grey is the way

harmaa - 'airut:aamujen'
released: december 2004
utustudio

songs: 1.saapuminen 2.seitsensarvi 3.lävitseni kaikkeen 4.luopumisen laulu 5.kuvajainen 6.oikea sointi 7.kahluu 8.hiensynty 9.läheltä

Harmaa (which, in Finnish, means 'Grey') is an offshot of the better known Finnish band Tenhi. In fact, 'Airut:aamujen' is the follow-up to a saga first started on a Tenhi record, 'Airut:ciwi'. Therefore, the music is not a million miles away from The tenhi sound, the contemplative, quiet melancholy being the prevalent norm in these compositions.

However, Harmaa strips that whole sound to its bare minimum. The 9 songs on this record are a sparse tapestry of piano as the main composition vehicle, accompanied by soft acoustic guitars, vocals and percussion. Unlike Tenhi, the guitars are mainly used for texture, while the vocals (apart from the wonderful male/female duet 'Luopumisen Laulu', the only half-upbeat song of the record) are mostly neutral and monotone, like an emotion-less version of Michael Gira. They fit the music perfectly, because they seem to blend into the background and become just another part of the nature that envelops these sounds.

That is the main merit of this record, the way it makes you feel in the middle of a white Finnish forest, overlooking a frozen lake and pondering life. Ambiance is the word, and in that aspect the record is a very tight package, not only musically but also in the lyrics (in Finnish, but with translations provided) and the sublime artwork.

Despite some minor pace changes, like the more dramatic 'Seitsensarvi' or the gorgeously beautiful 'Oikea Sointi', most of 'Airut:aamujen' follows the same thread, and unless you're in a particular kind of mood, your attention might start to wander.

If you are in that kind of contemplative mood, though, it's an extremely rewarding record with the capacity to drawn you in and lose you among its subtle, fragile beauty.

the good: beautiful sparse compositions, an enveloping experience
the bad: requires undivided attention and a particular mood, might be too monotonous otherwise

spellbound

the black heart procession - 'the spell'
released: may 8, 2006
touch & go

songs: 1. tangled 2. the spell 3. not just words 4. the letter 5. the replacement 6. return to burn 7. gps 8. the waiter #5 9. places 10. the fix 11. to bring you back

Even for indie rock standards, The Black Heart Procession are very unusual. Ever since their mysteriously-titled (just numbers) first albums they have set themselves apart from the norm. Opearating within a very gloomy musical framework, their oddball concept albums have displayed labyrinthine songs that are a mixture of desolation, bitterness but also orchestration and cheeky sense of humour at the same time.

With a clear side-stepping evolution process so far, never really rehashing ideas while still maintaining a clear band identity, there was some curiosity to see what they would come up with to follow up the eerily latin-tinged 'Amore Del Tropico', after a worrying silence of four years. In another side-step, they have opted to do slightly more straightforward songs, without so many orchestral meanderings, bringing to mind some Richard Buckner in style. Which is a challenge - those passages, while still present here, don't help so much with the typically gloomy atmosphere as before, a role that is left mainly to the vocals and the fantastic string arrangements. It must be said that The Black Heart Procession use strings like no other band these days. Their wide range of instrumentation used sets each song in its own creepy world - be it the gypsy-feeling 'Not Just Words', the near-metal rumbling of 'Return To Burn' or the warped cabaret of 'The Waiter #5', a sort of serious version of the bar scene in Tim Burton's 'Corpse Bride'.

Paul Jenkins' vocals complete the package fittingly. Jenkins' sobbing, fragile but constant voice is the perfect topping for these hymns of sadness. The cryptic, sparse, sombre lyrics, full of imagery (the cold wind, the bones) and literary references have become a staple in The Black Heart Procession music, and Jenkins is similarly inspired here.

Overall, Nick Cave might be the closest reference point, mixed conceptual-wise with Tom Waits and musical-wise with Danny Elfman's soundtracks. The linearity of the concept is again very present, so the album might not make all that much sense, or have the same impact, when taken individually.

