HEAVY SHIT (AS WELL AS STRANGE & NEW CREATIVE CROSSOVERS)
review page 2

Genghis Thron ('04)
Shemales from Outta Space Of Death ('09)
Cleric ('10)
Girth ('07)
Vampillia ('11)
Mombu ('13)
The All Seeing Hand ('13)
Ovo ('13)
Fat32 ('11)

(see also Kelal & Zoo -on the Indonesian pages-)

Crucial BlastGenghis Tron : Cloak of Love EP (US,2004)****°

After having heard the Indonesian group Kelal’s release of “1000 thoughts of violence” (reviewed on next page), I thought that this was really one of the only groups who ever tried combinations of “progressive music”, electronica, and brutal metal. But this is not true. Gengis Tron music, unlike Kelal which is still coming forth from metal, even has a generalized “progressive” structure. The arranged mix is electronic pop with an almost DJ mix of metal, in an almost prog/triphop rock structure, or going deeper into electropop, mixed with the brutal metal.

Genghis Tron uses instruments like electric guitars, drum machine programming, keyboards, electronic drum programming, keyboards, theremin, lap steel, and vocals, and really is brilliant in its use of contrasts, making every aspect acceptable thanks to its time limitations.

It just gives each hard edged fan of each individual genre, who would switch after just a few seconds when hearing something different, no chance to do that, because the group willfully changes all the time. The switches are done in a structure that keeps a fluidity within its broken apart pieces. Well done ! 

I noticed that some the most limited genre-seekers still hate this, but it took as many more by surprise, to become open to something else.

Audio : "Rock Candy","Arms", "Laser Bitch"
Info : http://www.genghistron.com/ & (with sound) http://www.myspace.com/genghistron & http://www.crucialblast.net/genghiscloak.htm (from http://www.crucialblast.net)
Other review : http://www.punknews.org/reviews.php?op=albumreview&id=3753
& http://www.crazewire.com/features/20050301471.php
& http://www.knac.com/article.asp?ArticleID=3518
& http://www.metalreview.com/viewreview.aspx?ID=1328
& http://www.vampire-magazine.com/reviews.asp?id=3617
& http://www.cmj.com/articles/display_article.php?id=3547457
interview : http://www.indepthzine.com/interviews/genghis.html
& http://www.lordsofmetal.nl/showinterview.php?id=877&lang=en

PS. I heard only fragments of the full album, but that one could no longer surprise me.
private    Shemales From Outta Space of Death :
      You never get a cannibal blowjob twice (D,2009)****'

It’s great to hear that some extreme contrasts and styles just now and then are combined spontaneously, creating a new genre, a new expression. Already with genre crossing pioneer Genghis Thron (US) on their debut, I was amazed by the possibilities of combining electro and brutal metal ; also Kekal (Indonesia) used progressive and electro elements in their brutal metal approach. But just recently it seems that some related groups (in the US and Germany mostly if I am well enough informed) try the combination of Commodore/Nintendo electropop and deathcore, a possible expressive combination of/for those who probably play games too much and need a “heavy” break. Often the genre name of ‘Nintendocore’ was used for it, while a few times this name is also used for enslaving Nintendo music without the deathcore part. Bands which are often associated with Nintendocore, although it’s just a name to get a grip on certain related references, it can be either close to mathrock, punk-hardcore or even Indierock mixed with hardcore adding occasional extra elements like rap/hiphop, but most of the bands that are generally associated with this are often dominated by teenage testosterone and adrenaline braindamage aggression than that they are really showing much of the challenging constructions possible. So far for me especially the bands Bubblegum Octopus (US), Shemales From Outa Space of Death (D) and Press Start To Play (D) stand out in showing something more beyond a local aggression, showing the best of both worlds (the most heavy genres and toy/game-electronica) in a odd and new combination with the two worlds well integrated into one another and show a musically strong communicative spirit in it.

Shemales From Outta Space of Death only has a download release of their debut album. They describe their own music as ‘Electro-psycho-deathcore-frenchhouse’. The first track has an intro with whispery voices with echoes recalling a religious association in a church, until the track is speeded up to their own rewarding metal/Nintendo combination, where the game-electronica is used like sequenced rhythmic tensions, and where the drums are combining well the metal approach with attention to some breaks that fit into the Nintendo ideas with great attention. Also the second track is original by its use of space in the metal sound, where some of the sounds lead to electro making different emotions and tensions/expressions possible this way. Also the third track is a perfect combination of metalcore with electropop, as a combination with humour, being open as a musical idea, presented like a game for metalheads with a break looking into an occasional disco ball reflection. Also the fourth track is well mixed and a successful combination. The last track, expressed with a humouristic idea of a metal in the expression of a way-out for a too much of an electroparty experience.

