tag:blogger.com,1999:blog-7447309777711146272024-02-07T09:54:00.781-08:00Musical ChairsMusical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.comBlogger51125tag:blogger.com,1999:blog-744730977771114627.post-87793301573037534762015-07-18T07:43:00.000-07:002015-07-18T07:43:28.963-07:00NOSTALGIA CORNER: Grateful Dead-American Beauty<b>Alternative chief Ryan Sweeney takes a look back at a classic album in his new series The Nostalgia Corner. This week, in honour of their recent farewell tour, Ryan shares his thoughts and feelings on the Grateful Dead and the legacy of their standout studio LP<i> American Beauty.</i></b><br />
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Welcome to what I'm going to call The Nostalgia Corner, I decided that if I'm going to do classic album's I might as well make it a little more formal and give it a name, so from now on all classics reviewed by me will be given this heading. Now that the formalities are out of the way, let's take a look at The Grateful Dead and my favorite of their work; <i>American Beauty.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC4lXbK1HrOCCW0unjfQA5MptMc_ji5QhRYq_Pa0N-caKgA2WWiMcZS_qVaj-DBOGnjf9mpnr50lI75I9rtaQPa45hKHrkiylY3BaHJz6S_L0eYfIBuWr3f-bCwYbs1-ifM6VBQuxtSi8T/s1600/W1006153.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC4lXbK1HrOCCW0unjfQA5MptMc_ji5QhRYq_Pa0N-caKgA2WWiMcZS_qVaj-DBOGnjf9mpnr50lI75I9rtaQPa45hKHrkiylY3BaHJz6S_L0eYfIBuWr3f-bCwYbs1-ifM6VBQuxtSi8T/s320/W1006153.jpg" width="320" /></a>The Grateful Dead are one of the most influential and recognizable bands in American music history, psychedelic rock, folk, Americana, bluegrass, jazz, reggae, nothing ever quite seemed the limit with these guys and their live performances, whilst<span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;"> often bloated and odd, gave birth to the very concept of the jam band and long instrumental intro's. However, as of last night the band officially called it quits on their 50 year career following a string of sold out farewell concerts. This has lead me to ponder several things: does the music still stand up? Does the music still have anything to offer? Are they as important as many from the time would have us to believe?</span><br />
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13 Studio albums, 10 live albums and over 50 retrospectives, no one has been quite as prolific as The Grateful Dead in their career that spans over 50 years and over a dozen members. Starting out as one of the major players in the 1960s San Francisco psychedelic rock scene with peers such as Big Brother and the Holding Company and Jefferson Airplane, they quickly established themselves as one of the most interesting and diverse touring acts the scene had to offer, with their long winded jam sessions, jazz breakdowns and instrumentals taking up the vast majority of their live set they garnered a loyal fan base out of the thriving hippie movement of the era that would follow them throughout the rest of their career. Seriously guys, "Deadheads" are some of the loyalist fans I've ever seen and it's this devotion from the fans, their devotion to the art of the live performance as well as classic studio LPs such as <i>American Beauty </i>and <i>Anthem of the Sun</i> that have allowed them to become a cultural mainstay across America throughout their career,<br />
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<i>American Beauty, </i>the band's 6th album, was released in the November of 1970. It is a great album without a doubt; it perfectly blends Americana folk, bluegrass and psychedelic guitar licks that few albums have ever been able to. A masterclass of songwriting and delivery, you only need to listen to the first track <i>Box of Rain </i>to work out this track is a great opener, the song is chugged along by a great rhythm section (drums, bass and acoustic guitar) that all feel great to listen to and keep the pace for the rest of the track, which includes really subtle but masterful electric guitar licks from David Nelson and these great vocals from Phil Lesh that are astounding. They are seriously great, I love them and the little Beatles-esque harmonies every now and then sound awesome if a little off key. This album shows the bands incredible range and musicality with tracks like <i>Sugar Magnolia, Candyman </i>and <i>Brokedown Palace </i>that all manage to capture the the stylistic influences of the band and meld them together without ever missing a beat as well as still allowing the band to put their psychedelic and jam band style twist on them, which is an incredibly difficult thing to do. I know many a band that has been unsuccessful at trying to do this, but this is a great example of how it can work and I feel that bands can learn from it. An unfortunate downside to this album however; it does sound a little dated. It's low cost production and some of the almost rockabilly nature of some of the songs have not helped the album. Having listened to both the original and the remastered edition I can say that the remastered edition is noticeably clearer and some of the mix issues of the original are solved, however like I said, the issues lay a lot in the style. While all the folk/bluegrass style songs do still sound great, the style of the classic rock/rockabilly just feels old and dated, taking away a little from the overall experience. Does this album deserve the praise it has garnered? I think it's a great album, I really like it and I can see why it has such critical acclaim. Does the album have anything to offer? I believe it to be a masterclass in melding genres as well as developing your own identity, in that sense I believe those who listen and enjoy it can still learn from it. Does the music still stand up? Yes and no, it suffers from some age problems but all in all it still sounds great and still has a lot going for it.<br />
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Let us know your opinion, did you love it? Did you hate it? Whatever you felt be sure to keep checking out Musical Chairs for more news, reviews and blogs, for now though I've been Ryan Sweeney, this has been Nostalgia Corner and it's all been for Musical Chairs<br />
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R.Sweeney (<a class="DashboardProfileCard-screennameLink u-linkComplex u-linkClean" href="https://twitter.com/TheCautiousCrip" style="background: rgb(255, 255, 255); color: #06b300; font-family: Arial, sans-serif; font-size: 12px; line-height: 16px; outline: 0px; padding-right: 5px; text-decoration: none !important;"><span style="color: #06b300; font-family: Arial, sans-serif;"><span style="background: rgb(255, 255, 255); font-size: 12px; line-height: 16px; padding-right: 5px;">@</span></span><span class="u-linkComplex-target" style="background: rgb(255, 255, 255); color: #06b300; font-family: Arial, sans-serif; font-size: 12px; line-height: 16px; outline: 0px; padding-right: 5px; text-decoration: underline !important;">TheCautiousCrip</span></a>)</div>
Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-59259323433492880962015-07-18T07:30:00.000-07:002015-07-18T07:30:55.512-07:00Video Release-Armilus by The Green River Burial<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #666666;"><b>As promised in our previous article, Musical Chairs brings back its lobotomised article monkey, designated "Gary Lee", to cover the new video released by German death/hardcore metal band The Green River Burial <i>Armilus. </i></b></span><br />
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Cheers, applause and good wishes are in order. We finally have a video, for you to listen to and decide if you like it enough to order <i>Blight; </i>the forthcoming EP by The Green River Burial. Alongside are some pre-order links! Hurrah!<br />
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As noted in the <a href="http://musical-chairs-blog.blogspot.co.uk/2015/07/ep-previewthe-green-river-burial-blight.html" target="_blank">previous article,</a> the song starts with a tension building intro of ambiance, a bass hit and a rumble of light percussion brings the tension up further before the drums begin to herald the peak of the intro and the impending crescendo. Finally, a Slipknot styled heavily distorted riff seems to suck it all back in again before the song explodes into some Meshuggah like jerky bass line, filled with all the jangly, heavy basstone and disjointed syncopated drum fills. After the bass and the drums have wrestled each other for the right to heavily assault your ears, the vocals split out. Guttural, visceral and everything this song needs; it kicks it to the more groove based motifs that swing together well to keep your elbows swinging and your head nodding.<br />
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The pre-chorus changes pace just a little as the aggression of the song emanates a smidge more, before the chorus hits and the clean vocals almost seem to plead with the listener. The song continues in much the same ilk from the second verse, very rarely slowing down, until the fade outro. I see this song being a live crowd/pit favourite and if The Green River Burial can continue to produce work as groove based and visceral as this, then they have my vote.<br />
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<i>Blight </i>is available to order now.<br />
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<span style="background-color: white; color: #333333; font-family: Roboto, arial, sans-serif; font-size: 13px; line-height: 17px;">Impericon: </span><a class="yt-uix-redirect-link" dir="ltr" href="http://tiny.cc/BLIGHT-IMPERICON" rel="nofollow" style="background: rgb(255, 255, 255); border: 0px; color: #167ac6; cursor: pointer; font-family: Roboto, arial, sans-serif; font-size: 13px; line-height: 17px; margin: 0px; padding: 0px; text-decoration: none;" target="_blank" title="http://tiny.cc/BLIGHT-IMPERICON">http://tiny.cc/BLIGHT-IMPERICON</a><br />
<span style="background-color: white; color: #333333; font-family: Roboto, arial, sans-serif; font-size: 13px; line-height: 17px;">Bastardized Recordings: </span><a class="yt-uix-redirect-link" dir="ltr" href="http://tiny.cc/BLIGHT-BASTARDIZED" rel="nofollow" style="background: rgb(255, 255, 255); border: 0px; color: #167ac6; cursor: pointer; font-family: Roboto, arial, sans-serif; font-size: 13px; line-height: 17px; margin: 0px; padding: 0px; text-decoration: none;" target="_blank" title="http://tiny.cc/BLIGHT-BASTARDIZED">http://tiny.cc/BLIGHT-BASTARDIZED</a><br />
<span style="background-color: white; color: #333333; font-family: Roboto, arial, sans-serif; font-size: 13px; line-height: 17px;">iTunes: </span><a class="yt-uix-redirect-link" dir="ltr" href="http://tiny.cc/BLIGHT-ITUNES" rel="nofollow" style="background: rgb(255, 255, 255); border: 0px; color: #167ac6; cursor: pointer; font-family: Roboto, arial, sans-serif; font-size: 13px; line-height: 17px; margin: 0px; padding: 0px; text-decoration: none;" target="_blank" title="http://tiny.cc/BLIGHT-ITUNES">http://tiny.cc/BLIGHT-ITUNES</a><br />
<span style="background-color: white; color: #333333; font-family: Roboto, arial, sans-serif; font-size: 13px; line-height: 17px;">Amazon: </span><a class="yt-uix-redirect-link" dir="ltr" href="http://tiny.cc/BLIGHT-AMAZON" rel="nofollow" style="background: rgb(255, 255, 255); border: 0px; color: #167ac6; cursor: pointer; font-family: Roboto, arial, sans-serif; font-size: 13px; line-height: 17px; margin: 0px; padding: 0px; text-decoration: none;" target="_blank" title="http://tiny.cc/BLIGHT-AMAZON">http://tiny.cc/BLIGHT-AMAZON</a><br />
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Article By: Gary Lee (@thewheelbear)<br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a><br />
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<br />Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-80223957247433763302015-07-11T15:30:00.001-07:002015-07-11T15:30:55.124-07:00EP Preview:The Green River Burial-Blight<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #666666;"><b>Musical Chairs are back! Gary Lee is back! Metal is back! So come celebrate with us by getting yourself all perspired and excited by the news that a <i>Blight </i>is coming....The Green River Burial announce their new EP! Expect more news to come...</b></span><br />
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Frankfurt's The Green River Burial and Bastardised Records are pleased to announce the impending release of their new 2 song EP <i>Blight. Blight </i>sees the four members of the band evolve from their hardcore roots and into more groove driven territory and man, it pays off well! Now I'll be honest, I am not familiar at all with their past work. However, as their hardcore style meshes with their passion for grooves it's creating a beastily tech-death sound, almost progressive....almost Messuggah-ish, this makes me very happy for where they are going.<br />
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What makes me more excited is that <i>Blight</i> is simply a taster, as the band are working towards their next release following 2012's <i>Separate and Coalesce. </i>Ok, so enough with the fanfare and pomp! I've said it's good and now you want to know why. Don't worry I still remember how it goes!<br />
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<i>Blight </i>opens with <i>Armilus</i>. A dark and tense song with an ominous intro, thumping down tuned bass guitar that leads the grooves, disjointed and syncopated drums pepper through the mix. The vocals are smouldering and angry, mostly screamed/growled but occasionally a clean vocal peaks through a thumping track and to be honest I think it would be a shame if this song did not make it through to the full release, I see this being a great way to open the album, or indeed kick off it's second act. I also feel that the grooves and syncopation would make this a live act favourite.<br />
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However, the second and final track on the release <i>Dajjal </i>leaves me with less of an impression. I feel it has less groove and certainly doesn't have that musical hook that makes me want to listen to it again and again. It's a solid track and builds on things already discussed on <i>Armilus</i> but doesn't have as much "life" to it I feel. I do however like the occasional industrial glitches that are thrown in here and there.<br />
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<i>Blight</i> will be available for purchase on 7 inch vinyl and digital formats from the 1st of August and with a new video due on the 12th of July, expect to hear more from these guys soon! I do believe that if these two tracks are anything to go by, they are worth hearing!<br />
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If you want to keep up with these guys then find them on their <a href="https://www.facebook.com/thegreenriverburial?fref=ts" target="_blank">Facebook Page</a><br />
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Article By: Gary Lee (@thewheelbear)<br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a><br />
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<br />Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-16516025335095983462015-07-11T14:19:00.000-07:002015-07-11T14:19:28.140-07:00Album Review: Helloween - My God Given Right<div>
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I<b>t would seem to take a lot to get The Editor to appear from his bunker and share his opinions with the masses. Hidden away and unapproachable, he loiters in his murky lair. This, however, has proven enough to cause his emergence; Helloween's latest album</b>.</div>
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Do I really need to explain the greatness of Helloween? For over 30 years the German power and speed metal kings have reigned supreme. Sharing a sound not too dissimilar to Iron Maiden, the band quickly forged a devoted following in the UK and overseas. Despite releasing their masterpiece works of <i><u>Keeper of the Seven Keys I and II</u></i> fairly early in their career (1987 and 1988 respectively) and then trying to sabotage themselves with the two albums that came next (albums I find so abhorrent I refuse to even name them), Helloween have established themselves as one of the most enduring and successful bands of the genre. As with most bands, the members can chop and change and Helloween have been no stranger to a few roster shuffles. This release sees the first time that they have reached five consecutive albums with the exact same lineup. But unlike some others, the group have kept mainly loyal to their original sound whilst evolving with the times. So here in 2015 they spoil us with their fifteenth studio album, back under the Nuclear Blast label for the first time since 2003, <i><u>My God Given Right</u></i>.</div>
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I fully intended to be one of the only people to review a Helloween offering without talking about the album artwork, but I found that to be an exercise in futility. Known for their thematic covers, they have fully embraced this and created a great ‘post war’ scene depicting the infamous pumpkin as a race of mecha-like beings rising up over the winter landscape. <span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">The album opens with </span><i style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">Heroes</i><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">, which starts with a humble, muted intro before getting into a nice, heavy beat. In fact, it is heavier than the usual Helloween opener and gets you bouncing straight away. The chorus is simple, yet solid and the solo is perfect for rocking.</span></div>
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The track itself combines wonderfully with the second track to deliver a ‘one-two punch’ effect that is missing from many releases these days. <i>Heroes</i> is about empowerment, the small scale heroes doing everything they can to make a difference. <i>Battles Won</i> (the albums 1st single) is also an empowering track and let's you know that the fight you have is worth it because you won.</div>
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<i>Battles Won</i> has a very rousing intro with a slight rising intonation to get that feeling of victory and has a strong traditional Helloween style bass line. This begins the very 80’s/ early 90’s feel of the album, which I am not opposed to but may put newcomers to the sound of Helloween off. The distinctive voice of power metal going over speedy drums and an increasing solo leaves you in no uncertain terms to whom you are listening. The track has a powerful finish and I can easily see this song becoming a closer at live shows, pre encore obviously. “Rejoice forever more. Victor to the core”</div>
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<i>My God Given Right</i>, the title track of the album, is a decent offering. The reliance on the drums here makes the song seem familiar despite it being brand new. The bridge gets almost floaty with some distant keyboards thrown in which is potentially jarring. However, given the story behind the track and the message is delivers, I can let that slide. Andi Deris (vocalist) had stated on many occasions whilst promoting the album that his father had once told him that if whatever he did made him happy, that would make him happy also.</div>
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Following this is <i>Stay Crazy, </i>some standard speed metal fare with an almost happy lilt to the riffs. The track builds very nicely and contains a fantastic solo with some brilliant guitar work from those talented fingers which made me yearn for an instrumental. The outro is odd however, it slows down to an almost ballad like pace and cuts out. <i>Lost in America</i> is based on a true story that has a very classic 80’s outro. The track itself unfortunately fades into the background compared to the other songs on offer.</div>