The Black Heart Procession are one of the most interesting and musically rich bands in indie rock circles, and this album is a creepy journey that fans of all genres should not miss.

the good: very atmospheric, fantastic string arrangements, genuinely creepy
the bad: yet another story-like album that's hard to take in individual songs

the devil has all the best songs

deicide - 'the stench of redemption'
released: august 21, 2006
earache

1. the stench of redemption 2. death to jesus 3. desecration 4. crucified for the innocence 5. walk with the devil in dreams you behold 6. homage for satan 7. not of this earth 8. never to be seen again 9. the lord's sedition 10. black night

Another day, another ass-kicking return from an extreme metal leading name! With Slayer (see previous post), Mastodon and Deicide, August 2006 is shaping up as a metalhead's dream. As you might have guessed by that, much like Slayer's new album, 'The Stench Of Redemption' is the best thing the veteran Florida death metal outfit has done in many a year.

Turns out that kicking out the Hoffman brothers was the creative whipping the band needed. Jack Owen and Ralph Santolla picked up the guitars and, quite frankly, they proceed to shred all over the place on this record. There's no two ways about it - the Owen/Santolla pair deliver the finest riff-fest we've heard since last year's Exodus album, and plainly revitalize Glen Benton's crew in the process. Unlike Deicide's latest efforts which rather sounded death-metal-by-numbers, 'The Stench Of Redemption' sounds fresh, brutal and even dangerous. If you've been there, the blasphemous feeling of being a teenager and listening to 'Amon: Feasting The Beast' for the first time cannot be beat. But instead of a character in some half-arsed horror movie, Glen Benton sounds serious again. His vocals aren't even confined to the low growl anymore, some chilling high-pitched black metal screams have been added to his arsenal and they enrich the eerie feeling of the songs quite a lot.

Ah, the songs. No predictable chugga-chugga verse-chorus-verse easiness here anymore - Owen and Santolla squeal their way through crushing, exhilarating solos and brutal rhythms, injecting a newfound sense of melody that sharpens the whole sound and breathing life (death?) into compositions that acquire immense replaying value. The production is also much more adequate than the grain of before, the instruments are much clearer while maintaning a hefty dose of bite. To top it all off, as if it wasn't enough, they out-Slayer Slayer with 'The Lord's Sedition', a fiery slab of thrash that hits you when you thought you were safe and leaves you drooling for more, just before closing it off with an undescribable cover of Deep Purple's 'Black Night' that must be heard to be believed.

Fucking hell.

the good: incredible guitarwork, rejuvenated benton vocals - a demonic, venomous blast of brutality that reinstates deicide at the top of the death metal pile
the bad: you'll go to hell for listening to it! (which might actually be a good thing...)

old skull

slayer - 'christ illusion'
released: august 8, 2006
american recordings

songs: 1. flesh storm 2. catalyst 3. eyes of the insane 4. jihad 5. skeleton christ 6. consfearacy 7. catatonic 8. black serenade 9. cult 10. supremist

The trouble with redefining any musical genre, and one with such demanding and involved fans such as metal in particular, is that you'll forever be living under the weight of what you've done. It's hard to think of a band more burdened with history than Slayer. yes, there are other bands with a bigger and, arguably, more significant history within metal (not many, though), but the sheer fanaticism of the longtime Slayer afficionados ensures that they get no forgiveness whatsoever for anything less than the utter brilliance of their holy trinity, 'Reign In Blood', 'South Of Heaven' and 'Seasons In The Abyss'. Ever since then (and 'Seasons' is already 16 years old, in case you're forgetting how time flies!), the reaction to every slayer record has been more or less the same - good record, a couple of really great songs that make it into the live set, but it's no -insert your past fave here-.

Well, there's precious little that can be done to change that default reaction now, but 'Christ Illusion' goes a good step further to making everyone a bit happier. Personally, I have quite enjoyed 'God Hates Us All', but after repeated listenes the idea starts to emerge that 'Christ Illusion' is the best thing slayer have done since, well, you know, those. It has become usual to associate Slayer's not-as-good-as period with the absence of drummer Dave Lombardo. While it's unfair to place all the pressure on him to make Slayer different, the fact is that his return does lend a new punch to some compositions. Dave is the best drummer in the world, and the blitzkrieg beat of 'Cult' or the cascading rhythm of 'Skeleton Christ', to cite but two examples, have his signature all over it.

