Angry Metal Guy

Kromlek // Finis Terrae
Rating: 2.5/5.0 — Kiddie Kalmah/Bodom for babies.
Label: Trollzorn Records
Websites: bollwerk-kromlek.de/ myspace.com/kromlek
Release Dates: EU: 2011.04.08/15 | US: N/A – Digital Release 04.08.2011

I never heard of these guys before and didn’t know what to expect but they’re described as folk/viking black  metal from Germany. Finis Terrae is their third platter and features guest appearances from members of Heidevolk and Equilibrium. Since I wasn’t able to locate their earlier works, I can’t speak intelligently about how this stacks up to their past material but I can say this isn’t what I expected from a viking/folk group. Instead, a lot of Finis Terrae reminds me of a mid-paced, way more melodic version of Children of Bodom with some hints of Kalmah appearing throughout as well. Only during the back half of the album does KromleK employ what could be considered a traditional viking/black metal style and by then it seems out of place after all the COB-lite noodling. Thus, this becomes a tale of two half albums that don’t necessarily compliment each other. While I was pleasantly surprised by the strange, progressive approach on some of the material here, things get pretty uneven and spotty as things move along. What we get left with is a confusing mish-mash of styles and intentions. Continue reading

Disdain // Leave This World
Rating: 3.5/5.0 – Support quality power metal!
Label: Scarlet Records
Website: myspace.com/disdainsweden
Release Date: JP: 25.03.2010 | EU: 15.03.2010 | US: ?

Those well-versed in the metal arts may see a band named Disdain and expect a dose of brutal death metal or possibly some frostbitten and bitter black metal. In this case however, the name is quite misleading. Disdain’s debut album Leave This World reveals a Swedish troupe bringing a somewhat unique spin to the traditional power metal sound and sounding far more experienced and professional than you might expect. This may owe to the fact that these guys have been in existence since the late 90’s and at one time even included Nightwish’s Anette Olzon on vocals. I can already hear the chorus of power metal bashers out there (you know who you are) screaming about how much crappy power metal is already on the shelves these days and how there isn’t room for any more whether it’s good, bad or ugly. Well, doubters be damned! Disdain has managed a rare feat and rise above most of their peers with this release while managing to avoid the many pitfalls that doom lesser power metal bands.

One of the first things that jumps out at the listener as Leave This World takes off, is the unusually heavy guitar tone (for power metal) that Disdain have armed themselves with. What will also become readily apparent is how much singer Christian Borjesson is a dead ringer for Hammerfall’s Joacim Cans. So much so, that at times I was wondering if Mr. Cans was singing on this album under a pseudonym.

Where Disdain distances themselves from the pack is the way they brings an extra heavy edge and lay it over the traditional power metal template. At some points they remind you of mid-period Nocturnal Rites, then at others times the sound is more reminiscent of Kalmah or vintage Dark Tranquility. They even toss in some quality death metal croaks on several tracks to very good effect (“Narrow Minded,” “Nine Lives Spent”).

Besides upping the heavy factor considerably, Disdain succeed in the actual art of songwriting. They manage to write punchy, tight and memorable songs with big choruses that remain in your head after one or two listens. The title track is a great example. It has a great combination of heavy guitar and spacey keyboards that really commands attention. Likewise, “Scarred” roars along like a tank with heavy guitar work and Christian’s excellent vocals over the top, creating a power metal song you can actually head bang to (shocking concept eh?). Across the ten songs on Leave This World, you get a variety of musical heaviness but no real drop in song quality.  Another big point in their favor is the complete absence of typical Dungeons & Dragons™ power metal lyrical clichés. I love elves, dragons, horses and all that stuff as much as the next guy but it can get silly pretty quick.

Ultimately, I think Disdain may have stumbled onto something here. Even a power metal dork like me will concede the existence of far too many sappy, happy and crappy power metal bands gumming up the works these days. Taking a darker, heavier approach like this may be exactly what the genre needs to remain viable and fresh. The lyrics to one track on Leaving This World include the classic observation, “though fashion changes, you know style remains.” Well, Disdain has style to spare and this is a refreshing debut by a band I think you will be hearing bigger things from in the near future.

Kalmah // 12 Gauge
Rating: 3.0/5.0 — Fun, but pretty generic
Label: Spinefarm
Websites: kalmah.com | myspace.com/kalmah
Release Dates: EU: 03.03.2010 | US: 04.06.2010

It’s hard to imagine a modern metal without Finnish bands, isn’t it? These guys have been pushing the scene forward for quite a while after having burst onto it with such a forceful manner a decade (or more) ago. One of the bands that has been sadly overlooked in this process has been Kalmah. These guys, while popular, have often taken a back seat to bands like Ensiferum and Children of Bodom in the international scene. This is a shame, because at least The Black Waltz put everything that Children of Bodom ever put out to shame and they make some of the later Ensiferum stuff look pretty weak, as well. While For the Revolution was a pretty big letdown for many fans, Kalmah has returned in 2010 with a scorcher called 12 Gauge.

Clocking in at an LP safe 42 minutes, 12 Gauge follows Angry Metal Guy’s rules for thrashy records with few dynamics: keep the songs short, and keep the record as a whole shorter. If you’ve only got a few tricks up your sleeve, show off those tricks and then run to hills before anybody notices that you’re not doing much more than something fairly simple. 12 Gauge fits this bill perfectly because what Kalmah is doing is very straight forward: they’re making melodic death metal which is meant to be energetic, fun to listen to and cathartic. It, however, is not at all “jaw dropping”, “technical” and it certainly doesn’t really push the envelope very much.

But hell, we don’t need every band in the world to push the envelope. Sometimes you just want some good melodic death metal to listen to while drinking a beer and banging your head, and that’s what Kalmah delivers in spades on 12 Gauge! Tracks like “Bullets are Blind” and “Hook the Monster” are blast happy, speed monsters with great melodies—the latter even containing a chant chorus! How do you fight with that? The band even breaks out their simple, melodic intros and puts them to good use on the title track and “Better Not Tell”. The  melodies are, of course, addictive and the song writing is poppy and keeps you interested by not overstaying its welcome.

However, the downsides to this should be obvious as well. There were times when I didn’t even notice the track had changed at times—such as between “Hook the Monster” and “Godeye”. They’re both great songs, but man do they sound alike. And, while the claim that they’re just writing the same song over and over is demonstrably wrong, there is a sense that this record gets a little tired towards the end. Were 12 Gauge 10 minutes longer, it probably would destroy the appeal for me.

If you love fun, fast and melodic death metal, then 12 Gauge is definitely up your alley. The band has definitely composed a number of awesome tracks that will pull fans in. For the doubting fan, this record is definitely superior to For the Revolution, but we’re not sure if it really surpasses The Black Waltz in scope and originality. While the style is definitely the same, the novelty hasn’t stayed on as strongly. Still, 12 Gauge is a record that is enjoyable and innovation be damned.