Archive for Prog

R.A.M.P. w/ support – Porto, Portugal

Posted in Gig, Live with tags , , , , , , , , , , on 17th June 2022 by Pieni

R.A.M.P., Equaleft, Blame Zeus
Hard Club (Sala 2), Porto (PT)
10th June 2022
Promoted by Notredame Productions

RAMP22A

The name R.A.M.P. may not mean much (or anything at all) to you, but ask any Portuguese metalhead about them and you’ll realize they’re quite a legend in their home country. So when they release a new album – especially since it’s been 13 (?!) years since the last one -, crisis or not, you can count with an almost sold out venue.

It wasn’t really full when Blame Zeus got on stage though. Despite being a national holiday and I’m-running-late-because-I’m-working not being a valid excuse, people have this weird tendency of skipping the opening act..

blamezeus22

First thing I’ve noticed was the absence of bassist Bruno Branco, and I feared that another line-up change was on the way, but no – right after the first song “How To Successfully Implode”, Sandra Oliveira explained he “just” had tested positive for COVID (yes, kids, it is still a thing) the night before, giving them no time to find a suitable replacement. So backtracks and guitarist Tiago Lascasas swapping instruments on a couple of songs did the trick.

As they didn’t have long, they went with a classy selection mostly focused on their latest work ”Seethe”. Sandra first mentioned it as “new” but admitted right away that it didn’t make sense to call it such, as it had been released in late 2019 already; it just felt like that since the pandemic didn’t allow them to promote it properly.

R.A.M.P.-Rui Duarte is featured in the studio version of “Down To Our Bones”, so I knew who and which song would follow when Sandra announced a “very special guest”. I won’t say it was the highlight of the show, as it would wrongly take away Blame Zeus’ own merit, but it was indeed special.  “Burning Fields” ended a heavy-rock-prog performance that, even as a 4-piece, they delivered distinctively.

https://www.facebook.com/BlameZeus

equaleft22When Equaleft got on stage the place was already packed. After their concert in November 2021, they were supposed to stay off the road and work on the successor to “We Defy”, but this is already their second show (and more are to follow) without any news of the 3rd full length album; I guess the “call of the live” is just too strong to these groovers, and given the response they get every time, I can say we all love them for that. Even if it’s been quite a while since they’ve played “Invigorate”, with singer Miguel Inglês commanding the mosh circles with a Star Wars lightsaber (got the hint, lads?). Now that command is done more directly, with him and bassist André Matos jumping into the crowd and moshing around with them.

From the opening “Fragments” to the closing “Strive”, going through “Human” or “We Defy”, the frenzy on and off stage was everlasting. And it went on a bit after the last chord, as everyone struggled to reach forward and get one of the cookies that Miguel gives at the end of each Equaleft show.

https://www.facebook.com/equaleft

RAMP22B

It was then time to get to know how “Insidiously” sounded live. Released on April 1st via Rastilho Records, it’s no fool’s treat, believe me.The show began just like the record, with “Catatonic”, but it wasn’t a played-in-full kind of presentation; they just picked the songs which would work better on stage and mixed them with classics such as “How” or “Black Tie”. Of course these were the ones who almost made Hard Club come tumbling down with our roaring-along, but most of us also sang the newest. Hell, there was a guy next to me who knew all the lyrics better than Rui Duarte himself!

There were also all kinds of dedications – songs dedicated to those who don’t “follow the herd”, songs dedicated to those who have been betrayed, songs dedicated to those who keep on giving their best… I thought it was really funny dedicating“Alone” – probably their most sentimental ballad – to their “pals in the festival Um Metaleiro Também Chora” (which is Portuguese for “metalheads cry too”, and yes, such festival does exist), but even though I can’t remember which one it was (like I said, too many dedications…), what touched me the most was the one to Nando, former singer of another legend – currently extinct – W.C. Noise, who was there enjoying the show like there was no tomorrow. What can I say? I’m a sucker for these old school bonds.

