Monday, August 14, 2006

Marc Rizzo- Colossal Myopia

SH 1179 "Soulfly" guitarist Marc Rizzo, also a founding member of "IL NINO", is a master musician with deep musical roots in metal shred, classical and flamenco guitar and adds a Latin metal twist to the guitar instrumental genre founded on great compositions and blinding guitar chops.
taken from the Shrapnel Records Website

Marc Rizzo-Colossal Myopia

Saturday, August 12, 2006

Rob Zombie- Educated Horses

by James Christopher Monger
When he's not directing feature films like House of 1000 Corpses and Devil's Rejects, Rob Zombie likes to make music. Educated Horses, the prolific director, writer/animator/horror aficionado's return to the world of hedonistic, sexed-up monster rock doesn't stray too far from the formula that garnered him such a rabid fan base, but there's less theater and more backwoods creepiness at hand this time around. Horses crawls on all fours for the first three tracks, relying on too many tried-and-true White Zombie dance beats and turgid guitar riffs to hint at anything outside of sheer puppetry, but when the mid-tempo crunch of "17 Year Locust" begins to echo Sabotage-era Black Sabbath, it's clear that Zombie himself is having the time of his life pulling the strings. "Scorpion Sleeps," with its boot-stomping intro plays like Gary Glitter's "Rock & Roll, Pt.1" blaring from angel's trumpets at the apocalypse, "Ride," with its Tubular Bells-inspired piano riff, evolves into a storm of sonic debauchery, and the purely psychedelic singalong "Death of It All" sounds like the end credits to the last film ever. Schlock it may be, but it's infinitely more listenable — and enjoyable — than most schlock thinks it is.

Provided by

Rob Zombie-Foxy Foxy

Obituary- Frozen in Time

by Jason Birchmeier
The return of Obituary in 2005 came as a surprise, for the band hadn't been active since the mid-'90s. They sort of petered out after World Demise in 1994, releasing the ho-hum Back from the Dead in 1997 and then calling it a day as the bandmembers busied themselves elsewhere, most visibly as guitarist Allen West enjoyed a lot of success in Six Feet Under. Obituary's reunion album, Frozen in Time, wasn't only a surprise because of the long absence, though. It also came as a surprise because it's so darn good, up there with the best the band ever recorded, even in their heyday. Clocking in at a brisk ten songs in 35 minutes, Frozen in Time is a perfect Obituary album — almost so perfect it invites such criticisms as "more of the same." But more of the same is perfectly fine when it's done this well, especially for longtime fans nostalgic for the good ol' days of death metal. Obituary never were a band to push the boundaries, after all — avant-garde death metal they were not. Then again, there was a day when they were cutting-edge, that is, way back in 1989 when they debuted with Slowly We Rot, a trailblazing statement for its time and one that inspired a legion, if not legions, of followers. In subsequent years Obituary kept doing what they do well, even as they became increasingly passé with time. Yet passé or not, they do what they do especially well on Frozen in Time. The pummeling guitar tandem of West and Trevor Peres shines brilliantly, each of them co-penning half the album respectively. Vocalist John Tardy sounds as wicked as he did back in the day, his trademark growl still intact despite the years of wear and tear. And the rhythm section sounds perfectly integrated, partly thanks to Mark Prator's first-rate production (and that trademark Morrisound mixing courtesy of the maestro himself, Scott Burns). There's really no need to go on about the details of how the band sounds here, though — it sounds like Obituary, plain and simple. What's important to know is that the guys really seem into it here, writing killer songs, benefiting from the best production out there, and playing their asses off ("On the Floor," "Back Inside," "Mindset," and "Lockjaw" are all highlights). If it sounds like "more of the same," that's the point. After one album in a decade, it's a blessing to have Obituary back together and sounding this stellar. If you're a fan — new or old — you'll absolutely love Frozen in Time. It's as good if not better than any of the band's other albums. It's so good, in fact, the title could well refer to the sound of the band: sounding as if death metal were still as vibrant and exciting as it was back in the early to mid-'90s when Obituary were the shiznit and a thousand and one young Scandinavians were taking notes by candlelight.
provided by allmusic