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<i>Russian Roulé</i> is one of my favourite tracks on the whole album. Obviously with a play on words with the word roulette and the incorporation of good ol' rock ‘n’ roll. It is a more modern song which perfectly captures the evolution of Helloween. In fact, this track sounds very much like it could act as diegetic music in an action movie during a high stake chase or moral decision or life montage. Especially now in the ‘Superhero Era’, just close your eyes and the track evokes all kinds of images.</div>
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<i>The Swing of a Fallen World</i> has a slow and methodical pace, with a metronome quality to it. This track would not be out of place on 2000’s <i><u>Dark Ride</u></i> album. You can envision the ‘fallen world’ swinging like a pendulum. It is a good track but it markedly slows the pace of the album from the previous freneticism. The 90’s style inquisitory guitar work is very much in the vein of Alice In Chains, which meshes brilliantly with the ever pulsing throb in the background of this track. <i>Like Everybody Else</i> displays the variety that Helloween can do, the track contains southern US style strumming and heralds the return of the empowerment theme. The change in style is a welcome break and makes Swing’s slowing of album pace work very well.</div>
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<i>Creatures In Heaven</i> is a great rock track with a great keyboard intro. It sounds quintessentially 80’s; distant choral chants over lamentous keyboards that picks up pace and emotion as it goes, gathering steam until we enter a full on rock disco. Over the 80’s style ‘future sound’ it progresses into almost swing metal territory. The vocals create a sound that despite it’s obvious roots, it matches the output of the past two albums by both Helloween and Iron Maiden (the two are spiritual twins after all) including the Dickinson laugh!</div>
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<i>If God Loves Rock ‘N’ Roll</i> is an eventuality that we’ve all questioned ourselves about at some point and Helloween provide the answer. He does. So let's all go to heaven as it has metal and rock. It’s an instant foot tapper and provides a nice change on the whole ‘rock is the devils music’ shtick. “Even in heaven, you need a bass guitar.” <i>Living On The Edge</i> is a classic Helloween styled track; the drums fade out and the lyrics are highlighted in an almost conspiratorial manner – very Helloween. Everything you love about speed and power metal is in this track, despite the mildly generic lyrics, the musical quality is off the scale and has a beautiful fade out.</div>
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<i>Claws</i> is very energetic track but again, like<i> Lost In America</i>, it seems to be an ‘also ran’ and becomes forgettable. <i>You, Still of War </i>is the longest song on the album and like all classic Helloween ballads, tells a brilliant story. With a standard, distant ballad-y opening, you know exactly what you are strapping in for. The combination of ballad and trash works very well, unlike most songs which use the effects like a roller coaster, this feels more like a snaking highway. One side has the usual powerful ballad offerings and the other has a trashy styled fast paced output. The track blends the two fantastically and does not become too disparate. It’s almost seamless and the journey it takes you on should close the album.</div>
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<i>I Wish I Were There</i> and <i>Wicked Game</i> suffer very much from track placement. <i>I Wish I Were There </i>sounds like an early track but comes off like filler material here. Although, props to getting an iPhone reference in a heavily 90’s style song. Potentially the only thing that lets you realise that this song wasn't recorded in 1994. <i>Free World</i> is a bonus track that is a much more modern song that follows on directly from the style of the previous album. Containing all the speed metal tropes, the track is socio-political in a way that is very well executed.</div>
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Despite how much I love this album and have listened to it many times, I feel I can't fully recommend this to someone who has never listened to Helloween before because there is so much love and joy to be gained from the reminiscence of this heavily 80’s/90’s based album. The inspiration for the sound is evidently from this era and if you have no desire to place yourself back there, this album will leave you wanting. However, if you appreciate power metal, speed metal and the days when music wasn't all created by auto tune and random squeaky voices; this album will keep your soul warm at night. Still, If you are looking for your first foray into Helloween, I would first recommend Dark Ride or the seminal Keeper of the Seven Keys part II, but this record will more than suffice and is a great listen. If you have enjoyed the likes of Helloween, Gamma Ray or Iron Maiden before and have not yet listened to this album, I highly suggest you rectify this.</div>
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My God Given Right is available now through Nuclear Blast</div>
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Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-23420372363491997932015-05-30T12:12:00.000-07:002015-05-30T12:12:16.795-07:00Coal Chamber-Rivals<div class="separator" style="clear: both; text-align: center;">
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<b style="color: #999999;">Well, it's been a long time coming! Coal Chamber have recently revived the band with a new album and a hefty tour schedule! How have the years apart affected the band - if they have at all - and importantly, what does that mean for the sound of the album? We asked Gary Lee to find out for us!</b><br />
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Coal Chamber are back! While that news when it was first announced was likely met with just as much criticism as it was excitement, I can gladly say I was among the throng of excited fans. I was a big Coal Chamber fan in my teens, ever since I heard <i>Fiend</i> on music television I've been hooked. <i>Fiend </i>came from the 2002 album <i>Dark Days </i>which would also contain anthems of my youth such as <i>Something Told Me, Rowboat </i>and <i>Empty Jar. </i>As I began to explore the Coal Chamber sound more, I found a sound that was as frenetic and energetic as it was dark and industrious. I unearthed <i>Loco</i> from their debut album <i>Coal Chamber</i> released in 1997, the video for which was as enthralling as it was frightening.<br />
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In same year that <i>Dark Days </i>was released, Coal Chamber and its members began to have their difficulties which lead to a very public display of frustration and lead to vocalist Fafara joining Devildriver, whilst in 2010, <span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">guitarist Miguel Rascón and drummer Mike Cox joined together once again in a post-punk outfit named We Are The Riot. Stylistically, Devildriver were/are a heavier sounding band than Coal Chamber, with their sound rooted in death metal and groove metal. Of course this meant that Fafara's vocals tended to be much more aggressive, with Devildriver displaying his hard gravelly growls much, much more.</span><br />
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However, Rascón and Cox continued to ply their energetic trade of bouncy punkish rhythms and big groove riffs in their new outfit. Yet it was done so through a slightly more mainstream vehicle than the dark and menacing tone that I always saw Coal Chamber through.</div>
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So how have the 13 years apart affected Coal Chamber? What artefacts are still carried from the musical journeys the members have undertaken since the day of the split? Is the aptly named <i>Rivals</i> a sign of a hatchet firmly buried and the beginning of a new undertaking for Coal Chamber? Join me as I intend to do what I can to find the answers to these questions.<br />
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Firstly it is clear just by looking at the track names such as <i>I.O.U. Nothing</i>, <i>Bad Blood Between Us, The Bridges You Burn, Another Nail The Coffin </i>and <i>Fade Away (Karma Never Forgets) </i>that both personal and collective demons were exorcised in the making of this album. But how does it sound? Well, the album kicks off with <i>I.O.U. Nothing. </i><br />
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The song was chosen as the lead single from the album, so some of you may have already heard it. But, nonetheless we shall cover it here. The song starts with a grating riff that has a great 'industrial metal' quality to it, as well as sounding somewhat like a metallic siren. Once the drums kick in we are back to the flailing energy we are used to with Coal Chamber; the song has a great 'stomp' to it. However, once vocalist Fafara enters the fray, the song becomes much more aggressive. His gravelly and impassioned delivery reminding me of his Devildriver days, specifically <i>What Does It Take (To Be A Man). </i>That is not to say that it doesn't sound like a Coal Chamber song, far from it, but the band is now the sum of their journey and it is interesting to note where they have come from. In all, the first song does a great job of heralding their return. It is aggressive and bold, yet it has enough of that old Coal Chamber flair to be considered their own. It's as though they broke the shackles of their past and charged back into relevance with a clear message; I owe you nothing for who I was, here is who I am.<br />
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<i>Bad Blood Between Us</i> starts with a tense scaling riff, before it is pulled apart by a menacing rhythmic chug. Stylistically, this reminds me of <i>Something Told Me</i> from <i>Dark Days</i> even down to the maddened energy and vocal bounce. Another solid offering. However the next song I want to bring attention to is <i>Suffer in Silence. </i>Not only is it the second single from the album, but it is the first outing of Fafara's twisted, slightly throaty vocal stylings that I have missed since the early days of Coal Chamber. Once again there is the groove and the bounce that has been spoken about in this article already, I get the sense that the energy in this song, along with the memorable and easily shouted "suffer in silence" hook, will make this a live crowd favourite. So, if you're seeing Coal Chamber live at all, watch/listen out for this one! If you're hearing them in the comfort of your own environment, turn it up!<br />
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<i>Orion </i>is another twist and turn down the dark end of the Coal Chamber psyche. Fafara's spoken vocals, weaving in and out of a discordant melody and a stuttering rhythm that combines to create a rather unsettling experience. But, this is the kind of thing this album had been missing till this point, so I am glad to see it's return! This atmospheric and disturbing side of Coal Chamber that is exhibited in older songs such as <i>Dark Days, Pig </i>and <i>Sway, </i>is one of the reasons I was drawn into their music in the first place. <br />
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From there, the album romps through <i>Another Nail The Coffin, </i>the title track, <i>Rivals, </i>the heavy and thumping <i>Wait </i>and <i>Dumpster Dive</i>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSPSyRfAWqPRW9-zpl1f_zvsOp9z6iaF-CzqmlcAXh-lqibgeND3nqRoma9BiH8l1P7y1sjqXz07BdzQ2ZtfCZOhGprE08DE7v8yuK58g7C0XHAgdj5IxCj7NVKhgYlzvmjGQaMTph29Dz/s1600/coalchamberrivalscd.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSPSyRfAWqPRW9-zpl1f_zvsOp9z6iaF-CzqmlcAXh-lqibgeND3nqRoma9BiH8l1P7y1sjqXz07BdzQ2ZtfCZOhGprE08DE7v8yuK58g7C0XHAgdj5IxCj7NVKhgYlzvmjGQaMTph29Dz/s320/coalchamberrivalscd.jpg" width="320" /></a><i>Over My Head, </i>is a thumping groove driven romper that evokes Devildriver again, as well as older Coal Chamber songs, such as <i>I </i>from the first album, which also features a great Rage Against The Machine style bassline opening. I firmly believe this is another one worth turning up, thrashing out to and enjoying in the physical manner metal music is best enjoyed. From here, the album speeds through <i>Fade Away (Karma Never Forgets)</i> before hitting the ode to the early millennium, <i>Empty Handed. </i>I love the rolling drums and the industrial styled guitar parts in this track, in my opinion another one to look out for!<br />
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Overall, I feel this is a fine return album for Coal Chamber and considering the trials and tribulations the band have been through to even make this album, I feel that it should be celebrated. If you were a fan of Coal Chamber then I don't see any reason why you would dislike this album. It builds rather well on the foundation the band built all that time ago. If you never knew of Coal Chamber, then perhaps you should check it out, or perhaps you have already through these videos and such like! Either way, a worthy part of a groove metal fan's collection.</div>
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<i>Rivals</i> is available now and is released through <i>Napalm Records.</i><br />
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Article By: Gary Lee (@thewheelbear)<br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a><br />
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You can buy Rivals here<br />
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<a href="http://www.amazon.co.uk/Rivals-Coal-Chamber/dp/B00U6SW9WI/ref=sr_1_1?ie=UTF8&qid=1433004092&sr=8-1&keywords=coal+chamber+rivals" target="_blank">Amazon </a><br />
<a href="https://itunes.apple.com/gb/album/rivals/id976319214" target="_blank">Itunes</a><br />
<a href="http://shop.napalmrecords.com/coal-chamber-rivals.html" target="_blank">Napalm Records</a><br />
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Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-90058750563605115332015-05-30T12:11:00.002-07:002015-05-30T12:11:59.483-07:00FOR THE LOVE OF VINYL! One man's insight into vinyl collecting and its culture. <b>Alternative aficionado Ryan Sweeney takes us through why he loves vinyl, World Record Store Day and what he calls "the beauty of the LP."</b><br />
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Heavy. Impractical. Redundant. But, beautifully endearing. The gramophone vinyl record is the reason the music industry exists today. Invented by the Thomas Edison Company in the mid 19th century, it revolutionized the way music was consumed, allowing the recording of and distribution of audio. Think about the effect this has had for a moment; without this we would not have music radio, studio recorded music (which also includes things like synthesizers and sampling), the entire touring system as we know it and to some extent the very idea of celebrity and fame is affected. In my opinion the vinyl record is one of the most important cultural advances ever achieved. But why in a world with CDs, Spotify and iTunes are we still drawn to this technologically outdated and ridiculously cumbersome way of listening to music?<br />
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Personally, I believe<span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;"> the whole style and look of a record reminds of us a time in music that fans can point to and say "that era was the most productive, the most creative and the most entertaining era in the history of the music industry." This is debatable I know, but if you look at what is often referred to as 'the Golden Era' by vinyl collectors you can see why some would think this. Within this time period from around 1960 to about 1985 the music industry exploded and the LP became the artists tool of expression and a must buy for the music fan. Think about what came out during this time: </span><i style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">S</i><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif; font-style: italic;">gt Peppers Lonely Hearts Club Band</span><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif; font-style: italic;"> - The Beatles, </span><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif; font-style: italic;">Highway 61 Revisited - Bob Dylan,</span><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif; font-style: italic;"> </span><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif; font-style: italic;">Bridge Over Troubled Water - Simon and Garfunkel, </span><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif; font-style: italic;">Black Sabbath - Black Sabbath, Dark Side of the Moon - Pink Floyd, </span><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif; font-style: italic;">Rumors - Fleetwood Mac, </span><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;"><i>Hotel California - The Eagles </i>and more</span><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">! </span><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">These are only a few albu</span><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">ms that are not just associated with vinyl collecting but have also etched themselves into the fabric of modern popular culture. So I feel there is a hearkening back to what is viewed by some as being a better time for music and the desire to relive these classics in their original form, hoping to recapture the magic of when first hearing them.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO7oiZK6xOgEsr3k1IHJhQM244eYCHciIb8UfNOHje96UnoWaszbGP-KCpbMgant87ijEB63nRLTZzy2mFz5yM3kVe1Zag1WqD6sqg80UK20GTn4VtXLQswdDLf1RJVOrjfi9sS32Xdpsz/s1600/11289508_997086436998141_4786708979482510778_o.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO7oiZK6xOgEsr3k1IHJhQM244eYCHciIb8UfNOHje96UnoWaszbGP-KCpbMgant87ijEB63nRLTZzy2mFz5yM3kVe1Zag1WqD6sqg80UK20GTn4VtXLQswdDLf1RJVOrjfi9sS32Xdpsz/s320/11289508_997086436998141_4786708979482510778_o.jpg" width="179" /></a>"Nothing beats the warm crackle of vinyl just before the track kicks in." We can debate audio quality until the cows come home. Yes, we know the Blu-Ray CD will take over the world. Yes, we know the remastering of <i>Moving Pictures </i>is so good that you can hear the sticks striking the skins. But vinyl just has an indescribable warmth to it, you can judge how loved a record is by all the little audio imperfections it has gained over time. Each little skip tells it's own story and each bit of fuzz is an anecdote unto itself. It's this wear and tear that gives the vinyl more personality than the CD and streaming services, but unlike the CD and the cassette, the minor degradation does not harm the listening experience. My 1969 original press copy of <i>Tommy</i> is battered, some of the tracks are fuzzy, there's a few skips here and there but I still love this edition of the album over my CD copy. Not in spite of, but because it just has that worn, well loved feeling about it, from the cover to the LPs themselves. It's this charm that I feel adds a more personal connection to the vinyl than other available mediums.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgsbxH9PaSubX8LHf9jQwT0xMBN6kjb6nSil12s1fAPjNsrhhFSaZ6_ODyEmhcmOD4SfgkpGEsNcfCGFLu49flmphS4tWw_foliPdlOVCcqWHAdfXFCFM6dZNXUDMWKvTfFPvlCy73kc3v/s1600/10514320_978312438875541_2201344131395609923_o.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgsbxH9PaSubX8LHf9jQwT0xMBN6kjb6nSil12s1fAPjNsrhhFSaZ6_ODyEmhcmOD4SfgkpGEsNcfCGFLu49flmphS4tWw_foliPdlOVCcqWHAdfXFCFM6dZNXUDMWKvTfFPvlCy73kc3v/s320/10514320_978312438875541_2201344131395609923_o.jpg" width="320" /></a>In this modern times of extensive capitalism and the global domination of chain stores, I feel it is important for us to support our local, independent record stores and what better way to do that than my favorite time of year that lets me have a consumerist binge than World Record Store Day? The one day a year that exclusive, new vinyl releases appear in independents all round the world. Over the last few years this event has grown in support, from a regional event to a world wide phenomenon. It is the perfect time of year for casual fans to check out new releases and the hardcore collectors to get their hands on limited edition, coloured, remasters, the good stuff people need to add that bit of flair to their record collections. Over the last 2 years I have taken part in the event I have come away with some really quite neat items that all take pride of place among my collection. I urge any fan who likes getting up early in the morning and standing outside shops to go down, you might just find something you like.<br />
