Free From Gravity - Step Into the Sunlight review

Year : 2017
Genre : Melodic Soft Rock
Origin: United Kingdom
Label : Independent
Official site: > - here - <

Free From Gravity is a UK-based ensemble of five musicians sharing a consensual love resonated towards the soft rock sensibilities rooted in the best traditions of the given genre. Think "Men at Work", but substitute said group's trademark rendition of gloom and musically intriguing grit with a more risk-evader type of demeanor that is almost exclusively focused on self-reflective and cheerful sentiments, deliberately rendered with ultra-smooth sounds and timbers that openly seek to radiate auditory warmth, and emerge highly successful at this agenda.

When Free From Gravity reveals its top form in the context of songcraft, even Dire Straits comes to mind, courtesy of the slick production standards that wisely commit to keep a constant limitation on intensity, never quite offering a glimpse towards hard-rock heft, and this diligent focus guarantees an experience that remains enjoyable for the widest demographic palette - without compromising the honesty and authenticity of the soft rock music on full-scale display. Read on to know more.

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Iron Maiden - The Book of Souls review

Year : 2015
Genre : Power Metal, Heavy Metal
Label : Sanctuary Copyrights/BMG
Origin : United Kingdom
Rating : 9.99 / 10

Buy it now

There is a huge amount of lore available already on how the practical and creative processes have been shaped and formed that finally brought this release into the position of being able to collide with some precious sunlight in your immediate area.

It is known that the band members have employed a slightly different creative strategy than they usually tend to rely on. Now they came to the studio - the studio in which they recorded "Brave New World", as well - with competent grasps on the musical building blocks that the outlines of the song ideas seemed to be demanding, but they did not spend excessive amounts of time chiseling out and perfecting microscopic details, instead remained intent at keeping the spirit and Eddie unleashed throughout the recording sessions - what could go wrong?

As result of this new found approach, and, given the experience the members have under their belt with live playing, the production characteristics of the disk are quite close to a live recording. It indeed reflects-, and even cherishes the miniscule amounts - and not more - of mathematical inconsistencies that the music is not just ready-, but even is happy to tolerate on the surface of this style of playfully heated, adventurous, oftentimes escapist tell-a-tale rhetorics, because the meaning behind a chunk or a sequence does not have to suffer any type of relevant harm as result of being "just" approximated with superb organic skills that are driven in real time, and not by unmistakably precise calculations. Read on to know more.

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Adam Astbury - From Here We Can See Forever review

Year : 2013
Genre : Radio Rock
Origin : United Kingdom
Official site : > - here -<

Adam Astbury's first studio LP is a risk free, polite, soulfully created radio rock effort that is apt and ready to deliver on the field for which it willingly submits to as its premiere-, and exclusive sonic playground.

The harmonic structures, the melodic arcs, the songwriting strategy all reflect an urge to harvest traditional pop/soft rock ear-candies and luscious secondary nuisances with dormant covert op high octane efficiency, and Adam Astbury doubtless managed to create a debut that leaves nothing to be desired when considered solely as a family friendly radio rock spin. Read on to know more about this.

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TesseracT - Altered State review

Year : 2013
Genre : Teenager Folk Djent Pop
Label : Century Media
Origin : United Kingdom
Rating : 5.0 / 10

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The new TesseracT LP spells out the submissively stale stagnation of teenager folk pop djent, all written with pink and magenta on the withered/saggy tits of pseudo-intellectual folk allures and hyper-emotional shoegaze nonsense.

Picture the image of music put forward by Periphery, strip it off of the exceptionally strong melodies and substitute those with polite folk ravings, deprive it from most of its intent to experiment, and deny its manic intricacy - premiere traits not even a latex troll can take away from Periphery's credit in the context of their latest outing to date - and you find yourself in the painfully predictable company of this particular TesseracT record, delivered in the form of play-it-safe-product-art by the eminent UK based teen folk pop djent practitioners. Read on to know more about the disc.