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After the very last “Try Again” (featured in a 3-song encore), Rui introduced the band, leaving guitarist and founding member Ricardo Mendonça (“a man who needs no introduction”) for last – and I swear I saw his eyes watering with grateful happiness. Rui thanked us for these 34 years of full support and that even being far apart (well, nowadays 300km isn’t really that far, but “back in the day” it was), Porto was always in their hearts. Who cares if it sounds like a cliché when we know it’s true and feel exactly the same way?

https://www.facebook.com/rampoficial

Text & photos by Renata “Pieni” Lino

Ihsahn – Arktis

Posted in Review with tags , , , , , , on 25th March 2016 by Mickelrath

Ihsahn
Arktis
Symphonic Black Metal, Progressive Metal
Released: 8 April 2016
via Candlelight Records

I’ll admit this wouldn’t usually be my cup of tea. However I do love listening Emperor and since Ihsahn embarked on his solo journey in 2006,  I have been inclined to listen to his music in the same way. I wouldn’t call myself a fan per say, but I do listen to his music every once in awhile and I like what I hear. So when his new album Arktis fell in my lap, I was curious to hear the next chapter in his evolution. Ihsahn should need no introduction to the metal community, he is a pure force to be reckoned with.  His writing is slick, matching heavy tones with brutal melodies like it was child’s play and believe me there is no difference with this record.

Arktis, sounds really nice straight from the get go. Ihsahn wastes no time in with the opening songs Disassembled and Mass Darkness, it just has that overpowering grandeur, that we have come to expect from his music. The heavy verses bleed into the melodic choruses and the production is on top form nothing feels out of place.  The music surrounds you and you can really get lost in the sounds. Ihsahn’s vocals have a heavy impact and the guttural vocals scream with power whilst the clean vocals are a little unsettling, in a good way. I think Ihsahn want to make you feel unsettled in parts of this album, like on the track South Winds, mixing the heavy metal with that mind-melting progressive stylings. Everything about this album speaks to his talent for writing and producing great work. When I was listening to the album, I got the same feeling of listening to Emperor’s Prometheus: The Discipline of Fire & Demise, I’m not saying it sounds anything like that album but I get the feeling that I’m listening to something that will stick with me for a long time, which that album did (and still does).

The melodies a beautifully crafted and entrancing.  Designed to keep you hooked to the album, with great riff work too.  My favourite riff on the album being Until I Dissolve Too, purely for it’s catchy sound and distance from the rest of the song, so it sticks out more. The more progressive moment on this album somewhat lose me as it’s a little too jarring to my ear, however, for someone who is used to progressive metal will probably love the way the sound twists and turns around in the production.  The guitar work is superb it always sounds good when it comes in. The keys and synth are a little too overused for my liking and sometimes they don’t really fit the music at times like on Pressure, again maybe that’s just me but it’s quite distracting.  However when the keyboard parts work, they really work.

Is this a great album.  For me it’s good and certainly will be on my playlist for the majority of 2016. For the average music fan who may not be really into this sort of music I really couldn’t recommend it.  I would say start with Ihsahn’s earlier work then work their way to this or just stay away from this type of music in general.  It was definitely something different and I’m glad that I have returned to his work after a bit of a break.  If you’re a fan or someone that may like this type of sound then I would say check it out.

3/5

Mick Birchall

Toothgrinder – Nocturnal Masquerade

Posted in Uncategorized with tags , , , , , on 24th January 2016 by Mickelrath

Toothgrinder
Nocturnal Masquerade
Progressive Metal
Released 26 January 2016
via Spinefarm Records

The American prog-metallers hit us with their newest offering Nocturnal Masquerade and I’ll say this before anything else: this is one amazing record.  Never before have I listened to such brutality-meets-musical-brilliance like I have with this album.  At first it was a little jarring and I wasn’t too sure what to make of it, but I kept listening on and I really got into it once I knew where it was going.  

The album has a very mixed range of styles, as you would full well expect on a prog-metal album.  The opening track “The House (That Fear Built)”, like an overture, sets the mood pretty well for what is to come and the power and intensity is displayed throughout the whole album. The intricate guitar work makes for some great riffs and well crafted melodies. The broken riff patterns are great and coupled with the excellent drum work from Wills Weller; it creates a dynamic and powerful listening experience. The songs just have that hardcore and intense feel to them which is fun to listen to, being a fan of hardcore myself, at the same time the wonderful melodies just grab hold of you and the passion in Justin Matthews and Matt Arensdorff’s vocals just shine through so well.  To be honest, it’s hard to believe that there are only 4 members, there’s just so much going on.

