Secular Plague - Secular Plague review

Year : 2012
Genre : Punk
Label : Zorch Factory Records
Origin : France
Official site : > - here - <

France's Secular Plague is a straight-out Sex Pistols re-incarnation that brings to you the original fishnet-covered tattoo ethos in larger than life-, shorter than a short sharp shock fashion. The album, while at heart is a proud and eloquent representative of the good old punkish "We Just Fail to Give a Shit" musical narrative, the steepest-, and pretty much only requirement of the genre is steadily met by the band, which is none other than to establish an organic connection of stone cold raw meat charisma between the instruments AND the lead singer, for whom the ensemble of the aforementioned elements serves as a legitimate - in Sex Pistolsian sense - musical backdrop. Don't be afraid, and be nothing else, either : the album sounds exactly as a Sex Pistols record should. Aggressive, clubroom-intimate, reeking a mood by which a bouncer's fist in your face is as likely as a second (third??) tongue in your mouth is, and the disc sure takes you into the deepest depths of the underground "nitelife", pardon "me French", you worthless gimp. Read on to find out more about this super-orthodox punk release.

Read more!

Fleshgod Apocalypse - Agony review

Year : 2011
Genre : Symphonic Technical Death Metal
Label : Nuclear Blast Records
Origin : Italy
Rating : 9.3 / 10

Buy it now

If you want to come up with one of the most masochistic schemes a random mind could conceive to kill time with, then counting the number of bass drum beats this here release from Italy's premiere symphonic death metal act features, is a choice you can surely and safely rely on. Agony packs pretty much maximum level intensity by playing out even the one last, secretive, remaining remembrance of holy shit out of death metal, making this outing nothing less than a - in respectful freestyle after mixed martial arts legend Ken Shamrock - hymn to living death.

This album, while represents, maybe, even defines a kind of over the top extremity, brings with itself subtle tools of profound elegance to project light on the monumental sonic surface it emerges to crush you to a sticker as. Once you are ready to open your mind to the fact that Fleshgod Apocalypse writes the story into a Space Odyssey monolith using titanium jackhammers, - with a casual symphony as accompaniment - then you are good to sit on board, and are likely to experience something you and your receptive mind had no part of before. Be wary though, because these jackhammers are ever-present and persistent enough to put a superbly short end to the lazy ear. To these ears, only a classic saying remains, one which you can find at the closure of this review. Read more to find out - among other things - what that is.



Agony is a layered affair, as it consists of two simultaneously occurring flow of autonomous and co-existent events. You have a functional, full-blown and tastily orchestrated symphony, caught up in the relentless machine gun fire administered with almost no end by the band's tremendous death metal minigun arsenal. The question here isn't if this rampant spin features parts of double bass - the question is, if it features parts that have no double bass. Sure, it does. The LP's raw power charisma is constructed solidly on a sober sense of balance regarding jackhammer-engagement periods, as the mere rumble the traditional death metal components - drums, guitars, bass - are producing herein, no doubt reign as the most pronounced presence of the affair. This rampantly mad and madly rampant death roar is teased constantly by the underlying background symphony, that which never loses its capacity to enrich, and, in a sense, to assuage the relentless mayhem of the persistent death rumble addressed above.

To topple an already quite functional concept, Agony exhibits the keen and quite fruitful readiness to give the definitive finger to its own nature on occasions, with nothing else in mind than to submit to the much more tenderly silhouetted aspects of music. The record features smartly positioned safe zones, so to speak, musical spaces that will entertain the ears with extremely straightforward classical intermezzos. Having zero concept nor awareness of the act of deceit, they come with a white flag, operated by the unalloyed intent of throwing a grasp of recreational breath into the mix here and there. Fortunately, these intermezzos have the tendency to surprise you even while the record is having one of its notorious onslaughts. Agony exhibits superb craftsmanship and features advanced compositional techniques, venturing forward on occasions to such surprising and functional territories as opera, and, rather efficient opera at that. How it is efficient? It is such, because the tracks feature only little glimpses of it, but those glimpses are reflected in eyes you will remember, eyes you want to soak yours into again.