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Will the vinyl revival last forever? I can't really say for sure, I know vinyl will always have a special place in <i>my</i> heart. The days killed listening to whole albums over and over again, the excitement of opening the cellophane, examining the record and flicking through the booklet. Vinyl has a magic to it that I know I will always love and it's this magic that I believe will be the reason vinyl will stand the test of time. When every new technology comes along and takes the limelight we always end up coming back to vinyl because the history of vinyl is the history of the music industry and as long as that warm crackle is still audible somewhere in the universe, someone will always be drawn back to it.<br />
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This has been one vinyl junkie's opinion on the phenomenon that is vinyl, what do you think? Do you love it? Do you hate it? Let us know and remember keep checking out Musical Chairs for more news, reviews and articles.<br />
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R.Sweeney (@thecautiouscrip)<br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a>Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-47693894326301145592015-05-21T05:35:00.000-07:002015-05-21T13:42:57.123-07:00Review: Schammasch-Sic Lvceat Lvx<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #666666;"><b>The metal is back! Surprisingly too, black metal is back! What is normally a winter release genre hits us with a dose of evil to see us through the Summer months! Gary Lee checks it out!</b></span><br />
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Summer is here! The birds sing as dawn breaks through the cover of clouds. People laugh and children frolic (people totally do that still, right?) in their gardens. So, of course, what we need to accompany this serene seasonal picture is the crushing noxiously evil riffs of black metal! Luckily for us, Swiss black metallers Schmanmasch are here to provide just that with their new offering to the Gods <i>"Sic Lvceat Lvx" </i><br />
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The album is a follow up to 2014's <i>Contradiction, </i>which was a damn fine release itself that narrowly missed the top 20 metal albums of the year. So rest assured that this is a band of quality and their prolific releases suggest a band charged with passion! The album kicks off with the obligatory black metal instrumental opener <i>Lux Aeterna, </i>which is a dread filled dirge that wouldn't sound out of place in a doom metal album. It has that <i>"At The Gallows End" </i>(Candlemass) feel, although it is obviously without the operatic, Meat Loaf-esque vocals. Instead, we are treated to the brutal and morose deathrattles of the Schmanmasch vocalist and that is fine with me!<br />
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<i>He Whose Face Is Made Of Entrails </i>is a typical black metal buffet, with all the usual 'all the blast beats you can eat' thrills. Although the downtempo, chugging bridge with its thrashy riff is a nice little twist on the deal. <i>Chaos Reigns</i> is a maddening (and I mean that lovingly) journey of swirling metal riffs and insanity tinged vocals, perhaps exactly what you may expect from a song with such a name.<br />
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<i>No Light From The Fires </i>is another black metal romp, although it has nihilistic doom metal tinges but that seems to be a creeping trend inside modern black metal. I am, however, a fan of the fading out acoustic outro allowing the listener an area of bleak contemplation when the cacophony is over. The doom metal motifs are still gripping tight in the following track <i>Black, But Shining </i>with a riff that calls back to the album opener. The vocal style is once again tinged with insanity in a delivery that is charged with feeling and reminds me of the previously covered A Forest Of Stars. <i>INRI </i>is another 'nothing ventured' black metal affair. Although once again it is a solid offering, I do find that it often blends into the following track <i>The Venom Of The Gods.</i><br />
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<i>The Venom Of The Gods </i>is probably the strongest track on this album, although after several listens that gulf is getting smaller. The intro takes inspiration from the more gothic/satanica end of black metal, with its swirling riffs and and shrill bends. But soon it devolves into another doom inspired melo-fest! The crushing chug and stomp of the doom march at around 4:44 is a particular highlight! In fact, I am a fan of the entire outro in general, the longer time really allows the band to stretch their wings and show more of what we saw on the previous release.<br />
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Overall, I feel this is a solid offering to their growing discography. It continues their sound, building on things heard previously and allowing the band to find their feet. They are clearly a band with talent but Schmanmasch are learning to walk before they run here and I commend that. While 'great' genre defining tracks are in short supply here, bad tracks are nowhere to be seen. This is an album that you will not be disappointed with.<br />
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Article By: Gary Lee (@thewheelbear)<br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a><br />
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See everything Schammasch have to offer on their bandcamp, <a href="https://schammasch.bandcamp.com/" target="_blank">here</a>.Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-21317876947485482402015-05-06T12:13:00.000-07:002015-05-06T12:13:22.486-07:00News: Sathamel begin writing again!<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #666666;"><b>Has it been 5 months already? 5 months since Sathamel released their EP. Well, after an aggressive tour schedule, they're back! </b></span><br />
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Leeds based black metal band Sathamel have announced that they are beginning to work on the follow up to their well received eponymous EP. I for one am very excited, the first EP (the full review for which can be found <a href="http://musical-chairs-blog.blogspot.co.uk/2015/01/ep-review-sathamel-self-titled.html" target="_blank">here</a>) was a cracking début release that showed a vast amount of polish. The band made the following statement on their Facebook page:<br />
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<i>"Writing has commenced and will continue to persist for the follow-up of our eponymous EP.</i><br />
<i>Updates to follow.</i><br />
<i>'Mutate, dominate all'"</i><br />
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We at Musical Chairs shall wait with baited breath, and we shall bring you those updates as we hear them!<br />
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If you fancy it, you can purchase the album <a href="http://sathamel.bandcamp.com/" target="_blank">here</a>!<br />
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Article By: Gary Lee (@thewheelbear)<br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a>Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-82670585398649667182015-05-06T02:43:00.000-07:002015-05-06T02:43:50.847-07:00Review: Cave of Swimmers-Reflection<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #666666;"><b>Our metal mediator Gary Lee is back, this time bringing the prog with the loud and dynamic duo Cave Of Swimmers and their self released EP, <i>Reflection.</i></b></span><br />
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Cave Of Swimmers are a progressive metal duo based out of Miami, Florida. The duo, consisting of Venezuelan born GE Pereze and Toro, have been jamming together in various projects since their early teens. But it has only been since making the move to America that things have really come together for the pair. Their brand of jam band progressive metal has helped them carve out a dedicated following in the Eastern region of the US and now they are set to take their release, <i>Reflection, </i>globally.<br />
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The 4 track EP clocks in at 33 minutes, providing a look at their Latin infused take on the genre. Structurally, the EP is arguably a little off; two long tracks, both around the 10 minute mark-taking up more than half of the EPs length, then followed by two short tracks. Personally I feel this may be asking a lot from people who have never heard you before, for them to sit and listen to you for 20 minutes without knowing what to expect. It feels like a long investment, especially in today's 'impress me now' culture.<br />
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However, once you get past that barrier CoS are a fine duo. The first track from the EP and the lead song from it. <i>The Prince Of The Power Of The Air, </i>opens with a rather silky sounding synth line, guitars building up the tension before a crushing riff kicks the song open. Straight away the riff reminds me of some of the big blues/sludge riffs employed by the likes of Mastodon, a hypnotic head-nodding rhythm that has an amazing amount of presence. The drums do what is needed, nothing ventured, nothing gained but in this case nothing feels lacking. The track has a nice psychedelia inspired bridge complete with Latin drums. Vocally, CoS have an interesting operatic style that wouldn't be out of place alongside the voices of some of the European power metal giants. Yet, there are times when it feels out of place here, which is a constant gripe throughout the entire release. I personally feel that at times the vocals lack the gravel, grit and machismo that the bluesy riffs have and it can be a little jarring. A smidgen of aggression in the vocals would take these songs to new heights.<br />
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Nowhere is this more apparent then in the opening of <i>The Skull. </i>The song opens with a stoner metal riff through and through, low, riffy and slow, it's simply a wonderful riff. However, it eventually drops out and we are treated to more impressive, albeit out of place, operatic singing. <i>The Skull </i>does also show how well the singing can work though, with its Iron Maiden-esque chorus where the vocals take a less operatic approach and are replaced with a classic rock style falsetto much in the vein of Maiden's frontman, Bruce Dickinson.<br />
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<i>Still Running, </i>lives up to its name as it comes out of the gate with a relentless, almost thrash-like pace. The chorus has a catchy lyrical hook. "In my mind I'm still running/In my mind I am still free." This is complemented by a memorable proggy bridge, which once again has a fantastically Latin flavour. The album closes with the progressive instrumental <i>Reflections, </i>where the duo get to show off their musicianship.<br />
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Overall, Cave Of Swimmers are an interesting duo with a lot of upside. The pair are clearly talented musicians, they have a unique sound and are offering something interesting and new within their genre which will go a long way to helping them widen their fan base and find musical success. However, as I mentioned the vocals are a small gripe, although I realise this is a personal preference thing and in my opinion the riffs more than make up for it anyway. In closing if you are a fan of prog, or riffs then I would recommend checking this one out.<br />
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Article by Gary Lee (@thewheelbear)<br />
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To purchase R<i>eflection, </i>please visit the Cave Of Swimmers Bandcamp page, found<a href="http://caveofswimmers.bandcamp.com/" target="_blank"> here</a><br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a>Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-48049914969052636022015-05-02T11:44:00.000-07:002015-05-03T10:23:17.310-07:00Album Review: Lee Scott - Butter Fly (Prod. Dirty Dike)<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #666666;"><b>Ladies and gentlemen, Musical Chairs is back once again, delivering you your dose of hip hop goodness in the form of Lee Scott's <i>Butter Fly. </i>Our most esteemed hip hop guru, Chris Brown, tells all!</b></span><br />
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I am back once again with more UK hip hop awesomeness to soothe your ears. I would say High Focus are back too, but you know that's simply not true. They never left and that's why we have major love for them, they continue to grow and they never leave us hanging for too long between releases. For that I am most grateful. Yet again and like most High Focus releases, I believe this album changes the game, even if only a little. Although I don't know too much about Lee Scott, I know he's no stranger to the UK hip hop scene. I didn't quite know what to expect when I was introduced to this album, but I rapidly found myself getting excited the minute I realised the entire album's beats were constructed by none other then HF's own rapper-turned-producer, Dirty Dike.<br />
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If you aren't too sure just who Dirty Dike is, whether he's spouting the kind of filth the average human mind just can't comprehend or crafting some tasty buttery beats, this man ain't known for taking half measures when it comes to his work. This album is no exception either; you'll find it's overflowing with funky jazz filled beats and a regular uses of vinyl crackle, giving the beats a slight 90's kinda feel. All of this just works perfectly along side Lee Scott's super chilled delivery. Combine that with his humorous and sometimes obscure lyrical content and you're set for an interesting listen.<br />
If this is sounding good to you, then sit back and enjoy.<br />
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Butter Fly slides into motion with its title track, <i>Butterfly, </i>easily one of the most chilled intro into an album I've heard but it's a solid one none the less. Lee Scott's slick buttery flow just melts into Mr Dikes creamy smooth beat, creating an unusual intro that gives you a real taste of what's to come.<br />
<i>Don't Make Me</i> opens up with eerie ambient effects backed by a solid bass line, shortly followed by Lee's hypnotic off beat hook. This track has a great deal of dry, yet witty, punchlines on offer that are set to leave you in stitches. In fact there are moments like this throughout the whole album. <i>Money Grip </i>is up next and the jazz is strong in this one as the bass line takes a lovely stroll, backed by a slow punchy beat. What really sets the scene here are the twinkles of piano keys, which play an important role from start to finish and the vinyl crackle ties the whole track off nicely. This is a definite favourite. Next is <i>Walking The Walk </i>and that bass is still strolling along nicely as the beat remains chilled but punchy. Lee's flow here is immaculate as ever, this track is yet another treat.<br />
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Manatee Rap drifts into motion with a long trippy intro, everything from the beat, to the pitch in Lee's voice change, which is a fascinating way to change the sound without disrupting the chilled atmosphere. The quality of this track is simply superb, both deserve a drink for this one. We're at half way point of the album now with <i>Spaced </i>and its tremendously thumpy beat and stories of leaving our destructive world behind to find peace somewhere else. This is followed by <i>Watch TV, </i>which starts with an old TV sample, followed by a gloomy beat and cutz of the same sample from the intro. This track speaks truth on the effect that TV has on the world and how it can blur perceptions of the real world. I believe he's speaking the truth here and that why I like this track so much. <br />
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<i>Eight O'Clock In The Morning </i>has a<i> </i>devious sounding intro backed with the sound of horns taken straight from a horror movie. This sets a fear striking tone before the beat drops, shortly followed by a haunting chant somewhere in the back. Creepy as hell, but the production here is perfectly tailored for to the equally dark lyrical flow. <i>Sell Drugs </i>is an absolute banger, with its flavoursome old school hip hop sound, so prepare that famous nod and rock to that beat! You know the one. <i>Everything Is Money </i>contains samples taken from O'Jay's <i>For The Love Of Money</i>, the choice of sample here is brilliant. Love this track simply because it sticks. <i>Don't Tell Me, </i>Lee Scott demonstrates his ability to switch the speed of his flow in an instant<i>, </i>which makes for fantastic sounding hook. The lyrical content is witty and quite hysterical at times, to top it all off that wailing guitar sample is used superbly on this track. Taking us to the last track on the album is <i>Butter Tits, </i>which I feel needs no description at all, I won't ruin it for you. <br />
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This album is a gem. It's something a little different and unique in its own little way. That's why I recommend you give this album a listen, I seriously doubt you'll be disappointed. Like most High Focus releases, it pushes the boundaries just a bit further and that why we love them. UK hip hop doesn't come much better then this. Thanks again for reading.<br />
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Article By: Chris Brown <br />
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To purchase <i>Butter Fly, </i>you can visit the following links<br />
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<a href="https://itunes.apple.com/gb/album/butter-fly/id981534543" target="_blank">Itunes </a></div>
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<a href="http://www.amazon.co.uk/Butter-Fly-Explicit-Lee-Scott/dp/B00VHBR9AU/ref=sr_1_1?ie=UTF8&qid=1430588360&sr=8-1&keywords=butter+fly+lee+scott" target="_blank">Amazon</a> </div>
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<a href="http://shop.high-focus.com/product/lee-scott-butterfly-cd-pre-order" target="_blank">High Focus Records</a><br />
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<i><br class="Apple-interchange-newline" /></i>For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a><br />
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Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-58627397212325610722015-04-26T11:18:00.000-07:002015-04-26T11:18:49.885-07:00ALBUM REVIEW! Neutral Milk Hotel: In the Aeroplane Over the Sea<b>GUESS WHO'S BACK IN TOWN!? Alternative aficionado, Ryan Sweeney, returns from hiatus to bring you the first of two reviews based on his Record Store Day purchases. So sit back and enjoy as he brings to you his opinions on an all time classic "<i>In the Aeroplane Over the Sea" </i>by </b><i><b>Neutral Milk Hotel.</b></i><br />
