The Raven Autarchy - The Obscene Deliverance Review

The Raven Autarchy - The Obscene Deliverance [Technical Deathcore]

Found this band while I was on Youtube looking for random death metal, for which I have developed an insatiable hunger for lately. The Raven Autarchy is a pleasant find even though I was initially put off by the deathcore tag. The music is equal parts technial, deathcore and neoclassical (especially those leads). Without delaying further:

Audio: Well, it's the same overcompressed overprocessed clean audio at DR4 or DR5. Sterile production is good when done right but overcompressed music has no excuses. I have never heard an album that was 'enchanced' by being more compressed. Drumming is serviceable but too clean, bass is very hard to hear.

Instruments: Oh man. The technicality is nothing special by technical death metal standards but the leads are a complete breath of fresh air, which is what attracted me to this album in the first place. It's really just classical music. Not in the dark sounding solos by Jeff Loomis kind of classical, it's pretty standard classical. It sounds positive and a bit out of place at first but they do work well in the context of the songs.

Songwriting: Here's the thing though, the songs might sound the same if you are not used to the classical sound. I like that none of the songs necessarily stand out and that the songs are tastefully short. The album is barely thirty minutes, so the songs fly by really quickly and have a large replay value. However, melodic or not, the album barely rises above the typical deathcore standard. Verse chorus verse chorus breakdown, it's in almost every song.


Overall: This isn't going to be an album of the year contender for me, but I had a lot of fun listening to this record, A lot. The leads are not typical metal, no pretentious 'progressive' indulgences (something many bands abuse today). Its not just great for working out, but even for casual listens when in commute. I do however wish there was a little bit more wankery with the guitar, most of the time the leads serve as a melodic backdrop behind the chugging deathcore riffs and there aren't many traditional long guitar solos. A bit more variety in songcraft would go a long way, too. I haven't heard this band's back catalog, but I am really intrigued to see where this band will take us in the future. A lot of potential.

Rating: 3.5 / 5

Perdition Temple - The Tempter's Victorious Review

Perdition Temple - The Tempter's Victorious [Death Metal]

Audio: Most songs around DR6, which is poor mastering. However, the mix is excellent. Bass is clearly audible and guitar notes are crisp. Drums have high treble, a bit unusual for this genre.

Songs: Here's the thing, every song is the same. This makes it more of a 'whole album at a time' listening experience. The album is perfect for working out or if you just need an extra kick in the mornings. Music is heavily influenced by Morbid Angel (especially the guitar solos). Having said that, 'Extinction Synagogue' is an outstanding song.

Instruments: The album is a total riff fest. The riffs are highly technical and might be too fast for some people (NOT ME).Special mention to vocals by Impurath, they draw more from black metal but sound completely in place with the music. The drums are surprisingly intricate, matching the guitars note for note with cymbals, snares, insane high-hat combos. The treble helps to make the drum work livid and pulsating, on a microscopic level.


Overall: This isn't an album that necessarily pushes boundaries or even create something unique, most of what you hear here is not original, but there is an insane amount of energy. At 37 minutes, there is little room for fat an almost every second goes by unwasted on filler riffs or fills.

Rating: ★★★★☆ 4/5

Sufjan Stevens - Carrie & Lowell Review

Sufjan Stevens - Carrie & Lowell [Folk / Pop]

This is very easily one of the best albums, if not the best album, of the year.

Sound: Very dynamic mastering, with each track averaging DR10. This is a given, though, as the album barely features drums and it's mostly ethereal vocals and banjo or fingerpicked guitar. Still, it's pure audio gold in its simplicity.

Songwriting: Every song is MELODIC AS FUCK. While it's hard to pick a single track, every song flows beautifully into the next, with just enough experimentation with electronic sounds, ambient notes and respective instruments like piano or bass guitars weaving in and out. Despite the relative accessibility of every song, the song structures aren't the same. Every song is distinct, but never takes away from the overall melancholy of the album, so the songs are beautiful on their own and as a part of the album. Very rare to see in music these days.