Though it is easy to regard the aforementioned rumble created by the drums and guitars as a sonic mass, on careful observation, the mere immensity of this mass starts to account its own shapes and forms, and this act of consciously "going-after-it" is what is required on YOUR part in order to get the full experience the outing is capable to offer as its ultimate value. It is a waste of good suffering to resonate the evident and state that Agony is not an easily accessible record, primarily because being easily accessible is exactly the last one of its concerns. Fleshgod Apocalypse delivers the memorable full musculature hybrid of symphony and extreme metal, and the magic simply is formed by the sheer sonic volume these combined elements are rabidly occupying. Symphony is elegantly liquidated in its nature, and it keeps its capacity to live and shine even if a wartank is in constant siege beside it. Death metal is wartank, symphony is oil in its engine. A combination that might very well emerge as one of the most significant deliveries of the year. Oh, and, for the lazy ears, and, for the lazy ears only : this is better than it sounds to - you. Listen again, maybe?

Rating : 9.3 / 10

If you liked this article, check out my music

and / or

Buy me beer. Read more!

Toxic Holocaust - Conjure and Command review

Year : 2011
Genre : Thrash Metal
Label : Relapse Records
Origin : United States
Rating : 6.5 / 10

Buy it now

Toxic Holocaust delivers an album that approaches its objectives with a notable urge to get the job done as swiftly as possible. With its 37 minutes of larger than life intensity, the spin has a solid chance to pull this mission off successfully. This is not necessarily a bad thing, and not necessarily good, either. While the agenda herein simply is to unleash destruction mode right from the beginning of each and every track, the construction of the path that is leading to destruction, still reigns as one of the most flatterable ingredients of the genre, and also as one you simply will find NONE of on this release. However, if what you want is a thrash metal pill that is armed and ready to take you to the intense side of the style, then this spin might be exactly what you are looking for.

Conjure and Command is instant-, and highly traditional, dare we say, conservative thrash metal, an affair that does everything you will likely conceive as essential requirements to satisfy your anticipations regarding intense thrashing, yet never quite leaves you with the feeling of getting entirely bewildered and satisfied by what you have heard. Take it, this IS what you wanted, isn't it? Here are the ingredients. What is wrong, what more, what else could you want? These are legitimate questions that need to be addressed thoroughly. Read more to find out if there are such things. Or aren't.


Toxic Holocaust attempts to fix your thrash needs by moderate-, and above average efforts, at best. The riffs pack acceptable character, yet seldom are the times by which they will punish you with a proper bite to remember. Seldom is not the same as never. The riff work sometimes DOES deliver stunning moments, - the middle section riffing in the track called The Liars Are Burning is an example, but hell, this sounds more like Pantera grooving than thrashing - but these sequences are rare to find. For the majority of the playtime, you will be subjected to riffs that doubtlessly have a very organic connection with the drums, but they tend to stick to their rigorous comfort zones right after revealing their respective character. Fortunately, the members of Toxic Holocaust have a sharp sense of awareness regarding the lifespan and entertainment value of a given idea, and have no problem whatsoever selling variation for you, without you even noticing you are buying it.

These variations though tend to rely solely on tempo change, and this change in tempo sounds to be regarded by the band as an act that should automatically make you content with what you have been just subjected to. The riffage does not succeed at impressing on a constant and restless basis. Sometimes it devastates, and then again, sometimes it tends to submit to the mere act of the consecutive tempo change, taking the role of a background filler, with some alibi-notes thrown in the riff's fabric here and there, in a desperate attempt at trying to fool you of its own mimicked complexity and cunning. The moods and territories the band does arrive back on after a warp, though always are acceptable, rarely reign stunning enough to rip your mind out nice and clean, - aua - regardless how you want THAT, first and foremost. While the visceral feel of the spin has a ripe understanding and handling of its own dynamics, it exhibits mixed results at finding the spots you want to-, you NEED to revisit. The track Nowhere to run is a peak moment of the album, while the consecutive one, I am Disease sounds to be a mediocre Sad but True clone worth a smile on Christmas eve.