There was a time any metalfreak would hate to mix their world of preferences with anything else, but the newest generation is ready to mix any possibilities and choices, which I think is a great improvement making a wider range of expressions possible as a cultural expression : this is another, even odd, step forward for which this band, thanks to their clarity and humour, succeeds to withstand any possible skepticism if this would be something to last or not, for me passes the test extremely well. A long time ago since some new genre, thanks to the aforementioned groups, surprised me that much.

(Please release this album officially).

Audio(video) : "Disco Krieg", "Elektro-partys machen mich kaputt","H&M are watching you"
Info & audio : www.myspace.com/sfosod
About the 'Nintendocore' genre : http://en.wikipedia.org/wiki/Nintendocore
Other soi called Nintendocore bands : 100 Dead Rabbits, Bubblegum Octopus, Horse The Band, Enter Shiraki, Sky Eats Airplane, As The World Fades, Press Start To Play, We Butter The Bread With Butter, The Advantage, Last Life Last Failure
Some videos :  Bubblegum Octopus, Horse The Band



Web Of MimicryCleric : Regressions (US,2010)***°°

Trusting Mimicry’s label (home of Secret Chiefs 3) taste, this was an album I wanted to try and I didn’t regret in doing so. The problem with the heaviest styles is that they growl, scream, burst out and be extreme the whole time to a degree it is no longer a strong expression but becomes a disturbing, noisy, filthy, spoiling sound of the extreme without finding ways to build foundations. So I’m always open to bands who do the opposite, intelligent bands with just wilder ranges of expressions. Cleric is such a rare band.
On the first, over 19 minute track I still had the same critics in mind. The band uses there a combination of brutal grind/metalcore, technical metal with progressive edges, screaming vocals, some keyboard inclusions. This is all very good already, mixed well with good still a bit straight forward ideas, but I still missed these desired contrasts like productional ideas that create distance and more openness within its progressions. I could still imagine this additional aspect to it that would be more surprising and effective. .
The second track shows the technicality of Ruins mixed with heaviest and fast metal, but I could still imagine certain remixed contradictory layers that could make this even better.
I did not have to wait long. After this the album evolves further with so many ideas, in a logical order, the progressions begin to weld too. Tiny noise effects, and a few avant-garde sounds inclusions, quiet passages, like a saz played in the rain while a deep toned thunder like tensions progresses, bits of electronics, collages of ideas all take care of wonderful, beautiful, successful contrasts. It’s much more effective to have long screams after breaths of silence, so that it becomes a wild expression, an uproar of energy. After a few technical metal guitar ideas, the riffs becomes avant-progressive renewing all genres to something new, redefining all that happened before. The further the album evolves the more convincing it becomes. The more the group sound does not belong anywhere the more interesting it becomes for me. They become challenging, digging holes and expressive sculptures into new mountains of sound. If they keep all there expressive range the band has built up so far this can only become better. If I have the chance I will give airplay to a large selection of it. 10 tracks, but over 76 minutes in total.

Info & audio : http://www.myspace.com/cleric
Homepage : http://www.iamcleric.com/
Label info : http://www.webofmimicry.com/catalog/product_info.php?products_id=85
& http://www.midheaven.com/item/regressions-by-cleric-cd
Vinyl version : http://www.webofmimicry.com/catalog/product_info.php?products_id=86
Other reviews : http://www.noisecreep.com/2010/03/10/cleric-regression-new-album/
& http://www.sputnikmusic.com/album.php?albumid=57252
& http://blogcritics.org/music/article/music-review-cleric-regressions/
& http://www.metal-temple.com/site/catalogues/entry/reviews/cd_3/c_2/cleric_-_regressions.htm
& http://www.chicagoreader.com/...
& http://www.shortandsweetnyc.com/2010/06/cleric-regressions/
& http://decibelmagazine.com/Content.aspx?ncid=380526
& http://metalreview.com/5683/Cleric-Regressions.aspx
Description : http://www.metaldisc.com/...