Instruments: Again, very varied and all very tastefully implemented. The vocals are double-tracked for the most part and really sound private and comfortable.


Overall: The greatest strength of the album is its earnestness. Everything sounds raw and intimate, and none of the songs overstay their welcome. The songs are very tight and fat-free and the album doesn't feel like its 44 minutes long. Album is perfect for introspection on those long bus rides. I award this album 5 stars, because it's really the one of the most outstanding record I have heard this year.

★★★★★

Blind Guardian - Beyond The Red Mirror Review

Blind Guardian - Beyond The Red Mirror [Power Metal]

This album's been sitting on my iTunes for a very long time, and I still do not know what to feel about it. Some immediate thoughts when I first listened:

1) Strange production. It's relatively dynamic at DR8, but the mix seems hollow and dull on my headphones, even with my speakers (which act as an amplifier for my headphones) set at the highest treble. Bass drums sound good, but the drumming itself isn't very inspired.

2) Melody has been on the forefront of songwriting. This album is relatively simple by Blind Guardian standards, closer to their earlier years. A lot of the choruses here are very catchy, but the same can't be said for the verses.

3) Hansi Kürsch sounds fantastic at 48 years old. He has been avoiding the high notes on live performances to protect his voice (although this must be disappointing to the fans), but he still uses them tastefully throughout the album. However, he opts for a more theatrical approach, and his visceral roars are sparse. Hell, I loved his backing vocals on Iced Earth's Plagues better.

4) The songs are far too slow. The drums plod tiredly and the guitars sounds like they are dying. This doesn't necessarily have to do with tempo, it could just be production, but the band seems to pack far too many unnecessary portions to each song, which could have benefited from tighter song structures.

5) Orchestra sounds too over the top. This is probably also why the album has been forced to be it bit more dynamically mastered, but at what cost? The guitars sound thin but the orchestra is in your face. As mentioned in first point, mix is very strange, but the orchestral music itself sounds out of place.



Unsurprisingly, the songs that minimize orchestral arrangements are the songs that I have enjoyed here (Ashes Of Eternity and The Holy Grail). This songs are uptempo and sound more focused, without compromising melody. However, every other song could do with major trimming, especially when most of the verses are blatant filler to bloat the record.

★★☆☆☆

The 10 Best Death Metal Vocalists (In My Opinion)

10. George "Corpsegrinder" Fisher (Cannibal Corpse)

Perhaps the most popular of the bunch, Corpsegrinder has been unfairly ridiculed for being monotonous and boring. The thing is, Corpsegrinder still has one of the most powerful screams in the business. He has speed, (relatively more) clarity and a tone of voice that highly complements the band regardless of tempo. More impressively, Corpsegrinder can conjure up ridiculously long screams, such as this 13 second long scream at around the two minute mark in the following video:





9. Jeffrey Walker (Carcass)

Some may complain that he doesn't exactly fit the bill of pure death metal, since Carcass has gone on to play melodic death metal. However, Jeff Walker's vocals are clear, sharp and vicious. He brings in as much energy as his bandmates, and as shown on their latest comeback album, age has not stopped this madman on the mic.




8. Chris Reifert (Autopsy)

An unorthodox choice, Reifert is more popularly known for his drumming, either from his main band or on the first Death album. Unlike most vocalists in this genre, Reifert's vocals almost feel more like spoken word than actual screaming, which he rarely does. His approach has been an integral part of the hybrid doom / death metal that Autopsy does, and he matches the atmosphere of terror and ominousness quite faithfully with his restraint. Also, his band is such a breath of fresh air in this genre. Reifert even overshadowed Nick Holmes in his guest performance on the last Bloodbath album.