The greatest downside to this album though, is the vocal contribution. Frankly, it is very uneventful and packs only ONE register, and it lacks all sort of playfulness, dark appeal or notable character. A disillusioned, tightened-throat nervous breakdown, the one you hear from your neighbor when his lawnmower gives out on him under this killing sun. Thank you, come again.

Despite the above addressed inconsistencies of this release, and, beyond the disappointing vocal performance, Toxic Holocaust's Conjure and Command still remains a very acceptable and brisk thrash affair, one that gives you a kind of instant thrash that does everything that is needed to be done. But nothing more.

Rating : 6.5 / 10

If you liked this article, check out my musicand / orBuy me beer. Read more!

Frozen Ocean - Vestigial Existence review

Year : 2011
Genre : Black Metal
Label : Nihil Art Records
Origin : Russia
Rating : 7.3 / 10

Vestigial Existence does a diligent, acceptable job at rendering a clear picture of the ancient soul-dirt black metal seems to devotedly fixate itself upon. On paper, Frozen Ocean brings you this blackened kind of metal soaked into flammable fluids of atmospheric punishment.

On the disc, and, in reality though, this is a pretty traditional and archetypical - in the good sense of the term - black metal outing, and the only atmospheric traits it has are the opening track and some flute playing, being introduced at the latter portion of the affair. The choosing of the words is not accidental, as the flute playing herein does not ever pass through the "some flute playing" mark, indeed. Not on this record, which, nevertheless, has some very favorable offerings to entertain your ears and moods with. Read on to find out more about those.



With Vestigial Existence, Frozen Ocean addresses its thorough understanding of the genre's favorite modes of vibe invitation without any particular and/or obtrusive intention to add anything alien or new to those. The main factor herein is a pronounced, super-thick stringed section, that has not much if anything to worry if the drums have less of a presence : the percussion indeed lacks the extreme punch, but it delivers the luscious pulse with convince power and without doubt, and this exactly what the idea is.

In its character, monumental the stringed section may be, yet it does not overkill. As result of solid, sober production work, each stringed sonic cannon has its respective place and field of operation in the mix it can spout its sentiments in, while the fields themselves have a modest, nevertheless doubtlessly existent tendency to create interesting patterns of co-existent sound entities. More often than above or below it, Vestigial Existence delivers acceptably in this regard, giving you a rather efficient starting section, smuggling / hiding the tracks with relatively less efficient sections or twisted beauty in them with a good sense of balance as far as the time they are worth entertaining for.

One of the most impressive additions this album can proudly call its own, is the performance of the vocalist AND the production team, as it sounds like that the vocals are coming from beyond a huge metal door, and you do not want to confront the dude on the other side - if a dude he is, at all. He constantly reigns at the verge of losing it totally and completely, wielding an omni-present and authentic rasp to unleash declarations from an utterly, trustily disillusioned stance of contemplation with.

The compositions vary between relatively slow and medium tempo builds, this time around giving a gloomily suggested middle finger to evident intensity. The relative calmness of the spin does not take away from the quality at all, quite the contrary : it is nice to see and hear an album that dares to choose and maintain a central mood register, as each track is a variation on a similar feel, inviting a sense of coherence - that came out kind of weird - to coat the affair in.

Apart from the flutes, that have nothing else to do than to address their mere presence from time to time, and some tame sections of gloom here and there that crave cheap appreciation just to fail at it masterfully, Vestigial Existence comes to you and remains a spin you can safely hop on if you want to subject yourself to black metal done diligently and traditionally.

Rating : 7.3 / 10

If you liked this article, check out my music

and / or

Buy me beer. Read more!

Unexpect - Fables of the Sleepless Empire review

Year : 2011
Genre : Experimental / Progressive
Label : Ascendance Redords
Origin : Canada
Rating : 9.3 / 10

Buy it now

Canadian six pack Unexpect smashes your definition of a term that already is long dead with a smile - the definition being : "epic" - via a declaration that has no other or any less of an agenda than to assault your musical awareness with constant focus being applied to the primal attribute of this LP : it does takes its listener, itself, and its own agenda to excellently entertain, sublimely serious.

