Exmortus - In Hatred's Flame

I've heard it all. Well, almost. When most people say they listen to everything, that's mostly a lie. Who the hell listens to everything? I bet you that if you played them traditional pan flute music they would be the first to shoot you with a sawed-off shotgun.

But this is not about these people. It's about Exmortus's debut album, In Hatred's Flame. And it fucking smokes.

Before I continue, I've nearly 12 or so years (give or take the odd year or two when I listened to radio dribble) of listening to heavy music, in particular metal. You name it, I've listened to it all; from crazily brutal death metal, stupidly Satanic black metal to the most sorry-sounding doom metal, my ears have been abused and ripped to shreds by loud guitars, pounding drums and some of the silliest vocals one could ever experience. So when I say that Exmortus not only makes me a happy metalhead, they also make me a pained one. But most of all is that I've never heard of anything like this. Maybe I've been an ignoramus but this is some pretty cool shit. You see, these dudes have combined my long-time favourite genre of thrash metal with neoclassical metal. Yes, the kind of metal Yngwie "I'm faster than a goddamn bullet train on steroids" Malmsteen plays with insanely fast precision on a Fender.

Right from the get-go, these four crazy Hispanic Californians (forgive me if I've gotten it wrong) unleash 43 minutes of blistering thrash metal infused with classical pieces unto the general public. It really is something extraordinary when you hear Malmsteen-like solos in a blackened thrash metal sound. The title track opens precedings with a macho riff while the closing song, Fimbulwinter, sends us straight into the abyss with its ominous main one. It must be said that after awhile your ears and probably your sanity will be begging for this to end. The high-pitched squeals whenever the two guitarists rip-up a solo can be quite exhausting. I know I was, and I've listened to so much metal you'd think my ears would be accustomed to such things.

The past few years have seen a resurgence in the thrash metal scene, which, is a good thing considering the overall metal scene is still being swamped with many a pseudo metal band popping up like bad rejects of X Factor. Bands like Exmortus, Lazarus A.D. and Warbringer are paving the way for thrash metal to come back and reign once again like in the 80's.

Minus the mullets, of course.

Initial Rating: 7/10
Current Rating: 7/10

The Music of 2007

All right, onto the good stuff first, shall we?

Album of the Year (Metal):

1. Chimaira – Resurrection
2. Sigh – Hangman’s Hymn
3. Odious Mortem – Cryptic Implosion
4. Dark Tranquillity – Fiction
5. Dying Fetus – War of Attrition
6. Aborted – A Methodical Overture

Album Disappointments (some of these are utter bummers):

1. Machine Head – The Blackening
• This is by far the most disappointing album I’ve heard. Ever. This is a stinker of the highest order. I can’t believe how Robb Flynn and co managed to come up with such trite and hopeless songs.
2. Nile – Ithyphallic
• What do you get when you have 4 white guys playing Egyptian-themed brutal death metal? You get Nile. What happens when you put 4 white guys and have them come up with an incredibly feeble and pedestrian follow-up to a rather good album? You get this album.
3. Dream Theater – Systematic Chaos
• Oh, my lordy. This is by no means a bad album, but rather, it’s a terribly disappointing one. It has the makings of a truly special album but Mike Portnoy (I name him the main culprit simply because his influence on the band’s sound and direction is growing tremendously) contrives to come up with some pretty banal stuff.
4. Naglfar – Harvest
• The songs are insipid and lack a certain sense of evil unlike their previous album, Pariah, which had it in abundance. And the horrible production mars this further by making everything sound like the haze in Malaysia.
5. Susperia – Cut From Stone
• My fiends, this is how to not make a follow-up to an incredible album. This album has everything stamped with mediocrity and sterility.
6. Behemoth – The Apostasy
• Nergal once again tries to be more brutal than a pack of chickens running wild in a corn field. This is where brutality for the sake of brutality backfires.

Song of the Year (Metal):

1. Iced Earth – Framing Armageddon
• It’s fast. It’s heavy. It’s catchier than getting a cold in Alaska. This is THE song of 2007.
2. Chimaira – Resurrection
• Coming in a close second, Chimaira at long last unleash a song that shows what they’re truly capable of.
3. Black Sabbath – The Devil Cried
• Four words: Dio, Iommi, Butler, Appice. ‘Nuff said.
4. Helloween – Kill It
• These crazy Germans have done it again. Actually, I don’t know what they did but it seems to be working. Especially on this. Horrendous lyrics, though.
5. Odious Mortem – The Endless Regression of Mind
• Hands down, this has got one of the best death metal solos I’ve heard in a long time.
6. Dark Tranquillity – Focus Shift
• An atypical song from the lads from IKEA land. But it sure as heck rocks!
7. Sigh – Introitus/Kyrie
• Probably the most maniacal-sounding black metal vocals I’ve heard. And to think the dude eats sushi and then sings and…nevermind…
8. Apocalyptica – I’m Not Jesus
• It’s not what you think. Heck, it’s not what you think it isn’t either.
9. The Arcane Order – Infinite Ghost Anathema
• On first listen, you’ll think, hmm, where have I heard this before? The genre has been done to death but these lads have pulled together a top notch death/thrash song with enough élan to wipe a baby’s bottom.
10. Dominici – A New Hope
• The solo at the end is simply magnificent. Highly and criminally underrated.