There is also much less filler. Most bands would sell their grannies for Slayer's filler, but 'Christ Illusion' is the most consistent, varied record in many years from them. It storms off the gates with a song that will surely wreak havoc on many a moshpit in future tours, 'Flesh Storm', which leads into the equally fast and furious 'Catalyst'. It harks back to the perfect 'War Ensemble'/'Blood Red' opening of 'Seasons', both in speed and in energy. From then on, it's a rollercoaster ride of crushing riffs and some unexpected tempo changes, like the unusual 'Jihad' or the catchy 'Consfearacy'. Tom Araya's vocals are also much improved over the last few records, where he strangely turned to a repetitive screaming. He now provides a very strong vocal delivery to some of the best Slayer lyrics ever. Kerry King in particular has dropped a bit of the dumb-jock feel of late and seems to be full of anti-religious bile, which is a good thing. The thoughtful war considerations on 'Eyes Of The Insane' are also a highlight in that department.

So if you're still hung on those old records, lighten up and give 'Christ Illusion' a chance. It's fast, it's brutal, most songs are memorable, Dave's back and the artwork has even been banned in some places. It's like metal is dangerous all over again.

The best mix of old and new (the good new) slayer you could wish for.

the good: best slayer album in 16 years, storming opening pair of songs, dave's back
the bad: okay, okay, still not as good as the classics, and some songs like 'flesh storm' clearly stand out from the rest

pleasure and pain

joy division - 'unknown pleasures'
released: june 1st, 1979
running time: 38'21"
Factory Records

suggested for review by aida

songs: 1. disorder 2. day of the lords 3. candidate 4. insight 5. new dawn fades 6. she's lost control 7. shadowplay 8. wilderness 9. interzone 10. i remember nothing

Joy Division are a sort of missing link, the connecting piece between 70s punk, 80s goth rock and 90s shoegazing. Their often forgotten long reach of influence is such that even metal owes quite a debt to them - within all the realms of darker music, with the possible exception of the Swans, you will find very few records as hypnotically sombre as 'Unknown Pleasures'.

This historical debut floored an unsuspecting public not only with Ian Curtis' instantly recognizable drone vocals, apparently monotone but with an ocean of depth, but also with a very different approach to rock songwriting. On 'Unknown Pleasures', the guitar is not the main vehicle to carry the melody. It's usually the rhythm section that provides the backbone of the songs, with the guitar being used superbly for atmospherics and textures. Take 'Shadowplay', for example, perhaps the record's best song - it's almost as if the guitar and drums switch roles, with the guitar being the percussive drive of the song.

It is, although, hard to generalize anything about this record. Despite the constant thread that runs through it, with each song unmistakably belonging here, the moods twist and turn, as if in an epiletic fit like the ones that troubled Ian Curtis himself. From the haunting echoed emptiness of 'Candidate' to the strangely uplifting beat of 'She's Lost Control', not forgetting the heaviness of 'New Dawn Fades' and the frankly scary drawn-out desolation of closer 'I Remember Nothing', it seems misery was a multi-faceted beast to be approached in several different ways for these young musicians. The songwriting is so good that you can even take it on a purely musical level and enjoy it as a simple rock record, if you can.

Musicians and, in the case of Curtis, writers. Take music lyrics alone and they'll often disappoint, without the weight of the sounds to back them up. Curtis' words stand on their own, however. It's frightening to think what this man could have done, had the sorrow in his life not led him to suicide some months later. That is probably the most harrowing side to this record - you know that none of it is fake. When you hear a man breaking on this record, it's true. Which makes everything here timeless. These feelings and these expressions were as valid in 1979 as they were yesterday.

With their short but decisively essential career, Joy Division have influenced a whole generation of musicians and listeners, and 'Unknown Pleasures' remains one of the most accomplished debut albums of the last decades.

the good: a unique display of sadness and desperation with a stinging value of truth to it, innovative songwriting, fabulous atmosphere
the bad: nothing, really, unless your mood is severely affected by the music you hear and you put this on when you're particularly happy

catch them if you can

meshuggah - 'catch thirtythree'
released: may 23rd, 2005
running time: 47'15"
nuclear blast

suggested for review by adi

songs: 1. autonomy lost 2. imprint of the un-saved 3. disenchantment 4. the paradoxical spiral 5. re-inanimate 6. entrapment 7. mind's mirrors 8. in death - is life 9. in death - is death 10. shed 11. personae non gratae 12. dehumanization 13. sum

As my more regular readers (whom I take the opportunity to thank profusely) might have noticed, I tend to value originality and creativity in the music I listen to. It's not too wrong to say that for me oddball is the new cool. I was therefore quite happy when adi suggested Meshuggah's latest for me to talk about.