Friday, August 11, 2006

Slayer-Christ Illusion

by Thom Jurek
The reunion of the original Slayer lineup appears for the first time in the studio since 1990s Seasons in the Abyss (a record that topped off one of the great four-album stands in metal history: Hell Awaits, Reign in Blood, and South of Heaven preceded it). Drummer Dave Lombardo's retaking of the drum chair places the band back on the edge, pushing themselves and the genre to look back at t where they've been and where they go from here. For a band that has been together as long as Slayer has, they have never made concessions, and have stubbornly refused to sound like anyone but themselves. Christ Illusion is a raging, forward-thinking heavy metal melding with hardcore thrash; this is what made them such a breath of fresh air in the first place. And while they no longer sound terrifying, that was never their point anyway. Hearing Slayer rip through these ten songs, complete with lightning changes, off-kilter rhythms, and riff invention, together with plodding crescendos, sick as hell guitar breaks, and dark, unrelentingly twisted as f*ck lyrics reflect a singular intensity. The big themes on Christ Illusion center on the perverse myth of religion and its responsibility for, and cause of, war. One can talk about the power big money has at stake in the Middle Eastern havoc, but the root, according to some of these songs, is the culture war between two competing myths, Christianity and Islam; that this time out could result in the apocalypse. On the opener "Flesh Storm," Tom Araya roars the refrain above the guitars and frantic drumming: "It's all just psychotic devotion/Manipulated with no discretion/Relentless/Warfare knows no compassion/Thrives with no evolution/Unstable minds exacerbate/Unrest in peace...only the fallen have won/Because the fallen can't run/My vision's not obscure/For war there is no cure/So here the only law/Is men killing men/For Someone else's cause..." Elsewhere, such as "Eyes of the Insane," the story comes in the first person from the point of view of a soldier who is suffering the effects of PTSD, yet he may or may not still be on the battlefield. Lombardo's drums open it slow, then the Jeff Hanneman and Kerry King guitar gods create an intensely harrowing and angular riff that changes from verse to verse, through the refrain and bridge, and comes back again. Yeah, Slayer actually craft and write songs. Check the little skittering vamp that leads into "Jihad," where Lombardo just shimmers his hi hat before the band begins to enter and twist and turn looking for a place to create a new rhythmic thrash that's the most insane deconstruction of four/four time on tape. The indictment of "holy war" is possible only through the telling of the narrative from a Jihadist's point of view. The blazing, low-tuned heaviness of "Consfearacy" turns the entire principle of patriotism's blind ideals into an evil joke. Araya's voice is mixed way up this time, every utterance is understandable, thanks to producer and mixer Josh Abraham and label boss Rick Rubin. This scathing rejection of religion as the cause for world conflict is best characterized in "Cult." The low-tuned, two-string vamp that slithers into the foreground creates a tension as Lombardo's cymbals call the band into the riff that opens the tune. It's slow, meaty, unrelenting in its tautness. When Araya's voice comes in, the whole track is off the rails and stays there: "Oppression is the holy war/In God I Distrust...Is war and greed the Master's plan? The bible's where it all began/Its propaganda sells despair/And spreads the virus everywhere/Religion Is hate/Religion Is fear/Religion is war..." Whether you agree with Slayer's anti-religion militancy is one thing, but their view that it underscores this war and so many preceding it has to be taken with some seriousness. And musically, they are in a league of their own. Christ Illusion creates an interesting dilemma for people of faith who like heavy metal: the stance against war here is unreproachable, but can one hang with the conflicting point of view that faith in a god is responsible for it? Given the defined presence of the vocals, one cannot simply listen to the voice as another instrument, as in much of heavy metal. One has to deal with the music and the words this time out, and yes, they're printed in the lyric booklet. Christ Illusion is an anti-war record that asks people to think for themselves. At one point Araya makes his choice: "six six six," but even that's in reaction; an irony. Christ Illusion is brilliant, stomping, scorched-earth thrash metal at its best. Lyrically, it may offend people, but getting the listener to think and make choices is what this music is all about. An anti-Christian/anti-Islam/anti-Theocratic, anti-war album, Christ Illusion is essential for anyone interested in the genre.

provided by
Slayer-Flesh Storm-


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