Other Albums That Really Impressed Me (And I’m the kind of person that doesn’t get impressed easily):

1. Alter Bridge – Blackbird

o Seriously, this is the best rock album I’ve heard in a long, long time. It has everything; great vocals, great drumming, great riffs, and most importantly: great songs.

2. Porcupine Tree – Fear of a Blank Planet

o The band with one of the funniest-sounding band names, led by the ingenious Steven Wilson, once again proves they are the best progrock band currently.

3. Norah Jones – Not Too Late

o Like fine wine, Ms. Jones gets better. But only a little. She still sings way too breathy at times and her country-tinged ditties make me want to break out in line dance.

4. Michael Bublé – Call Me Irresponsible

Honourable Mentions (Basically these are songs that really impressed me but came out in different years):

1. Gorgoroth – Wound Upon Wound (2006)

o I used to think that black metal sucks. I still do. But not this band. It’s fast, full of hate and is downright fun! Last count in my iPod was 26 times it played. It took only 3 months. It’s that bloody good.

2. Estradasphere – Smuggled Mutation (2006)

o A beautifully savage beast of a ditty. It’ll make you smile benignly one minute and the next you’ll headbang wildly. Even if you have no hair.

3. Dream Theater – To Live Forever (1991 & 1994)

o There are two versions to this song but they’re the same, only the production differs. But they do have one thing in common: they both rule.

4. Arsis – The Face of My Innocence (2004)

o This song absolutely crushes. It’s not terribly fast but it’ll make your head spin with its tempo changes and jackhammer drumming.

5. Vanessa Mae - I'm A-doun For Lack O' Johnnie (A Little Scottish Fantasy)

o Heard this way back when it first came out. But it was only this year I decided to download get it. One word: Superb.

And there you have it. 2007 is pretty much the best year for music, personally.

Till the next time, laters!

Sepultura – Chaos A.D.

Whenever I think of Brazil, images of a certain buck-toothed footballer, Rio de Janeiro and its parties, and, of course, Adriana Lima, all come to mind. But the first thing that pops into my head is, wait for it…Sepultura.

Sepul...what?

If you’re a metalhead and if you don’t know your metal geography then you shall your metalness revoked right this very instant. However, if you were to smile like an idiot who’s just discovered the right side of wearing undies and nod in elation to the mentioning of Soulfly, then your life has to end right this very instant. Your death shall be unhurried and extremely agonising. The punishment that shall be meted out to you is…a lifetime of nothing but Celine Dion and Barbara Streisand!

All right, enough of all this nonsensical talk. Onwards to the review!

Back when I first got into metal, I thought that Metallica were the best band in the world. Then when my ears were finally unstuck ala The Matrix, I craved unremittingly for music that was faster, more brutal and at the end of the day, something that doesn’t have James Hetfield going “Ooo!” and “Yeah!” like a country singer. And Sepultura was one of the first bands to really shake things up for me.

There seems to be two ways a thrash band progress with their career: one is to maintain their sound and thrashiness; meaning not moving forward thus putting out record after record with the same riffs (i.e. Slayer, Overkill). Or, you could do what Metallica pioneered, dumbing it all down.

For some strange reason, Refuse/Resist is the Brazilian equivalent to Enter Sandman. The two have different sounds but the effect is the same though Metallica has the upper arm in the catchiness department. Territory begins with a tremendous drum intro, and guess what, the riff makes you want to jump and down at the same spot for almost 4 minutes. If your area has a political election going on, then I highly recommend this song. The incumbents will feel right at home. Continuing the theme of the world is one big ball of shit, Amen pummels the listener with a heavier than thou riff. Of course, it was inevitable that they would go back to their roots and the instrumental, Kaiowas, is the first attempt. It’s a jungle jam, replete with tribal drums and a deep sense of connection with the earth. Propaganda speaks of, well, propaganda, while Biotech is Godzilla is a vitriolic attack against profit-minded corporations who would do anything to sell their drugs. Clenched Fist closes the album commendably but is nowhere near the thrash masterpieces of Primitive Future or Infected Voice.