Throughout their career, these Swedes have always exhibited an almost frantic need to experiment, to mutate and to stray from the regular path. For that alone they deserve high accolades. The fact that they've created some metallic masterpieces along the way is obviously very important too. No use trying to be 'experimental' just for the heck of it if the results aren't actually good.

This experimentation has, however, made Meshuggah a very difficult band to approach. Both 'Chaosphere' and 'Nothing' have been super-dense, impenetrable records (or 'boring', for the disgruntled fans who prefered the earlier releases) that require several listens to get all those trademark Fredrik Thornendal twisty riffs and the insane drum patterns of Tomas Haake. Perhaps trying to get away from this, Meshuggah went one step further in the 'I' ep, a blistering 21-minute song that was diamond-hard perfection all the way. Even if the band define this record as a musical opposite of 'I', 'Catch Thirtythree' is, essentially, 'I's bigger brother, which can be seen as both a good and a bad thing.

A good thing, because 'I's brilliance really left you hungry for more. A bad thing, because this kind of conceptual one-track composition is really hard to follow all the way through, and while it worked perfectly during 21 minutes, 47 minutes is a steep challenge. I called it one-track, because despite the 13 'songs', 'Catch Thirtythree' is really one composition divided in several movements. It blasts off from the gates - the first three songs make up one neat introduction, and a raging syncopated riff-fest it is, almost a statement of intent in reaction to the monotonous mid-pace of 'Nothing'. From then on, the rollercoaster begins - there's the rumbling low-end heaviness of songs 4 to 6, some creepy vocoder vocals with 'Mind's Mirrors', and the best part of the album, the two 'In Death' tracks. Probably the best thing they've done since 'Destroy, Erase, Improve', it's Meshuggah at their rule-bending best. The free-jazz influences they hint at during the record really show clearly here - it feels loose, frenetic and utterly addictive. The remainder of the album is made of 'Chaosphere'-like dense riffing, with another standout in the brutal closer 'Sum'.

One major let-down of 'Catch Thirtythree' is the absence of Tomas Haake. all the drums are programmed, and while that robotic feel you get from programmed drums actually fits most of the compositions, it's nevertheless a shame to not get Haake's familiar, twisted drumming driving these compositions along. Also, the more cosmic bits don't really have much going for them, except as short interludes in between the bouts of devastation.

While there is enough variation and quality all through the 47 minutes, 'Catch Thirtythree' still struggles a bit to maintain meshuggah's high standards for the whole duration, especially in some transitions that feel slightly forced. But even if the consistency isn't 100% steady (it's humanly impossible to maintain the degree of metallic excellence of 'In Death - Is Death'), this is still a bomb of a record. The aforementioned variation ensures that you won't get bored or simply overwhelmed, like on 'Nothing' or 'Chaosphere', and actually makes the heavy parts hit you an extra bit harder.

The band members have said 'I' and this record are part of an experimenting phase that's now over, so bets are on to figure out where they go next. Wherever it is, you can bet it'll be heavy.

the good: the usual high technical level, more variation in the composition ensures better dynamics, some truly fabulous 'songs'
the bad: basically a one-tracker that's not easy to sit through all the way and makes little sense with the parts taken individually, 100% programmed drums, some filler in the atmospheric bits

heaven can wait

babylon whores - 'cold heaven'
released: august 11th, 1997
running time: 36'36"
misanthropy records

songs: 1. deviltry 2. omega therion 3. beyond the sun 4. metatron 5. enchiridion for a common man 6. in arcadia ego 7. babylon astronaut 8. flesh of a swine 9. cold heaven

The Babylon Whores are (were? We'll get to that in a minute) a very unique band, springing from the black metal-dominated Northern European underground of the mid-90s. Perhaps as a reaction to that, they have proudly slapped on the back cover of this debut record the term 'death rock'.While uncharacteristic for a band to label themselves like that, especially for an intelligent band such as this, that statement of intent does make sense. Even if the sly, caustic sense of humour of these Finns makes it impossible to know how tongue-in-cheek this labeling really was, the fact is that 'Cold Heaven' holds the true spirit of rock, somewhat lost in the decade in which it was released. Vocalist/founder Ike Vil is, appropriately enough, with his frankly brilliant dense croon, a sort of Elvis gone demonic or Jim Morrison gone metal. Throughout these 9 songs (8, really, because the title track is a creepy keyboard-only epilogue), Ike and the rest of the band touch Samhain/Danzig, MC5 and The Sisters Of Mercy while building their own distinctive, punked up sound.