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We Steal Flyers - Sidecars & Sideshows review

Year : 2013
Genre : Acoustic Singer/Songwriter
Label : Independent
Origin : United Kingdom
Official site : > - here - <

We Steal Flyers is a massively acoustic country duo with thorough touring experience under their belt, as the cohesive unit plays 250 shows a year, and is after an extensive US based sonic campaign as you read this review.

The music is gentle, well suited to ease your craving for orthodox country patterns and fascinations, and is resonated with true love towards the style with not many - if any - unwanted surprises to litter the crystal clear agenda. Boundaries are respected throughout, and the reoccurring relative lack of percussive instruments - there are tasteful exceptions - certainly gives an especially intimate tint to the overall listening experience. Read on to know more about this.

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Depeche Mode - Delta Machine review

Year : 2013
Genre : Synthpop
Label : Columbia
Origin : United Kingdom
Rating : 10/10

With its freshest full length contribution, Depeche Mode remains faithful to the pristine spiritual disposition that has found resonance with a legion of individuals throughout the past 30+ years. The music on the disc is uncompromisingly Depeche Mode and -logically - unrelentingly authentic at that. The album starts out in an impertinently  cunning fashion, as the group isn't afraid to park a frightening suggestion into your nervous system, making you startled that they might have been infected by the rampant dub step antics so prevalent in recent days, but right before you would start to acknowledge the presence of the lurking suspicion with a cosmic index finger handy, - sorry - you find yourself in full blown and freshly painted Depeche Mode environments with icy/unrelenting harmonics bending the then-secondary dub step connotations to their irresistible will, and Dave Gahan, OH!, the Dave Gahan still is one golden throat of a million with God's direct approval backing it up - his voice did not lose any charisma at all during the years, if anything, it got even less restrained than it ever was. Time does not "James Hetflieds" the Gahan.

The demeanor of the disc is classic Depeche Mode in the sense that the pacing cultivates and maintains the trademark transcendental urge throughout, a musical and artistic disposition that some equate with gloom, whereas, according to my percepts, the band merely seeks to express the inevitability of existence, the mere Nietzscheian - sorry if there is no such word, Friedrich - helplessness towards it. The message, actually, is totally and completely positive. You just have to look for the logical conclusions. But some butts are just way too massive and lazy to be lifted around by will "alone". All you have to do is looking for the ultimate meaning, and there is nothing that can be taught to you that some part of you does not already know. So, in a sense, it is your responsibility if a Depeche Mode song brings you down. Then that part of you has a deficit, and the group was kind enough to point that out. Negative tendencies? Are you sure? A verbatim quote from this disc : "All I want is love". How does it differ from the psychedelic ethos? If you think Depeche Mode is gloomy, then it is almost entirely sure that you don't understand them. It is cleansing in dirt.

The music still is composed of meticulously realized science-fiction sonic stills, revealing the process in which the individual consciousness attempts to inspect its own nature and its current limitations while living through a human condition. This process necessarily is mysterious, and so should the music be. Depeche Mode always was, is, and I assume, will be the master of revealing this particular mystery, which reigns amidst the greatest ones of them all. From a new Depeche Mode full length, I wanted eloquently articulated mystery, and that is what I got. Read on to know more about the album.

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a FreePeople listening session

Year : 2013
Genre : Pop, Lounge Hip Hop
Label : HustleHard Music Entertainment
Origin : United Kingdom
Official site : > - here - <

FreePeople is a late-romantic yet honest popcultural response to the peak period of such acts as Boyz 2 Men or East 17 of the early and middle '90s, now consorted though with a type of legit lounge hip hop, which weighs in highly compatible with delivering submachine gun rhymes as an attempt to demonstrate high value towards the neighboring representatives of the opposite sex. The music is safe-, family and girlfriend friendly, and the presented musical accessibility is spiced up both by competent secondary ornamentics - got to love the Blade Runner synths in the track called "GoodBye" - and by passionate emotional delivery that sounds to be out there to affect the lady/slut switch in females, and it is up to listener to determine the success level of this intent.