For the more heavy of the performances on this album, Toothgrinder just really came together and created some spectacular tunes like “Blue” and “Coeur d’Alanse” which have this really relentless approach to them and I was left hooked. It really is difficult to fully grasp how interesting and diverse this album is, once you think you’ve got this band figure they go and add something into the song you just didn’t see coming.  Such as the odd quiet and unsettling moment before they kick straight back into gear, the anthemic clean vocals just cut off so suddenly by the rough guttural vocals.  This can be a little jarring and I did have a sense of tonal whiplash at times and this could throw some people off them.  

Overall, I have really enjoyed rocking out to this record and it has so many aspects that I love.  The technical mastery of the band is great and the music is so tight that it will just grab your attention and won’t let go. Fantastic work!

4.5/5

Mick Birchall

The Paradigm Complex – Amygdalopolis

Posted in Uncategorized with tags , , , , , , on 8th November 2015 by Paul Macmillan

The Paradigm Complex
Amygdalopolis
Released November 1st 2015
Progressive rock
Self-released

The Paradigm Complex - Amygdalopolis

This is quite simply one of the most bizarre things I think I’ve ever had the pleasure to analyse in the process of reviewing music. Really weird. Really, really weird. The Paradigm Complex are the genuine stuff of twisted fever dreams, and have elevated themselves beyond the state of yet-another-prog-band, to actually using their instruments (including frontwoman Alexandra Pawlitka’s voice) to tell a story.

Drafted in from classic Hammer Horror films, themes from lycanthropy to extra-terrestrial abduction are used to break up the main track of almost an hour into mini-stories, each with their own, highly characterised musical backdrop, and engaging storytelling. It is powerfully tangible how much thought, effort and ingenuity has gone into the creation of what is not just a music release, but essentially a piece of art. A certain Mr Zombie would quite possibly be a little jealous (as a director) of the effectiveness of The Paradigm Complex’s cultural appropriation.

As the recording spirals through various atmospheres, it’s difficult to pin down any continuous comparison to other artists, but they are there. There is a film score flavour akin to John Carpenter colliding with Goblin, liberally splattered with classic prog and acid rock, while the vocals meld from Bjork into Lacuna Coil, into Angelspit, and back again. There is also a thread of metal sewn into the fabric, but this is not a metal album, per se; it simply encompasses some of that spirit.

The project in its entirety is held together very aptly with bleak interludes, which serve to complement the neighbouring movements, and amalgamate this as one fluid piece, an apocalyptic infection creeping up the listener’s spine. It’s one wild trip, and White Rabbit is going to have to try mighty hard to survive this audio conflict between War Of The Worlds and The Walking Dead.

4.5/5

Paul Macmillan

Quinphonic Festival Announces 2016 Line-Up

Posted in News with tags , , , , , , , , , on 14th June 2015 by Mickelrath

After the success of this year’s festival, the world’s premier Quintuple header festival returns. ‘The Quinphonic Festival 2’ will feature five outstanding international symphonic / melodic / power / prog metal bands all, playing full one-hour sets. We happily announce the bands that are performing next year:

The enigmatic Evenoire from Italy

http://www.evenoire.it/

https://www.facebook.com/evenoire

 

The wondrous Wildpath from France

http://www.wildpath-music.com/

http://www.facebook.com/Wildpath.metal.band

 

The lavish La Ventura from the Netherlands

http://la-ventura.com/

http://www.facebook.com/LaVenturaNL

 

The hypnotic Hydra from Germany

http://www.hydraofficial.com/

https://www.facebook.com/OfficialHydra

 

The dynamic Dakesis from England

http://www.dakesis.com/

https://www.facebook.com/Dakesis

The day of metal goodness will take place at The Roadhouse in Birmingham, UK on Bank Holiday Sunday, 27th March 2016 from 3pm till 11pm.

Information regarding ticket sales will follow in due course.