The songs will seem simple at first, but after several repeated listens (which will come at no effort at all, so catchy the hooks manage to be) all the subtleties will begin to surface. The meaty riffs, the creative bass lines, the aforementioned singing, all sitting on a solid production, all of it helps to bring out the fabulous, cohesive and addictive songwriting. While the album is consistent in style, there is some variation too. 'Deviltry' is thrashy and rough, a perfect opener, In Arcadia Ego' is slow and melodic, while 'Enchiridion For A Common Man' is just plain sticky with its great chorus.

And then, the lyrics. Littered with philosophical and occult references, it would take several posts (and some years of study) to go through all that's touched upon here, but the seriousness with which the pagan ideology is put across makes the album undismissable in that respect. Yet, despite their obvious knowledge of such issues, they never cross the line of pretentiousness, bringing everything back to the dirt of death rock, like in 'Metatron', for example: given to waning moon / septuagint whispers of impending doom / cautes and cautopates / a shit load of bad ass deities. Apparently, this interest in the occult was present during the writing process. There are rumors bass lines being recorded without knowing the guitar lines, of the numbers (sound output values and whatnot) involved in the mixing process being chosen by their numerology meaning, and of course the total length of the album, 36 minutes and 36 seconds.

As you can see, there is much more to 'Cold Heaven' than might meet the eye at first. This also applies to the band itself, their cloak of mystery was never really truly lifted. On the contrary, after two more equally brilliant records, 'King Fear' and 'Death Of The West', the Babylon Whores vanished. The end of the band was never officially proclaimed, but recent attempts on my part to reach any of the members for an interview have been met with polite declining. The last known public announcement by the band was made sometime in late 2003 on their now-offline website, on which it read, after some vaguely incomprehensible lines, we'll meet again some sunny day.

Well, I sure hope so.

the good: brilliant songwriting - incredibly complex songs that sound very simple, profound lyrics injected with a subtle sense of humour, the whole aura of mystery around the record
the bad: we might never hear from them again

film noir

callisto - 'noir'
released: may 10th, 2006
fullsteam records

songs: 1. wormwood 2. latterday saints 3. the fugitive 4. backwoods 5. a close encounter 6. pathos 7. folkslave 8. woven hands

Callisto is a young Finnish band that first caught my interest when I watched them at a festival and was downright impressed by their take on the Neurosis post-rock template. Despite their obvious young age, there they were on stage crunching out mammoth riffs worthy of the great Oakland band's best moments. I got hold of 'True Nature Unfolds', their first album, shortly after, and remained duly impressed. With other spiritual children of Neurosis like Isis and Cult Of Luna stealing the whole show, here was Callisto doing it with poise, class and maturity without many people noticing. Since then, their stature has grown somewhat, but they still remain rather underrated.

So here we have the new follow-up (the may release date was only for Finland, us non-Finnish got it a bit later) to that great record which I hope will change that. The question in bands of this kind is usually how to do follow-ups. Such is the totality and apocalyptic nature of every Neurosis, Isis, Cult Of Luna or Pelican record that you always wonder what can possibly come next. Well, the boys from Turku have decided to sidestep that problem by adding certain new elements to their sound.

'True Nature Unfolds' already had some variation and some quieter moments, but that aspect is totally let loose on 'Noir', to the point the closest comparison point now being the equally amazing Explosions In The Sky, particularly their 'The Earth Is Not A Cold Dead Place' record.

Life is all dynamics, goes a song by Devin Townsend, and so is 'Noir'. the record is, strangely enough, both chilled out and brutal. The meandering, relaxed instrumental passages slowly build and grow great crescendos, and when you notice it (in the best 'Through Silver In Blood' fashion) a twinkly guitar line has turned into a monster riff with Markus Myllykangas' mighty hardcore-ish throat bellowing all over it. In fact, such is the dynamic quality of the songs, that some clean vocals now and then (apart from the spoken bit in 'Backwoods') wouldn't go totally amiss for extra atmosphere. The roaring can turn slightly repetitive after a while, especially when compared with everything else that's going on in the songs.