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Every once in a while an album comes along that sets the bar, that changes musical perspectives and has a certain life to it that no other album does. Before this I only ever credited 3 albums as being able to do this: <i>Tommy </i>(The Who), <i>Siamese Dream (</i>The Smashing Pumpkins) and <i>The Velvet Underground and Nico (</i>The Velvet Underground) but now I feel a 4th needs to be added this list. In short "<i>In the Aeroplane Over the Sea" </i>is a masterpiece. This is indie/low-fi/alternative pop done perfectly. I have been listening to this album for 2 days solid and I am yet to be dissapointed, I cannot recommend this album enough it is well and truly an epic and contender for album of the '90s.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3k82i9D395T7cvGVfw6QNPmaDBA1wPspjIGLZUKJ599rvYTLGZ7jm2yj2CygJFuxAj8-yDc90F61QEmG7AE1c26VR-PI518CNv_YyM-batMBsAPCILfUOtLhVr6d2s0VlCtDHvJ40b5_I/s1600/In_the_aeroplane_over_the_sea_album_cover_copy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3k82i9D395T7cvGVfw6QNPmaDBA1wPspjIGLZUKJ599rvYTLGZ7jm2yj2CygJFuxAj8-yDc90F61QEmG7AE1c26VR-PI518CNv_YyM-batMBsAPCILfUOtLhVr6d2s0VlCtDHvJ40b5_I/s1600/In_the_aeroplane_over_the_sea_album_cover_copy.jpg" height="400" width="400" /></a>Formed in Louisiana in the late 1980's by vocalist and lyricist Jeff Magnum, Neutral Milk Hotel's career would be short, releasing only 2 LPs and 2 EPs between 1994 and 1999. Influenced by Americana folk music, low-fi bands such as Pavement and turn of the century carnival imagery, Neutral Milk Hotel's first EP <i>"Everything Is" </i>and debut album <i>"On Avery Island"</i> while a little dull and amateur at times, feel very much like the embryonic stage of a band that had the potential to do something very special. They achieved this with the release of "<i>In the Aeroplane Over the Sea" </i>which, despite lacking much commercial success on release, would become a favorite of critics and later go on to sell over 300,000 copies. After this the band would only record one more EP "<i>Ferris Wheel on Fire" </i>before calling it a day in 1999. In 2013 the group reunited to go on tour but have not expressed the desire to record new material (at the time of writing.)<br />
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This album is quite difficult to review because of its blending of styles, grand scope and abstract lyrical themes, so where better to start than the beginning? The opening track <i>"The King of Carrot Flowers pt.1" </i>is a folksy acoustic guitar/melody driven piece that really sets the ground work for the rest of album and gets it off to a running start. The lyrics, as they are through the rest of the album, are beautifully abstract making the listener question what they just heard. However, they never feel bloated or pretentious, they paint vivid pictures in your mind and drag you into the world Magnum has created. Another key aspect that crops up throughout the album is the use of odd and carnival-esque instruments; in this case an accordian plays a subtle drone in the background. Conversely, "<i>The King of Carrot Flowers pt.2&3" </i>shows the other head of the coin, opening with Magnum tearing his vocals (the nasal style that is used throughout) as he declares "I love you Jesus Christ, Jesus Christ I love you" before bursting with low-fi energy as it becomes almost a punk track in its fuzzy aggressive delivery, before dropping into part 3's wild instrumental that will leave even the most experienced alt fan reeling.<br />
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From there the album keeps on upping its game, whether that manifests in the lyrical themes, musical absurdity or the emotiveness of the music. The album carries on from strength to strength with songs such as the title track, the irresistibly catchy "<i>Two Headed Boy" </i>or the powerful "<i>Communists Daughter". </i>These show off not only versatility but also the attention to detail and the desire to take risks. Now let's talk about the albums biggest strength, its songwriting. I'm not going to sit here and pretend that these guys are the most technical band ever, they simply aren't. The chords are not too difficult and the structure can be simple enough to get the head around sometimes. However this album would not be what it is without its songwriting. Simply put, the songwriting is beautiful. It somehow manages to be broad without being pretentious, abstract but also linear, it manages to make allusions to Anne Frank without sounding preachy (yeah this isn't a happy album) and create Wonderland-esque worlds while still being rooted in grim reality. This all culminates in my favorite track "<i>Oh Comely", </i>a song that lingers with you long after it finishes as it is so much more than the surface shows. Though this lingering sense of darkness is all over, even during the untitled instrumental (track 10), there is always something that feels uneasy about this album and I love every minute I spend with it, it's magnificent.<br />
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In conclusion this album is worth everyone's time. In my opinion, this album is a masterpiece. It's just one great song after another, it appeals to so many different styles, all of which I love and I cannot urge you enough to give this album a listen. It really is an eye opener and I just can't get enough of it. If you would excuse me I have to go and listen to this album a few more times!<br />
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Highlights:<br />
<b>EVERYTHING</b><br />
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R.Sweeney (@TheCautiousCrip)<br />
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Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-20927359536583032282015-04-26T11:16:00.000-07:002015-04-26T11:16:26.294-07:00Review: A Forest Of Stars-Beware Of The Sword You Cannot See<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #666666;"><b>Here at Musical Chairs, we love discovering music that lives on our doorstep. Equally as much, we love delivering it to you! Here we have just that, A Forest of Stars, Leeds' very own Victorian time travellers give us their latest prog loaded masterpiece. Gary Lee dips his toes into this one and lets you all know how this one goes.</b></span><br />
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At first glance, <i>Beware The Sword You Cannot See</i> could seem a little impenetrable and certainly intimidating. The consumer is first greeted with a 'high art' style album cover, no band name, or album title to be seen, the song titles are long and evocative, yet dipped in poetry. The 14 track album comes in at just shy of 1 hour 20 minutes and the first 5 songs do not run under 6 minutes in length. Finally, add into that the rich and textured sonic structure of these songs that contain a vast amount of weighty musical elements, which I will discuss eventually. Make no mistake, A Forest Of Stars are a black metal band. But this is a rich experience, they are evocative, they are thoughtful, they are nilishtic and yet somehow romantic. Or most certainly poetic. This is not your run of the mill shot of 'hail Satanica', this is something much denser. This is your fine aged cask spirit to your supermarket bevvy.<br />
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Yet, for all the splendour and wonder that might bring, it brings with it a great deal of complexities, a puzzling twist of layers just waiting to be unravelled and it can be quite difficult to know how to approach such a thing, or even where to begin. <i>AFOS </i>are another band to be featured here that are from Leeds and is a conduit for the creative muse of many (seven) musicians, who all have different visions, influences and styles. It is amazing that they have collectively managed to tame the beast of creativity and find its home in their wonderfully crafted music and Victorian concepts.<br />
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The album opens with the fantastic <i>Drawing Down The Rain, </i>which begins in a folky/shoegaze fashion that reminds me a little of Yes. Starry-eyed chords pull you in as the tension builds in the background. These chords are then matched by the guitar riffs and the whole thing begins to take on epic feel as the violins kick in. The intro in itself is a good introduction to AFOS, grand and splendourous, a tightly crafted affair and there is something very 'northern' about the sound, be it mountains or dales, it evokes images of grand sweeping vistas.<br />
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Eventually the tension is cut by a crushing distorted riff and the screeching vocals rip through the opening lyrics of the album. "I can hear them ranting/ Like a choir of angels, those cunts." The emotion wrapped in the delivery of those rather vicious words is disarming. Yet, the words themselves deliver the vocalist, Mister Kurse, to his descent into his entranced vocal performance which has a maddening urgency to them as he speaks the lyrics "Ragged faces turned up to the rain/ Staring down; drawing down the rain/ Staring down; drawing down the rain/ Drawing down the rain/ Drawing down..." The spoken word delivery of these lines reminds me of Aaron Stainthrope of My Dying Bride fame. However, the hauntingly sung backup vocals that are contributed by the violin player and backup female vocalist, Katheryne, Queen of the Ghosts, are a particular highlight as they seem to point towards the songs' questioning of the human condition; toiling for a higher power without question or cause. I, of course use the term higher power loosely here, meaning both a divine being, or someone of authority. I particularly adore the notion of heaven being an empty threat. The song runs the gamut of emotion as it draws to a close on the beautifully played violin strings.<br />
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<i>Hive Mindless </i>is another emotional bludgeoning of a dizzying array of musical styles. However, it's jazzier interludes remind me of modern era Opeth, or indeed Genesis. Although, at around the 4:45 mark, the breakdown throws a left turn into that musical formula by throwing a riff into the breakdown that sounds like something from a brooding 90's psychedelia with a swirling grunge sound that would not be amiss in an Alice In Chains track, until the song is brought to its relentless crushing end.<br />
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<i>A Blaze Of Hammers</i> is perhaps the most directly aggressive offering on the album. It's opening barrage of bile-filled words, "Fuck you and the worms you rode in on", do a lot to set the tone of this particular ode to nihilism. Mister Kurse is quick to deliver his fantastically poetic spoken vocals again as he asks; "If all is soil of creation/ And all our every particle/ All intermingled is but a happy dust storm/waiting to disappear up a willing god's nose - then where should the faithful stand?/ I suppose it's irrelevant to a grain of sand."<br />
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The album then moves on to what I might have to consider my favourite song from the album,<i> Virtus Sola Invicta</i>, it was certainly the first to really get my attention lyrically. However, the lovely people at Prophecy (AFOS's label) have posted this wonderfully helpful lyric video, so I will just let that do the talking here.<br />
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The song itself rests heavily on a seductive and slightly unhinged performance from Mister Kurse and the amazingly poetic lyrics. Musically, while still being very much a black metal song, it feels a little more proggy. Again, comparisions can be made to early Genesis and the poetic storytelling style they held, I also guess it would be wrong to not mention My Dying Bride again, who have also often dabbled in the poetic.<br />
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The dissonance of <i>Proboscis Master Versus The Powdered Seraphs</i> cannot be escaped. There are some amazing uses of feedback on the guitars, while the snare is bold and big evoking the 80's snare. In my opinion the guitar work, which is moody and bluesy, once again has that 90's feel to it. All the while Kruse spits poetically vicious lyrics over the top and a haunting chorus of voices builds. This track is probably quite unlike any on the album, certainly unlike any of the ones heard so far, although the black metal stylings and motifs do make an appearance towards the end as we are once again seen out by violins that lift this song up to new emotional heights.<br />
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The next 6 songs work together to create the progressive opus of this album; <i>Pawn On The Universal Chess Board </i>. The first of which, <i>Mindslide, </i>is a haunting, ambient affair with vocals provided by the siren that is Katheryne. The song has a spectral feel, perhaps invoking a little of Floyd or once again that blackgaze/shoegaze vibe. The second part, <i>Have You Got A Light, Boy?, </i>takes the harmonic chorus of the first part and teams it with the powerful guitar tone that this album is filled with. Finally, Kurse returns to the vocal position as he spits "Are you a little lost, robot?/ To terminate? Stay resident?" This song then begins to build towards the third part, <i>Perdurabo.</i><br />
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<i>Perdurabo, </i>which comes from the latin "<i>perdūrō" </i>meaning "to endure", was also the name Aleister Crowley took upon joining "The Golden Dawn." The song eludes to both meanings with the lyrics "I will endure. All Father" and "Can you see through the fast approaching dawn?" Thematically, it continues the story of a being or a collection of beings that seem to rally against the machinations of a higher power and try to find their own way. Musically, there are creepings of the band moving away from the lofty and 'hard to corner' sounds of prog and back to metal.<br />
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The heavy blues bassline and stuttering drums in the intro to part 4, <i>An</i> <i>Automation Adrift, </i>once again gives this song a 90's vibe. Although lyrically, it's probably one the most arresting songs on the album. Kurse's performance is exhausting in its quivering poetic insanity. "Birthed across nowhere to ride the moon through phases/ Fazed in phases rolling nervous / lunar tick/ patchwork cut and paste parchments to feed faith's guttering furnace. /A cracked clock face nervously ticking away the night." I love the interesting plays on words in this song "lunar tick/lunatic" being a personal favourite. As the song draws to a close it erupts delightfully into full folk mode, making me think of once again of bands like Yes and,on the darker side of things, My Dying Bride.<br />
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Part 5, <i>Lowly Worm, </i>has the name of a grindcore song and sounds like one too. This track is unapologetically heavy and would make Napalm Death proud. However, part 6's <i>Let There Be No Light, </i>is back to the haunting ambiance and poetic storytelling. The music once again has a vast eerie quality to it and it is beautiful! I cannot help but think of <i>Trespass </i>by Genesis whenever I hear <i>Pawn</i> parts 1-6, a beautifully crafted prog story all in all!<br />
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The closing tracks continue the haunting, goth rock infused psychedelia that this album offers alongside its black metal plate. <i>Gestation </i>is a wonderful violin piece whereas <i>Cataflaque Caravan Quandary </i>is another dramatic melancholic poem set to a misty prog wonder, bringing to mind Floyd once again. The same could be said of the final track, <i>Plastic Patriarch Lynch Squad (Enduring December) </i>which is another gigantic prog track with Katheryne once again providing those killer vocals.<br />
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Overall....wow.....This album, I'll be honest, is a front runner for album of the year right now. It's just so huge. Having never heard AFOS before, I went into this expecting an interesting black metal album, but I'm not sure calling this a black metal album does this album justice. Yes, I will concede there are touches and flairs of black metal, but it is not these moments that lift this album above others. It is the proggressive elements and the dark psychedelia. As I have mentioned all the way through, this music harks back to the titans of early English prog; the genre bending of Yes, the folky elements of Tull, the storytelling of Genesis and the ambiance/psychedelia of Floyd, nevermind the melancholy of more modern names, such as Electric Wizard or My Dying Bride. It's like this album cherry picked of all the cool things about English music, blended them all together and created something that is as joyous as it is big.<br />
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Article By: Gary Lee (@thewheelbear)<br />
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Purchase <i>Beware The Sword You Cannot See</i> here:<br />
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<a href="https://itunes.apple.com/gb/album/beware-sword-you-cannot-see/id958127433" target="_blank">Itunes </a><br />
<a href="https://a-forest-of-stars.bandcamp.com/album/beware-the-sword-you-cannot-see" target="_blank">Bandcamp </a><br />
<a href="http://en.prophecy.de/index.php?cl=search&searchparam=A%20Forest%20of%20Stars&&listtype=search&searchparam=A%20Forest%20of%20Stars" target="_blank">Prophecy Records</a><br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a><br />
<br />Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-4021094823770666152015-04-16T11:44:00.004-07:002015-04-16T11:44:42.003-07:00Dawn Of A New Day - Video<div class="" style="clear: both; text-align: center;">
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<span style="color: #666666; font-family: Georgia, 'Times New Roman', serif; text-align: start;"><b>The Four Owls are back! Swooping into Musical Chairs with news of a new music video, our own hip hop crusader, Chris Brown, hits us with the details!</b></span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif; text-align: start;"><span style="font-family: Georgia, 'Times New Roman', serif; text-align: start;">Here's The Four Owls with their new video</span><i style="font-family: Georgia, 'Times New Roman', serif; text-align: start;"> </i><span style="font-family: Georgia, 'Times New Roman', serif; text-align: start;">for</span><i style="font-family: Georgia, 'Times New Roman', serif; text-align: start;"> Dawn Of A New Day </i><span style="font-family: Georgia, 'Times New Roman', serif; text-align: start;">from their most recent album, </span><i style="font-family: Georgia, 'Times New Roman', serif; text-align: start;">Natural Order. </i><span style="font-family: Georgia, 'Times New Roman', serif; text-align: start;">Big Owl, Bird T, Deformed Wing and Rusty Take-Off are the aliases of four of the most individually successful artists on the UK hip hop scene, together they're better known as The Four Owls. </span></span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif; text-align: start;">This track is simply a straight up banger, it's just a flawless mix of energetic lyrical flow and feel good vibes. This video is a fantastic representation of that energetic atmosphere the Owls create at their shows. The Owls are currently at the half way point on their 25 date UK and European Tour.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif; text-align: start;">It's been a great year for the Owls this year and it's been great to see them back in flight but as you can see they've got many more shows to rock before they go back into hibernation, so catch them while you can! </span>If this snippet ain't enough and left you wanting more click <a href="http://musical-chairs-blog.blogspot.co.uk/2015/03/the-four-owls-natural-order.html" target="_blank">here</a> and check out my latest review of the album in full.</div>