While the individual romantic tracks contain the exact harmonic passages you'd expect to hear from an effort of similar agenda,  the band emerges armed with its most mature and most relevant form whenever they choose to emphasize the lounge hip hop connotation of their trade. Read on to know more about this.

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Earcandy - Motown Gold act review

Earcandy is a UK based sonic enterprise that is ready and able to deliver live music performances as the hallmarks of any event and/or a senselessly wild birthday party you could be the premiere extra surprise of. I have been contacted by a representative of said firm, and been asked to check out one of the acts the company offers on its current roster, and I assume that the selection palette will be even richer than it is right now.

I'm a Michael Jackson fan, - and you are one too, you got that?? - so my choice was the act called "Motown Gold", a quintet - logically - of five friendly people who exhibit high skill levels at rendering the music of the Motown era in a fluent, family friendly fashion. They bring the real deal,  and the lady who sings the trademark lines of the "kid Jacko", is especially convincing. Motown, by the way, is the record label that produced the LPs Michael Jackson sang on in his childhood while fortifying the ranks of The Jackson Five.

Based on my impressions, it seems safe to say that UK based Earcandy delivers along a tasteful musical comfort zone which is highly compatible with the targeted peak moment of a civilized party your business partners can attend to without the risk of anyone getting any more drunk than it is suitable around well defined cleavages and radically exploited lobsters.

If the idea of crowning an event with a musical performance sounds - hah. - good to you,  check out Earcandy at their official site today at : http://earcandylive.co.uk

GyZ at Bandcamp.

If you want, check out my music

and / or

Buy me beer. Read more!

NO - Roll

Year : 2012
Genre : Pop
Label : Independent
Origin : United Kingdom
Official site : > - here - <

The band called simply "NO" brings forth its second full length declaration, now orchestrated to lighthearted-, free spirited pop music that exhibits no intimidating or experimental tendencies at all, concentrating instead on attaining a brisk, risk free image of pop as soon as possible per entry.

The compositions are straightforward bonfire statements, fluently fixated on the myriad types and kinds of sentiments that were/are/will be compatible with said romantic environment, and it is beyond any doubt whatsoever that the quartet emerges efficient at pressing the proper buttons in order to appeal for the preference patterns of a random radio running rampant. - aua. Read more about this disc.

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Anaal Nathrakh - Vanitas review

Year : 2012
Genre : Grindcore with a Melodic Death Metal tint
Label : Candlelight
Origin : United Kingdom
Rating : 8.0 / 10

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Birmingham based Anaal Nathrakh delivers a record that maintains the sonic hyper-aggressivity the formation is known for, yet a notable attraction for the clearly identifiable melodic hook is on eloquent display all throughout the disc. You'd be unfathomably mistaken if you'd think that this hardened duo of veteran silence assassins are seeking ways for the not at all mysterious preferences of the mainstream with the introduction of choruses that truly reek melodic death metal in character. The format/temper of the music still resonates relentless audio terror as it is being courted by delicious, adept variation - although the builds now claim the fortunate liberty to further compliment the flamboyant jackhammer-fray with motives that are sculpted out to reveal a catch-factor in pretty much all ten songs. Funnily enough, the musical language/affection of the disc is akin to the favorite moods of Fleshgod Apocalypse's 2011 LP Agony. The name of the game is neoclassicism orchestrated to a music production environment that can start or end a war at will. Read more or don't.

