Reviews

Freedom Call - 666 Weeks Beyond Eternity

Steamhammer - SPV 2015

Nurnberg’s Freedom Call come to us this year with a double-disc compilation of ‘Happy Metal’.  They first came to general musical knowledge in 1999 with their first LP.  Under band interests they want us to “enjoy our lives”.  Fair enough.  This collection is chock full of tracks that some of you may not have heard before.  It should be noted that this is actually a re-release of the band’s ‘masterpiece’ from 2002.  Plus, there are ‘special’ versions, unplugged versions, live versions — oftentimes of the same songs that are already on offer.  For better or worse, let us revisit some of these choice nuggets.  But before we go any further, it may behoove us to go through the personnel.  Freedom Call are Chris Bay (vocals, guitar), Lars Rettkowitz (guitar, backing vocals), Ilker Ersin (bass, backing vocals) and Ramy Ali (drums, backing vocals).  They are currently touring Europe and will undoubtedly be presents at many of the summer’s headbanging fests.

First up is the title track, which comes to life with chanting monks on vocals, and soon develops into a lesson in pounding the crap out of the double-bass drums.  There is chugging riffage and high-in-the-sky viking-style vocals.  At the two-and-a-half minute mark there is more chanting and progginess mixed with Metal.  At three minutes in there is a shredding lead guitar solo.  Now all of this stuff is fine, even great, at times; however, as we will see (and hear), FC grind this formula into the very ground during the next hour or so.  It is unfortunate because what variety we do bear witness to actually turns out to be the highlights of this collection.

Metal Invasion (Live 2011) is one of three versions of this track.  Of course, as any unsuspecting scribe might wonder, we find ourselves asking why?  This IS a good song; it is a classic example of the sub-genre of Battle Metal, featuring victorious warriors and their glory, more double-bass drum histrionics, good clean main riff (even inspired me to some head-bobbing), and majestic-sounding, triumphant keyboards and vocals.  It is unfortunate that FC feel the need to repeat themselves as often as they do.  There are a couple of pretty precise shifts here (2:55 and 6 minutes in), and there is an excellent lead guitar solo at 5:20.  The 7-minute mark finds us listening to one final lead burst as things draw to a close.  The ‘special’ version of this is special because it has violins and acoustic guitars, unplugged style.  I’m sure that they didn’t intend for this particular track to be one of the highlights, but it is…

Eyes of the World is another number which features a triumphant synth/guitar intro, and MORE of the pounding of the double-bass drums.  Don’t worry, it’s not to ad nauseum – at least not yet.  Super chugging riffs and lots of happy keyboards add to the mix, and there are more viking vocals, of course.  At 1:30 they shift into overdrive, and at 2:30 there is a keyboard-driven shift.  At 2:45 there is another lead guitar solo, and at 3 minutes in they kick things into double time.  There is another version of this track from a live show in 2004.

Flying High features trip-hammer drums on the intro, then look out, because the guitars are coming!  Ramy slams the double bass drums AGAIN (doesn’t he ever get tired?), and at 1:30 there is a sort of circus atmosphere going on, with a shift of sorts.  Lyrically we are ‘On wings of eternity/On the brink of reality’.  Mention is made of a ‘heavenly kingdom divine‘, which is incongruous with the title track (666), but whatever, right?  At 2:50 there is a lead guitar solo, and if that wasn’t enough, there is another one at 3:20.

Warriors (Live 2011) is another tune that has three different versions on board.  The vocal intro is mainly crowd banter, and some is in German, so don’t strain to hear or understand unless you are familiar with the language.  I found myself headbanging a bit again here, but no neck strain or serious hair flying.  The main riff is clean and crunchy, and there is plenty of nice guitar work going on.  Lyrically, they ‘Came from the night/Defenders of life/Returning from darkness‘, which, to be quite honest, is a bit mundane even for these folks.  There is a shift at the three-minute mark, and another lead guitar solo at 3:30.  This quickly morphs into a twin harmony lead, taking a page from the book(s) of Lizzy, Priest or Wishbone Ash.

Island of Dreams features bells on the intro, and more of the same formulaic power rock that we’ve already heard.  It’s a good formula, but a bit repetitive.  Then again, if it ain’t broke, don’t fix it!  Happy keys and drums are the driving force, both with a triumphant tone again (why are they so jubilant?).  At about 2:30, the monks begin chanting again, and at 2:45 there is a lead guitar solo WITH a double-bass drum attack.  At 3:20 they shift into overdrive, and at 3:45 they move into double time again.

Land of Light (Live 2011) includes yet another happy keyboard intro with a nice bass line.  It is a bit mellower than the others, but it does feature another of the chugging simple riffs that we’ve already heard.  There is also an atmospheric vibe in this tale of power, and I was reminded of Europe‘s ‘Final Countdown‘ (and not for the last time).  At 3:15 we have the obligatory guitar solo.

Bleeding Heart features ANOTHER triumphant key intro, then some really beautiful piano.  There is a bluesy vocal here as well, which is always a good sign in my humble opinion.  At one minute in, the proceedings kick in a bit, and we get some more sappy lyrics; ‘And I believe in you and me/In all your words of love and light/When we began/I gave you my hand’.  At 3:25 there is a poignant but effective moment featuring acoustic guitar to go with the piano.