7. Chuck Schuldiner (Death)

It's hard to make any death metal list without its godfather. Chuck Schuldiner's vocals may not always have been the focal point of his band's ambitious musical direction, but he always screamed / singed with a passion that is rare in this genre. He also has one of the bigger vocal ranges, with energetic, high-pitched shrieks in the band's first album, gradually turning to mid-pitch on the band's groundbreaking albums since Human, and returning back to high screams on their final album, with an unforgettable performance with their cover of Judas Priest's Painkiller.




6. Julien Truchan (Benighted)

Another unorthodox choice, this Frenchman's band may be regarded as deathcore or even nu-metal by some of the elitists of the genre, but Truchan's vocals are highly impressive. He runs the gamut with high pitched shrieks, death growls, pig squeals and demonic low-pitched screams, all while matching the intensity of his band mates.




5. Paul Kuhr (Novembers Doom)

Paul Kuhr's band is also known as the 'American Opeth', but he is still a different beast from Mikael Åkerfeldt. Paul Kuhr has one of the best growls in the business, that somehow retain their intensity even with the band's arguably slow tempos. Besides that, he also has a competent low baritone voice, that serve as a break between his vicious growls.




4. Jason Netherton (Misery Index)

Another band that seems to fly over most people's heads. Jason Netherton has the unusual ability to pronounce his words with so much clarity even at his intensity level, a skill that many forget in this genre. O top of that, he brings in punk shouts and pacing to his vocals that distinguish him well apart from the crowd.




3. Travis Ryan (Cattle Decapitation)

Travis Ryan is a mad man. He uses a ton of variety in his vocals, even coming up with his own brand of clean vocals that make him sound like he is being strangled. His one shortfall is his total lack of clarity, but he makes up for it with the sheer variety of styles he incorporates in his music.




2. Mikael Åkerfeldt (old-Opeth, old-Bloodbath)

How far the mighty have fallen...  Åkerfeldt might be more well-known now for his clean vocals, which are fantastic in their own right, if it weren't for the fact that Åkerfeldt has one of the best death metal growls of all time. From the length of his screams (especially in the band's first three albums), to his pitching and tone and his absolute clarity, Åkerfeldt is the whole package.





1. Dan Swanö (Witherscape, Moontower, Edge Of Sanity, backing on Bloodbath and a million other bands)

Well, he is the best. No question about it. He is perhaps even the greatest musician in the metal world, having played guitars, drums and bass and being one of the best metal producers in the industry, his knowledge of everything on stage and off is perhaps why he understands how to make his vocals stand out. His screams are an art in itself, and no one matches his ferocity in death metal screaming.

Steven Wilson - Hand. Cannot. Erase Review

Steven Wilson - Hand. Cannot. [Progressive Rock]

Steven Wilson should by now be well-renowned for being an accomplished composer and an even better producer (one of the best out there, check out his King Crimson remasters if you haven't). His last album, 'The Raven...' was well-received by many though I personally found it hard to connect with his music on an emotional level. However, Steven Wilson has compensated for that quite handsomely on this album, which I have been listening to for about a month. While not as strong as his previous efforts on the instrument side of things, Wilson has crafted 8 (or 11 if you count the segues?) memorable songs. A quick rundown on individual songs:

1. First Regret - 3 Years Older (DR11): Album starts off with a great classic prog number. It's surprisingly heartfelt from the get-go. Metal purists will be turned off from hearing a ballad as the introduction, though, as I was. However the song, as most songs on this album, work much better in the  context of the whole album. The latter track is a bit more upbeat and a better showcase of MArco Minneman's drumming.

2. Hand Cannot Erase (DR12): A pop song with a memorable, sweet chorus. Surprisingly accessible for Steven Wilson.

3. Perfect Life (DR11): Continues from the happiness that drove the previous song. The first half features some narration, but that slowly leads to a blissful and calm section where Wilson simply croons "We have got the perfect life" repeatedly. It's simple but gets the job done.