Technically Dead – Perth Tech, Prog, Death Metal Show

Posted in News with tags , , , , , , , , on 12th May 2015 by Paul Macmillan

Technically Dead

The Fair City will play host to a clutch of heavy, technical, progressive and death metal bands this May 23rd. Top of the bill is Dundee based Animus, plying their diverse brand of down-tuned, modern metal. The show is their first in Perth for some time, and comes as part of their campaign to raise awareness of their upcoming debut album, “Men Into Memories”, due for release this summer.

Support comes from a range of bands from around Scotland. Openers Bloodthread, featuring a former member of Anencephalic, are the most traditional death metal band on the line-up, but they deliver their sound with technical flourish. Descending from the far North, Seed Of Sorrow bring a more melodic aspect to the event, and Glasgow/Falkirk act Centrilia – comprising past members of Madman Is Absolute and Toy – raise the flag for a unique blend of heavy prog and hard-core metal.

The event details are as follows:

Event: Technically Dead
Venue: The Corinna, Atholl St, Perth
Date: 23/05/2015
Doors: 6:30pm
Entry: £5

Despite announce new bass player

Posted in News with tags , , , , , , , , , on 23rd January 2015 by Pieni

 photo cui_zpslkuh8dqz.jpeg

After enrolling Zoran Panovic last month for the third guitar, prog/melodeath metallers Despite have now announced Anthony Cui as their new bass player, replacing Mathias “Matte D” Dagerhed, who left the band in November due to lack of time and other personal reasons. With the line-up complete, the band from Gothenburg, Sweden, is ready to hit road, while writing the follow-up to their latest EP “Epic”.

Says singer Peter Tuthill: “It feels absolutely killer to have Anthony on board! I had a gut feeling about him right from the get go, and I’m positive he will be a fresh blood injection into the veins of Despite.”

As for the man himself, he claims: Despite is a killer ride and I’m absolutely stoked to be on board. Home is where the gut tells you it is, and thanks to Despite‘s warm welcome I know where I’ll be. The future is NOW!”

“Epic” was released in January 2014 and in November the band brought to light the single “Chaos Trigger”:

http://www.despiteofficial.com/
https://www.facebook.com/DespiteOfficial

Between The Buried And Me to release “live” CD + DVD

Posted in News with tags , , , , , , on 28th August 2014 by Pieni

 photo btbam_zps6156a1d2.jpg

“Future Sequence: Live at Fidelitorium” is the title of the upcoming “live” CD and DVD by progressive act Between The Buried And Me. “Live”, in quotes, as it was recorded in the Fidelitorium Recordings studio and not during a concert. According to drummer Blake Richardson: “We’ve always been fans of dvds where it’s just the band, you don’t have any other distractions”. And vocalist/keyboardist Tommy Rogers adds: “We wanted to give the fans something that made them feel a little closer to us, and made them almost feel like they’re at practice with us.”

The film will show the band performing their most recent album “The Parallax II: Future Sequence” in its entirety. It’s directed and edited by Justin Reich, with director of photography Ismail Abdelkhalek, and audio engineers Jamie King and Kris Hilbert. Audio mixing and mastering was completed by Jamie King. It also features guest musicians Walter Fancourt (tenor saxophone, flute), Julian Hinshaw (Tuba), Will Goodyear (marimba, glockenspiel), Taya Ricker (violin), David Parks (violin), Leigh Dixon (viola), and Socrates Razo (cello).

“Future Sequence: Live at the Fidelitorium” will hit the stores on September 26th via Metal Blade Records. Watch the trailer and click HERE for pre-orders, including bundles.

http://www.facebook.com/BTBAMofficial
http://www.twitter.com/btbamofficial
https://www.youtube.com/BTBAMofficial

Airbag reveal artwork and track list for 3rd album “The Greatest Show On Earth”

Posted in News with tags , , , on 17th September 2013 by Pieni

 photo AirbagPR_zps7a99b94b.jpg

Norwegian prog-rockers Airbag are completing the making of their 3rd album “The Greatest Show On Earth”, whose 50 minutes of emotions will be distributed by the following six tracks:

