Zitat:Ja, es ist soweit. Der ASIA-Ableger ICON in Form von John Wetton und Geoffrey Downes veröffentlicht bereits sein drittes, offizielles Studio-Album unter dem neuen Banner. "Icon 3" nennt sich das gute Stück, was nicht gerade innovativ oder ähnliches ist, und trotzdem kann der geneigte Fan zum dritten Mal bedenkenlos nach einer ICON-Scheibe greifen, denn als Fan der beiden Ausnahme-Musiker weiß man, was man geboten bekommt.

Die dritte Auflage bietet feinsten Melodic Rock ohne jegliche Kompromisse. Und seien wir ehrlich: Etwas anderes erwartet man doch auch gar nicht von den Herren, oder? Angefangen beim geschmeidigen Opener "Twice The Man I Was", über das ultra-eingängige "Destiny" bis hin zum textlich eher ungewohnt härteren "Sex, Power and Money", das zwar lyrisch nicht unbedingt hochklassig ist, aber in punkto Produktion sehr kraftvoll daher kommt.

John Wetton singt noch immer hervorragend und Geoffrey Downes hat seine weißen und schwarzen Tasten sämtlich unter Kontrolle. "Icon 3" ist kein langweiliges, aber auch kein wirklich berauschendes Album. Mit dem Zweitlingswerk "Icon II" hat der Rummel um das halbherzige Comeback der Jungs schon ein wenig nachgelassen und mit diesem Werk wird die Begeisterung wahrscheinlich noch ein wenig mehr sinken, doch trotz allem muss man neidlos anerkennen, dass es ICON wirklich drauf haben, gutklassige Melodien zu schreiben.

Die Rhythmen und Linien gehen sofort ins Ohr und den einen oder anderen Song kann man gleich postwendend mitsingen. Und genau so soll guter Melodic Rock doch sein! Wetton und Downes legen mit "Icon 3" einen guten, aber nicht wirklich überwältigenden Nachfolger zu ihren ersten beiden Studioalben ab. Eingängiger Rock, super geeignet zum nebenbei hören und um gute Laune zu schaffen...

Zitat:John Wetton and Geoffrey Downes cut their musical teeth on English church music as young
boys, each was gifted with an ear for a good tune, be it ABBA or the Beach Boys. Their musical
careers developed soon with John playing and singing with KING CRIMSON and UK, while
Geoff got enormous exposure with the BUGGLES”™ massive hit “Video Killed The Radio Star”
in 1979, later on joining the latest incarnation of YES for the release of “Drama”.
Like a "bolt from the blue", lightning struck in 1981 when they came together in Asia, a band
that epitomized the MTV friendly power rock explosion in the 80”™s. Asia”™s eponymous release
was the best selling album in the world in 1982, number 1 in the USA for 9 weeks, turning gold
and platinum on every continent. The second and third Asia albums were also big sellers
worldwide and enjoyed several hit singles. Unfortunately, messers Wetton and Downes went
their separate ways in 1985 and since then Asia has been through several incarnations.
Still – during the years - there was a consistent demand that Geoff and John should recreate the
exceptional foundation upon which the Asia pyramid had been formed. Their paths crossed
again for the first time since 1990, when they graced the same stage together during 2002”™s
John Wetton fan convention in Philadelphia. Geoff consequently contributed to the writing and
playing on Wetton”™s 2003 solo album, “Rock of Faith” and it became clear that the two had
some unfinished business.
During 2004 they finally entered the studio with ideas and energy, sat round the same piano
upon which they had written the 1980s anthems, and emerged with the first album of their
renewed partnership christened “iCon”.

