Metal Mondays: My Top 5 Female Metal Guitarists

Female guitarists in metal may number fewer than their male counterparts, but their brutal riffage packs just as heavy a punch.  I don't really want to open up a big debate about the role of women in metal, but I do want to take this chance to shine some light on five ladies who totally shred and deserve some recognition.  This list isn't meant to be a rundown of who I think are the five best female pluckers; it's simply a list of my favorite women who deliver venom through the six strings.

Image from: http://bettytooo.blogspot.com/2013/03/hungry-for-stink.html

5. Donita Sparks of L7

For me, L7 were the original female badasses of heavy metal.  Donita's sludgy style and mean vocals propelled this wicked grunge-metal outfit.

Image from: http://www.phorum.gr/viewtopic.php?f=23&t=130566&start=195

4. Mika Penetrator of Gallhammer

Although no longer a member of the Japanese crust-punk-blackened-doom frenzy known as Gallhammer, Mika brought a raw ferocity to the group during her time.  Her grim, minimal approach sent chills down my spine.

Image from: http://forum.flamingatom.com/topic/9090192/75/

3. Liz Buckingham of Electric Wizard

Liz provides the powerful, demonic riffs behind the current incarnation of the English doom act, Electric Wizard.  Her heavy style invokes the dark mysteries of the occult.

Image from: http://www.themelvins.net/wiki/index.php?title=Lori_S

 2. Lori S. of Acid King

With her hypnotic wails and thick, fuzzy riffs, Lori S. forges the signature sound of San Fran doom legends Acid King.  The groovy flair of her style gives the band a unique, psychedelic atmosphere.

Image from: http://www.metal-archives.com/artists/Wata/7356

1. Wata of Boris

Who would Boris be without Wata?  She breaths life into the Japanese experimental metal group with her combination of punishing distortion and chilling melodies.  Whether she's playing at a frantic gallop or delivering a booming, feedback-drenched drone, Wata always packs emotion into her methodical style.  You wouldn't know it from her stoic onstage demeanor, though.  Wata is a treat to listen to; I highly recommend seeing Boris live.

 

Album Review: Scorn (Primitive Man)

Image from: http://www.revolvermag.com/reviews/review-primitive-man-scorn.html

Today I’m reviewing the debut album of Primitive Man, entitled Scorn (Relapse Records).  This album is definitely not your stereotypical metal affair with blistering speed, dynamic riff sequences, and tasty touches of melody and harmony.  This album is just raw, unadulterated grimness.  I’ve heard their sound termed ‘blackened doom;’ their Facebook page declares their genre ‘Death Sludge Doom Gaze.’  But really, their style rises above (or perhaps sinks below) any neat verbal packaging.  Scorn vaguely reminds me of the self-titled death/doom debut of the brief-lived group Serpentine Path, which came out back in September 2012, but that doesn’t quite give you the whole picture.  At certain moments, like on “Stretched Thin,” Primitive Man seems to combine the experimental sludge/doom of the Japanese group Boris with a black metal mentality, but I think that description will lead you astray as well.  The album contains some ominously ambient tracks that bear similarity to work done by Electric Wizard, but with a, dare I say, darker tone.  But otherwise, their doom is quite different than that of the Wizard.  Perhaps it's a sound that you just need to check out for yourself, but, as a word of warning, don’t give it a listen on a nice, sunny day, for once you press play, bleak, menacing thunderheads will manifest from nothing and negate all light.

            I must emphasize that this album is SLOW and HEAVY.  Those two words are probably the best starting place in an assessment of this release.  Scorn is doom to the core.  This isn’t the groovy doom of bands like Sleep and Sabbath; this music really constructs an aura of doom that is imminent and threatening.  Sure, all doom does this to some extent, but on this album, Primitive Man grabs you by the scalp and slowly hoists you over an unfathomable cliff.  As you look down, a fiery behemoth opens its putrid maw to catch your fall.  Together, guitar and bass resound with a humming, fuzzed-out dissonance.  Expansive chords and notes blossom from the speakers, only to linger and wither into oblivion.  For the most part, the songs move at a languorous crawl.  The drums don’t push the music along; they sound as if they are being dragged by a morbid sense of inevitability.  Leaking from dirty, decaying amplifiers, the guitars knell a darkly stagnant tone that will pull you down to festering depths of subterranean horror.  This is certainly not cruising music or music to get you stoked up.  However, there are plenty of passages that pick the tempo up, slipping in and out of the recording in order to make things interesting.  If anything, these faster sequences emphasize the general torpidity of the release, waking you from your trance and reminding you how slow the music has been going. 