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<span style="font-family: Georgia, 'Times New Roman', serif; text-align: start;">"</span><i style="font-family: Georgia, 'Times New Roman', serif; text-align: start;">Things are changing the dawn of a new day, Four Owls, front of the crusade you don't like it? Fuck what you say!"</i><span style="font-family: Georgia, 'Times New Roman', serif; text-align: start;"> </span><br />
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Article by: Chris Brown<br />
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Purchase<i> Natural Order </i>Here:<br />
<a href="https://itunes.apple.com/gb/album/natural-order/id956842059" target="_blank">Itunes</a><br />
<a href="http://www.amazon.co.uk/Natural-Order-Explicit-Four-Owls/dp/B00S29ZU9C/ref=sr_1_1?ie=UTF8&qid=1427798145&sr=8-1&keywords=The+Four+Owls" target="_blank">Amazon</a><br />
<a href="http://shop.high-focus.com/product/the-four-owls-natural-order-cd-pre-order" target="_blank">High Focus Store</a><br />
<a href="http://shop.high-focus.com/product/the-four-owls-natural-order-limited-edition-vinyl-pre-order" target="_blank">High Focus Store Limited Edition </a></div>
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a></div>
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<br />Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-23679689742268600542015-04-16T11:42:00.002-07:002015-04-16T11:42:49.721-07:00Coverage:Kaotoxin Kollektor Series-Ausstellung<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #666666;"><b>Our friends at Kaotoxin Records have recently announced the first of what will become a series of exclusive high end physical content, available to buy direct from them and in limited numbers. Our metal master Gary Lee gives us the skinny!</b></span><br />
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French indie metal label, Kaotoxin, have proudly released their first 'Kollektor Series' release in the form of <i>Ausstellung, </i>a two song split release featuring The Lumberjack Feedback and We All Die (Laughing). Both could arguably be considered two of the labels most genre bending, eclectic and unique artists. However, before we discuss the artists, let's discuss the release in general.<br />
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The idea behind the 'Kollektor Series' is to create limited releasing by teaming up with people in other creative fields and offering these releases to the public for those collectors who have a desire to collect interesting physical releases. I believe Kaotoxin havevhit the nail on the proverbial head here. The release was created in conjunction with French photographer/artist <a href="http://www.mathieu-drouet.com/" target="_blank">Mathieu Drouet</a>, who created an exhibition wherein musical artists were asked to create music to accompany the 12 pictures Drouet had chosen for his exhibition. The songs were intended to be an audio rendering of the story and emotion captured within the picture. 12 individual artists were chosen, one supplying a song to accompany one of the 12 chosen pictures and thus these two songs and <i>Ausstellung</i> were born.<br />
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The first track from this release is by The Lumberjack Feedback, an instrumental five-piece consisting of 2 drummers, a bassist and a guitarist whose motto is "low and heavy!" This is also their first major release on the label, having released their EP <i>Hand of Glory (2013) </i>and the digital EP <i>Noise In The Church (2014). </i>Below is <i>A Whisper To The Thunder </i>taken from <i>Hand Of Glory, </i>the video also saw contributions from aforementioned artist M. Drouet.<br />
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The track they contributed for the exhibition (and has found release on <i>Ausstellung) I, Mere Mortal </i>is a rolling wave of crushing emotional darkness with just the type of relentless drumming you would expect from a drummer pairing. The riffs are large enough to combat the low end assault and the distortion and feedback becomes a nihilistic melody, the absence of notes creating the most wondrous of sounds. You can judge the song for yourself<a href="http://listen.kaotoxin.com/track/i-mere-mortal" target="_blank"> here</a> if you like what you have heard then you will be pleased to know that the band are releasing their first full length album later this year.<br />
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The second band that features on the release, We All Die (Laughing), are a two piece band, featuring former 6:33 vocalist (from 2013's <i>The Stench From The Swelling) </i>Arno Stobi and multi instrumentalist Déhà. The contribution made by the duo can be heard <a href="http://listen.kaotoxin.com/track/variation-on-the-scanning-of-thoughts" target="_blank">here</a> and is a dark jazz variation of their song <i>Thoughtscanning, </i>which was originally released in 2013 on the album of the same name. This gentle and brooding track features dark and foreboding melodies, which is a perfect counterpoint to the crushing doom that came before it. For those interested, you can find the original track, in its 30 minute entirety below.</div>
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Overall, this release is certainly an intriguing one, both on a musical and a physical scale. The chance to own a release that is limited to only 100 copies is enticing, whereas the music is complex and thoughtful. The release also comes in a digital form for those that don't have the space, or are only interested in the musical aspect of this release. Personally, I think this is a great start to the exclusive line of Kaotoxin releases.<br />
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Article By: Gary Lee (@thewheelbear)<br />
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Purchase <i>Ausstellung </i>here:<br />
<a href="http://www.kaotoxin.com/shop/cd/lumberjack-feedback-the-we-all-die-laughing-ausstellung-cd-vinyl-replica/" target="_blank">Physical release </a><br />
<a href="http://listen.kaotoxin.com/album/ausstellung" target="_blank">Digital release </a><br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a></div>
Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-59567295913926771472015-04-14T05:12:00.001-07:002015-04-14T14:55:59.793-07:00Review: Shawn James and The Shapeshifters-The Gospel According to Shawn James and The Shapeshifters<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxIfON9GC63RuwcHj3Mo5nhm3F1K8doT6ohHfDlhUw_O1DEjU0rUpOvz_Uw3Bc5Soroci21MUS7LV13vtdDixriov1uhvJ22NTQDgpiH4eg5HmkA0WgEVKDjRu_2zVMwpBn9S1uSGb94xw/s1600/unnamed.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxIfON9GC63RuwcHj3Mo5nhm3F1K8doT6ohHfDlhUw_O1DEjU0rUpOvz_Uw3Bc5Soroci21MUS7LV13vtdDixriov1uhvJ22NTQDgpiH4eg5HmkA0WgEVKDjRu_2zVMwpBn9S1uSGb94xw/s1600/unnamed.jpg" height="320" width="317" /></a><br />
<b style="color: #666666;">Swamp rock is back in town here at Musical Chairs. We sent our very own primordial ooze Gary Lee off on the trail to discover the source: <i>The Gospel According To Shawn James And The Shapeshifters.</i></b><br />
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Shawn James and The Shapeshifters are back on Musical Chairs. Last time we covered them, they were in the middle of a kickstarter journey to fund their album. Now they have their album and I shall be your guide through it. If you are unfamiliar with The Shapeshifters, then perhaps you should know that they hail from Fayetteville, Arkansas and are self-styled swamp rockers, bringing a blend of enthusiastic and infectious southern-country energy to hard rock and metal riffs, grooves and swings.<br />
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The album itself is on the shorter side of things, standing at just under 40 minutes long. Opening with the high energy, infectious and catchy <i>No Gods, </i>which is a fantastic song that pulls you into the style of the band well, while also (hopefully) leaving you wanting to explore this début album further. The album then closes with <i>Sandbox,</i> a slow and methodical plod through the musical country swamp that The Shapeshifters call home, a perfect compliment to the opener. This track allows (perhaps even encourages) you to think and reflect on journeys undertaken, both by yourself and by the album.<br />
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<i>Like Father Like Son </i>shows off vocalist Shawn James' powerful gospel like voice, a voice fused with the grunge 'yaarl' of vocalists like Chris Cornell and Eddie Vedder. Lyrically the song muses on a personal subject of childhood and fatherly relationships, opening with the lines "my father taught me lots of valuable things/like how to drink and not get caught/or how to loose your family and friends/addictions a horrible lot." Still though, despite the lyrical content, there is that patterned energy and vigour as the song gallops through riffs and jaunts.<br />
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<i>Lost </i>shows the mournful side of the Shapeshifters, sounding much more like a thoughtful gospel song than the usual jig inducing swamp rock. While Shawn James' vocals are in full gospel/blues effect and slightly cleaner than they were in the previous tracks, this song is a good prelude to <i>Sandbox. Wild Man </i>is the lead single from this release and holy moly does this song make you get your clap on! Gospel energy, country grooves, rock riffs and the return of the grungy vocals. This song has it all and may well be an instant classic, if not a track with a large shelf life.<br />
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<i>Strange Days </i>goes back to the full rock effect, while <i>Lake Of Fire </i>shifts back to gospel vibes and a heavy dose of banjo. The inclusion of violin on this track being a wonderful touch that takes the song to new and interesting places, this is another song to listen out for and once again shows the slightly more down tempo side explored in the albums closer. Meanwhile, <i>Just Because </i>tracks through with purposeful tension and menace befitting a song with the lyrics "just because you want peace/doesn't mean you'll get it before you die." This is perhaps one of the heavier tracks from the album and it is wonderfully fitting.<br />
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I do however, wish that this wasn't followed by <i>Back Down</i> because thematically there isn't much to choose between the two of them and with <i>Just Because </i>being a better delivery of it, I feel <i>Back Down </i>loses something and becomes less memorable for it. I cannot help finding this a little saddening considering the passion and care that went into the making of this album.<br />
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<i>Lilith </i>is a surprising track starting with a ballad style vibe before bursting into heavy riffs and drums. Eventually Shawn James summons up all his defiant anger as he growls "no you won't get the best of me!" An amazingly metal and beautifully emotional way to see out his vocal performance duties for the track, before going on to wistful <i>Sandbox</i>, which although I have covered above, I will add is perhaps another track to stick in your playlists!<br />
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Overall, I find this to be a fine album that offers a varied approach to the way the band make their music. The energy is infectious and it would likely go down a storm at parties, BBQ's or other social gatherings. I would suggest you try this even if you dislike country music, because this is a rather refreshing take on the genre. Although, you'd be hard pressed to find something to like if your aversion to banjo is much like that of a violent allergic reaction, but then if that is the case, you are in the wrong part of town sonny!<br />
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Article By: Gary Lee (@thewheelbear)<br />
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Purchase the album here<br />
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<a href="http://shawnjamessoul.bandcamp.com/album/the-gospel-according-to-shawn-james-the-shapeshifters" target="_blank">Bandcamp</a><br />
<a href="https://itunes.apple.com/gb/album/gospel-according-to-shawn/id983031212" target="_blank">Itunes</a><br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a></div>
Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-85350532337795952782015-04-06T14:10:00.000-07:002015-04-06T14:15:48.358-07:00Review: We are Harlot-We Are Harlot<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #666666;"><b>Good day you rambunctious</b></span><b><span style="color: #666666;"> and rebellious lot! Gary Lee is back to deliver to you another taste of Musical Chairs action. This time on the platter we have We Are Harlot, with their début album, handily entitled <i>We Are Harlot</i>, so that way you won't forget! How about we see how it all shakes out?</span></b><br />
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Since leaving metalcore band Asking Alexandria, Yorkshire's own Danny Worsnop has been concentrating on his new band, which of course is We Are Harlot. The foundations of the band reportedly began in LA where Worsnop met guitarist Jeff George, who had previously worked with Sebastian Bach. From there bonds and friendships were formed with the two deciding to form a band along with inviting Bruno Agra, formally of Revolution Resistance. The three then began to record demos before advertising for a full time bassist and recruiting Brian Weaver.<br />
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Worsnop has gone on record to state that the band simply wants to make music that they have fun creating, although considering the U turn in creative direction from his AA days, it seems plausible that Worsnop also wanted to explore other avenues as a vocalist. We Are Harlot certainly delivers on that. Waving goodbye to metalcore, We Are Harlot runs in the direction of high energy, high octane 70's rock, calling back to the days of Aerosmith and even AC/DC. However, on occasion there is a Southern US flavour to the jams and the vocal styling. <br />
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<i>Dancing On Nails, </i>kicks off the album with its testostrone fuelled riffs and heavy grooves. It is here that Danny's vocals feel charged with a Southern US rock twang, as he belts out robust and 'in charge' vocals. Lyrically, this song pretty much does what every song from the 70's time frame did; it talks semi-generically about someone in a sexually suggestive way "You've something/Worth exploring/I must be crazy/you got me feeling like I'm dancing on nails." Being the hooking lyrical work of this song, I will give it due credit. While it may not be a groundbreaking approach to rock, it is delivered in a catchy fashion, while the song is groove driven and infectious enough to deliver a certain amount of tantalising energy.<br />
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The album rolls through <i>DLT, </i>a song that takes the usual classic rock content and delivers it through some punchy, punk riffs that once again do not mess around in the "high energy" stakes. I admit that this track wasn't one that stood out on the first listen, but may well be a grower. <i>Someday </i>is the first of the obligatory rock ballads that all these bands/albums have to indulge in, although it is becoming so cliche sometimes I would rather that they didn't.<br />
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<i>Denial </i>is another single from the album and builds wonderfully on what was offered by <i>Dancing On Nails</i>. This time however, Danny reaches more towards his high end of his vocal range although he does call back on his metalcore scream, which is a refreshing take on the vocal performance for this genre. The big blues riffs are in full effect. The 'makes me wanna dance' groove is back and any sign of solo or extended guitar work is fantastically done. I feel this is the song where the guys really begin to strut their stuff and I can imagine it being a real crowd pleaser live.<br />
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<i>Easier to Leave</i> calls back to the Southern US influences, with a country music/country rock sound while <i>One More Night </i>brings back the energy in a non stop affair, stomping drums, ballsy, blues riffs are wild and free in this aggressive AC/DC inspired track that calls for the party to never end. I expect this to be another crowd/party pleaser. <i>Never Turn Back </i>takes that same energy and gives it the punk treatment again with punchy riffs, relentless drumming and a gritty vocal style, that occasionally breaks into a growl.<br />
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The final single release from the album <i>The One </i>feels like a fusion of 70's rock and 70's disco. There is a very definite funk/disco influence on the sound of this track, while lyrically it calls on the work of 70's rock. Danny's vocals here bring to mind that Aerosmith comparison. While this single offers plenty to its listeners and the disco type sound is interesting, I feel like it is missing the groove and stomp of the previous two singles.<br />
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<i>Love For The Night</i> brings back the Southern swagger and heralds the closing of the album. <i>Flying Too Close To The Sun</i> is a surprising track, with perhaps the rawest sound on the album and the screamiest (that's a word now) vocals, all played out with an AC/DC type vibe. I must say I really appreciate these moments, not just the screaming, but the times when the band has the guts to take the old influences and sounds into new places. Sadly, it is exactly the opposite reason that I roll my eyes at <i>I Tried. </i>A rock ballad, to end a classic rock album, how quaint!<br />
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Overall, this is an exciting offering from We Are Harlot. There is a nice mix of sounds and influences to keep you listening and as I mentioned, they don't seem afraid to take the genre to interesting places. However, I do wonder about the shelf life of both the album and the band. There have been plenty of classic rock styled bands that have come along with a great start and stagnated a little, or simply got lost in the shuffle of releases. Worth checking out though and it'll be interesting to see how these guys build on this successful first release. <br />
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Article by: Gary Lee (@thewheelbear)<br />
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Purchase <i>We Are Harlot </i>here:<br />
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<a href="https://itunes.apple.com/gb/album/we-are-harlot/id957528135" target="_blank">Itunes</a><br />
<a href="http://www.amazon.co.uk/Are-Harlot-Amazon-Sew-Patch/dp/B00T84QBC0/ref=sr_1_1?ie=UTF8&qid=1427986406&sr=8-1&keywords=we+are+harlot" target="_blank">Amazon</a><br />
<a href="http://shop.roadrunnerrecords.co.uk/en/artists/we-are-harlot.html" target="_blank">Roadrunner Records</a><br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a><br />
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Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-67456645794106736332015-03-31T11:59:00.000-07:002015-03-31T12:37:28.949-07:00The Four Owls - Natural Order<div class="p1">
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<span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;"><b>Our incomparable hip hop mogul is back! Chris Brown leads you through the latest offering from UK label High Focus. Here he is with The Four Owls and <i>Natural Order.</i> </b></span><br />
