Posté : 23 janv. 2012, 10:15
Dernier message de la page précédente :
Merci; pour l'instant, il faut que je me mette au précedent, Soldiers of Misfortune, que j'ai acheté il y a plusieurs mois, et qui est toujours sous cellophane.
Le forum francophone dédié au Metal TRADITIONNEL! Ou pas.
https://www.dotf.fr/
Dernier message de la page précédente :
Merci; pour l'instant, il faut que je me mette au précedent, Soldiers of Misfortune, que j'ai acheté il y a plusieurs mois, et qui est toujours sous cellophane.It must be tough for a band to follow an album that is universally acclaimed as their best, knowing that whatever they put out will be unfairly compared to said opus, rather than the catalogue as a whole. The relevance in this case is that Revelations happens to be the follow-up to VADER’s Litany masterpiece. The Polish death metal gurus decided to follow the same path that MOTORHEAD took with their Iron Fist release, putting their heads down and giving fans basically more of the same (rather than pulling a 360 like JUDAS PRIEST did with Point Of Entry). Like Iron Fist, Revelations is an album that was largely ignored at its release, but has become more appreciated over time. Sure, it doesn’t quite live up to its illustrious predecessor, but, man, this still levels most of the DM competition. The intermittent mix of choppy rhythms interspersed within the blow-back-your-hair speed and Piotr’s distinctive growl, which make up Vader’s core sound, still resonates today. Revelations is definitely worth a revisit for death metal fiends who haven’t imbibed in its punishing beauty lately.
ah, le fameux revirement à 360 degrés !Everflow a écrit :N°23 : VADER en 2002.
... The Polish death metal gurus decided to follow the same path that MOTORHEAD took with their Iron Fist release, putting their heads down and giving fans basically more of the same (rather than pulling a 360 like JUDAS PRIEST did with Point Of Entry).
You know, it’s strange to look back and think any GWAR album is really a classic. But on their second, and first for Metal Blade, the band really were on to something special. The inclusion of their classic ‘Sick Of You’ tune helps, but really it was all about the timing: the world was ready for a band like GWAR at this point (or, at least, the pockmarked pocket of the world that we all resided in was). Crazy how much I spun this as a young lad when it came out, but, silly as it was, the planets were aligned, and GWAR had arrived.
Slagel loves his metal, but he also always had a deep appreciation for prog. Back in the mid-’80s, no one crashed together both solitudes better than FATES WARNING, given that QUEENSRŸCHE were quickly getting precious, and RUSH, poppy and synth-mad. Awaken The Guardian and sister album The Spectre Within are the storied classics from this Connecticut act, both appreciated for their mystical Ioannis artwork, the similarly dream-stated lyrics of JOHN ARCH, and the NWOBHM-influenced mensa metal enclosed. The friendship between Fates Warning and Metal Blade has resulted in most of the vast catalogue bearing the dependable imprint.
Shocking and awing in the name of a type of veganism that borders on self-hating humanism, San Diego’s CATTLE DECAPITATION unequivocally delivers its core message that consumption of animals is a not so silent killer, the group’s CARCASS-on-EXODUS effectively suturing the message into all not-to-be-eaten flesh, animal or otherwise. Humanure, despite its questionable title, is an album that propelled Cattle Decapitation from the mess of goregrind’s medical waste treatment plant to ears that perk up when thrash palm-muting makes its way into the blastbeats, even if Cattle Decapitation wasn’t exactly going to grab a burger and fries with the guys in TESTAMENT after Thursday night rehearsal, if you know what I’m saying.
Genuinely without contemporaries, Ireland’s PRIMORDIAL carves records into flesh like the painkillers are already in full effect, even if your sensitivity to the blade is entirely the acknowledged point: Trent Reznor hurts himself today to see if he still feels, but Primordial does it to focus on the pain, the only thing that’s real. Dragging itself through sheer force and will all the way to Valhalla’s innermost caverns despite the pain, suffering, distress and anguish faced on that soulside journey, Primordial’s relentless insistence on staring back at the abyss when it stares back at you is a burden that the band takes on with grace under pressure, even if that pressure has the innate ability to break you down. Completely.
BRAINSTORM were initially signed to the German side of the label after a pair of independent releases. Liquid Monster coincided with a higher international profile, to fans and the American office as well (I didn’t even know who they were when approached by BW&BK to play our ‘04 festival). No longer just a mid-level Deutsch festival act, these tunes catapulted Brainstorm to new heights, thanks to a beefier production and the live intensity missing from earlier works. As well, Liquid Monster deftly juxtaposes the commercial ‘All Those Words’ and ‘Heavenly’ ballad with the ripping guitars on ‘Lifelong’ and the fist-pumping fury of ‘Even Higher’ or ‘World Coming Through’, both of which remain mainstays onstage.
Man, history has not been kind to Californian heavy metallers CIRITH UNGOL—NO ONE has been kind to Cirith Ungol—but take a listen to One Foot In Hell to get a glimpse of a truly unique band. Cool to see them place on this list at all, those histrionic vocals, the overdramatic songwriting, and general metal-’til-fucking-death being a bit too OTT for even some diehard metal types, the band toiling, toiling, toiling, silent, forgotten, back again for quick reunion, underwhelming, silent, forgotten… but for brief moments of time way back when—like during One Foot In Hell’s duration—Cirith Ungol were doing everything perfectly.