            The vocals are gravelly and abrasive, ranging from a throaty shriek to more of a death metal growl.  The overall quality of the music is hypnotic.  Corpulent, repetitive riffs cause the listener to lose a sense of self.  This music applies a steady force capable of eroding concrete to dust.  This album might be the sonic equivalent of what it feels like to be pressed with stones or sink slowly into hot tar.  Sounds fun, right?  All kidding aside, though, it is a very solid album that nevertheless carries a few weaknesses.  Though hypnotic and repetitive is the goal here, the album can waver from trance inducing to simply dull.  There are times when the ear just yearns for more, if only to emphasize the grinding doom aspect by contrast.  In addition, there isn’t a lot of material, as the album clocks in at just under 40 minutes.  With a release like this, which should include long, monolithic tracks, I think a longer album is expected (though the deluxe release does provide three bonus tracks).  Finally, the album is a little narrow in scope.  Due to the abysmal nature of the sound, a certain mood is required to fully enjoy it.  However, as far as bleak, crushing music goes, Scorn is a superb rendition that truly creates its own atmosphere.

Score: 7/10

 

Metal Mondays: My Top 5 Thrash Bands

At this point in time, thrash is a historic and revered metal genre, in which many innovations were made, from which many legends were born.  Many contentious opinions have collided in the effort to determine the greatest thrash bands.  Here is my say in the debate.

Image from: http://www.overdrive.ie/?p=2625

 

5. Megadeth

The brainchild of guitar god Dave Mustaine, Megadeth should make every best of thrash list.  With adept technical ability and creative riffing, Mustaine spearheaded a band with an ever-evolving but always grandiose sound.  In addition, his lyricism conveyed biting political commentary with a punk edge and humorous cynicism that will always remain relevant.

 

Image from: http://oth12.free.fr/index_concerts.htm

 

4. Coroner

Hailing from Zurich, Switzerland, Coroner was a relentless thrash group that brought a new dimension to the Teutonic Thrash movement.  They delivered a highly technical and progressive brand of metal that many consider a return to classical composition.  Not only that, but they sprinted along at a breakneck pace.  These guys are really worth checking out if you haven't listened to them before.

 

Image from: www.metal-rules.com

 

3. Slayer

Everyone likes Slayer.  They are the funnest, most energetic thrash group.  They're the thrash group you want to hang out with on the weekend while getting into drunken shenanigans.  Fast and loose, Slayer assaults the eardrums without remorse, spewing diabolic rhythms, throbbing perscussion, and spastic solos.  Furthermore, Slayer is a well-greased riff engine that manufactures catchy hook after catchy hook.  Certainly one of the best.

 

 

 Image from: http://sepultura-bg.blogspot.com/

2. Sepultura

Sepultura: The bad boys from Brazil.  These guys produced perhaps the meanest, heaviest incarnation of thrash with their dense, sludgy guitars, intimidating riffs, and pounding drums.  Lead man Max Cavalera sealed the deal with his gruff, punk-tinged vocal delivery.  Also, their lead guitar work, though not as emphasized as that of other thrash greats, was always colorful and evocative.  Adding jungle elements and atmosphere to their sound, they brought a new flavor to thrash.

 

Image from: http://www.sonicexcess.com/metallica_photos3.html

 

1. Metallica

Say what you will; Metallica is king.  I'm tired of hearing complaints about Metallica's sound changing for the worse after the '80s.  The fact of the matter is that all the other groups on this list, and many thrash bands of the '80s in general, either deviated from thrash eventually, broke up, or just plain got bad.  So give Metallica some slack because their first four albums are gods.  Metallica crafted easily the most complex compositions, the most intricate arrangements.  Their sound was invigorating yet thoroughly clean and precise.  They also created some of the most majestic solos and instrumental passages.  They could be slow and dramatic as well as whirlwind fast.  This range and ability earns them the number one spot.

 

 

 

 

 

 

Tour Update: Lamb of God + Killswitch Engage (with Testament, Huntress)

Image from: www.metalinjection.net

 

Lamb of God and Killswitch Engage will be touring North America this fall, with Testament and Huntress tagging along for the ride as openers.  The journey begins on October 22 in Toronto, Ontario, and will end on November 26 in Silver Spring, Maryland.  This really is a star-studded lineup, and I'm sure this tour will be insane.  Oddly enough, I'm more pumped about the opening acts on this bill than the headliners, but I'm probably in the minority in this category.  Whatever your taste, this is an awesome assembly of bands that is sure to make for one brutal tour, so I advise you all to check it out.

 

A full list of tour dates can be found here, and tickets can be acquired on ticketmaster.  Go get 'em while they're hot.

Metal Mondays: My Top 5 Nu-Metal Bands

Nu-metal is an oft-maligned sub-genre, and some of the reasons for this are legitimate.  It is a little disconnected from the heavy metal sound in a traditional sense.  Also, it is true that many nu-metal groups were simply cashing in on trends that were popular at the time.  However, a handful of bands transcended the sub-genre and made a mark on music with their unique sounds.  Here are my top 5.

