Tag Archives: Traditional Metal

Review : SATAN'S HOST – "Celebration: For the Love of Satan" and "By the Hands of the Devil" (Some JAG PANZER, Too)

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We’re all so fucking jaded. Complacent we sift through extensive collections, from the sickest goregrind to the bleakest black recesses, feeling both unafraid and unchallenged. I’m not about to question the motives of the aforementioned and all points in between; people make the music they make for myriad reasons. But here’s what sells me on Satan’s Host—their conviction. You never doubt these dudes’ love for the dark side.

And fancy this, folks: they actually distanced themselves from the “extreme” ends of the spectrum in order to achieve this. By returning to their formative roots, the band now sounds more evil than ever, for the first time in 23 years. Since retracing their back catalogue, I sense a dearth of character in former frontman L.C.F. Elixir. Now that original vocalist Harry Conklin has returned to the infernal fold and re-recorded a career-spanning best-of collection, it almost feels as if these songs were meant for him; in retrospect, Elixir sounds like he’s been singing karaoke. (Reminds me of when I sang Aerosmith‘s “Sweet Emotion” with death growls in the high school cafeteria.)

Anyway, before they get to all that, Satan’s Host unleash a new song—the impassioned title track. Not only is the fretwork of stalwart guitarist Patrick Evil impeccable, but rarely, if ever, have I heard the phrase “mindless fucking sheep” used so effectively. From there, two updated takes on classic tracks originally laid down in 1986 with Conklin on the band’s first album Metal from Hell, and one from the 1987 EP Midnight Wind; all benefit most from modern production.

The following seven songs move chronologically through their decade fronted by Elixir, and in every instance are here improved. Check “Ecliptic Equinox” for example: the sinister brooding seems to come natural to Conklin, who adds dimension with theatrical gusto where it felt froggily croaked before. One sings confidently from his diaphragm; the other typically rends their throat. Further, Harry can affect quite a sinister pitch, and bassist Margar fills in background vox when needed. Though relatively new to the band, he’s a great low-end in many ways, and has no problem locking in with hilariously-monikered drummer Evil Little Hobbit. The second new track “Convictions” concludes, and though I mentioned the ‘conviction’ of Satan’s Host earlier, this song seems less about one’s certitude and more about receiving final judgment in Hell. Celebration: For the Love of Satan is a must-have for all Metal fans, because in the age of unbridled genre-jumping, you need forefathers to show you how it’s done. 4.5/5

01. For the Love of Satan (new song)
02. Hell Fire (originally from Metal from Hell)
03. Metal from Hell (originally from Metal from Hell)
04. Witches Return (originally from Midnight Wind)
05. Cauldron of the Ancients (originally from In Articulo Mortis)
06. Nightside of Eden (originally from Archidoxes of Evil)
07. Ecliptic Equinox (originally from Burning The Born Again [A New Philosophy])
08. H.E.L.L. (originally from Burning The Born Again [A New Philosophy])
09. Satanic Grimoire (originally from Satanic Grimoire: A Greater Black Magick)
10. “The Cursing” Vampyric Evil-Eye (originally from Great American Scapegoat…666)
11. Dark Priest “Lord Ahriman” (originally from Power~Purity~Perfection…999)
12. Convictions (new song)

The band crossed my plate earlier in 2011, though. Turns out the band has been rather prolific in their latest incarnation, and By the Hands of the Devil is just superb. The overall tightness, the fluidity of tectonic tempo shifts between menacing movements, and the brilliant re-imagining of “Norwegian Wood” (originally by The Beatles) that invokes church burning in the name of Satan (“Watch out for the splinters!”). It’s amazing to watch a band so deftly leap between dark power metal and melodic black metal, but you witness it in places like the title track and “Black Hilted Knife”—this is how you elevate above the cheese.

Ever sure-footed, they approach the brooding “Bleeding Hearts of the Damned” using an appropriate eerie atmosphere without slipping far into melodrama. And remember the “not far into” aspect, because some drama is essential; it’s part of the allure, really. The eight-minute tour de force “Before the Flame” underscores that, as both Conklin and Pat Evil pull out a multitude of tricks and techniques, interwoven with a damned catchy chorus. I hope this next 21st century decade embraces the new and improved Satan’s Host. (Oh, and does anyone else hear echoes of the main riff to “Breaking the Law” about two minutes deep in “Fallen Angel”?  No big… just saying.) 4.5/5

01. By The Hands of the Devil
02. Shades of the Unlight
03. Demontia
04. Before the Flame
05. Bleeding Hearts of the Damned
06. Black Hilted Knife
07. Revival
08. Fallen Angel
09. Inferior Worlds
10. Norweigan Wood

So I wanna wrap this up, but I nearly forgot that—about two months prior to Satan’s Host planting themselves firmly on my radar—Jag Panzer released their ninth LP. Technically speaking, this was the album that got me paying attention to Harry Conklin again. As good as the The Scourge of the Light may be, my initial reaction was that it drags. This surprises me, even moreso when the average track length of 4:50 is more than a minute shorter than either of the albums above.