This rise and fall style of composition lends itself well to epic songs, and most of them go over the 8 minute mark here. However, some of them feel like they could be trimmed down slightly, especially in those more spaced out parts. Some of those parts are fabulously written and feel even jazz-like in their looseness (there's even a saxophone in 'Latterday Saints'), but in some the listener can get 'lost' while waiting for them to get to the point.

Pick of the bunch is 'The Fugitive', a rollercoaster ride of a song with a hypnotic riff that won't leave your head anytime soon.

All in all, a record with its own personality, showing a band with fresh ideas and no desire to repeat itself. Callisto overcome the 'difficult second album' hurdle with style and leave one to wonder what they will come up with for the next one.

the good: great dynamics, epic songs that build up from quietness to moments of great fury, originality and freshness of ideas
the bad: the jazzier, quieter moments can drag on a bit too long, some lack of variety in the vocal department

hey ho, let's go!

ramones - 'ramones'
released: april 23, 1976
sire records

songs: 1. blitzkrieg bop 2. beat on the brat 3. judy is a punk 4. i wanna be your boyfriend 5. chain saw 6. now i wanna sniff some glue 7. i don't wanna go down to the basement 8. loudmouth 9. havana affair 10. listen to my heart 11. 53rd & 3rd 12. let's dance 12. i don't wanna walk around with you 14. today your love, tomorrow the world

The Ramones did everything quick. Johnny once famously said that 'our songs aren't short, we just play 'em really fast'. And so it was with the recording of their first album. In 17 days, for $6200 (unbelievably cheap, even for 1976 standards), Joey, Johnny, Dee Dee and Tommy Ramone cranked out one of the most significant records in rock music history.

And who would have known? In those first, now legendary, CBGB live appearances, the general opinion was more or less 'they're crap'. It took time to get used to the Ramones, because they were very different from everyone else. Yes, the punk foundations had been laid down by bands like MC5 and The Stooges, but it were the Ramones who shaped the definitive outline of the then proto-genre. and they did so the simplest way possible - by stripping rock music down to its most essential core.

Note that I've been using 'rock music' when affirming the significance of this record, and I do that because I think it's wrong to look at it as punk (or metal, as some defend) or any other genre. The main point about this record is precisely its universal appeal, based on the deceptive simplicity. Four guys in leather jackets, playing frantic two and a half minute songs about girlfriends, horror movies, sniffing glue and beating rich kids up? It doesn't get any rockier than that. But look a bit further than the comic-book bizarre lyrics and apparently clumsy playing and you'll find incredible depth too.

For starters, strictly musically speaking, 'Ramones' has stood the test of time with brilliance, 30 years later those bubblegum choruses still maintain all their joviality and energy intact. Thematically, even if the lyrics mostly consist of 3 or 4 lines repeated through the song, you will find they're brimming with oblique references to all the troubles, doubts and joys of urban humanity, surprisingly up to date. Some of the clearer examples are '53rd & 3rd', about Dee Dee's drug habit and the street corner where he satisfied it, or 'Now I Wanna Sniff Some Glue', about bored teenagers (of Forest Hills) seeking cheap thrills.

'Ramones' is also a rather cruel reminder of a certain childish innocence the world has progressively lost. Not only Joey, Johnny and Dee Dee are not with us anymore, but the days of comic books and bubble gum and silly haircuts (and even glue-sniffing) are mostly a distant memory that has been replaced by mostly much worse things.

Songwise, it's hard to find highlights, such is the consistency of the record, but the infectious 'Blitzkrieg Bop' with its immortal opening 'Hey ho, let's go!', a rallying cry for rock if there ever was one, the endearingly sweet 'I Wanna Be Your Boyfriend' and the surprising Chris Montez cover 'Let's Dance', where they showed they could also do something a bit different, are probably the ones I'd pick.

Even if the Ramones never really hit it big in the charts like their current legendary status might lead to think, 'Ramones' is a landmark in every way, musically and socially. With simplicity, vitality and a little bit of healthy innocence, these four guys paved the way for countless bands and artists.

One of the very few perfect 10 records of the last 30 years.

the good: everything - from the oddball but strangely affecting lyrics to the eternally catchy simple songs, 'ramones' is rock music stripped to its essential core
the bad: nothing, apart from the stinging nostalgia long-time fans might get from it

unsaved

abigail's mercy - 'salvation'
released: july 2006
running time: 51'49"
casket music

songs: 1. to hell with angels 2. just for you 3. meaningless 4. sarah 5. keep me coming 6. ashes 7. salvation 8. the sky begins to cry 9. cloud dancer 10. the truth

I received this promo a couple of weeks ago, and having reviewed it for the several magazines I work for, I decided to post it here, since too.many.records. hasn't really catered for the gothier crowd yet.

