The Apparatus

 Sunday, 20 April 2008 What can you expect from an album entitled 'Hell Songs'? What the fuck were you expecting? How else you could Daughter possibly follow up one of the greatest tech debut albums written? In my humble opinion, 'Hell Songs' is the perfect follow up to the angry blur of noise that was "Canada Songs'. Instead of fast, spastic and angry music we get a hopeless, depraved sound that would not even be considered music by most of the world's standards. How could you not be satisfied? Daughters have created the music only heard in the heads of schizophrenic, homeless, Vietnam War veterans, and honestly, it's a great achievement.

I've been told this album is a completely different direction than the one we see in 'Canada Songs' but that's not true at all. 'Hell Songs' is everything Daughters is, the music is still loud, harsh, creative, intense, in fact the only thing that isn't the same are the infamous vocals. As much as you may bitch about them, they're here and they're not going anywhere. So Lex lost his grind and can't scream anymore, so what? At least they didn't disband(lulz), right? Plus this new style of vocals opens up the album to even further experimentation and deviation.

Now, I have to be honest. When I first heard this album, I hated it, just like the rest of the Daughters' fans who felt betrayed by this album. Though, those fans seem to be in the minority now, but that's a discussion for another day (we probably won't ever discuss it). Moving on, as anyone will tell you 'Hell Songs is an album that grows on you like herpes and syphilis combined into one ridiculous venereal disease that squirms it's way into your DNA coding. Maybe the music becomes easier to take in after the initial shock of A) the ridiculous vocals and B) the crazy fucking music, but that's obvious. I encourage everyone who hated or still hates "Hell Songs" to give it another listen, and pay attention. This album may be more 'structured' I suppose but it's still classic Daughters. Everything Daughters were are on this record, more nonsense guitar sounds, more ridiculously precise and creative drumming, and clever, self-hating lyrics. 'Hell Songs' actually gives us a taste of the even more experimental side of Daughters. Towards the end of the song "Cheers, Pricks" is an epic post-rock jam that still fits perfectly with the 'Hell Songs' aesthetic, amongst all the vicious bombardment of guitar wankery and harsh noise comes something beautiful which just makes this album that much better.

All I can say is give this album a solid listen, it is a more than worthy follow-up to 'Canada Songs', I guarantee it.

 Sunday, 02 March 2008 Undoubtedly by now, you and all your friends have had a chance to give Genghis Tron's newest effort a good listen, thanks to that pesky leak not too long ago. No need to be ashamed, it's okay to test out the waters before diving in and a beast like this album can be intimidating. Let me just say I've been excited for this album since I heard the announcement, so naturally all that anticipation has build up some very high expectations. Luckily for me (and you!), Genghis Tron have not disappointed. I know what you're thinking: 'you say that all the time'. Well, yeah but Genghis Tron really haven't disappointed me, this album is by far their most cohesive, focused and intricate album to date. It might even be their best, but I really can't make such a bold statement with such little time with the album. Just think of it as a possibility.

"Board Up the House" starts off with a simple beat that lures you into a sense of calm before some serious shit hits the fan. When the guitar comes up for the first time you are immediately on your toes again and from that point on you are completely immersed into a perfectly paced claustrophobic story until that last note of "Relief" finally dies out. This is why Genghis Tron don't disappoint. It's only their second full length album and they have already mastered their way of storytelling and it's showcased flawlessly on this album. While it may seem like a more simple album, the intricacies are woven deep. The spazz-like nature of Genghis Tron's previous catalogue is slowly dissipating into music that, in the words of it's maker "flows like honey". All the electronic beats and soundscapes blend in perfectly with the more abrasive passages, the result is a musical journey of epic proportions.