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<span style="font-family: Georgia, 'Times New Roman', serif;">Here's a little something for all the hip hop lovers in the land. Back again to supply ya'll with more goodness from the label that continuously takes the genre to new and incredible heights. You got it, it's High Focus. This time it's the </span><span class="s1" style="font-family: Georgia, 'Times New Roman', serif;">ornithologically themed UK hip hop super group who recently swooped in and dropped their new album, Natural Order.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">When unmasked, you may know them as Fliptrix, Verb T, Leaf Dog and BVA; four individually talented artists, each with a different story to tell. After putting a tonne of hard work into their involvement within the genre, they now stand on the very forefront of UK hip hop. Wearing those trademark masks, Big Owl, Bird T, Deformed Wing and Rusty Take-Off are better known as The Four Owls.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Before going into hibernation back in 2011, the Owls released their first album <i>Natures Greatest Mysteries, </i>which really set the bar for UK hip hop</span><span style="font-family: Georgia, 'Times New Roman', serif;">. It's truly an incredible album and you haven't heard it. I think it's about time you changed that. Check out </span><i style="font-family: Georgia, 'Times New Roman', serif;">Life In The Balance </i><span style="font-family: Georgia, 'Times New Roman', serif;">featuring the one and only Jam Baxter. Go ahead and click on the video below, you may just love as much as I do. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Throughout the whole album I felt a strong sense of unity, kinda like the way I felt when I heard their first album. They don't just happen to work well together, they bond like brothers. This is something which is pointed out in the album. The good stuff doesn't just stop at that, this release is bursting at the seams with flavour, originality and some genius lyricism. As for Leaf Dogs production on the entire album but one, it's summed up in one word, flawless. Dirty Dike and Jam Baxter return to collab once again, Smellington Piff makes an appearance as well as the legendary DJ Premier. That was a piece of news which left me shocked and excited to the very core. This is a history making collaboration, a bridge between UK hip hop and US hip hop is being built. It's something to be exited about!</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The entire albums foundations are a clever construction of infectious classic hip hop, boombap style beats. You know the kind that just take over your mind, the head nod starts and you just can't stop. A brilliant blend of Soul and Jazz samples sit comfortably atop the beats. <i>Rice Torture </i>displays this in excellent style. If you don't previously know who the Owls are, this track is full of their personal perspectives giving the listener a clear insight to what they stand for. The slick changes between the four of them have always been easy to distinguish. Lyrically I won't say a word, just check the vid below. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><i>Silent Flight </i>was the first single from this album, before the albums official release. This track is laced with twinkles of piano keys and well time soulful vocal samples, complete with yet another infectious head bobbing beat. This track is a favourite of my mine, which takes me to my second favourite, <i>Feels Great, </i>which<i> </i>is<i> </i>a track overflowing with feel good vibes. They show how appreciative they are of their positions within the genre, as well as the fans who show love and support, and the positive outlook on life that's given them. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><i>Think Twice </i>caused major excitement within the UK hip hop community. Produced by the great DJ Premier, more famously known as the second member of the hip hop duo Gang Starr. The track starts with Premo introducing himself and the Owls; "<i>This</i> <i>time, we're going overseas! Four brothers better known as The Four Owls!'</i>' This intro is underpinned by a harmonious instrumental section that plays in the back, creating an air of nostalgia before the beat kicks. Premo's unmistakable, unique style of scratching combined with sampling follows this and it's just perfect. I gotta say The Owls perform outstandingly here and really bring this collaboration together with their razor sharp wit and genius word play. The video for this is pretty sweet too:</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">The next track, </span><i style="font-family: Georgia, 'Times New Roman', serif;">Pay The Price,</i><span style="font-family: Georgia, 'Times New Roman', serif;"> is ultimately about decisions that people make and the actions that follow, all resulting in them inevitably paying the price. The Owls take no shit in </span><i style="font-family: Georgia, 'Times New Roman', serif;">Defiant </i><span style="font-family: Georgia, 'Times New Roman', serif;">(almost a direct quote). </span><i style="font-family: Georgia, 'Times New Roman', serif;">Control </i><span style="font-family: Georgia, 'Times New Roman', serif;">is</span><i style="font-family: Georgia, 'Times New Roman', serif;"> </i><span style="font-family: Georgia, 'Times New Roman', serif;">toned down a little, is a little more chilled and I found this track quite thought provoking. Following is </span><i style="font-family: Georgia, 'Times New Roman', serif;">The Four Elements </i><span style="font-family: Georgia, 'Times New Roman', serif;">which features DJ Sammy B-Side.</span><span style="font-family: Georgia, 'Times New Roman', serif;"> </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Then we have <i>Dawn Of A New Day. </i>The track is a straight up banger, Deformed Wing (Leaf Dog) cranks those boombap beats back up to eleven. The lyrical flow and its content hit hard! Big Owl barks "<i>Things are changing the dawn of a new day, Four Owls, front of the crusade you don't like it? Fuck what you say!"</i> Smellington Piff closes with an absolute killer verse. Approach<i> Assassination </i>with caution, it hits hard and bites harder. The Owls take off with some aggression over the top of that devious beat, throwing out methods on how to do the job properly, if you know what I mean! Wherever Dirty Dike is there's a lot of potential for 'aggressive' expansion. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The boombap beats don't stop in <i>Ain't Like It </i>and neither does that killer flow! Despite not being able to eradicate it, The Owls show they've no desire to put up with needless drama in <i>The Drama. </i>Up next is<i> Open Book </i>featuring Jam Baxter. Followed by <i>Judgement, </i>a personal favourite. This track is easily relatable because it applies to everybody, those who misjudge and those who fall victim to it. The hook; "<i>Are you looking behind the cover you see or judging me by the things the world made you believe? Are you looking at the way that I dress and thinking that it corresponds to the things in my head?'" Beautiful</i>. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The thought provoking<i> Old Earth </i>comes second to last on the album. The Owls show their reflective sides, speaking of the tough challenges as life progresses whilst keeping positive outlook in order to overcome them. This is a track that needs to be heard in order to really connect with it. The video is stunning so full screen it, sit back... Relax.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><i>Motivation </i>finishes the album on a high note with positive vibes flowing throughout. Laidback production with a chilled beat compliments this track superbly. Big Owl opens the track speaking about his passion for music and how that has been his driving force. Deformed Wing shows appreciation to those that surround him, including the haters, as they give him strength. Bird T uses his easy going lyrical flow to explain his progression from chasing money to staying true to the music. Followed by Rusty Take-Off who closes the album with his verse that contains not even the littlest bit of hate in his voice, not even for his haters. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">If you're all for that big sound hip hop, the kind where artists constantly show off and brag about their money and fame, then maybe this album isn't for you. This album is loaded with real substance and relatable subject matter, It connects with real people and it did it for me on so many different levels. The production ticks all of the boxes and the lyricism, I've already said it many times but it's just incredible. The Four Owls have literally created a masterpiece and if all of what I've had to say here sounds good to you, I believe Natural Order is for you.</span></div>
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Article by: Chris Brown</div>
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Purchase<i> Natural Order </i>Here:<br />
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<a href="https://itunes.apple.com/gb/album/natural-order/id956842059" target="_blank">Itunes</a><br />
<a href="http://www.amazon.co.uk/Natural-Order-Explicit-Four-Owls/dp/B00S29ZU9C/ref=sr_1_1?ie=UTF8&qid=1427798145&sr=8-1&keywords=The+Four+Owls" target="_blank">Amazon</a><br />
<a href="http://shop.high-focus.com/product/the-four-owls-natural-order-cd-pre-order" target="_blank">High Focus Store</a><br />
<a href="http://shop.high-focus.com/product/the-four-owls-natural-order-limited-edition-vinyl-pre-order" target="_blank">High Focus Store Limited Edition </a><br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a><br />
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Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-40391160815023940712015-03-27T10:44:00.000-07:002015-03-27T10:45:04.374-07:00Review: Gentle Storm-Endless Sea<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0Rk_DGrywUEMbJFYkhfnrdGU4PnEVf5B9UXjP1v7e1SN1rEHctG-doZhVXheGnrUXwjGvJbslSbV8zQZmLQB00xVphLz-eywMKN6UU_cWBjv4-d3MpLZLseQI6LpQhOdPyxw3Dsmyn8A_/s1600/635590832093922585_4053.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0Rk_DGrywUEMbJFYkhfnrdGU4PnEVf5B9UXjP1v7e1SN1rEHctG-doZhVXheGnrUXwjGvJbslSbV8zQZmLQB00xVphLz-eywMKN6UU_cWBjv4-d3MpLZLseQI6LpQhOdPyxw3Dsmyn8A_/s1600/635590832093922585_4053.jpg" height="320" width="320" /></a><br />
<span style="color: #666666;"><b>Here at Musical Chairs we love new music by new artists with an exciting vision and that is what we have here. We let Gary Lee loose, on the metal 'side' of <i>The Endless Sea</i>, the first release by The Gentle Storm.</b></span><br />
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Hailing from the Netherlands, Gentle Storm are a metal band that are very 'European' in flavour. Taking the conceptual storytelling of prog, the sound and rhythm of folk and the power and energy of power metal to create something very much their own. <i>The Endless Sea</i> is the first full length release for this project, which has been contributed to by a bevy of musicians from different backgrounds and bands. The release itself is an interesting concept. A 2 disc format, both containing the same songs but executed in different styles and with different arrangements. Disc 1 contains the 'gentle' versions of the songs, which take on a more acoustic and folk led style. However, disk 2 contains the 'storm' version of the songs, which fuse the aforementioned folk style with a metal approach. I must stress that both versions of each of the songs are worth checking out. Although, this being a metal review, I will be dealing solely in the 'storm' versions of the songs.<br />
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The album opens with <i>The Endless Sea</i> and <i>The Heart of Amsterdam, </i>both of which were the first two singles from this release. <i>The Endless Sea</i> kicks the album off just as you imagine it should; a sample of the sea plays while the tolling of what I can only assuming is some sort of harbour or lighthouse bell tolls. Instantly an ambiance is created, lulling you into the story of the sea and the journey you are about to undertake. There is a short choir/chanting section, along with a dramatic chord progression which pulls you in further before Anneke's siren vocals embrace you. The song is drama and tension played out in music and even though this is the 'storm' version of the song, the folk elements are still very much the vocal point here, with the drumming being the most apparent metal attribute. Although the guitar solo that points towards the outro of the track is a nice touch, while being nothing ground-breaking, it sure does sound nice.<br />
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While <i>The Endless Sea</i> showed the drama and power of The Gentle Storm, <i>The Heart of Amsterdam </i>typifies the energy and seduction of folk music and pairs that off with the pace of metal music, with the bridge being a particular highlight. Anneke's beautiful vocals now reach their full operatic range and the interplay between all the stringed instruments is much more interesting than it was in <i>The Endless Sea</i>. All of this is underpinned by a simple, but effective, bass/drum line that gallops along and pulls the listener with it.<br />
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Once the two singles are out of the way, the album moves sorrowfully to <i>The Greatest Love.</i>The song itself is not particularly weak, but unfortunately it is sandwiched between <i>The Heart Of Amsterdam </i>and <i>The Shores of India, </i>both of which are battling it out to be my favourite song from this release and as such <i>The Greatest Love </i>becomes somewhat forgettable.<br />
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<i>The Shores of India </i>opens with a horn section that play out the main melody of the song and I love inclusion of the gong. However, it isn't long before the guitars crash through and add a whole new level of presence to this song. Speaking of presence....that snare! I just wanted to take a moment and mention how snappy that is, it punches through the mix well and really hooks the beat. Anneke's vocals are once again really on display here, the pre chorus with its almost sinister, perhaps threatening, rhythm and lower tone works so well with the chorus and its higher, much more powerful range. Once again, there is something seductive about this song, it has a power and a presence that almost calls on you to hear more of it.<br />
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This tension is continued through <i>Cape of Storms, </i>which opens with a low end, threatening sound of strings which gradually lighten and open up, once again, doing all they can to beckon the listener through the journey of this release. Whereas <i>The Moment </i>opens in a grander fashion, much in the way <i>The Shores of India </i>did, but continues the exploration of the 'love' in the story, offering a contemplative side dish to <i>The Greatest Love</i>.<br />
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<i>The Storm</i> appropriately ups the the metal elements, beginning with an oscillating riff that conjures up images of a powerful storm whipping about. The folky elements are still around, but taking a bit more of a backseat than usual here, while Anneke's vocals are less operatic than they were in any of the singles. However, the choir is back to offer their help in that department, once again adding tension and drama to the song in a very 'movie soundtrack' kind of way. The song does a tremendous job of managing the emotional build and fall that most auditory art must master, a great piece of story-telling.<br />
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<i>The Brightest Light</i> shines a spot on the optimism of a deed done and a return home. Filled with uplifting major chords and the grandeur of power metal, this is a victory/success song through and through. Making a refreshing change after all the songs that sought to build tension, we are back to the jovial end of the folk sound. <i>New Horizons</i> then continues this motif, before the album wanders through <i>Epilogue:The Final Entry</i>, the closing track to this vagabonds release.<br />
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<i>The Endless Sea</i> is a fine début for a project I can only hope continues. It tells an interesting story, both musically and lyrically. It also explores ground in an interesting way with the dual release. However, prog/power metal can sometimes be considered a bit too grand, or flimsy for some. Yet all things considered, it has turned out interesting and I believe it has achieved what it set out to achieve rather astutely. <i>The Endless Sea</i> is available now, released on Inside Out Music and can be purchased <a href="http://www.insideoutshop.de/Search?q=The+Gentle" target="_blank">here </a> or found on iTunes.<br />
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Article by Gary Lee (@thewheelbear)<br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a></div>
Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-37417479768636955662015-03-21T13:38:00.002-07:002015-03-21T13:38:54.228-07:00Single: Etherwood-You'll Always Be a Part Of Me<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/QPVkrP2JUbM/0.jpg" frameborder="0" height="266" src="http://www.youtube.com/embed/QPVkrP2JUbM?feature=player_embedded" style="clear: right; float: right;" width="320"></iframe><br />
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<span style="color: #666666;"><b>Med School Music heavyweight Etherwood is back to his chilled ways as his releases his new single <i>You'll Always be A part of Me. </i>Usually our resident metal head, Gary Lee takes a gander at this soulful offering.</b></span><br />
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Etherwood has been a mainstay of the Med School Music label since <i>Unfolding </i>was released on the <i>New Blood '13</i> release by his label, an annual release that showcases the new talent signed on to its roster. Since then he released his first full length album in November 2013, titled <i>Etherwood. </i>In that same year, he won 2 awards at the annual Drum and Bass awards, winning "Best Newcomer" in the DJ and Producer category. However, things got fairly quiet for Etherwood, at least on his two more frequent labels. Only releasing a mixtape in May 2014 through Med School's parent label Hospital Records, alongside a contribution to their compilation album <i>Hospitality 2015</i>.<br />
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Finally, with the release of <i>You'll Always Be a Part Of Me </i>the signs point to Etherwood preparing to new material and readying for another album release. Etherwood, who is a multi instrumentalist playing guitar and piano, has become well known for his chilled out version of drum and bass. Crafting thoughtful heartfelt melodies and knowing how to use silence and space well, takes the 'if it ain't broke, don't fix it' approach here.<br />
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Piano chords and Etherwood's soulful vocals dominate the song, while an occasional swell of bass hits through the mix while the beats take a slow and purposeful approach. Offering a hip/hop or R&B take, rather than the usual barrage of energy that comes with drum and bass. Overall this is not music to dance to, but rather music to think to, to contemplate moments rather than create them. A blissful release from the Lincoln born producer and (hopefully) a sign of good things to come<br />
