Michael Denner and Hank Shermann (the dueling guitar virtuosos behind Mercyful Fate) have announced that the mixing and mastering is done on the upcoming album from their technical power/speed metal project, Denner / Shermann. Hopefully Masters of Evil (to be released by Metal Blade Records on June 24th ) is better than their previous EP but don’t get your hopes up. Check out the preview track below:No Comments
Italian technical death metal band Kronos have posted a new song from their next album, Arisen New Era, whose release is approximately one month away (July 24).
As samples of the studio recording are readily available everywhere, here is a 2013 live recording of the same, displaying both the technical competence of the band as well as the live power of the material!No Comments
The first album by the virtuoso technical death metal Obliveon, From This Day Forward, is a highly recommended release. Intricate and sophisticated guitar riffs along with clear, bright, shining bass grooving lines that are not just the echo of the guitars really catches my attention. The whole album is evocative, setting the epitome for technical bands today.
Which brings me to the following considerations. I turned down the second album, Nemesis a few days ago merely because I couldn’t find what I liked when it came to Obliveon: interesting bass lines that are composed in a way in which it is obviously competing for center stage with the two guitars. All without being too boasting, or too technically-oriented for the sake of showing off.
This is the reason why I love From This Day Forward.
With disappointment and bewilderment, I judged Nemesis as an album of low quality song-writing. But after I went through the whole album again, I realized this conclusion was just naive and ridiculous. We can’t just say Nemesis lost the spirit and the original intention of the band, but more specifically that they worked on a different dimension to explore how the sound of Obliveon could go on.
You can hear more complicated and fantastic guitar riffs which are connected tightly together in the way of unprecedented reach. Of course, undoubtedly, the bass parts in Nemesis are not as catchy and flexible as before, ending up being the echo of the guitars. This apparently unreasonable (I assumed they would carry this character on forever) change even made me check whether the line-up was preserved between the two albums. But by appreciating the more sophisticated guitars that make you catch your breath at every moment, this album succeeds in bringing an intense experience for technical death metal fans..
Unfortunately, their second album does not seem to bring the same feeling of overall fulfillment as From This Day Forward. Maybe I did not explore or experience the album thoroughly, failing to catch what Nemesis is supposed to deliver as a whole.2 Comments
Composing in the tradition of Joe Satriani and other post-1970s guitar instrumentalists, VHF crafts technical shredder guitar and works in a jam bass with fretless bass and sparse but adept rock drumming. In a genre that has of late drowned in punk/jazz/metal hybrids, this expansion on the modern form of guitar instrumentals brings a fresh attitude.
Songs build around melodies which loop gently into verse and chorus with enough space to give the band time to elaborate which they do in the tradition of musical virtuosos since the earliest days of rock but temper their jazz influences with a wide range of rock and progressive ideas. The songs are sparse in form with the melody carving out plenty of room for improvisation in the Satriani style (think Surfing With the Alien, the quintessential modern shredder album) and this, with some latent 1980s jam band overhang, saves the band from falling into the relentless technicality without content — basically regurgitating books of licks and theory — that blights music at this time.
VHF (short for Vinciguerra Hoekstra Franklin, the names of the musicians) may not change the world, but they seem to be on the forfront of change by resurrecting this older style and giving it new life. While shredder guitar died an ignominious death in the early 1990s for being vapid, it also inspired a wide range of instrumental acts, and VHF re-incorporates those influences. This is noisier and heavier than its 1980s equivalent, with heavy bass that calls to mind Budgie, but these songs aim to be predominantly instrumental and to keep our attention with a strong lead rhythm guitar voice.
Unlike the modern counterpart, which uses the carnival-music-style post-hardcore randomness aesthetic to allow it to drop in widely varied riffing to make an incoherent mess, VHF focuses on songs that flow together as much as the foot-tapping guitar classics of the 1970s but without vocals to guide them (except sparingly). Each song has a distinctive melody and improvisation keeps in a range that complements that underlying idea, which means that like a good jazz tune, these songs build on the progression and bring out the flavor of it without lapsing into repetition or randomness.
One track experiments with vocals and weakens the song as a result, even if the vocals are whispered/rasped in a way that avoids the dense cheese of most rock vocals. The power of VHF lies in its articulate guitar and intense rhythm section which keep this music from lapsing into airy Berklee land. Within that framework, the band explore a wide range of styles in world-music fashion but carefully adapt each to their formula. If instrumental music got closer to this, it would restore some listener faith and interest in what now is a bubble just beginning to pop.5 Comments