This release, more than any other Genghis Tron have put out, has a much grander sense of melody. This might be because of the flow from one song to the next but everything seems more melodic. Perhaps Genghis Tron have started writing songs with their ideas clearly in mind, insead of simply putting cool sounding parts together. For the record, no I am not knocking their previous material. This band seem to have stepped up their game, or maybe just grown into their own. One example of this is the quality of the drum programming which far exceeds the work done on Dead Mountain Mouth, they have truly grasped the programming which shows us once again why these guys do not need a drummer, never will. Mookie, Michael and Hamilton have all flourished as musicians and their creation here is one not to be written off. They show us again that Tron are in a steady incline and won't be going anywhere for some time.

The point is, you've heard the record, and if you heard what I heard you should be picking up a copy, if you haven't already, very shortly. This band has an unclouded vision and I cannot wait to hear what they come out with in the future.

 Saturday, 02 February 2008 Ivebeenshot seem pretty angry. I don't know about exactly what, but there is no question that these three guys are pissed and it shows. They haven't been around for very long but it's surprising that this is only their first full-length. For a debut from a young band it seems very focused and does not drag it's feet. DOZA is relentlessly brutal, fast and heavy as fuck. Imagine if Implosive Disgorgence hadn't gone downhill but better. Every minute of the album is crammed to capacity with non-stop riffing, blasts, breakdowns and downright evil vocals spewing some of the most hateful and nihilistic lyrics I've read in a while which are surprisingly original and intelligent (don't let the track titles fool you!). I say read, of course, because no matter how hard you try I don't think you could understand one word being uttered probably because of the predominant use of guttural vocals and pig squeals by Lee Artavia. For such restricting vocal styling, he's got quite some range going in and out from high pitched screams to the stomach-imploding lows without breaking a sweat. On "Ivebeencancelled" Lee starts off with standard high screaming and effortlessly transforms it into what I imagine Grendel's death cry sounded like. He has something to say and this band won't take no for an answer. The vocals stand in the foreground confidently and unabashed, never giving you a moment to catch a breath. You just sit and listen as you're violently and quickly grabbed by your ears until the last song ends.

I wouldn't believe it if you told me that Ivebeenshot are comprised of only three guys. I didn't know you could make music this fast and heavy with only one guitar and no bass. Nick Scaccia's guitar could make Daniel Laskiewicz's guitar cry openly and shamefully at how light it sounds in comparison to this. Not since this album has music this heavy not bored me to tears. It doesn't even give me a chance to be bored. Not even the breakdowns bore me and when that happens, you've done something right. Now I don't mean to make it seem like all DOZA is is fast riffage and sick breakdowns, because that's not the case. Though the majority is that, there are a few technical surprises in the mix that keep this release fresh. Take "Put Out or Get Out", track four. This song starts, stops, starts again all very quickly as you hear a very skewed and borderline obnoxious riff that goes straight into a slow breakdown with layered vocals, vaguely reminiscent of that one part in Cattle Decapitation's "Alone At the Landfill" where you hear nothing but excruciating and agonizing screams. You know what I'm talking about. Yeah, you do. There'sno formula to any of the songs, though breakdowns do seem to take center stage, there are various different guitar riffs and progressions that are all noticeable. Even the ambience in songs sounds like they should be there, it's not just used to give songs more depth, it's all very clear. In the percussion department, the same is true. Again I'll use "Put Out or Get Out" as an example. Jake Snyder plays some impressively clean, steady and precise blast beats all while dancing all around the cymbals in the process. Of course, not the most technical of music but it keeps it from getting stale. I can listen to boring blasts all fucking day, so I appreciate it when musicians decide to jazz it up a bit. I notice it and I appreciate it.

The music, while not the most original in the modern extreme music front, is easily distinguishable as pure Ivebeenshot and they've come quite a way since their Anchorman-inspired "Stay Classy" demo. Everything sounds impressively tight, they are all obviously comfortable with their instruments. I was certainly impressed when I was handed this, to say the least. This style of music isn't exactly my specialty or preference but this is a death metal/grind/hardcore hybrid I can enjoy. It's done right. Yeah, sure sometimes the music seems ridiculously heavy but I severely doubt anyone will complain about that, especially not Ivebeenshot's fan base.