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Muse - 2nd Law review

Year : 2012
Genre : Emo Rock with Spaghetti Western overtones
Label : Helium 3, Warner Bros
Origin : United Kingdom
Rating : 6.5 / 10

Buy it now

New Muse album, new inspiration? Don't wait for the kiss of the Muse. Buy the lady a drink. If you can't find constant inspiration, you suck as an artist. No, nobody feels sorry about that, either. Let's investigate. Opening track "Supremacy" starts out with an intriguing-albeit predictable introductory pattern, and the magic is kind of blamed by a banshee's undisciplined index finger when you find yourself in orthodox 4/4 pummeling with virtually meaningless platitude orchestra miming the hologram-riches of musical thought. By 2:11, the fronter already had expressed one of his trademark dramatic introductory lullabies, and THEN the chorus reveals itself as yet another variant on the same thought field the ensemble already has channeled from via their previous offering. Remember their song "Revolution"? Now it is time to "destroy UUUUUR Supremacy". Same effin deal, really, only, the opening track is less muscular this time. AND who is the enemy? The Illuminati, of course! Take heed and bear witness to the poor Illuminati, they get sooo destroyed by popular culture every day of the year, you know. At 2:37, the album showcases its most frightening affectation, and that is a constant winking towards threshold-level spaghetti western sentiments. Oh come on. Read on to know more about the other tracks, too.

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a listen at : Pia Dean

Genre : Pop with a tint of r&b
Label : Independent
Origin : United Kingdom
Official site : - > here < -

 UK based songwriter Pia Dean literally sounds to be in the process of assembling enough material to release an EP on a sunny day lurking near you, as she already has two tracks sculpted out, while another three songs are offered on her official Reverbnation outpost - link above - in the form of eloquent, highly informative, massively acoustic demo versions.

The character of music channeled by Miss Dean graces shared consensus with a purposefully ultra-gentle approach, that which delightfully submits to the laid back pop ethos of the early '90s. If you are familiar with the track "More Than Words" from the band "Extreme", then you will have a grasp of what to expect in a broad sense, though the emotional scale on display is not necessarily limited to good old rhetorics of "don't you know how much I love you". No, I don't. Show me. Just kidding. Read on to know more about the music of Pia Dean.

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Monuments - Gnosis review

Year : 2012
Genre : Progressive Metal, Djent with Alternative Metal tones
Label : Century Media
Origin : United Kingdom
Rating : 7.0 / 10

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Monuments' Gnosis is a direct-, competent variant on the (re)forming shape of music eminently proposed by Periphery or Hypercube. What. The intricacy of the rumbling rhythm pattern is bread, butter, blood and adrenaline in this whimsical music niche, and now it is safe to say that the tendency to counterpoint the aforementioned exquisitries with alternative metal affectations on a "Toolesque" register, now has become so called common sense, and, also, a current unfortunate limitation of this still new genre, that is out to seek its vistas via releases like this right here. Seeking vistas is not a bad thing to do, but it does not mean that everyone has to find the SAME one. I like this disc, though it weighs in super-reminiscent to Periphery's latest when evaluated for its mere character. Read on to find out more about your mom.

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The Cult - Choice of Weapon review

Year : 2012
Genre : Old School Epic Rock with Modern Production values
Label : Cooking Vinyl
Origin : United Kingdom
Rating : 9.2 / 10

Buy it now

The Cult's latest to date full length delivery is unleashed on consensus with an anatomy that is super-easy to decipher and appreciate right on the spot. The Choice of Weapon LP is crystal clear in its intent to showcase what the game it wants to play is all about, and this is none other than to cult - oops. - ivate music which, while ultimately weighs in as a rather exigent "new breed-prototype" of old school epic rock, comes with masterfully beefed up production values that both satisfy recent day standards, but remains superfaithful - oxymoron - to the mere ethos it seeks to praise and express.

Thank God & Co., this package is serious enough about said determination to succeed fulfilling it magnificently, which also is the stupendous story of this special contribution. The first word that comes to mind while inspecting this baby is "totally", and the second is "legit". The disc exhibits zero wizardry, and reigns with the same amount of any need for those, concentrating instead on the top tier songwriting that brings to mind an elegant and efficient mixture of compositional tactics. Not at all surprisingly, the hyper-orthodox-, massively guitar centered instrumentalization is the steady choice of weapon for Choice of Weapon. Sorry about that. Guys, let's talk about the music.