The middle four songs are likely to blame, as they leave little lasting impact. Also, the band has since reportedly split up, perhaps sick of the guitarist juggling: former axeman Chris Broderick now slings for Megadeth in what’s likely a more permanent gig, Christian Lasegue quit a few months after this album’s release in order to pursue a degree, and the new kid they brought on, Jake Dreyer, just didn’t work out. Maybe it’s serendipitous that their last album was named thusly and the best track is called “Burn” because now Conklin can focus on fronting the fiendish Satan’s Host as Leviathan Thisiren. One last note: “The Book of Kells” truly is an ambitious, blazing swan song for the Colorodo metal powerhouse …but The Secret of Kells is still sweeter. 3.5/5

01. Condemned to Fight
02. The Setting of the Sun
03. Bringing on the End
04. Call to Arms
05. Cycles
06. Overlord
07. Let It Out
08. Union
09. Burn
10. The Book of Kells

~MetalMattLongo

BENEDICTUM's Veronica Freeman Dominates 'Mind over Metal' Live

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photo via benedictum.net

I am proud to introduce the first woman interviewed for Mind over Metal: the inimitable Veronica Freeman of Benedictum! The latest monster from the trad metal upstarts is Dominion—their third full-length overall and first for Frontiers Records. We talk about the label switch, females in heavy music, and uprooting from San Diego to Phoenix with her husband and bandmate for their other love: motorcycles. Btw, I can’t recall the last time I laughed this hard, so consistently, and had this much of an easygoing good time. In 38 minutes, we cover a lot of ground, so listen up for more than I let on!

[buzzsprout episode="26807" player="true"]

Review : BENEDICTUM – "Dominion"

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Benedictum – Dominion
Release: 2011March08 (US)
Label: Frontiers Records
Rating: 4.5/5

I’ve had a real rough time with LocoMotive Music. The Spanish label dispensed a seemingly-endless stream of mediocre metallic Manneken Pis that overflowed my steely ears. They are the reason I adopted the “one-minute rule” when reviewing questionable albums—if songs didn’t grasp in 60 seconds, I moved on. Since becoming WRUV’s Metal Director in April 2005, the venerable Grave Digger (with Liberty or Death) and Mystic Prophecy (with Satanic Curses) were the only two to breach my walls. Both hinted toward the darkness I feel necessary to sustain this genre …then I heard Benedictum‘s Seasons of Tragedy.

I had never liked anything as immediately—and as I would discover, enduringly—from this label. In fact, I can’t recall another since, so good on them for ending on a high note, I guess. Lastly, applause for encouraging the group to change their name to Benedictum from Bound—hey, you don’t want people confusing the band with the Wachowski Brothers’ sexy neo-noir film debut, right? But let’s lavish praise upon the ever-strengthening San Diego quintet, who have really hit their stride on their third full-length, and switched to Frontiers Records, based in Naples, Italy.

Now I know that I just self-referenced in my limerick review of Otep‘s latest pile of meh, but I must clarify (hopefully) one last thing: Veronica Freeman’s exclusion from this list. Had there been better Benedictum videos on YouTube, I would’ve included them, but I want to do this woman justice. The co-founder typically takes center stage, and rightfully so, as Freeman’s charismatic command is enthralling. The passion and sincerity she injects into every inflection is clearly captured, keeping even the most cliché lines in the black—hell, we even get the ‘darkness-light’ line in “Seer” and contradictory song titles that sound downright high-schoolish (“Beautiful Pain” and “Loud Silence”). If there is one thing I’ve learned over the years, it’s to not reflexively reject such tropes, but explore the balance created through the music.

I was not expecting there to be balance birthed from more progressive lands—impressively achieved on the nine-minute, pre-bonus track closer “Epsilon”, which feels downright taut compared with the last album’s title track (though stand out it did). We hear all that new keyboardist Tony Diaz has to offer, from subtle touches to leading the charge. Some stuff is goofy—like the bell ringing on the “time is running out” line from the otherwise-awesome “Prodigal Son”—but the war horns on followup “The Shadowlands” are nothing short of fucking perfect, in terms of both tone and placement.