This is what a debut full-length record from a promising band should sound like. It's taken them a long while to finally make this and it's good to see all their effort and hardwork payed off. Ivebeenshot have set the bar for what bands trying to write deathgrind with substance, and while it may not be perfect, not by a long shot, it has certainly showed us what this band is capable of. They have no where to go but up from here, and DOZA is a great start. A magnum opus it is not, but if it's any indication, this band will make their mark known.

 Thursday, 17 January 2008 No doubt you've heard of The Tony Danza Tapdance Extravaganza before, if only by their ridiculous name. They've been around long enough to make their mark on the extreme music community, and they most certainly deserve recognition. I mean, for five guys from Tennessee, they've done pretty well for themselves and the music they create is simply something I would not expect to come from the south, aside from that southern charm that seems constantly present in every song they write. Maybe it's the song titles or the hilarious interludes but it's most certainly there.

If a band starts off a CD with a midget trying to get into a bar, well, I'm going to be interested. Can you blame me? Right from the start you already get a taste of the band's humor but right after that first skit, they let you know they are not fucking around. Not in the least. Danza have definitely grown as musicians since their first release, they have become angrier and certainly more technical. This is music that both breakdown lovers and us tech metal fans can enjoy.

There's a breakdown on pretty much every song, but that is in no way a bad thing. Not the way they are executed on this release. The band plays interestingly composed, intricately technical breakdowns that never get boring or repetitious. Sure they chug but they also go into some over-the-top sweeps and taps in between without even breaking a sweat. Just as See You Next Tuesday modernized grind, Tony Danza seem to be inventing their own style of what is now considered hardcore and about time someone upped the ante on that one. Consider them the saviors of the stalest of genres.

The entire way through this album is unrelentingly brutal and I never get bored when listening to it. There seems to be a Meshuggah influence present through the entire album, specifically on drums. The off-timed drums patterns compliments the spastic chugging and tapping of the guitar and bass and though the vocals lack range they make up for it with their unbridled aggression. The entire band does not lapse during the entire album, there are no weak songs and no points when they don't seem to be giving their all. Even the skits are refreshing because of the fact that they are genuinely funny. A little-person's night at a bar getting progressively worse until he turns the entire place into a bloodbath, try and tell me that's not hilarious.

Simply put, this is a great new technical release filled with all you could ever ask for and more. We could all use more of this. For a band that would sound like a joke, you should definitely give them a serious listen.

 Friday, 04 January 2008 Not many people know about Shoemaker Levy 9 outside of France, the band's home country, which is a shame. They were a technical hardcore band with a predominant jazz influence and this album stands as their only full-length as well as the only album the band recorded under the moniker Shoemaker Levy 9.

This band does not waste any time at all, right from the first seconds of the album you're bombarded with the off-timed grooves, intense vocals, the plentiful tapping and the creative drumming that is Shoemaker Levy 9. The album jets off right from the beginning and doesn't catch a breath until the album is over. There's always so much going on it's hard to keep track, they're always going from blast beat to jazz riff to ambient electronic music it's almost hard to follow. The entire band is very creative and talented, I'm always surprised at how little known this band is in the states especially with the boom in technical metal acts. The only problem is that since this is their only CD the short run-time is even more of a problem. The album is only 8 tracks that clock in at 22 minutes and "Absence" is simply a 2 minute interlude and easily the weakest song on the CD but aside from all that there isn't much to complain about as the other 7 tracks more than make up for the lack luster number 7.

Since this was only their first album, the band was never given a chance to grow and get better but I wish they had. By the sounds of this the band was set to become a forerunner in the technical metal scene, too bad that was cut short when they disbanded in 2006. Pantheon is their promising debut as well as their swansong. It's a good thing the world has this album to remember Shoemaker Levy 9 by.