Yes, goth. So let's get it out of the way quickly: Abigail's Mercy, despite the frequent unfairness with which some of these comparisons are handed out, do sound like several other bands you probably know that play goth rock with a duet of grainy male and operatic female vocals. Before you leap quickly to the next review or, heaven (and hell) forbid, the next blog, in disgust, it should be stated that some of the songwriting on 'Salvation' is not entirely bad. The talent to write sticky vocal lines is quite evident. I dare you to not hum opener 'To Hell With Angels' all day after just one listen to that chorus. If perfected (and, above all, marketed) well, this might make them the next big thing in some circles. They are certainly presented that way in the press release. However, the amateur feel to it all is undisguisable and provides the record's downfall.

Get past those ear-candy vocal harmonies and you'll be left with nothing really adventurous in any area. Most of the guitarwork is fairly forgettable and unchallenging. Elsewhere, the lyrics and the band's look (instant example - album cover) positively reek of adolescence. Female vocalist Lindsey is the band's weakest link – she'd do for some choruses and backup vocals, but she's unfortunately not nearly enough to take the lead of a song.

It might not take much more than this to stir waves among the less knowledgeable public (re: Evanescence), but Abigail's Mercy are still a long way away from true quality.

the good: interesting vocal harmonies, a couple of sticky songs
the bad: feels and sounds amateur (in a bad, not endearing way), unoriginal, weak female vocals

raising the flag

stiff little fingers - 'flags & emblems'
released: 1991
running time: 35'48"
castle communications

suggested for review by aino

songs: 1. (it's a) long way to paradise (from here) 2. stand up and shout 3. each dollar a bullet 4. the cosh 5. beirut moon 6. the game of life 7. human shield 8. johnny 7 9. die and burn 10. no surrender

In face of recent events, it's sadly appropriate that Aino suggested this record for me to talk about, a record that had the song 'Beirut Moon' as a first single. There was controversy at the time, with the single being banned for the attacks it contained on the British government regarding its action (or lack thereof) in the John McCarthy hostage situation. This might have given Stiff Little Fingers a much needed boost of credibility they desperately needed at the time. 'Flags & Emblems' came out at a difficult time in the life of the Northern Irish band - generally considered to be washed up and way past their prime, reforming after five years of inactivity with the purpose of 'making a bit of cash to get back to Ireland for Christmas', the excitement wasn't high.

'Flags & Emblems' was a good reaction to all that. No, it's not as good as those legendary first 80s John Peel-approved records, especially 'Go For It!', but it doesn't mean to be, either. While those were pure go-ahead punk records, 'Flags & Emblems' incorporates all the things they had tried to bring into their sound and had failed miserably at and ultimately led to their break-up. Jake Burns' sung-not-screamed vocals, the poppier hooks, the vague reggae influences, basically a process of Clash-ization. I don't know if they spent those five years thinking of how to do it, but here it all works fine. 'Beirut Moon' is actually one of the weakest tracks here, despite the importance of the message. It's the Clash-y songs like 'Stand Up And Shout' and 'Die And Burn' that will really get you moving about. Their politically charged lyrics aren't smashed across with the same abandon as before, but their strength and weight is maintained by good musicianship and memorable choruses and guitar leads. Some of the songs will probably pass you by without great excitement, but the record as a whole is very listenable and the repeat play potential is great after you start picking your favourites. The sound does lack a bit of aggressive bite, which was the main gripe for the hardcore punks that couldn't forget their blazing earlier records.

On the other hand, the best thing about 'Flags & Emblems' might just be its accessibility. Lots of people who won't give political HC punk a second listen might be lured in by these songs. When a band actually is able to reflect and stand up (and shout?) about important issues, the more people listening the better.

The Stiff Little Fingers more or less faded away after this, with a couple of forgettable releases to their credit, but as you can hear in the pop-punk wave that followed it, 'Flags & Emblems' still remains an important, valid and influential record today.

the good: catchy clash-like punk songs, serious political lyrics
the bad: not a match for the earlier records, too poppy for the hardcore punks