For us major DEATH ANGEL fans, it was sad to see their demise after 1990's Act III, the band beaten up by the biz, a shining star that quickly faded into the darkness. Of course they would return to form almost 15 years later, but in between was the short-lived THE ORGANIZATION which featured D.A. alumni Rob Cavestany (guitars/vocals), Andy Galeon (drums), Dennis Pepa (bass), Gus Pepa (guitars - yup, everyone except singer Mark Osegueda who needed to escape the music industry entirely). The Organization was decidedly less thrash and more mainstream hard rock, with soaring chorus lines and funky melody à la LIVING COLOUR. Producer Michael Rosen (TESTAMENT, TESLA, JOURNEY, JOE SATRIANI, FLOTSAM AND JETSAM) harnessed the band's vibe, feel and constant energy which seemingly carried them through their emotional storm. The Organization is pushing twenty years of age, yet it's appeal still rings loud n' clear.
In a career filled with milestone operettas, this 2003 release is a return to form, after more than a decade of similar sounding, so-so efforts. Unlike Abigail II, which preceded it by a year, this was a fresh (not rehashed) storyline. Less vicious sounding, with (as acted out, on the accompanying live dates) a virtual ALICE COOPER-styled step-by-step plot, it’s also closer to MERCYFUL FATE than his other solo works (especially ‘Magic’ and ‘Living Dead’). Fellow MF alum Mike Wead (guitar) was involved in this melancholic creation, which features female accompaniment and plenty of falsetto. Finally, ‘Christmas’ is a long overdue partner to ‘No Presents…’
‘03 was the year burnt-on-Gothenburg metal fans realized that another melodic blitzkrieg was oncoming, but this time its port of departure was the continental 48 instead of Sweden’s second largest city. Detroit’s BLACK DAHLIA MURDER undeniably owed much of Unhallowed’s aiding and abetting to AT THE GATES, but Unhallowed’s true impact is in its immediacy and rabid sense of street-level unrest that the Swedish cradle-to-grave welfare state is unable to produce (to society’s ultimate benefit, even if its metal remains polished and sheen-obsessed). Unhallowed is a record that is insistent in its effect and purpose, these hymns a call to arms that involve both the forefather and the loose-cannon son that fucks up all the diplomacy of his previous dark tranquilities.
Hard to downplay the importance of this one in my personal musical development, ever-influential older brother having it on cassette when I was a young pup/fledgling banger, the insanely prominent “FEATURING JASON NEWSTED” scrawled across the cover of that particular reissue stealing the show. But good lord, it’s those air-raid siren vocals that stand the test of time (“…hammerHEEEEEEAAAAD!”), the classic early-thrash drama to the tunes, the ambition all over the place, the sound of a band playing insanely hard, even though they would always be destined to be the bridesmaid, despite deserving so much more. An early thrash classic, period.
Coming totally from left field, Carving Out The Eyes Of God captured the imaginations of punters and critics alike when this was issued in 2009. Fully equipped with a dirty, chainsaw-evoking guitar sound and a vocalist who swallowed razors before each take, there was no question that this was a defining moment for the New Orleans-based unit. Guitarist Sammy Duet (ex-ACID BATH and CROWBAR) and his troops had clearly found their sound, which they’ll hopefully mine on future releases. (Their Blood For The Master follow-up is scheduled to drop this coming February). That said, what truly elevates this release is the high caliber songwriting; every song is an island unto itself, each worthy of extended isolated visits. Blackened thrash doesn’t get much better than this.
While the Viking-obsessed Swedes had been percolating underground and overseas for more than a decade, this collection of infectious – yet still aggressive – melodies burst the world wide open, establishing AMON AMARTH as the global headliners they are today. Still, With Oden On Our Side rides a successful stylistic mix they’ve been unable to completely recapture since. Almost every track has taken up lengthy (if not permanent) residency in the live set, most notably ‘Cry Of The Black Birds’, ‘Runes To My Memory’, ‘Valhalla Awaits Me’, ‘Asator’ and the title cut. It’s probably the album by which they’ll forever be judged.
Forsooth, I had MERCYFUL FATE’s lesser-known comeback albums high up my list as well, for when these guys reassemble the cabal, a superlative level of quality is always at hand. Nonetheless, 9, with one of the best Metal Blade album covers of all time, lashed out with a level of aggression not seen from King and Co. since the first two metal mountains from these black art Danes. Lyrically, King was poisonously Satanic to match the raw crunch of the music and yeah, despite fine KING DIAMOND albums all around, 9 nonetheless proved that the real, palpable, abstract scariness was unmistakably the domain of the Mercyful Fate brand and not King solo.
Chicago fire ‘n’ brimstoners TROUBLE prove that their seminal, raw, even undisciplined debut was no fluke, returning with a sophomore slab of doom that was even sludgier and more obscure than the groundbreaking Psalm 9 head-scratcher. The Skull was also a fine addition to Metal Blade’s early list simply due to the fact that it expanded the stable’s stylistic range. The mystery of the band’s punishment-grade “white” metal was further extended through the album’s creepy cover art, but it was the groundbreaking doom metal strafed by the terror-filled vocals of Eric Wagner that sealed the fate of any metalhead that discovered this most leaden of underground acts.
In 1992, CANNIBAL CORPSE redefined offensive with ‘Entrails Ripped From A Virgin’s Cunt’ and ‘I Cum Blood’. That coupled with Vincent Locke’s gruesome artwork, and many retailers were refusing to stock this slab of brutality; in fact it was banned outright in Germany. Opening track ‘Hammer Smashed Face’ – which is still a live staple – was performed by the band in Jim Carrey’s hit movie Ace Ventura: Pet Detective, exposing the mainstream to what the underground was already devouring. Getting past the shock and awe factor, CC’s third album truly showcased the band’s technical prowess with 35 minutes of maniacal drumming, dizzying riffs and genre defining guttural vocals.