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You can buy the single either through Itunes <a href="https://itunes.apple.com/gb/album/youll-always-be-part-me-single/id965780928" target="_blank">here</a>, or the Hospital Records shop <a href="https://www.hospitalrecords.com/shop/release/etherwood/medic46-you39ll-always-be-a-part-of-me?utm_medium=news%20post&utm_source=med%20school%20website&utm_campaign=YABAPOM" target="_blank">here</a><br />
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Article by Gary Lee (@thewheelbear)<br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a></div>
Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-68250059833450973122015-03-15T14:08:00.000-07:002015-03-15T14:08:12.824-07:00Album Review: Pyramids-A Northern Meadow<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #666666;"><b>You cannot always expect the major labels to issue interesting, fresh music with new ideas to offer. But you can always trust Musical Chairs to at least point you in the direction of where you can find some! Gary Lee checks out the new offering by Pyramids, released this month by Profound Lore Records.</b></span><br />
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Music to melt to, that's it. That's all I need to describe <i>A Northern Meadow</i> by Pyramids. Pyramids are a Texas based experimental metal band. They are essentially one big stewing pot of sounds and styles; crushing, oppressive, atmospheric sounds of doom mixed with the high end shrills and 'evil' scales of black metal. Throw in some dreamy shoe gaze, some avant garde sounds and ambient soundscapes and you have Pyramids. This musical stew is then served up in one gloop so thick that it is difficult to tell where one influence ends and another begins. Right from the outside, this oceanic tide of music swept me up and I drifted in it, drowned in it and melted in it. Whichever metaphor you use, at an atomic pleasantly time consuming level, I was consumed by this music. <i> </i><br />
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The album opens with <i>In Perfect Stillness, I've Only Found Sorrow. </i>A high end, highly polished, fuzzed up blackgaze track, with a slow methodical doom style beat and some beautifully haunting vocal work that reminds me of Thom Yorke; pained, rich and with a discordant melody. The song meanders along on its melancholy like a lost piece of driftwood almost melding with <i>The Earth Melts Into Red Gashes Like The Mouths of Whales, </i>the next track on the album. This track also carries on along the same motif, slow and methodical versus dreamy and haunting. The repetition of vision however, makes this track no less worthy of your time.<br />
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<i>The Substance of Grief is Not Imaginary </i>is a very apt title for this particular track. It is the track where the melancholy of the previous songs 'wins' and the dreams become nightmarish. The song itself is slightly more black metal in style, although still with those beautifully sung clean vocals. However, there is an undercurrent of industrial style distortion and sampling that adds an unsettling 'crunch' to this track. Theres a few elements of what seem like screamed vocals, although they could well be filtered spoken words, I am unsure, either way it does little to settle the imagination. A fantastically evocative song.<br />
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Back to the cleaner style of otherworldly climbs comes <i>Indigo Birds</i> which is one of the longest tracks on the album at just short of 8 minutes. I often feel that the longer tracks are the measuring sticks for bands that have a slightly more eclectic style and this one does not fall short. Another well layered track that has plenty of interesting peaks and folds to wander around in. There's a spot around the 4:50 mark where most of the instruments drop out and everything gets a little harp-y. I'm not sure what exactly is making these sounds and it could well be synthesised (if so, great, I love to see bands reach for things outside their given 'genre'). But I love this section, its a prefect moment to exhale and take stock of the music before it, to ponder where this song might be going and where the other songs have taken, or will take you.<br />
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Although, I hope you used that moment to do plenty of exhaling, because <i>I Have Four Sons, All Named for Men We Lost to War </i>cuts through the serenity with a gut punch of doom metal stylings. A gut punch so furious it carrys through into <i>I'm Sorry, Goodbye </i>which sounds as meloncholic as its title suggests it should.<br />
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The final 1-2 punch on this album comes in the form of <i>My Father, As Tall As Goliath</i> which brings back some of the lighter atmospheric work and harmonies, and <i>Consilience </i>which probably fits the bill of being the 'exhibition song', it shows a little of everything that the album has already shown, but does so in new and interesting ways.<br />
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If I was to criticise this album I would say that it is difficult to take in a piecemeal way. It's definitely the sit down and listen to it from beginning to end type of album which, in some scenarios and for some types of audiences, may make it hard to access. I would also advise that this album is not going be for everyone but it is so well layered and passionately crafted it certainly deserves its place. In fact, just for the creative progression bands and releases like this bring, I am in love with this release and what it may do for its respective genres.<br />
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<a href="https://profoundlorerecords.bandcamp.com/album/a-northern-meadow" target="_blank">Find the album here</a><br />
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Article By Gary Lee (@Thewheelbear)<br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a>Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-83790713648914176932015-03-13T10:31:00.000-07:002015-03-13T10:31:16.210-07:00Review! Enslaved-In times<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #666666;"><b>As the year begins to hit the Spring and Summer months, we are gearing up and looking towards some heavyweight releases! Enslaved offer what may well be the first of these. Gary Lee takes a look:</b></span><br />
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Prolific Norweigian metal band Enslaved are back with their 13th Studio album <i>In</i> <i>Times </i>which is released on Nuclear Blast. Right out of the gate I want to point out that this is not a band I have followed closely and as such, I am not overly familiar with how this stacks up against their back catalogue. But by its own merit, I feel this album is worth a purchase. Like fellow Scandinavian metaller's Opeth, Enslaved do a great job of straddling genres; at times seeming like extreme or black metal, but often mixing that with melodic and/ or prog elements. Enslaved also do a fantastic job of keeping the listener enthralled during the time of the songs and the album. This is especially of importance when you consider that the album is only 6 songs long, but still clocks in at just under an hour.<br />
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The opening track, <i>Thurisaz Dreaming, </i>is a tour de force of songcrafting. It opens with a cacophony of blast beats, black metal-esc screams and a riff progression that appears to be snatched from the very same genre. This then develops into some swirling guitar work. However, at 1:20 this begins to slow down as a galloping drum rhythm appears. At 1:40 clean vocals come in, taking on a more melodic, almost wistful tone singing the rather apt "Ive taken on another form/Learning once again to speak". The guitar work becomes more gentle and once again melodic, as the listener is taken on a thoughtful journey. At around the 3:40 mark the screamed vocal work is back but the more melodic music remains, thus creating a nice song wide 'call and answer' type effect. Discordant guitar effects begin to gnaw at the edges of the music, threatening a return to the intro. Slowly this begins to build as power metal style vocals belt out of the now more aggressive music. Finally, at 5:40 we are back to full throttle blast beats and the black metal sound! It is this style that leads the song away to the choir led outro and caps off a fantastic first song and a bold album opener.<br />
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The album then sails through the slightly proggier styled <i>Building With Fire </i>which is then followed by <i>One Thousand Years of Rain. </i>The song is another mesh of styles and vocal approaches. I do feel though that it is the cleaner sections that are the strength of this song, they have a haunting power. The almost religious approach to the breakdown with the chanted vocals is fantastic and adds a real presence to the whole album, although my favourite spot in the song is the intro. There is a weird guitar hook that feels a little broken and dissonant, but in a clever way. I feel it really does a lot to draw you into the track and stands out from the crowd rather well. Overall, another well though out and engaging track.<br />
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<i>Nauthir Bleeding</i> follows on from this, another solid track with a rather fun and hypnotic guitar line. This leads to the longest track on the album, which is also the title track, <i>In Times. </i>The intro carries forward the almost power metal 'epic' feel sound that <i>One Thousand Years Of Rain </i>held. Again the vocal work is stunning. The screams carry a mighty and terrifying quality, while the clean singing holds a power and clarity. I also find myself enjoying the breakdown that hits around the 5:20 mark, which wanders from the chant motifs to something more melodic before crushing black metal style drumming and riffs come into to play, pushing the song towards its once more melodic outro. If I were to offer any song to anyone who had not heard of Enslaved and wanted them described, it would be this one.<br />
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The last track on the album, <i>Daylight, </i>is no less powerful. The song opens with a methodical and pounding doom sound. The intro soon gives way to some particularly evil sounding black metal stylings and from then on the song continues down similar, but no less interesting paths. The album in general is another one for 'album of the year', certainly 'album of the month'. Interesting. Epic. Powerful. Fans of Opeth should check this out.<br />
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Article By Gary Lee (@thewheelbear)<br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a>Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-27389905469739987082015-03-05T12:48:00.000-08:002015-03-05T12:48:59.198-08:00Review: The Midnight Ghost Train-Cold Was The Ground<div class="separator" style="clear: both; text-align: center;">
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<b><span style="color: #999999;">Musical Chairs, back. Metal, back. Gary Lee, back! The Midnight Ghost Train released <i>Cold Was The Ground, </i>March 2nd. Our very own metal god takes a look.</span></b><br />
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Hailing from Topeka, Kanas (although some of the band members can trace their roots back to Buffalo, New York) The Midnight Ghost Train (TMGT) are a 3 piece band currently comprised of Steve Moss (Vocals and Guitar), Brandon Burghart (Drums), and Mike Boyne (Bass). They have now released their third studio album, <i>Cold Was The Ground.</i><br />
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Stylistically, TMGT are a hard rock band but take influences from delta blues and southern rock. Occasionally the thick, raw bass sound can force the songs to take a sludgier element. Fans of Clutch, Mayleene and the Sons of Disaster, Alabama Thunderpussy, Truckfighters and Baroness will find something to like here. Personally I love this album. It's deep, dirty and down-low rock that's force fed through your speakers with swagger and aggression. I would have perhaps liked the band to take the songs further, most of them tip off at the 5 minute mark, showing a move towards a more radio/single friendly length, as oppsosed to the longer tracks of their previous offerings.<br />
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The album opens with <i>Along The Chasm/Gladstone. Along The Chasm </i>is a fuzzed up, riff centric intro track, whose main riff has a thick delta blues vein. The track shows off the swagger and groove of TMGT from the get go and is a great way to introduce the album and the band. The intro track however, also acts as an intro to <i>Gladstone </i>with the two tracks bleeding into each other. I like this decision, it benefits the album by giving it some pace and would help the band live, where they are known for fast paced and intense shows. <i>Gladstone </i>was the single from this album. Once again the track is thick with chunky blues riffs and swagger. The vocal performance by Steve Moss takes the form of aggressive growls that rumble through the mix adding to the macho bravado of the music. I also believe that these two tracks pretty much sum up TMGT well; so if you aren't a fan by this point, I would advise you to move on. TMGT are not a band that sweep styles and genres, you will not find something for everyone here. If you like blues, if you like groove, if you like aggression and energy then TMGT are certainly the band for you.<br />
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The album continues with <i>BC Trucker, </i>which exhibits some interesting rolling drum work and <i>Arvonia </i>which features the sludgier end of the TMGT's bassline work before making it's way to <i>One Last Shelter. </i>This<i> </i>is<i> </i>a beefy, in your face, fast-paced instrumental that sticks to the sludgier end of the spectrum offered by <i>Arvonia,</i> while overlaying some more blues based picking and guitar work. Once again nothing here is particularly surprising, but it is certainly entertaining and well executed. I feel like this track picks the energy back up and it's from here that the album hurls you through the rest of the songs. <br />
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The feedback from <i>One Last Shelter </i>leads into the feedback that opens <i>The Canfield, </i>which is mostly a drum led track (although a guitar riff adds a memorable hook). The chorus opens up the guitar work a bit more and leaves the floor open to some big headbanging moments. But mostly this is a drum led groove that drips with the fun and swagger of southern rock. The album chugs along on the bluesy <i>Straight To The North</i> and the more fast-paced and somewhat thrashy <i>No.227</i> before stopping off at <i>The Little Sparrow. </i><br />
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<i>The Little Sparrow </i>is an interesting spoken word track that has a somewhat trippy quality played over a fanstasticly memorable walking bassline. It could be argued that it discusses the highs and lows of being an artist. The pressure of having music locked in you and trying to find a constructive way to communicate that. However, it is discussed in a rather dark, morose and striking way. The groans that play through the "chorus" of this song only add to the unnerving quality.<br />
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The album closes with <i>Twin Souls, </i>which opens with a thunderous drum section before cutting into some wailing blues riffs. The track has a crunchy groove that becomes infectious and really carries the song through the 1:30 mins of no vocals. Once again the vocals are on point with a higher pitched growl that to be honest is quite hard to explain, but man it cuts through everything so well, completing the stomp that this track offers. From the 3:22 mark this track rolls on and doesn't look back, ripping out solos and chugging bass before crashing into <i>Mantis. </i>There isn't much to be said about <i>Mantis </i>that hasn't already been said here. Another fine offering, on an album full of fine offerings.<br />
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In summation, this is a good album, there isn't much more to it. It's a no thrills approach to southern blues/rock/sludge, a band who play with passion and put their all into everything that they do. The charm of this honesty shines through in their recordings and while I may have liked a longer track here and there or perhaps more examples of the trippy side of TMGT, I can appreciate what these guys are doing and the quality that it is executed with. One thing is for sure, this release has helped to kick March off fantastically.<br />
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Article by Gary Lee (@Thewheelbear) <br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a>Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-9471276069114868132015-02-26T14:12:00.000-08:002015-02-26T14:12:38.723-08:00Review: Black Star Riders-The Killer Instinct<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #999999;"><b>Musical Chairs are back. Gary Lee is back! So let's take a look at the new Black Star Riders album <i>The</i> <i>Killer Instinct! </i>Hold on to your hats, this one may just be a bumpy ride!<i> </i></b></span><br />
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The year is 1972 and Thin Lizzy have just recently released their second album <i>Shades Of A...</i>wait, no, that isn't right at all! The Year is 2015 and Black Star Riders have just released their second album, <i>The Killer Instinct. </i>OK that's better. Built from a reunion of Thin Lizzy members after the death of vocalist Phil Lynott and described as "the next step in the Thin Lizzy story" make no mistake about it, these guys ARE Thin Lizzy.....but they aren't, confused? Yeah so am I.<br />
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However my confusion runs deeper and pretty much underpins how I feel about this album. The change of name came about since it was apparently decided it was the better thing to do so that the new material wouldn't clash with the legacy the band had made with Lynott. But here's where I get confused; the sound hasn't changed either, which makes the name change seem like a rather pointless gesture. Surely the formation of what is essentially a new band, or if not that a new brand, would have been a good time to explore something new musically? I really cannot understand how an album released today can sound (production differences withstanding) almost like it could have been released 40 years ago, nor can I understand how that is a good thing.<br />
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I realise that right now, I am running the risk of riding this train off the rails, but I wasn't aware that hard rock was a modern supported genre. I thought that is was as outdated and geriatric as the people who listen to it, there I said it. Hard rock, I have no idea why you still exist. The album shows it's stuck in reverse too. It's hyper sexualised, stereotypical macho rock album art is almost enough to ward you away. However, it also extends to the track titles; <i>Bullet Blues, Soldierstown, Sex Guns & Gasoline </i>and the ironically titled <i>Through The Motions, </i>which probably should have been the name of this album.<br />
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It's not that I don't like the album, it has some good moments. The ballsy blues riff in <i>The Killer Instinct</i> encapsulates the swagger and strut of rock, although I'll say nothing of the rather trite chorus lyrics. <i>Finest Hour </i>has some good sing along moments and a rather nice solo. <i>Soldierstown </i>is at least an attempt at being thought provoking and <i>Turn in Your Arms </i>has a nice groove and some nice guitar work. Sadly, these moments are just that. Moments. It's not that the songs are 'bad' they're just 'done'. Every single one of these songs, could be any one of these songs. The album offers nothing memorable, nothing ground breaking or nothing even new at all.<br />