Flame in the Night has another of the atmospheric intros mentioned earlier, but includes some fairly forceful keys, drums and guitar.  There is more of the same happy, triumphant keyboards and vocals as well.  Lyrically, it’s almost sappy again; ‘My star will shine/Like a flame in the night/Remember the journey never ends/My power and glory will rise forever.  We also get a late shift into low gear (3:20) and things fade out at about the four-and-a-half minute mark.  Powerworld’s version of this track (contained herein) is riffier, heavier, slower and even better than FC’s.  I bet they didn’t intend for that, either!

Warriors is up next (again),and for my money, the unplugged version is the best.  It is very cool, but again, probably not intended to be a highlight.  It almost seems tongue-in-cheek at times, and technically, it is NOT actually unplugged completely.  There is a very nice groove, though!  The Hannes Braun version is very cool, including a beautiful piano line and some excellent vocals.

Ages of Power has one more of the atmospheric keyboard intros with riffs (anybody getting a bit tired of the formula yet?).  Turn Back Time is a more mellow, traveling-type number, featuring mellow acoustics and a sweetly beautiful acoustic intro.  There is a slow and stately lead at the three-minute mark.  Neonfly’s version of Land of Light is, again, slower and more introspective than FC’s version.  There is another beautiful acoustic intro, and I can’t help but wonder if they had a bad idea when they included alternate versions of their own tunes by OTHER bands that sound BETTER than their own versions..?

As I mentioned earlier, there is a LOT of repetition on here.  This double-disc set could easily have pared down to a single disc.  It would have made it MUCH better.  As it is, listening in was more like an endurance test than anything.



Rick Ossian


   

MEKONG DELTA – In A Mirror Darkly

Steamhammer/SPV 2014

A good thirty years since their inception, and German Prog Thrashers Mekong Delta continue to be an unknown entity for quite a few Metalheads out there – a state of affairs that surprises and annoys me in equal terms.

While fans like myself are left annoyed by this inconceivable injustice, mastermind and founding member Ralph Hubert continues undeterred to bridge the gap between the two styles of music he loves best: classical and Metal, and in the process has created another album of outstanding vision and immense quality, entitled “In A Mirror Darkly” – the band’s tenth to date.

This historic band has been the breeding ground of many outstanding musicians over the years, however I am sure that many fans will agree with me in saying that it’s since 2008, the year that saw Martin LeMar (vocals), Erik Adam H.Grosch (guitars) and Benedikt Zimniak (guitars) together, that the quintet began to truly flourish.

Consisting of seven compositions which combine top class melodies with highly intricate rhythmical passages, “In A Mirror Darkly” is testament not only to the individual skills of each of the band’s members involved, but also of the great chemistry and collective spirit which characterises Mekong Delta era 2014.

Opening track “Introduction + Ouverture” combines acoustic guitar harmonies with highly intricate Metal riffs and prepares the ground perfectly for the musical onslaught that’s to take place in the remaining thirty seven minutes of the album.

Martin LeMar leads the proceedings almost instantaneously in “The Armageddon Machine” – a composition filled with intelligent lead guitar melodies, which shows how gelled the band’s rhythm section of Hubert/Landenburg really is.

The atmospheric follow up “The Silver In Gods Eye” slows the album’s pace significantly, leaving enough space for LeMar to prove his musical pedigree, while “Janus” offers a truly bombastic riff and harmonic/melodic guitar passages of sheer theatrical value, reminiscent of those employed by the mighty Savatage during their prime.

The six minute instrumental “Inside The Outside Of The Inside” catches the band’s rhythm section at their absolute best, while the Jazz infused Thrash monster “Hindsight Bias” ought to inspire scores of young musicians to practice harder their respective instruments.

How does one conclude an album as impressive as this one? With another seven minutes of flamboyant solos, technically demanding passages and dynamic vocals – the very formula responsible behind the creation of the glorious “Mutant Messiah”.

Thirty years ago bands like Mekong Delta did not stand any chance of making their music available to the masses as the music industry was controlled by a handful of enterprising individuals whose wallets were the driving force behind all decisions.

Now that the power is finally in the hands of music fans rather than PR departments of multinational companies, now it is finally time to address the previously mentioned injustice and embrace a band whose quality and vision are second to none.

Ladies and gentlemen, I give you Mekong Delta – a band which just happened to release one of the best albums so far!  *****



John Stefanis


   

Ultimate Holocaust - Blackmail The Nation

Earthquake Terror Noise
Release: 27 July 2015

Ultimate Holocaust is an Italian Metal Band born in the October 2010, formed by Bianchi (vocals & bass), Tambo (guitars), Floyd (drums).

In the beginning the band offered a tribute to a teutonic legend Sodom. “Blackmail The Nation” is band’ s debut and  is based on a secret agent's story where the special agent U.L.T.I.M.A.T.E. fight the mad terrorist agent H.O.L.O.C.A.U.S.T. Known as Lord of replication (quite genius story).

Reading the above lines is easily to understand that the band is playing Thrash Metal drawing its main influences, mainly from Sodom, and then such German acts like Kreator, Deathrow and Exumer. “Blackmail The Nation” is not a bad album but it’s not also the album will make thrash fans go mad. With a standard tempo/rhythm from the first song to the last one Ultimate Holocaust delivers us a typical thrash album with no exceptional moments and limited fantasy. Although each song is quite powerful and push your head turn banging, I think synthetic is a skin deep album, makes me feel a bit boring after a while.

Not to be misunderstood it’s not a trash album not at all, but it’s not as good as competition requires, in an age with too many options for the listener!

I deeply believe that they have the abilities, as musically are really good musicians, to create some more complicated structures and offer us a more exciting sophomore!

Gerry "The Exumer"


   

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