Web Of MimicryGirth : Sleeper, Awaken! (US,2007)***°

This is a 19 minute track in 4 parts with wings of expression that goes towards the heaviest metal genres, shows technical metal abilities and ideas performed by three people only (and an occasional singer). As expressions for some of the fallen dead in weird circumstances we also hear collages of vocals included.  Some of the electric guitar is more avant-psych minded, while drums and bass have elements of doom. A progressive mind reconsidered its foundations during what are partly improvisations where we also hear wild guitar outbursts amongst more technical ideas. Furthermore we have a slightly jazzier part with drums that take this new style element in by some electric piano, before all the other elements. An interesting mini-CD.  Often a bit intellectual as an idea, the emotions burst out with its restrained aggression.

Info & audio : http://www.myspace.com/girthmusic
Info : http://www.midheaven.com/item/sleeper-awaken-by-girth-web-of-mimicry
Label info : http://www.webofmimicry.com/catalog/product_info.php?cPath=22&products_id=75
Description on http://www.cmdistro.com/...
Code666 Rec.Vampillia : rule the world/deathtiny land (JAP,2011)***'

I still love it when I hear attempts to combine classical opera or classical music arrangements with genres like brutal metal. It has been a while since I have noticed another example, for I am not particularly looking for it any longer. But here you have such combinations again. The album starts with a small string arrangement only, with piano. In the composition I could hear already the way of composing would fit very well with the string quartets inspired by metal. And yes, indeed this evolves on the second track over a speeding up waltz towards a darker metal approach with demonic voice and drums speeding up the thing. Operatic voices are used as well, and the combinations are grotesque, like metal is another sort of operatic feast, the combinations and distortions can be brutal and brutalizing. I loved it when on track 19 ska rhythm, opera, classical music, metal guitars, quartet arrangement were combined, even though the tension is nervous, a bit chaotic, and on track 22 where baroque piano is combined with the metal approach, the other way around. Clearly there have been put work and different perspectives in this; it will take a few listens to unravel all this.

Audio: http://soundcloud.com/pdis_inpartmaint/vampillia-rule-the-world-1
Info & audio : http://www.myspace.com/vampilliaofficial & http://www.last.fm/music/Vampillia
Info : http://www.hearjapan.com/store/group/Vampillia
Homepage : http://vampillia.com/
Dutch review : http://darkview.noctumstudios.be/reviews...
& http://www.ragherrie.com/2011/04/vampillia-rule-the-worlddeathtiny-land/
Other reviews : http://www.onemetal.com/2011/04/26/vampillia-rule-the-worlddeathtiny-land/
& http://www.howtorockout.com/vampillia-rule-the-worlddeathtiny-land-cd/
Subsound Rec.Mombu :Niger -EP- (I,2013)*****

Wow! ... Wow : first of all because they used an incredible effective combination of bass/electric guitar with baritone sax sound as a foundation, with a beautiful droning sound effect,  in combination with hammering drums, and just like another "hammering" effect. This is like taking Blurt (-remember Blurt and their post punk-sax/song music in the 80s-) to the next level. This particular Mombu EP sound has so much body of its own, that gives such a wow-effect that makes Stoner Music become a more lame background effect. For this effect alone all the right rhythms and progressions are being put in motion. A bit of freedom of baritone sax improvisations occurs, with nice sax harmonies too. And then we have the voodoo effects from the start too… Some of the percussion seemingly sounds more "African", possibly it even is this African drummer himself who brings in the voodoo association, or it is just a fitting fantasy with the music,- I don’t know. More banging rhythms, with pauses, breaks occur and return in which we recognize even more African elements. But it is not until “Carmen Patrios” that the African foundation really takes over. This track features shakers, amplified thumb piano and some kind of loud voodoo singing and drumming, some distorted bass guitar effects give the drumming some extra aftereffect. The last track starts from a quiet background, a soundscape with the electric bass and a sax improvisation before the originating idea with rhythms returns one more last time with some strange turns, and with its aggressive but also beautiful combinations of sax/bass/drum.

Remember how Mombu’s original sax player also came from Zu (another winner band), and the drummer from Neo. Welcome guest is the most probably from Niger originating drummer called Mbar Ndiave on African rhythms and we also have another new member, metal guitarist Marco “Cinghio” Mastrobuono. Highly recommended!