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I want to like this album, I really do. I want to love this band, I want to get excited about it, I want to be able to recommend this to all my friends and I want to be able to tell you readers that "oh man, this album is great, forget buying food, buy this instead." I mean come on! It's Thin-fucking-Lizzy! (kinda) But I can't. I can't because it's not exciting, I can't because they're are better releases this month. I can't because even these riffs won't sustain you and let's be frank, if you wanted to listen to some Thin-Fucking-Lizzy, then you'd be better off buying some classic Thin Lizzy.<br />
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Article By: Gary Lee (@thewheelbear)<br />
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For more info and to keep up with everything we have to offer here at Musical Chairs, please like and support our <a href="https://www.facebook.com/musicalchairsblog" target="_blank">Facebook page!</a>Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-59660801552780129072015-02-19T10:14:00.000-08:002015-02-19T10:14:59.711-08:00Album Review-Hate: Crusade: Zero<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #999999;"><b>Gary Lee is back! Our own dirt encrusted corpse, fuelled only by the dark energies of metal, offers his opinion on the latest Hate album <i>Crusade:Zero </i>and it is slightly lacklustre...</b></span><br />
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Hate are a Polish, blackened death metal band, who somewhat obviously face comparisons with their cousins Behemoth. However, I feel that this is selling both bands short. They both have their own ways and styles although there are, of course, some similarities. However, this is not an article to discuss those, this is an article to discuss the bands 9th studio album, <i>Crusade:Zero.</i><br />
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I admit that this album took a while to click with me! It has some strange structural choices such as the two intro tracks.<i> Vox Die (A Call From Beyond) </i>is a slow ominous build up that wouldn't sound too out of place at the beginning of an 'epic movie fight scene'. However, this is then followed by <i>Lord, Make Me an Instrument of Thy Wrath, </i>which is a more crushing and 'doomy' piece with wandering guitar riffs, thick basslines and the obvious inclusion of the double kick. Admittedly I like that this follows perfectly into <i>Death Liberator</i> but I just don't understand the thought process at work here. Usually, you hook the listener in with the intro track and then come out and make a statement with the track that follows it. The two intro track decision is odd. It appears as though the band couldn't pick one, or were padding out their track count. The only statement made here as a result is indecisiveness. I feel the album would have flowed better if the two intro tracks were worked into one, or if the second track and <i>Death Liberator </i>were made into one track. I also find myself questioning the inclusion of a bonus track, especially when this track (<i>The Reaping) </i>comes after the album's outro. This, once again, ruins the flow of the album and the entire concept of an instrumental outro.<br />
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Anyway! With that out of the way, lets crack on. The first actual track is sadly the third track on offering and in my opinion, it isn't quite the statement we were looking for. Led by the vicious growls and relentless double kick, the only statement this song makes to me is 'last album'. I mean, it is a good song but offers nothing new. It offers no reason to keep listening to this album, or even buy this album when you have the option of their older material. Of course there will be those fans of Hate, or of the genre, that are happy with this lack of divergence but I would have preferred something a little braver for the first fully fledged song on the album.<br />
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However, there is a song that makes a statement on this album! I bring you <i>Leviathan. </i>It is a crushing, heavy, bleak song with a fantastic down tempo doom feel to it. The chorus "Abyss/Born/Leviathan" is aggressive and violent with a guttural emphasis on all of those words and leaving enough space for some crazy head banging. Between the down tempo'd chorus though, the song rips open into a speedy death metal affair with all of the usual seasoning and some fantastic guitar riffing. I really love this doomy style that they mingled with their usual blackened death metal shredding. When I first heard this single it floored me, it still does, it is perhaps one of the best metal songs of the year. <i>Leviathan </i>is certainly enough of statement to warrant extra listening. That is, if you make it that far. Sadly the track that follows, <i>Doomsday Celebrities, </i>once again feels very generic. I like the drumming which adds a little something different but the rest, once again, feels very déjà vu.<br />
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<i>Hate is Law</i> manages to reclaim some of that brilliance but has a similar "down tempo vs shredding" formula to <i>Leviathan </i>but the bridge section that kicks in at 3:20 is the saving grace. It is a very groove led section that almost has a downtrodden southern rock feel to it and I mean that in a complimentary manner. Although of course, it is delivered with all the viciousness that Hate normally bring with them. It is a great example of a band attempting something a little different and having it pay off fantastically.<br />
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<i>Valley of Darkness </i>was the second single from the album and is probably reason number 3 to buy this album. It starts with a dramatic riff as the drums build towards the more crushing section of this intro. Once again this song has a great head-nod inducing groove that the majority of the album is missing. Mercifully, with the tension at its highest, the vocals cut in and herald a new age of aggression for this song. Although the grooves are still there, they seem less 'front and centre'. Also, look out for a great solo at the 5:10 mark.<br />
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Once again, sadly the album begins to falter. <i>Crusade:Zero </i>feels a little run of the mill, <i>The Omnipresence</i> is another instrumental (the album tops out at 4, 2 of which feel unnecessary), <i>Rise Omega The Consequence </i>offers little new to the album, <i>Dawn of War</i> feels very much the same and then there is the outro, <i>Black Aura Debris, </i>which is a solid offering. It's a functional outro track and does that well. However, it is then succeeded by the bonus track <i>The Reaping. </i>Having already discussed my issues with this structure, I will not cover this track here.<br />
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All in all, I would probably suggest you avoid this album as a whole. Unless you are the type to listen to this genre a lot, then perhaps you might want it in your arsenal. However, I would simply suggest you buy <i>Lord, Make Me An Insturment of Thy Wrath, Leviathan, Hate is Law </i>and <i>Valley of Darkness </i>and be done with it. Despite being a 13 track album, I feel that beyond those 4 there is little else on offer.<br />
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Article by Gary Lee (@Thewheelbear)<br />
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Musical Chairshttp://www.blogger.com/profile/03953337887427808339noreply@blogger.com0tag:blogger.com,1999:blog-744730977771114627.post-56404698672431430462015-02-17T10:38:00.001-08:002015-02-18T03:32:50.673-08:00Sathamel interview <div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;">Sathamel are fast becoming a well loved band here at Musical Chairs. Their debut EP was released this year and the review can be found<a href="http://musical-chairs-blog.blogspot.co.uk/2015/01/ep-review-sathamel-self-titled.html" target="_blank"> here</a>. Therefore you can imagine our excitement when they agreed to an interview and we are very proud to deliver it here. Within we discuss the foundation of the band, as well as some of their "rockstar" moments, alongside a confirmation that they are indeed working on new material!<br /><br />\m/<br /><br /><br /><b>MC: Firstly, congrats on the EP release. It's a great listen and obviously a milestone for the band. How does it feel to have your music released to the public now?</b></span></div>
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<span style="font-family: inherit;">KVN: Thank you! It means a lot. </span></div>
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<span style="font-family: inherit;">It is a milestone in the sense that some of the songs were already released on our demo, recorded under the previous name. </span><span style="font-family: inherit;">With the name change at the start of 2014 and unfortunately a subsequent line up change, it was almost a rebirth for the band. </span></div>
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<span style="font-family: inherit;">The response has been great and the icing on the cake, as it were, for the last 12 months... the band is stronger than ever - we regret nothing!</span></div>
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<span style="font-family: inherit;"><b>MC: How did the band come into being?</b></span></div>
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<span style="font-family: inherit;">KVN: The original concept came about from our guitarist, Baal, and the aforementioned ex-member around 2011 - when it was explained to me the original concept was to focus mainly on demonology and explain the myth behind each being. Examples of this include the songs "Venus, Morning Star" and "Abaddon".</span></div>
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<span style="font-family: inherit;">This was originally a 'recording only' concept and not something that was intended to reach a live audience, but since 2013 a full band was formed and here we are!</span></div>
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<span style="font-family: inherit;"><b>MC: What would you say are the major influences on your sound, who do you aspire to?</b></span></div>
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<span style="font-family: inherit;">KVN: We have fairly varied influences towards our own personal playing. Majority within the band would be the'resembling artists' I suppose, such as; Behemoth, Hate, Watain, Inquisition, Marduk, Dissection and Belphegor.</span></div>
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<span style="font-family: inherit;">We actively in our approach, apart from probably visually, try not to rip off any of these bands however. </span><span style="font-family: inherit;">With that said, our drummer is also massively into power metal and traditional heavy metal, variety isn't something we're afraid of. </span></div>
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<span style="font-family: inherit;">VALDR: If there's any band I want to be like, it is Sathamel - 'cheesy', but fuck it!</span></div>
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<span style="font-family: inherit;"><b>MC: What is your dream gig? Who would you like to tour with? Any festivals you’d like to do?</b></span></div>
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<span style="font-family: inherit;">KVN: The bands mentioned above would of course be a dream come true, some obviously cannot happen.</span></div>
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<span style="font-family: inherit;">Playing somewhere like Bloodstock also, somewhere we all congregate each year. It would be great to be on the other side of that barrier.</span></div>
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<span style="font-family: inherit;">We are also due to support Hecate Enthroned, for our debut show in london April 18th. That is a dream come true, most definitely.</span></div>
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<span style="font-family: inherit;"><b>MC: Any personal highlight or interesting studio stories to share from this release?</b></span></div>
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<span style="font-family: inherit;">KVN: The whole experience was great. Our producer and engineer, Sam and Adam, were great guys to work with. We tracked over three days and it did not go without some 'excess'... Sam was celebrating his birthday that weekend and we had arranged to meet in a local pub with some of our friends from Old Corpse Road. After finishing tracking guitars that day I decided to celebrate a lot harder than most - which resulted in much hilarity for the others. I don't remember much at all. Compromising photos of myself appeared on our personal Facebook pages, haha!</span></div>
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<span style="font-family: inherit;">VALDR: For me, tracking 5 songs in one day was one hell of a challenge. Don't get me wrong, the drums I recorded are not exactly the most technical, but being a heavy player it was tough to nail each song as best I could, despite only having up to and around 7 hours of recording time.</span></div>
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<span style="font-family: inherit;">But I am happy with the end result and just as proud of the rest of the guys for being so pro about it. </span></div>
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<span style="font-family: inherit;">Also, big shout out to Sam and Adam for the motivation throughout my session, was nice to have people present who actually cared about the end product and saw fit to advise me as to what I could do better in certain parts. </span><span style="font-family: inherit;">It definitely paid off!</span></div>
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<span style="font-family: inherit;">KRUK: On the last day of recording, when I was recording the vocal aspect of our sound, the building in which the recording was taking process was plagued by witches/negative energy hunters. </span><span style="font-family: inherit;">The owner of the establishment was one of those people, walking around the area designated for recording, playing some tribal drum and whispering some old spells. </span><span style="font-family: inherit;">There were also water rods for dousing etc. Don't know if it was a coincidence that the owner's hobby mixed with our recording or if he actually had called for some 'spiritual help' to help him cleanse the building once he had researched who we are. </span><span style="font-family: inherit;">It was quite frustrating as it cost us precious time, but it sure made a fine story to tell, which brings an evil grin on my face when I think about it.</span></div>
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<span style="font-family: inherit;"><b>MC: What is planned for this year now that EP is out?</b></span></div>
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<span style="font-family: inherit;">KVN: We are currently working on new material and still booking shows where we can. We are looking to perform futher afield and have done so already this year. </span><span style="font-family: inherit;">We have a handful of dates about Leeds and beyond confirmed now, all details can be found on our Facebook/Bandcamp/Reverbnation page.</span></div>
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<span style="font-family: inherit;"><b>MC: Do you listen to any non-metal music, maybe to unwind?</b></span></div>
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<span style="font-family: inherit;">KVN: Personally, although it is not strictly 'non-metal', I like to unwind to bands such as Alcest and Summoning. Apart from that, film scores (especially The Lord Of The Rings) and acoustic artists such as Andy McKee, Calum Graham and Jon Gomm. </span></div>
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<span style="font-family: inherit;">VALDR: My musical roots are deep in classic rock and heavy metal but I've always embraced the late 90's early 00's pop punk movement and if it wasn't for a certain few bands of that scene I wouldn't be drumming right now! </span></div>
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<span style="font-family: inherit;">Also I'm also a rather large fan of Eminem, although he's one of the very few rap/hip hop artists I enjoy! </span></div>
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<span style="font-family: inherit;">I do indulge in some classical stuff too, but more in the vein of epic movie and video game soundtracks, notably Howard Shore and Jeremy Soule.</span></div>
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<span style="font-family: inherit;"><b>MC: Proudest 'Rockstar' moment, or gnarly stage antic?</b></span></div>
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<span style="font-family: inherit;">KVN: Apart from the release of the EP and response? Realising you have made such an impression on someone that they feel the need to slander Sathamel and members by name online. That was the moment I felt I achieved something.</span></div>
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<span style="font-family: inherit;">As for gnarly stage antics - we use war paint and blood as a part of our image, when people realise it is at times real blood I suppose their reaction is "Gnarly". </span></div>
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<span style="font-family: inherit;">VALDR: I've had people shouting 'Sathamel' at me in the street and had some of the younger generation of Metalheads asking for pictures and autographs after shows. </span><span style="font-family: inherit;">I've been told that Sathamel has been held as inspiration for some young aspiring musicians - it really makes you smile!</span></div>
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<span style="font-family: inherit;">KRUK: There is a story linked to a band we played with, which we will not mention by name. After one of our shows, ourselves and other band of our friends got into an argument with the management of the venue, which resulted in threats of violence from these 'professionals'.</span></div>
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<span style="font-family: inherit;">Some possessions of the establishment were destroyed in rage due to lack of payment. There was even an idea in a certain characters head to burn the place down, needless to say the arson did not happen. </span><span style="font-family: inherit;">But due to the 'mess' we had made we were accused of damages, until it came to light we were actually on the stage when this occurred.</span></div>
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<span style="font-family: inherit;">We have also established a reputation of a very messy band. Our paint has become a standard for our shows. We feel that if we stopped doing it, it would feel like we didn't deliver Sathamel to the people watching us, as well as to ourselves. </span><span style="font-family: inherit;">As a result, sometimes we really do leave a bloody mess behind us.</span></div>
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<span style="font-family: inherit;">Some venues that we keep returning to have learned to accept it, others respect it and some others hate it and even ban us from coming back. I </span><span style="font-family: inherit;">believe that this kind of reputation is pretty 'rockstar'.</span></div>
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<span style="font-family: inherit;">What is metal without at least a small amount of controversy?</span></div>
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