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Dragonforce - The Power Within review

Year : 2012
Genre : Extreme Powercheesemetal
Label : Essential Music (UK)
           Roadrunner Records (US)
           3Wise (Australia)
           JVC Victor (Japan)
           TriOptimum Corporation (Intergalactic)

Origin : United Kingdom
Rating : 8.0 / 10

Buy it now

Dragonforce's The Power Within is the shameless-, unconditional and utter embracement of power metal cheesefest galore, however done with such religious diligence that said gesture demands more respect than any mockery. I dare say that this particular release emerges and defines a new genre, that which I, as miserable latex gimp music critic, - look, this is the third time I link Latex Gimp Retro Ultra Fusion Power today, bitches - deem the very first

Extreme Powercheese Metal

release of this particular Universe. I realize that I might be vastly wrong about this notion, and there indeed might be other installments of similar character already available to the public, but I personally never heard one so far, so I'm taking a bit of a risk herein. In case my (related) deficits are obvious to you, then please leave a comment of the essential releases of similar traits, so consensual awareness can develop further on by your gesture. The behavior of this LP is so clear as a dragon-crystal - \m/ metal heeeeeeeart! \m/ - and you will need to read on to know more about it. Guys, let's talk about the music.

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Anathema - Weather Systems review

Year : 2012
Genre : Walt Disney Lion King Rock
Label : KSCope (EU) The End Records (US)
Origin : United Kingdom
Rating : 3.0 / 10

Buy it now

[This is a redirect for the original variant of the very same text. Read the original variant with comments here.]

Anathema's latest sounds to be the direct spiritual continuation of 2010's We're Here Because We're Here. I want to tell you right off the bat that the record, in my opinion is highly annoying and contains perplexingly narcissistic music. Anathema seems to have constructed an in-house song generator that is capable to produce smarmy songs, exclusively, as every single piece on this 55 minute affair exhibits the same premiere core characteristics and compositional tactics. I will get into those traits with ruthless efficiency later on. The disc shows constant preoccupation with the establishment of compulsive discomfort-elimination. This Anathema record is here to make you feel OH!, so special, you cosmic schmuck. Luckily, the cosmic schmuck who is writing this, warns you about this dangerous fact. Listen to this music, but know that it is a fragile lie and is designed to make you feel : - surprise! - ssssssssssssssspecial. But "you" are not special, "you" are "only" the expression of an unrelenting process beside an infinite number of other ones, and only this process that gives you the capacity to delude yourself into such ridiculous notions, IS special. It is consciousness medium, looking for lower entropy states. As for Anathema, they are looking for money for assuaging your fears. (Which is the same thing in a physical universe, funnily enough.)


In Anathema's domain, the only bird is the swan and the three colors that are most fervently encouraged to be used by everyone are blue and white and green. Your wasp is not allowed. Boosh! Boosh! Yellow, black, evil, stingy, evil! Boosh! Boosh! This is relentless Nazi music in the sense that it is arrogant enough to assume that the listener is retarded enough to not be aware of the fact the she/he is being fed the same daaaaayuuuumn trick for the 32423423rd time. This is Nazi music because it wants everything to be OH!, so peaceful and OH!, so eloquently and pretty much disgustingly and homogeneously beautiful. Like those posters with the dolphins and the naked ladies and the sunrise from the early '90s. Your receptors are in a constant harassment to submit to the limited/fabricated toy-beauty the songs actually reflect. Their capacity to entertain is vastly constrained by a self-congratulatory artistic behavior and related techniques that the music is forced to vomit out sugar-overdose accessibility for. This is an attempt to commit the slaughter of beautiful music. I adore beautiful music, I "only" demand it to be made from heart to heart, as this Cynic release sounds to me as. This is not the case at all with this baby, designed to sell good in the family friendly section of the record store, right next to Disney's Lion King. You are expected to be affected and be satisfied by very cheap and predictable patterns and methodologies. Read on to find out more about this vastly predictable pink plush toy music that secretly sucks immense demonic alligator dick in putrid anxiety-hell when you are not watching.