Their covers always amaze me, too. Last time it was Accept‘s “Balls to the Wall”, and I have heard them do a mean version of “Heaven and Hell”, but Rush‘s “Overture/Temples of Syrinx” (from 2112) is given a vicious update on Dominion, with a range I instinctively knew Freeman had, but never fully connected until now. Okay, I’ve dwelt on her for a while, and lest I forget other co-founder Pete Wells, recognize: I haven’t heard a huge dude shred a riff quite like “Prodigal Son” since Into Eternity‘s Tim Roth dusted on “Timeless Winter”.

Rarely is that classic desired dynamic between vocalist and lead guitarist achieved these days; there’s a certain panache that’s easy to see, yet hard to quantify, and it is so obviously present in Benedictum. Truly, they are as blessed as their name suggests.

FCC OK
Try 1, 2, 3, 4, 5, 6, 8, 9, 11, 13

01. Dominion
02. At The Gates
03. Seer
04. Grind It
05. Prodigal Son
06. The Shadowlands
07. Beautiful Pain
08. Dark Heart
09. Bang
10. Loud Silence
11. Epsilon
12. Sanctuary
13. Overture/Temple Of Syrinx (Rush cover)

~MetalMattLongo

Review : ANVIL – "Juggernaut of Justice"

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Anvil – Juggernaut of Justice
Release: 2011May10 (US)
Label: The End Records
Rating: 3.5/5

I write about this new Anvil album the day after Osama bin Laden was reportedly killed. With all the years of confusion, missteps, and eventual successes, it’s a perfect parallel for the Canadian trio’s fourteenth full-length whose name, Juggernaut of Justice, even sounds like how the United States imagines itself when policing the world.

Anyway, this is all coincidence, I assure you. It seems like every little thing happens to Anvil by chance, despite their best intentions. Their surprise-hit documentary chronicling their career of plague and promise helped catapult the veterans back into the spotlight, and they’ve been been doling out their traditionally-minded proto-thrash to massive, fresh audiences for a couple years now. They hit multiple European metal fests, including the ever-growing Wacken Open Air, but I actually caught them at the second annual Heavy MTL concert. A photo album with 147 pics can be seen here, but not a one commemorates Anvil—we rested instead.

And that’s really the size of it:  the band just doesn’t get me on my feet. True, Juggernaut sounds as huge as its name, and is among their better recordings in terms of sonic quality. So if you’re reflexively into the old school, start getting psyched—the mighty leading title track, as well as “Turn It Up” and “This Ride” are all about kicking ass forever, regardless of age… fukeneh!

But damn, dudes—there’s a lot of points that need to be acknowledged. First and foremost, “On Fire” is fucking literally “Burn” by Deep Purple, in more ways than one. I’m not sure if this is a sly jab or Lips’ unconscious working overtime, but yeah, that happens. “Paranormal” is admittedly “Sabbathian” (by drummer Robb Reiner himself) and good for them to experiment with different sounds, but I didn’t think it felt right and it drags on for seven long minutes. I was actually more okay with their jazzy instrumental conclusion “Swing Thing”—complete with horns—that sounds like three missing minutes from a King Crimson “21st Century Schizoid Man” jam session. And a tune like “Conspiracy” is just half-researched political talk that could be omitted, but “New Orleans Voodoo” actually works, and must have been a Wikipedia workout.

I feel pretty much the same as I did about the last album by Raven—another resurrected trio who overcame a mountain of adversity: it’s well-produced, raucous fun that’s somewhat overlong, but you wish them the best, always. This is one of many albums being released on my birthday this year. Regardless of its sometimes ruthless nature, the longer I stay in this Metal business, the more faith I have in justice… you know, in the long run.

FCC: 5
Try: 1, 3, 6, 7

01. Juggernaut Of Justice
02. When Hell Breaks Loose
03. New Orleans Voodoo
04. On Fire
05. Fukeneh
06. Turn It Up
07. The Ride
08. Not Afraid
09. Conspiracy
10. Running
11. Paranormal
12. Swing Thing

~MetalMattLongo

Review : CRYSTAL VIPER – "Legends"

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Crystal Viper – Legends
Release: 2011Feb22 (US)
Label: AFM Records
Rating: 3.5/5

Most Polish metal that crosses my path is of an extreme variety: Hate, Behemoth, Hermh. The miraculously ‘H’-less Crystal Viper strikes with a traditional approach on their third full-length release, and certainly have lots going for them. Let’s be honest, the first thing worth mentioning is vocalist/guitarist Marta “Leather Wych” Gabriel. Oh, and the first thing worth pointlessly debating about is whether or not “Wych” is better spelled “Wytch”; I think it should be… looks like it’s pronounced “wick”, right?