Audio: http://www.youtube.com/watch?v=FbpfQ7SCHlM
& http://mombu.bandcamp.com/album/niger
Other review: http://brushvox.com/2013/07/mombu-niger-2013/
Dutch reviews: http://www.zwaremetalen.com/recensie/27602/Mombu-Niger.html
& http://www.lordsofmetal.nl/nl/reviews/view/id/25202

Previous album reviewed on http://www.psychemusic.org/Italy2.html#anchor_363


Muzai/TenzenmenThe All Seeing Hand : Mechatronics -LP/CD- (NZ,2013)****'

The All Seeing Hand is different, and therefore I picked them out and felt highly stimulated to review their album. Their starting point of combined picked out instruments and their singing style are very different to other bands too. The first instrument they use is the turntable. Alphabethead provided this part to the band’s sound. He started in the Hip Hop scene “delving into a diversity of sounds like orchestral gamelan and Inuit folk music to post-punk and electronica”. I guess he’s responsible for the buzzing bass, a sound I also knew from electrocore one-man band Huarotron (Finland), for the soundscape textures and Commodore-like electronics. B Michael Knight has enriched Alphabethead’s basic electro bass groove on drums. He came from a totally different scene and approach (DIY punk and hardcore). This core combination alone is already powerful, but the band is as much “real”, inspired and direct as strange, and to enhance their renewed reality, they also have someone to make that human connection, or is it via a new alien form, for which we have Jonny Marks on vocals. He spent 5 years in Inner Mongolia learning throat singing. But above that he seems to invent a language and another singing style. It was as long ago, from the times that I have heard another singer like the Japanese Mimi-Unagi (who was inspired by Ruins), that I heard such a thing like a new approach with singing, a new direction. Often you can say that he sounds a bit like Captain Beefheart on Acid of how Howlin’Woolfe would have sounded when he would have been born in the Mongol region, but then approaches modern life.

Especially on the first track, Alphabethhead proves how good he is able to work with a diversity of electronics, creating a world on its own, before it is reborn and smashed upon the earth via his bass machine, I can hear an almost shamanic ritualistic drumming, smashing and then leaving spaces open for its after-effect. It is like the provocation from a new world, which the singer fills in and expresses, like the shaman, the voodoo master or witch. Some tracks start with a few Commodore sounds, and in that contrast the singer’s voice sound like a possessed robot. There are parts where you can hear a variety of Mongol singings where especially the overtone singings work meditative. And this is another strange and powerful thing about this band. As aggressive they are in its contrast, as balanced they sound as well, with a quietness and stillness that almost makes each moment also a meditation, be it from a different, who knows more realistic world. When the singer gets his blues, other members sing with woowoowoo Indian responses occasionally too. At another moment the alien warrior just seems to give a speech. At some other parts different forms of punkish screams are perfectly balanced as illustrative elements (track 9). And then, suddenly the last track really meditates with a soundtrack with Mongol throat singing, showing the drumming importance just one more last time. Powerful !

The last few weeks I came back to this release more often and enjoyed a repeated new listen time and time again. Recommended.

Info & audio: http://the-all-seeing-hand.bandcamp.com/album/mechatronics
or http://tenzenmen.bandcamp.com/album/mechatronics
or http://muzaiparadise.miiduu.com/the-all-seeing-hand-mechatronics


Supernatural CatOvo : Abisso -LP/CD- (I,2013)****°

It’s hard to believe that this duo (with Bruno Dorella on drums and Stefania Pedretti on vocals and guitars) are already having this band/project for 13th years! It is heavy shit, which is experimental and creative, like a new language almost, not fitting with hardcore or deathmetal or avant-garde but having something in common a bit with all those genres, as if being inspired even more directly from the pit of demons via some sort of ritualistic, musically inspired demonic possession.