Chaos A.D. is an album that came out a time when the world was first experiencing the beginnings of violence and turmoil that was getting out of hand, which is now a common occurrence in today’s world. The lyrics are a reflection of that time, it is full rage and venom but musically it as though the Sepultura gang decided that hey, let’s slow things down a little, instead of having a million riffs in a song let’s have 4 so that the lyrics can be clearly heard. Many have called this their Black album, the beginning of the end. I agree wholeheartedly. Much like how Metallica managed their career, Sepultura proved that they could do the same, just as disastrous. This is by no means a “bad” album. In fact, it has some pretty heavy moments. But how can you follow up with something like this? Arise, while not as riff-o-rific as Beneath the Remains, is still a hard-hitting wallop to the face of a thrash metal record. This is by comparison a genteel smack to the derriere.

I think I see Adriana Lima (NSFW-ish) waving at me. Bye!

Megadeth – Rust in Peace

We all know Dave Mustaine’s story and its wretched, depressing spin-off, Megadeth. He was a Metallica guitarist right until the point he had one too many drinks, too stinking smashed to do anything cohesive that the other members bade a pitiless adieu to him. The parting was so acrimonious that Mustaine swore bloody vengeance upon the other members of Metallica. Since then a rancorous relationship developed with each band heading towards the same destination but on a different route. Megadeth relied heavily on their music and while the band got more technical, wrote better, thrashier riffs and songs they still failed to overtake Metallica’s meteoric rise and superior dominance. Metallica in contrast injected large doses of classical-inspired melodies and generally had a much more charismatic frontman in the form of James Hetfield. And it also didn’t help in Mustaine’s case that he still kept on drinking like a broken tap.

It was only after Metallica decided to abandon their thrash roots altogether and opted for a more commercial sound did Megadeth find themselves with an opportunity to surge ahead. To finally prove that they’re the better thrash metal band. The culmination of Mustaine’s earlier efforts together with an explosive guitar player heralded the coming of this magnum opus. It must be said that Mustaine’s ability on the guitar is undeniable. He unleashes thrash riffs of the highest order. But his vocals, oh my sweet Metal Gods, for a man’s man he sure sings like a boy about to broach puberty. His high-pitched, nasally, two-dimensional (it’s either whiny as heck or whiny as hell) vocal delivery is by far the most grating, maddening, exasperating, shit-filled I’ve heard in all my years of listening to metal. It single-handedly annihilates what could’ve been a perfect thrash metal album. I have no more words or antonyms to describe the terror of it. It really is bad. Thankfully, if it weren’t for the music and Friedman’s godly solos I would rather listen to the sound of drilling, be stuck in a sampan with waves as high as skyscrapers crashing on my head, have tigers roar in my ears and even pay William Hung to sing than listen to a single, horrifying Megadeth song.

Many will agree that the first two songs, Holy Wars...The Punishment Due and Hangar 18 truly belong in the echelons of thrash metaldom. The rest of the songs border between good and so-so, none of them seem to reach the aforementioned classics’ brilliance. Tornado of Souls while features only one solo from Friedman does a fine job of keeping it together. The next few songs are all right, nothing fancy, just thrashy as heck.

There is no denying that if it wasn’t for Mustaine and his impersonation of a boy discovering Playboy, Rust in Peace could have been in the top 5 of my favourite metal albums of all-time. But as it stands it manages a comfortable but disappointing top 10 finish.

If there’s only one Megadeth you’ll ever want to listen it’s this one, no question about that.

Initial Review: 8/10

Current Review: 8/10

Metallica – Ride the Lightning

Riding high on their debut, Kill ‘Em All, they wasted no time in coming up with a second offering. While the debut could be seen as a prototype as to what would become their next albums, it was clear that these lads had more up their leather jackets. The first was unquestionably raw, hoarse in its vocal delivery and basically set the tone for future thrash metal albums. Now with everyone settled in, especially for former Exodus guitarist, Kirk Hammett, and livewire bassist, the late Cliff Burton, provided the band with a whole new approach during song-writing. This new understanding and tight collaboration helped to create a classical tinged, oft melody driven brand of thrash metal. At the same time there were the other thrash metal bands: (collectively known as the Big 4 during their halcyon days), Anthrax rather straightforward, Megadeth still was trying to gain a foothold and Slayer was embarking on a much darker and faster sound.