Image from: http://www.spirit-of-metal.com/groupe-groupe-Drowning_Pool-l-en.html

5. Drowning Pool

This is my freebie pick.  I discovered the band as a kid through a Dragonballz feature film and fell in love with their sound.  The first album is good, but after it was finished the vocalist passed away and the group was never the same.

Image from: http://thebambooshoots.wordpress.com/author/xerolt9/

4. Linkin Park

Sure, they’ve gone downhill since their first slew of releases, but at their prime they created perhaps the most fluid fusion of metal, hip-hop, and electronic sounds.  They deserve recognition for their innovative style and for bringing a wide range of music fans together.

Image from: http://www.coolchaser.com/graphics/tag/system%20of%20a%20down%20logo

3. System of a Down

Serj Tankian’s charming voice provided the clever lyrics while the band provided a wicked attitude.  Through their Armenian heritage, they brought an interesting Eastern sense of melody to their heavy riffage.

Image from: http://pittydecals.com/product.php?id_product=1355

2. Deftones

At times eerily serene; at times mercilessly aggressive; always haunting and vulnerable.  Chino Moreno’s vocal package is one of a kind.  A must listen band.  R.I.P. Chi Cheng.

Image from: http://www.live4ever.uk.com/2010/06/review-rage-against-the-machine-live-at-finsbury-park/

1. Rage Against the Machine

Through raps, whispers, and screams, Zack de la Rocha delivers bona fide poetry with an uncompromising political stance.  Tom Morello is one of the most experimental and pioneering guitarists of all time.  Together with an underrated rhythm section, they form hands down the greatest nu-metal band.

 

Album Review: Revocation (Revocation)

Image from: http://www.torrentportal.com/details/6249195/Revocation+-+Revocation+%5B2013+ALBUM%5D.html

Today I am excited to review a group from my hometown, the Boston-based tech death outfit, Revocation.  They recently released their fourth, self-titled album, Revocation (Relapse Records).  With this review, I’m going to get straight to the point.  These guys put the technical in technical death metal.  Revocation unleash a furiously proficient sound that still includes the catchy hooks and infectious riffs that keep a listener from getting lost in the technicality.  This combination makes for music that is an absolute pleasure to listen to.  In addition, this album goes above and beyond the call of brutality.  From track to track, Revocation discharge an utter blitzkrieg of metal fury, delivering in terms of speed, volume, and vocal intensity.  This self-titled release will thoroughly stimulate your grey matter while melting it to mush at the same time.  Revocation is more than worthy of your time, money, and hearing loss.  If you’re not already hustling to your local record store, let me break down why you should.

            First, the guitar work is phenomenal.  If you haven’t yet heard about frontman David Davidson, then put him on your radar screen because he is a wizard of the six-stringed wand.  He unites a plethora of sounds under the banner of dauntingly dexterous death metal.  Blending jazzy atonality, thrash-like chugs, and undulating grooves, Davidson keeps the listener attentive and engaged.  He even throws in the occasional acoustic segment and melodic passage to fully flesh out his unique style.  On “The Hive,” erratic, dissonant progressions dart about in a mesmerizing fashion.  On “The Gift You Gave,” aural chaos transfers seamlessly into refined, regimented riffage.  Davidson’s composition on this album is definitely a strong point.  Despite warp speed fingering, he builds elements steadily, casting a dramatic aura.  His style is not simply a display of technical bravado; it captivates the listener, appealing to both mind and emotion.  Riff sequences feel calculated yet flow naturally, fusing mathematical precision with raw aggression.  As for Davidson’s soloing, it can only be described as masterful.  Revealing his varied influences, Davidson’s solos showcase everything from the jarring atonality of death metal to the colorful shredding of thrash to the blues-based virtuosity of classic rock.  His vocals are energetic and fitting as well.  They resound like howls escaping a tormented soul as its life essence is siphoned away.

            Complementing the guitar work, skilled bass play adds to the depth of Revocation’s composition.  The bass lines don’t simply follow the guitar in understated subservience.  Instead, the musicians of Revocation construct layered dissonance and intricate interplay between guitar and bass, emphasizing moments of frantic desperation, melodic lament, and overflowing ire. 

            As the backbone of the group, Phil Dubois-Coyne delivers jaw-droppingly brilliant drums.  Davidson’s guitar only slightly overshadows his percussive onslaught.  Dubois-Coyne’s steady-handed yet intense style tugs the listener along for a turbulent ride.  Tight and unrelenting, the percussion pummels you with the power and strength of a pugilist.  Blasts beats and double kick drum rhythms create a sonic blur, like tires speeding over a corrugated surface.  Dubois-Coyne’s adroit drum display certainly rounds out this highly technical release.