The album still starts (and rather ends) quietly, with oscillating guitars, and calmly building-up drums, then a voice emerges like a dinosaur opening its egg, screaming for the first time. Accompanied by a certain heavy fuzz bass rhythm some repetitive groovy drumming, a song still emerges from here, screaming from a dark and fire place of hell. The second track starts with a bit of distorted electronics, heavy bass and drumming. It reminds me a bit of this 90s track with the “Fire”-element, with the setting filmed underground mining underground rock clip (-I remember “firestarter” from The Prodigy here-). A high voice is vibrating with its crazy weirdness but also, with great musical effect. On the next track, drums are added and heavy deep distortion, creating together a doomed stoner effect, while enriching it with rather hardcore-alike trash rock vocals. The next track starts more quietly with bass and drums with the voice still screaming with pain, but also in a more quiet way with the same amount of horror. Then an extra deep deathcore voice is added, so that the full picture of horror turns complete, with the doom bass and drums to it. While the drum and bass continues to peep, boom and power up, the lead voice seems to speak out witches’ spells. On the next track with drums and distorted guitar leading, the rather possessed voice pushes the music further up as if whipping it with her voice. We hear some oscillating guitars on top. The title track is even more frightening with horrors from hell, crying from the pit, during a steady rhythm, with experimental peeps to it and deep long note distortions, with an almost industrial music-kind of electricity. Some breathy witchy voice is added on top. Consider this is as opera. As a contrast a rather folk voice is added on top of this as well, while the other parts are breathing sweat. The next track features a faster drum rhythm, screams from hell, and some faster screaming. Also then, a rather folk voice, like Indonesian singing, is added as a nice extra contrast to the deeper breathing bass voice and the distorted bass/drums continuations. The one before last track is a last quiet moment with experiments on guitar, drums from a kept distance. It shows a quiet rhythm, a spatial feel, and we hear an organ drone too. A bit more normal singing occurs. Where the last track could be direct a recording from hell, where you can hear an imprisoned beast being slaughtered in the metallic machine environment, swallowed to it’s event in sound, to an even more horrifying effect.

For this new album, the duo had the help of Giulio “Ragno” Favero at the mixing desk, Giovanni Versari for the mastering. It also featured the collaboration of Alan Dubin (ex OLD, Khanate, now in Gnaw) and Carla Bozulich with her full band Evangelista.

Video: http://www.youtube.com/watch?v=28UZcgQ9gN8
Audio: http://albumstreams.com/s/ovo/abisso
& https://soundcloud.com/rarelyunable/sets/ovo-abisso-full-album-stream
Info : http://ringmasterreviewintroduces.wordpress.com/2013/11/05/ovo-abisso/
& http://ovolive.blogspot.be/2013/09/ovo-abisso.html
& http://circuitsweet.co.uk/...
Distro description: http://www.clear-spot.nl/item/392593/ovo_abisso.html
Label info: http://supernaturalcat.bigcartel.com/artist/ovo
Homepage: http://ovolive.blogspot.it/
Other review: http://ringmasterreviewintroduces.wordpress.com/2013/11/05/ovo-abisso/
& http://louderthanwar.com/ovo-abisso-album-review/
& http://www.whisperinandhollerin.com/reviews/review.asp?id=10448
& http://www.thesleepingshaman.com/...
& http://exclaim.ca/Reviews/Metal/ovo-abisso
& http://thequietus.com/articles/13832-ovo-abisso-album-stream
& http://www.isthismusic.com/ovo



Web Of MimicryFat32 (US,20113)***°

I am always interested hearing any release from Web of Mimicry. On this release, on the first track we hear technical metal drum/bass with instrumental bubbling rap leads of electronics/keyboards, mixed with aggressive electric guitar technicalities composed into it as well, brought together with a bombastic effect. The track shows dominating rhythmical changes. There are pushing speaker vocals in the background first. Later on, the more comic vocal fragments give its extension and expression a renewed context of an instrumental audio comic book element. This whole thing evolves further to an aggressive form of Zappaesque heavy jazzrock contra technical rock. Suddenly this whole scene monster moves to a calmer jam in the next track, with one layer of keyboards, which is enriched further with a bass drums foundation to improvise further upon. Also this becomes thoroughly more technical in its rhythm/melodic repetition groove. An extra electronic layer then takes over the lead, where the rhythms and technicality also becomes more aggressive. Some of the sounds being added are like that for a computer game. Never the less, the band quickly returns to the heavy acid and more electric power with drums in the next track, of which only some minor accentual parts are programmed in it as well. The last track balances between programmed rock and electronics, with parts of electric piano and jazz modes, with a small fragment featuring the appearance of aggressive vocals too. Then we have a filmic fragment too and an Atari electronics fragment, switching from there back to technical rock. This track ends with a medley-sort of collage varying and switching from aggressive metal to circus Hammond organ humpapas. A good album which despite it’s interesting elements didn’t surprise me much or give me enough time to breath and adapt all of it. After some repeated listens I felt that it’s technical aggression succeeds in a contradictory way succeeds to relax from any outside tensions in me as well. Nice.

Info: http://www.webofmimicry.com/...




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