Anyway, she’s the reason parallels to Warlock/Doro and Benedictum readily surface. In all cases, the bands have traditional mindsets coupled with mighty melodies—plus both she and Veronica Freeman have tackled Udo Dirkschneider in Accept covers. Marta has a pronounced accent over her commanding range (which will either feel endearing or detracting), but further possesses a tr00 axe-in-the-hole.

That’s right—the chick can riff and sing. She has conviction without pretense, and even on the piano ballad “Sydonia Bork” her passion is cheese-free (though it’s still not a favorite track of mine). Andy Wave is the dude busting the sweet solos, and I think he’s responsible for the swinging pirate-y rhythms found in “Goddess of Death” and “Greed is Blind” alike. But I think the band is best when they not only do that, but also charge at full gallop, like on “Ghost Ship” and “Blood of the Heroes”—a two-pronged attack that belies the somewhat goofy intro “The Truth” by Rhino (ex-Manowar).

The second half kinda lost me. “Night of the Sin” and “Man of Stone” both try to ramp the speed back up, working in a catchy gang chorus in the former and Gabriel’s highest pitches in the latter. “Secret of the Black Water” didn’t go down well, either; despite the overt Sabbath worship, it just felt plodding. But ”Black Leviathan” really caught my attention with strong Maiden influence, and this time, pirates in the subject matter, too. This is where the album ends for many, but try to find their cover of “TV War”—the opening (and best) track from Accept‘s 1986 album, Russian Roulette. Strange that an album focused on fantastic tales concludes with a tune based more in real life, but still fits their proposed overall theme: evil always returns and greed is blind.

All I know is I’m paying attention now. I’m sick of preening prima donnas who cannot pull their weight, or serve as eye candy for otherwise mediocre music. As of this post, Crystal Viper hold the top slot with NWoTHM emerging from Poland in the 21st century.

FCC: OK
Try: 2, 3, 4, 6, 10, 11

01. The Truth
02. Ghost Ship
03. Blood of the Heroes
04. The Greed is Blind
05. Sydonia Bork
06. Goddess of Death
07. Night of the Sin
08. Secrets of the Black Water
09. Man of Stone
10. Black Leviathan
11. TV War (Accept Cover)(Bonus Track)

~MetalMattLongo

Review : TITANS EVE – "The Divine Equal"

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Titan’s Eve – The Divine Equal
Release: 2011Feb01 (Can&US)
Label: Self-released
Rating: 3.5/5

Canada’s Metal scene is burgeoning. Last year I actually had the chance to review several releases from the country, including Priestess and Bison B.C.. Let the 2011 list begin with Titans Eve, a young thrash band from Vancouver who have just released their debut The Divine Equal.

Lead singer/guitarist Brian Gamblin has stated that they believe most metal bands try to “follow musical trends and ride the coattails of whatever is popular at the time”. While I refute this assertion to a degree, it’s nearly impossible to say that Titans Eve is one of those bands. With this impressive debut, they prove themselves capable of crafting an original sound while sticking to their roots and not straying too far from the visions of their ancestors. The problem, however, is that they sound like a young band: the structures never change, riffs explode but don’t cause any damage, and songs don’t feel satisfying when they’re over. Fortunately, these three problems give rise to huge pros: the structures are good and don’t need drastic makeover work, the riffs do explode, and each track leaves you wanting more. Imagine a delicious meal that is only half the size it should be. That is essentially what you’re getting here.

Moving forward, Titans Eve are already ahead of other bands on their debuts. While most artists have hardly started building their foundation, these guys have the whole house built. The only work left is painting and furnishing—purely cosmetic procedures. The Divine Equal is a good debut, but it will take time before they release anything to gawk over.

FCC OK
Try: 2, 4, 5, 8, 11

01. Mourning Star (Intro)
02. Judgement
03. Becoming the Demon
04. Into the Fire
05. Serpent Rising
06. Tides of Doom
07. Dusk
08. Nightfall
09. Living Lifeless
10. Searching for Nothing
11. The Divine Equal