Unexpect has pretty much zero regard or interest towards such orthodox elements of music as repetition and easily identifiable sonic structure. The name of the game herein indeed is the endless search for-, and the triumphant realization of the unexpected, now being brought to you via such a solid level of convince power that you will hardly have any chance to subject yourself to this outing and remain faithful to the original mood you got into it with.

Unless : you already are mindfucked, of course.



Fables of the Sleepless Empire is both a grandiose tribute and a rampant variation towards/on pretty much all genres of music that have even a slight bit of interest in-, or an intimate relation regarding any level or form of sonic intensity. Calling this record an everyday average experimental project would be a waste of even an inept attempt to approach it for what it is and aspires to be : Unexpect's latest to date is a thorough, funnily demanding and immensely complex journey along a wide variety palette of archetpyical musical traits taken to their respective extremes via masterfully controlled intent. Intent, sticking to the position of being in constant, hilarious and shameless flirt with chaos and the mere charm of randomness. This ability of mimicking the beauty of randomness with an agenda to convince it to draw sonic patterns of integrity, is one of the steepest challenges of sound, and also a triumphantly realized one on this record.

Fables of the Sleepless Empire throws absolutely anything at you at any given time if and when it finds it as an acceptable plan to mock your awareness in a way you will have no chance to protest against. While the central intent behind the outing undoubtedly is to go for the sonic boom and project light on its surface to reveal vibrant colors of fluctuant complexity, the mere unleashment herein speaks a rhythmic and tonal language akin to that of intricate breaks and grooves, having little if any regard towards dry discipline and easily identifiable, instant musical functions.

The long-term and necessarily gorgeous ultimate function of delivering entertainment for the mere sake of it, is profoundly rendered and thoroughly worshiped - oxymoron? - simply by hiding the dormant, respective workings of any given musical function into these chaotic coats, behind these superbly constructed musical masks of myriad timbers and countless moods, invented to flatter and praise the aforementioned underlying, ultimate function they serve as valiant and vigilant ornaments for.

As noted, the record is intense for the most, spends its time with funnily presented gloom on a couple of occasions, and signs and respects its ever-present quest to address how it would - and how it DOES - sound if you would unleash the extremities of metal, ignited on classical music as fuel in its tank.

The cleverly offered moments by which you will find yourself to be subjected to a less pronounced nearness of the fair-enough-fractal-soundstorm, have a tendency to invoke playfully presented drama along a register that seems to reach for the promise of fairy tale gloom and related silent (sic!) suffering, only to kick it in the butt when the touch is about to be realized.

Production-wise, Fables of the Sleepless Empire serves as a primal source and testament on how meticulous attention to detail may draw extremely "crowded" - by notes and sounds - musical spaces without harming any participating sounds, or the mere fabric they express their existence in. In other words, the production is flawless on this one, and probably one of the most dense and most complex you have ever heard so far, this seems almost safe to be guaranteed.

Fables of the Sleepless Empire packs and stacks the skills to throw around your emotions as efficiently as it does the same thing with your awareness levels, having the ability of touching you at places you never knew you had, this being a rather pleasant extra co-incident.

Rating : 9.3 / 10

If you liked this article, check out my music

and / or

Buy me beer. Read more!

Obscura - Omnivium review

Year : 2011
Genre : Technical Death Metal
Label : Relapse Records
Origin : Germany
Rating : 9.2 / 10

Buy it now

German philosopher Friedrich Wilhelm Joseph Schelling contributed an immense body of work to bath a curious mind in, while it comes as a rather interesting development if and when his lamentations regarding nature and spirit serve as a primal inspirational source to frame a musical declaration around.