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Paradise Lost - Tragic Idol review

Year : 2012
Genre : Doom Metal
Label : Century Media
Origin : United Kingdom
Rating : 9.2 / 10

Buy it now

The new Paradise Lost LP brings ten sonic declarations of doom, orchestrated to morose guitars of gargantuan perspectives. The uttermost urge the disc is fueled by is its ever-present endeavor to coat you into lush wall of sound structures that seek both to entertain and to tamely interrogate the soul, primarily by top of the heat-, playful down tuned power chord melodic warfare. The album sounds particularly good and well defined, with multiple-, layered variants of the elements stored in each autonomous song-fabrics. Yet, the main factorial that casts an eminent light on this eloquent representative of the doom-flock, is the "mere" songcraft : simply put, the songs are pretty much flawless on this one, and provide the listener with an on-spot-I-get-it experience without making tasteless accessibility-compromises. The audio data on Tragic Idol is uncompromisingly doom, uncompromisingly exigent, and,  maybe you just guessed it : it uncompromisingly emerges to kick your ass to hell and back. Guys, let's talk about the music.

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Anathema - Weather Systems review

Year : 2012
Genre : Walt Disney Lion King Rock
Label : KSCope (EU) The End Records (US)
Origin : United Kingdom
Rating : 3.0 / 10

Buy it now

Anathema's latest sounds to be the direct spiritual continuation of 2010's We're Here Because We're Here. I want to tell you right off the bat that the record, in my opinion is highly annoying and contains perplexingly narcissistic music. Anathema seems to have constructed an in-house song generator that is capable to produce smarmy songs, exclusively, as every single piece on this 55 minute affair exhibits the same premiere core characteristics and compositional tactics. I will get into those traits with ruthless efficiency later on. The disc shows constant preoccupation with the establishment of compulsive discomfort-elimination. This Anathema record is here to make you feel OH!, so special, you cosmic schmuck. Luckily, the cosmic schmuck who is writing this, warns you about this dangerous fact. Listen to this music, but know that it is a fragile lie and is designed to make you feel : - surprise! - ssssssssssssssspecial. But "you" are not special, "you" are "only" the expression of an unrelenting process beside an infinite number of other ones, and only this process that gives you the capacity to delude yourself into such ridiculous notions, IS special. It is consciousness medium, looking for lower entropy states. As for Anathema, they are looking for money for assuaging your fears. (Which is the same thing in a physical universe, funnily enough.)

In Anathema's domain, the only bird is the swan and the three colors that are most fervently encouraged to be used by everyone are blue and white and green. Your wasp is not allowed. Boosh! Boosh! Yellow, black, evil, stingy, evil! Boosh! Boosh! This is relentless Nazi music in the sense that it is arrogant enough to assume that the listener is retarded enough to not be aware of the fact the she/he is being fed the same daaaaayuuuumn trick for the 32423423rd time. This is Nazi music because it wants everything to be OH!, so peaceful and OH!, so eloquently and pretty much disgustingly and homogeneously beautiful. Like those posters with the dolphins and the naked ladies and the sunrise from the early '90s. Your receptors are in a constant harassment to submit to the limited/fabricated toy-beauty the songs actually reflect. Their capacity to entertain is vastly constrained by a self-congratulatory artistic behavior and related techniques that the music is forced to vomit out sugar-overdose accessibility for. This is an attempt to commit the slaughter of beautiful music. I adore beautiful music, I "only" demand it to be made from heart to heart, as this Cynic release sounds to me as. This is not the case at all with this baby, designed to sell good in the family friendly section of the record store, right next to Disney's Lion King. You are expected to be affected and be satisfied by very cheap and predictable patterns and methodologies. Read on to find out more about this vastly predictable pink plush toy music that secretly sucks immense demonic alligator dick in putrid anxiety-hell when you are not watching.

