been gaining momentum much more within the same decade, so much so that the hype for this new medium basically snuffed the jazz candle from any mainstream success. Although Topaz never truly made it to any high status or really even cult status sadly, they nevertheless delivered several great releases as they continued to evolve, regardless of how much attention they were getting...or lack thereof.

Topaz' music isn't exactly revolutionary, nor is it exceptionally technical like you might expect a contemporary jazz fusion act might be. Of course, McGarrigle's work on the sax is extremely proficient in both standard style and avant-garde, as well Squantch on the trombone. But what Topaz's The Zone exudes more than anything is personality. Tight knit instrumentation can bleed perfectly into rich improvisation, making the entire group, while not exactly attempting to show themselves as the most technically robust jazz act out there, still manage to make themselves seem like living legends with class alone. This could in part be due to the influence electric-era Miles Davis had on them, and to which they owe much of their structural composition. Yet other genres progressively ooze their way onto the set, particularly on the funky bass licks being the driving force on many tracks, such as the almost 8 minute long swagger of 'Walkabout'. The funk attitude is also present on heavy groovers like 'Fat City Strut', and with a name like that I'd expect nothing less. A tinge of psychedelic aura on many of the songs, especially the opener 'Minha Mente', reinforced by the mesmerizing drum fills by Christian Ulrich, make for a well-reinforced acid-jazz environment.

Some dubious elements also make themselves present though. The occasional vocal breaks on some of the songs, like the overly cheesy ones of 'You & Me', tend to disrupt the flow of what would otherwise be a very maturely structured song. Along with that and a fair bit of annoying repetition in many of the songs (in the percussion section especially) do make The Zone withstand a bit more quality it otherwise would have.

Topaz's third album marks another rather good release for the band after 2000's Listen!, and also marks the band's continued level of quality even as they progressed towards their dissolution.

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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 

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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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