The sophomore effort of these thrashers saw them travelling all the way to Denmark to record this album and with their new found confidence Metallica themselves produced the album. The sound was atypical of that era; the snare drum as though made of concrete, the guitars wailing and piercing and the bass actually audible through it all. Fight Fire With Fire quickly dispels the notion that they couldn’t write a brutal and melodic song. Featuring a rare, speedy double bass run by the oft maligned Lars Ulrich (he’s a crappy drummer all right but he has a keen sense when it comes to song-writing), it pummels the listener into thinking that the end is truly near. The title track which is repeatedly ignored by fans in their top Metallica songs of all-time, deals with the death penalty. Fade to Black is a song that deals with suicide and it was conveyed in the form of a ballad. Not a sappy, lovey dovey ballad like Whitesnake, but a metal ballad, with driving guitars, desperate vocals and Hammett’s best solo of all-time. They were naturally the recipient of criticism, a slow number in a thrash album is like asking Motley Crue to stop writing about sex and drugs. But they took a gamble and it paid off.

Many of the songs on this album went on to become regular fixtures in their live performances and rightly so. For Whom the Bell Tolls with its eerie and haunting end while Egyptian themed Creeping Death provided fans the chance to scream their lungs till it burst with its “Die! Die! Die!” background chant during the breakdown. Closing it perfectly is the H.P. Lovecraft inspired instrumental, The Call of Ktulu (a deliberate misspelling of the ancient horror because for its real spelling alone evokes despair and dread).

Personally, this album means a lot to me. I remember listening to nothing but this and Master of Puppets for 2 years. While many quote the latter album as their most favourite of all-time, I would say that Ride the Lightning is their crowning glory. It’s not as thrashy as the first nor is it as melodic as the third. It’s the perfect blend of both worlds.

When they were at the top, nothing could have toppled them except of course, themselves. And that was the truth.

Initial Rating: 10/10

Current Rating: 10/10

Slayer – Reign in Blood

The reason why we have metal bands singing about wanting to deface Christ during lunch and why God’s a lady in red with a pink tutu is because of this band and this album. Anthrax was busy goofing around and taking things seriously unserious, Megadeth was trying its best to prove that hey, Metallica sucks because their riffs sucks while Metallica was trying their hand at dominating the world. But Slayer, oh my, they were the like rebellious teen; hair was a bit too long, the pants were a little too tight and the costumes they donned gave rise to the movement that it was okay to wear 10-inch nail bands on your wrists. And Slayer just didn’t give a damn. All they wanted to do was to make the fastest metal record and play it to the masses that were ravenous for some really fast and heavy thrashy stuff. Reign in Blood did just that (before a small band from England by the name of Napalm Death usurped them of their throne) and many have hailed it as one of the most influential metal albums of all-time. This is no small feat, what with bands like Iron Maiden, Judas Priest and the reason for it all, Black Sabbath, who themselves have released monumental albums of their own.

Look, I don’t give a flying toss (or a stationary toss for that matter) but a thrash metal album isn’t Shakespearean poetry, it’s all about thunderous drumming, speedy riffs, atonal solos, vocals that make you wish American Idol was on and enough attitude to keep school councillors busy for ever. Angel of Death kicks things off by introducing to the world that it was a-okay to scream like a girl amidst a barrage of double bass and a flurry of really thrashy riffs. Satan wasn’t as ala mode then but it did get the people talking. Short history lesson, the angel of death they’re referring to is none other than the infamous Josef Mengele who decided to gas people to see if they would die quicker, all in the name of science, madness and the Third Reich. Rumour has it that this is the most covered metal song. Necrophobic is a Slayer song that will leave you, like it’s said in the lyrics, gasping for air. It’s only a mere minute and a half yet it still manages to deliver a brutal punch to the senses. Jesus Saves has a riff so headbangable I have to remind myself that operations for neck injuries are very costly. The next few songs onwards merely go through the motions and sets up the finale of all metal finales, Raining Blood. A staple in their live shows, this song is for people to go absolutely wild to. Never mind what the lyrics mean, just listen to the breakdown in the middle. Bands have taken up instruments just by listening to that alone. I kid you not. And rumour has it that this is the most covered metal song.

But why is Reign in Blood so influential? As we look back, not all the songs are perfect or even great for that matter but nonetheless good. If you take each song and analyse each one by one then I’m afraid you’re missing the point completely. Clocking in no more than 30 minutes, Reign in Blood is a tad short at first but then you notice the genius behind it. Even if it was 5 minutes longer or shorter it would’ve ruined the vibe. Reign in Blood is the best album of its generation simply because it doesn’t pretend to be anything more or less. You could say without Venom there wouldn’t be Slayer. But without Slayer, the metal that we know it wouldn’t exist. And for that, Reign in Blood thoroughly deserves the praise and tributes.

So there you have it, a metal review by yours truly! More to come, so stay tune. In the mean time, Bang the head that doesn’t bang!

Initial Rating: 10/10

Current Rating: 666/10