Read more!

Rob Crawford - Cross Fingers

Year : 2012
Genre : Britpop / Rock with supermild punk affections
Label : Independent
Origin : United Kingdom
Official site : > - here - <

Rob Crawford is a one man band project led by and centered around - seek out an airmchair to succumb to - Rob Crawford's musical vision. The artist makes continuous and inventive efforts to cultivate and maintain an organic community-connection with the audience through his website, and now is the time to talk about the music, too.

Cross Fingers is a pleasant set of sonic patterns to relate to, as the key influences are very evident - tautology - and presented in tactile fashion throughout the record. The vibes that are eager and fervent to surface up on the delivery to fuel autonomous full value compositions all in the spirit of their respective modal aspirations, are numerous, yet honest to the core in their character. Read on to find out more about those.


The Cross Fingers LP conveys the hilarious morose/borderline-happy emotional disposition so ubiquitous and - paradoxically - unique to the archetype of British popular music. The album manages to corner me into the classical Britpop/rock mood of not being able to decide if I'm cheerful or down in the dumps, so, what the hell, let me grab something - anyone/anything from fat woman to broomstick - and let me dance with it whatever way I can, whatever the thing might be.

The album is quick to reveal a spiritual content-field super-reminiscent to the classical synthpop statements of the '80s, revealed by a production environment that has an eye for the tender, and, for the rabid, too. When you would have falsely thought that the LP has shown what it is all about and submit to the morose/marching britpop vibes, Rob Crawford puts The Beatles on steroids to reveal a superb extra-aspect of the album.

The tastily presented "Beatles-Punk" affection is pronounced on the delivery throughout, and let's be realistic and admit that you still need to be a very bitter person frequented romantically only by pissed off midgets to not enjoy the character of music the Beatles bring. Think of the same music at heart, yet, with more punchy production values and a more eager propensity to bring heft than the most comfy and risk-free "girlaneedja" Beatles register is prone to exhibit.

Warning : the album does not seek to bring "just" heft, it claims the right - thank God and Co. - to submit to various flavors and patterns of a seemingly conscious decision to bring tasteful britpop/rock variety, though I personally think that the majority of the album's peak moments tend to define extreme value via these intense Beatles-meets-Sex Pistols constructions. The music is never aggressive here, as all vile intentions are assuaged by The Beatles vibe, which is a primordial factorial. I dare say that sometimes even a Black Sabbath takes a glimpse at the fray, but there is no need to hide your daughter into the closet. (Sir, I feel obliged to inform you that your daughter is ugly like a sloth, only uglier, anyway.) These contributions bring a nice sense of emulated "digital dirt" and Rob employs JUST the right amount of effects on his voice and on the instruments to take you to a parallel universe where the only space-time is that of a loop encompassing a period of 1963-1972, and the meaning of sonic art is resonated by speakers made with top of the heat tube technology.

I don't have anything against the britpop deliveries on this disc, either, I especially like the ones that seek to reveal the charming cheese-factor of the '80s, as this affection is exhibited with style and charisma, while some of them invite me to the company of a channeled Martin Gore/Dave Gahan hive-entity who promised that JUST this ONCE, it WILL reveal disgustingly pink hope and I'm not yet decided if I believe it, but I tend to, and that frightens me. But this, of course, is entirely subjective matter and you are free to beat me to death in your mind with the peeled skin of a banana for thinking so.