1. Surveillance (part 1)
2. Redemption
3. Silence Grows
4. Call Me Back
5. The Greatest Show on Eart
6. Surveillance (part 2-3)

 photo AirbagPR1_zpsfdc19244.jpg

This album seems to have a rougher and heavier edge, yet without changing the original Airbag identity. Here’s a teaser of what’s to come, taken from the band’s YouTube channel:

Airbag online:
Website: www.airbagsound.com
Facebook: www.facebook.com/pages/Airbag/21137836128
MySpace: www.myspace.com/airbagsound
YouTube: www.youtube.com/airbagsound

Karisma Recordshttp://www.karismarecords.no/

Gojira reveal cover art for L’Enfant Sauvage

Posted in News with tags , , , , , , , on 18th April 2012 by colmcasserly

French progressive metallers revealed the new artwork for their upcoming album L’Enfant Sauvage today.Image Keeping with the theme of esoteric visuals and a vein of the natural world the art is centered around a person being surrounded by fading skyscrapers. L’Enfant Sauvage will be Gojiras’ first release since 2008s  The Way Of All Flesh.

Gojira are still to release The Sea Shepherd EP which was recorded onboard the vessel the Sea Shepherd as the Band raised awareness for the fishing and murder of whales, the topic of 2005s From Mars to Sirius, by Japanese trawlers.

The band also documented the recording of L’Enfant Sauvage in New York with a series of Youtube videos.

http://www.youtube.com/watch?v=3–gQgICEIE

Tell us what you think of the cover and how excited are you for this new release in the comments!

Colm Casserly.

Skin The Pig – Article XIX [2011]

Posted in Review with tags , , , , , , , on 23rd December 2011 by underthenorthernstar

Band: Skin The Pig
Album: Article XIX
Release year: 2011
Genre: Progressive Sludge Metal/Metalcore

Skin The Pig are a Manchester-based six-piece who play a mixture of Progressive Metal and Hardcore. Formed in 2000, they have since released their latest effort “Article XIX” in March 2011 and have been hailed by fans and critics alike.

It is apparent from the very outset that the album is incredibly well produced, the sound clarity being excellent and mix being just right. This is particularly apparent in the drumming, which sounds like it’s been recorded onto water a la Metalocalypse, and is clearer than polished mountain air. The guitar work sounds just as excellent whether the task is an ambient, clean passage, a crushing, chugging riff or a swooping solo. The vocals are handled brilliantly. There’s nothing to be asked for in the production department at all.

The songwriting ability of Skin The Pig is, for the most part, excellent. The beautiful ambient passages and grooving, sludgy riffs are a joy to listen to. However, it is a frustration for your humble reviewer whenever they incorporate their “Hardcore” edge into the songs. In some cases, it works, but, for example, the use of a breakdown at the end of “I Rise, You Fall” seems completely unnecessary. I can’t help feeling that the songs would be improved by scaling back on the use of fairly unoriginal Metalcore elements in favour of their more progressive approach. I’m sure the style will appeal to many, and if you like Metalcore more than anything else in the whole world then this album will be great for giving you that bit of musical variation. That said, the use of the Metalcore sound is justified on “Yet Nameless”, as the contrast emphasises the solo work and the groove of the more sludgy parts. The songs on which a more Mastodon-like sound is incorporated are the more enjoyable, from my point of view, as they feel so much more like the band is showing off its real talent. And although I can’t help feeling reminded of Bullet for My Valentine for the first three minutes of “Room 121,” the lyrical content is resolutely great.

However, it must be said that the musicianship is Phenomenal. The band has more talent than a greedy ancient Egyptian tax collector. The soloing is incredible, particularly on tracks like “In Loving Memory” and “Factory Factory,” and the drumming on “No Man’s Land” is eargasmic.  The way that the band play as a whole makes me think that they must be a brilliant band to see live, and that is something I certainly plan on doing.

I think that Article XIX is a solid album by a great band. I hope to hear more of them in the future, and I know that there will be hundreds of fans of this style, and it really is a great example. Definitely check it out if you’ve always dreamt that one day Lamb of God would meet Mastodon, get to know them and eventually have a screaming child together.

3.9/5

Alasdair Dunn of Norderobring