It is nothing less than the rigorous, yet playful establishment of fractal level musical complexity what German death (?) metal formation Obscura has gotten itself into during the preceding years of the release of Omnivium, an output that has all the chance in the cosmic void and beyond to raise the bar for consecutive deliveries that dare to eye towards, or venture into musical fields characterized by radical intricacy happening for the mere sake of celebrating the ensuing audio pattern's capacity to exist and to entertain. This is nothing less than the celebration of life, the celebration of information.



A function, perhaps, one of the most important one of life, paradoxically is to find the ultimate function and related benefits of its mere existence, that which necessarily enriches its surroundings simply by observing it and making inner-directed, and even outward-directed notions of it. Regardless of the intention in the action, the fabric in which the action or thought takes place in, is suddenly enriched by the act or thought, and there is no real knowing on the human actor's part if his action or even thought made any kind of permanent and/or truly relevant impact in the mere space-time he operates in. One thing seems to be sure, though : as he acted or created a thought, information was born, and this constant birth, infinite birth and infinite rapid evolution of information seems to be an inescapable attribute of - well - inescapable information, that which shapes us and that which we constantly shape by our thoughts, actions and emotions.

To cite the classic :

shit lives forever,
shit lives forever
you can't kill it,
you can't kill it

- Faith No More

Before you would assume that this will be a philosophical stare into a random sonic abyss, let's conclude this introductory section to Obscura's Omnivium by abusing the quite safely abusable, noting that life indeed seems to be persistently mysterious and a phenomena worth investigating, - not that you have much of a choice right now, anyway - especially so when this investigation takes place through audible transmissions intentionally arranged into carefully engineered musical complexity that indeed flirts with any casual fractal chaoses that comes along its infinite ways.

Omnivium is a constant assault on your mere awareness of processing audible data, as the traditional elements of the genre bring with itself a muscular musical build formed out of riffs that have seen and got obsessed by and with a musical language that exhibits no particular desire to offer you a hook or two to safely grasp unto. Omnivium slides you around on its convolutely fragmented wall of sound fabric as it seems fit, and you find yourself to be the enjoyer of the experience, simply by attempting to decipher the massive amount of audible stimuli waging their valiant war on your receptors. Odd time signatures and free spirited melodic lines complimenting each other in the background are among the most frequent occurrences you will behold herein, and even the more easily approachable grooves have the tendency to playfully throw themselves and dissolve into the fractal chaos for a ride or two, thus their returning into a triumphant reassemblement will serve both as guide and a compass during the vortexes of sound storms you will be subjected to during the spin of the release.

Obscura speaks a carefully selected variety of musical moods on Omnivium, the pivotal elements being a fluent and free spirited neo-classical approach, primarily utilized to give you short breaks from the aforementioned fractal craze, that which serves as ever-present threat-constant during the experience, as you won't ever be sure when it is about to take you again for a stroll in itself. The moments it does take you by, are the moments that do draw the archetypical face of Omnivium.

A cunningly presented haunting feel also is incorporated into the mood palette, which wisely stays away from seeking cheap instant terror on you, and flirts instead with the mere mysterious, placing you into a tale full of secrets and unknown nearby potentialities, luckily showing zero interest in scares and negativistic tendencies. The end portion of the track "A Transcendental Serenade" is a great example for this feeling : it seems to be evident that the ensuing melody - that actually has a hook, it IS one big hook, in fact - tells about something that has a crushing relevance, but this relevance also seems to be one that reigns way beyond the intention of good old fashioned destruction for the mere sake of good old fashioned destruction. Of life. Of you. As long as you keep an open mind, the experience, the entity the music is about, will do no harm in you.

Omnivium's lyrics are preoccupied with intimate inner lamentations regarding consciousness and its surroundings, oftentimes arriving at interesting notions that seem to seek to exhibit poetic qualities. Obscura's delivery is one that manages to keep you fully interested and engaged during the 59 minutes ride it takes you on, and also one that flirts with musical vistas that are essential to investigate for the supreme purpose of entertainment, which seems to be a rather legit function of life on its own.

Rating : 9.2 / 10

If you liked this article, check out my music

and / or

Buy me beer. Read more!