Heavy duty commercial exploitation-attempts are few and far between on the spin, nevertheless present and eager to Affect All willing to give a damaged self-image to them. They emerge somewhat tolerable, - oops¿. - just pretend you are a chocoholic woman looking for a fix other than audio, and never forget that you are - as the track and its title tells you - Beautifully Wonderful. WHAT? You heard a similar concept before? "You're BEAUTY! fu. ull. Here is my life in my pocket, look, look, it's me, look!" Yes. A human artist needs to eat to live on, so he eats if he can, to keep on living. You Are Beautiful. (Of course I'm lying. Buy the single or I will stop lying.)

The disc comes to you via a well balanced structural flow, with the majority of the compositions weighing in around the four minutes mark, and the 8 eight minutes Epic also is included, which, also happens to be among the strongest segments of the fray. Sigmund Freud laps my back with a shovel and a violent rubber lady for pointing out the relevance of the intensified "Beatles-rock" influence of the LP, as the Epic in question is structured on that particular rhetorics, too. Rob Crawford's Cross Fingers LP is a ripe delivery with a coherent vision of what it wants to do, and manages to fulfill those aspirations with an intact shape revealed to the things it is after.

Check Rob Crawford and his debut LP at the artist's official site.

GyZ at Bandcamp.

If you want, check out my music

and / or

Buy me beer. Read more!

Napalm Death - Utilitarian review

Year : 2012
Genre : Grindcore
Label : Century Media
Origin : United Kingdom
Rating : 9.0 / 10

Buy it now

I'm not going to lie to you (all that much) and so must admit that up to this point I never was the premiere grindcore guy, as this style seems to revolve around the desire to summon raw, rampant sonic aggression, showing strictly limited interest in the continuous chase of the patterns that deliberately-, even shamelessly seek to appeal musically in some way or another. (Melody, rhythm, God forbid a combo of those.) You already suspect that I am a snob and you surely are right, which does not prevent one from noticing on spot that this ancient grindcore band Napalm Death - the band formed in 1981 as far as I know - needs no extra help to bring down the building around you that you've started listening their latest full length contribution in. This release, simply put, is a cold blooded sonic murder-, even MURRRRRRRDAA! committed with a sledgehammer against the silly little thing called silence, and I have the related hunch that this exactly the central idea of the record is. Read on to find out more about this ruthless silence massacre that is out to end you (too) as soon and thoroughly as possible.


Napalm Death's Utilitarian LP sometimes reminds me of Deceased's All-Eradicator Surreal Overdose record, of which I was and still am blown away. Napalm Death, to silhouette out a difference that seems pretty easy to pick up on though, is hardly if ever occupied with all that much riff definition, as the "mere energy" of the band brings with itself such vile intentions that the musical instruments can't help but produce convincing results in the hands of the members. There is no other choice, if and when being tormented by these vile intents. You don't necessarily need to be able to make out the precise patterns/notes the guitar is riffing along, because it is clear that the sonic axe is possessed by a malicious energy channeled by the band member via unbound nervous system power. If music can reveal and bring you this, than that music is for real, regardless of genre and - for the most part - production values.

What I'm trying to get at, is to point out the visceral quality of this delivery, which pretty much is the only one of it, too. This is NOT a derogatory notion at all, since establishing these attributes of raw sonic intensity/intimacy are evident central desires of the LP, and Napalm Death claims the satisfaction of this complex, steep desire with a stance and artistic efficiency that does not tolerate- does not even KNOW the concept of failure. They are simply too fucking possessed to fail with their music. This is such an authentic form of raw-intensity sonic entertainment as you have ever heard so far. There are no production wizardries on display herein at all. Everything is plugged in, everything is turned all the way to the right, and all nervous systems involved in this formation are fueled by a constant high octane mania to waste all on sight. Super-visceral, hateful rabidity for the listening pleasure of your exquisite soul content and related awareness. Napalm Death still has it, as experience and time both seem to be on the band's side. Something funny I've noticed : track 11, called Blank Look About Face. Pay attention to the rhythmic structure of the base and the vocals from 0:31. Totally Faith No More's Shit. Lives. Foreva., no?

Rating : 9.0 / 10

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