            In every aspect, this album blows me away.  Each song brings the same pace, same fervor, and same technicality while feeling totally fresh.  You can tell that the band had fun making this album.  They present a no-holds-barred incarnation of the bludgeoning death metal sound while working in a varied array of external influences.  You can tell that they composed with no restrictions, incorporating whatever they thought sounded most righteous.  In my opinion, this album is flawless, and I’ll stick my neck out and give it my highest score.

Score: 10/10

Metal Mondays: My Top 5 Thrash Album Covers

Thrash will always have a special place in my heart because it was the first kind of metal I was exposed to (when I was too young to really know what metal was).  I have always loved the cover art of thrash albums, and the art has often played an important role in my decision to purchase an album.  I am especially fond of the covers from the '80s and early '90s; I can't get enough of their cynical political imagery and sardonic wit.  Here are my top 5.  No need for a lot of text here, just enjoy the images:

Image from: http://en.wikipedia.org/wiki/File:Megadeth_-_Peace_Sells..._But_Who%27s_Buying-.jpg

5. Peace Sells...But Who's Buying? by Megadeth

Image from: http://www.tumblr.com/tagged/persecution%20mania?language=pl_PL

 

4. Persecution Mania by Sodom

 

Image from: http://www.last.fm/music/Metallica/...+And+Justice+For+All

 

3. ...And Justice For All by Metallica

Image from: http://www.metal-archives.com/reviews/Toxik/World_Circus/3758/

 

2. World Circus by Toxik

 

Image from: http://www.metal-archives.com/reviews/Sacred_Reich/The_American_Way/534/

1. The American Way by Sacred Reich

 

 

Album Review: Tracing Back Roots (We Came as Romans)

Image from: http://en.wikipedia.org/wiki/File:Tracing_Back_Roots_album_cover.png

In the name of diversity, I’ve decided to review the third studio effort of the metalcore outfit We Came as Romans.  While metalcore is not my standard fare and is not a genre I care for particularly, I thought I would give the release a chance.  Entitled Tracing Back Roots, the album marks a stylistic change for the group towards an increased use of melodic passages and clean signing.  Employing these types of elements in metal can certainly make for an interesting and varied album, but in this instance, the sonic endeavor falls short of its goal.  Overall, this album feels rather bland to me.  I don’t think this is due to my apathy toward metalcore or the heavy use of melodic sounds because I have heard plenty of metalcore that I like and I thoroughly enjoy melodic metal when done right.  Instead, I feel that this album just underwhelms the listener in terms of composition and execution.  As I get into the music, I’ll try to explain why.

            First, I must admit that there are many positive snippets and soundbytes that can be gleaned from this album.  Beginning with the titular track, the album opens with a loud and aggressive charge, radiating a vitality that infects the listener.  Sophisticated rhythmic structures and percussive guitar sounds pound at the speakers.  Intermittent booms from the bass register lend a buoyant, spatial quality to the music.  In a fairly drastic tone change, clean, phantasmal guitars infuse melody into the song, establishing a complex emotional spectrum that sets the tone for the album.  On the whole, the album displays a tastefully selective use of double kick drum beats, a good incorporation of harmony vocals, and predictable yet emotionally effective bridges.  Specific songs have their moments as well.  Exemplifying an intelligent fusion of melody and intensity, “Ghosts” makes good use of softer sounds, such as whispers and keyboards, to enhance the impact of heavier bursts.  It also contains a clean, well-placed bridge that effectively collects and sifts through the energy and emotions let loose in the heavy passages.

            In addition, We Came as Romans employs a fair amount of electronic sounds on the album, adding a measure of uniqueness to their take on metalcore.  Though I’m sure plenty of other groups have taken this approach as well, I applaud the intent of this decision because I have always thought that electronic music and metal would make for an intriguing combination.  However, as with the album on the whole, the execution is lackluster.

            Why do all of these interesting elements fail to come together successfully?  In my opinion, We Came as Romans brings promising concepts to the table but flounders in fashioning a synergy amongst the various parts.  For example, the final track, “Through the Darkest Dark and Brightest Bright,” presents an eclectic mix of bouncing, rave-oriented electronics, gothically intoned piano segments, punk anthem chants, and punctuating metal chucks.  However, in terms of arrangement, these components feel slapped together rather than integrated.  Most of the songs on Tracing Back Roots are more disjointed patchwork than interwoven tapestry.  Furthermore, in terms of execution, the band fails to fully exploit the interactions of their diverse influences.  They bring the elements together, but they don’t take the next step and push the limits with innovative uses of tension, layering, contrast, or what have you.  Also, as a side note, I think the vocals fall flat on this album.  On some songs, like “I Survive,” they are better, but for the most part they are unsatisfying.  They sound too much like a pantomime of similar artists in terms of stress and delivery.  Thus, I think that Tracing Back Roots leaves much to be desired.  

Score: 5/10