4. Routine (DR11): A very Pink Floyd-ish song (Ninet Tayeb's vocals remind of 'Great Big Gig In The Sky' from Dark Side Of The Moon). The song reminds us that the album is from the viewpoint of a woman. There's a very nice use of silence closer to the midpoint of the song that creates some tension before the song slowly comes back with a solo from Guthrie Govan (Opeth fans will like this). Despite the bright, polished sound, the song has a deep sense of melancholy. One of my favourite songs on the album.

5. Home Invasion - Regret #9 (DR11): the first track starts off with some staccato drumming from Marco Minneman and then a full jam from the rest of the band. This song is a little more rock influenced. 'Regret #9' is a full on progressive rock instrumental, ending with a decent guitar solo.

6. Transience (DR12): Melancholic at first, it turns out to be pretty positive in the end. The album is full of laid back, emotional tunes.

7. Ancestral (DR10): The big one. Clocking in at 13 minutes. The length might be grading to some, but the instruments are all on fire here (particularly the guitars). I love the heavier second half, a lot of great riffs and guitar licks.

8. Happy Returns - Ascendant Here On (DR10): Stars off with fading rain (perhaps as the link to the previous track). Beautiful, sad melody. Chad Wackerman does the drums here, so it's a lot more reserved than the previous songs but that lends itself quite well to this song. 'Ascendant Here On' is the same melody as 'Perfect Life' albeit in an angelic, quite tone, a beautiful way to end the album

The average dynamic range on the album is DR11, which is almost unmastered. It also allows for every instrument to be heard with clarity, and not a single band member goes to waste with the production, though one expects nothing less than excellence in this field from Steven Wilson. Some use of synth effects throughout that hearken back to Wilson's days in No-Man.

As a whole, the album can be a little too slow-paced for my liking, but that seems to be a trivial problem. This is one of the best progressive rock records I have heard, hands down.

Rating: 4.5/5

Death Grips - The Powers That B Review

Death Grips - The Powers That B [Hip Hop / Experimental]

Never thought I would kick off the reviews this year in April, but the team has been swamped with school work on other projects. Thought I would like to jot down some thoughts on the "final" Death Grips album:

niggas on the moon

The first half of the double album technically "leaked" last year, but I will review it here because (i)it's part of a double album and (ii) it has only been physically released this month. The album uses samples of Björk for background, with barely any actual drums from drum lord Zach Hill. The album isn't as aggressive as Death Grips' earlier work, and barely shows any semblance to the second half of The Powers That B. The eight songs flow together as one large song with barely any segue moments between the tracks. As far as the songs go, some manage to stick in your mind, eg. Up My Sleeves and Black Quarterback, but for the most part, the album plays more like background music. It isn't actually chill background music either because MC Ride's vocals are anything but chill. Björk's vocals are employed as trippy atmospherics, so the album has a bit of a trance like feel, wildly punctuated by manic shouts. Overall, not one the Grips' strongest albums, perhaps even their worst.

★★☆☆☆

Jenny Death

The much better half of the album, almost every song on the album is gold. The soundscape has changed quite a bit with distorted guitars, live drums and more manic vocals (almost like punk rock). The lyrics are also absolutely quotable ("I like my iPod more than fucking!!"). Jenny Death is surprisingly not only accessible in terms of sound, it is also probably the first time I have been able to emotionally connect with the band. The album's final actual song is 'On GP', quite possibly my favourite Death Grips song of all time. It has elements of shoegaze and sticks out sorely from the rest of the album, almost coming off like a ballad. It's a grand swansong for the band, with its foreboding lyrics "It's been a pleasure, Stefan (the vocalist's real name)" or "All these nights I don't die for you". Zach Hill is also on fire on this album when he finally lets loose with his neo-jazz-metal assault on the drums. Seriously, check out his solo work, his drumming is on par with the best in the world.

The album ends on a rather bizarre note, with 'Death Grips 2.0'. Is their break up just a PR stunt? Are they hinting of another return? Or is their way of saying goodbye? It's a mostly instrumental, futuristic sounding piece that does break new ground for the artistes' direction, but only time will tell if we will ever get more from this talented duo.

★★★★★