The album was easily their best artistic product for many years and immediately became very
popular among the fans. John and Geoff have therefore decided to pursue this collaboration,
giving birth to another album “Rubicon”, which followed a very busy year made up of one EP,
one acoustic album/DVD and one live album recorded during a series of successful European
dates from October 2005 to spring 2006. A reunion of the original Asia line up occurred in a
September 2006 USA tour, and Asia has toured the world in 2007 and 2008.
Fans and critics alike have embraced the music of John Wetton and Geoffrey Downes, whose
songwriting formed much of the fabric of 2008”™s successful Asia original lineup reunion release,
“Phoenix”. The two took advantage of a short break from international touring to write and
record their third studio album. The cover art is based on the OM symbol, a universal icon, not
specific to one religion, and means “everything,” reflecting the diverse nature of the album”™s
material.
On this new record, the pure power of Geoff Downes”™ keyboards and John Wetton”™s
jaw-dropping voice and stellar bass playing are enhanced by compelling guitar virtuoso Dave
Kilminster, fresh from successful tours with Roger Waters and Keith Emerson. Former ELO
Cellist Hugh McDowell, whose unique sound has helped frame all three iCon studio releases, is
once again involved. Rounding out the band is Pete Riley, considered one of the “best
drummers in the world”, whose work with Keith Emerson, Kilminster and extensive live and
session work shows an extraordinary breadth and depth of style.
Renowned new age harpist Andreas Vollenweider added his unique sound to the third iCon
album playing on “Raven”™” and “Anna”™s Kiss”™” while acclaimed vocalist Anne-Marie Helder
(Karnataka, Mostly Autumn) appears as special guest on vocals.
John Wetton and Geoffrey Downes are pleased to be able to respond to fan and critical demand
by returning to the studio to create this new album and then to share it live with these
outstanding players.
Line-up:
John Wetton– vocals, bass
Geoff Downes – keyboards
with
Dave Kilminster - guitar
Hugh McDowell - cello
Pete Riley – drums
Special guests:
Andreas Wollenweider – harp
Anne-Marie Helder – female voice

Genre: Viking Metal

MYSPACE

Zitat:This is the debut album of the local death/Viking metal act Wulfgar. I got the CD at one of their gigs a few weeks ago, and I”™ve listened to it quite a number of times before actually taking the time to review it. Not ”˜cause it”™s bad (since that can make some records terribly difficult to review), just because I really wanted to take it all in. It”™s a fairly hefty album clocking in at 55 minutes, which in all honesty I think is maybe ten minutes too long. But besides that there”™s nothing to make a negative remark on.
Death metal with emphasis on melody is rarely trouble free for me to digest, but I have no problems with Wulfgar. With Gods and Legends Unite is at a sort of steady tempo going from slow to mid tempo. And in today”™s metal scene the trend seems to be a contest of who can blast the fastest. So it is actually refreshing with a band that is confident enough to put its weight on strong melody and not blazing speed. . ”˜Cause this CD is jam-packed with powerful, chilling riffs, churning drum work and rough vocals. And speaking of vocals, there”™s tons of variety in Emil”™s voice, and neither growling nor screaming is very conventional. Lyrically it”™s mostly Viking lore that”™s the subject; may it be an ode to Odin, Thor or just the Vikings themselves. The artwork and layout is absolutely top notch, and you can see that a lot of effort”™s been put into getting it looking wicked. The musicianship is tremendous and each instrument interact perfectly. And the thick sound lets each riff really make a full impact on the listener.
Amon Amarth is an obvious act for comparison, but it also reminds me a bit of Portal, a Swedish band that released a great album in ”™01. With Gods and Legends Unite is strong melodic death metal with a Viking theme. An excellent debut album by a promising act.
Quelle

VÖ: 2008

Genre: Deathish Doom

Label: Razorback Records

Herkunftsland: Finnland

Für Fans von: Ugly music


Tracklist:

01. Rotting Rampage (Menace Of The Skeletal Dead)
02. Fulfill The Curse
03. Grasp Of The Beastwoman
04. Laboratory Of Nightmares
05. Beauty And The Feast
06. The Eyeless Horde
07. The Love Song Of Gotho, Hunchback Of The Morgue
08. Arcane Epitaph
09. Theme From Manhattan Baby

Spielzeit: 52:32

Zitat:Razorback thrusts itself firmly, pun intended, into the doom world. Getting my copy of Hooded Menace was filled with great anticipation. I came across this when checking out Acid Witch on their obligitory myspace page via Razorback Recording”™s website. I noticed that Hooded Menace were on Razorback as well. Since I knew Teufel was getting the Acid Witch disc, I promptly pulled the trigger on Hooded Menace. After a minute of hearing what they threw up on their page”¦ Holy shit!

I have been waiting for an album like this for a long time. My favorite doom band was Yob prior to this discovery. Since Yob is now defunct, I done got myself a new favorite. These guys from Finland sure figured out the right formula.

When the first track, "Rotting Rampage" began, I thought I was about to hear Machetazo”™s Sinfonias del Terror Ciego because of the Blind Dead horror movie intro. No, this is basically a doom album with death metal vocals. In fact, when the band stumbled across their sound, they were vamping on Candlemass with death vocals. They were diggin”™ it so much they decided to roll with it. I”™m glad they did.

There is no single riff, bury you with boredom type doom here. These guys are evil, cavernous, and display a perfect portrayal of the doom sound that has been lurking in my subconscious desires. It”™s really not that complicated”¦ killer riffs expanding with drums that are solid and dynamic as well. The production is clean enough to display all the nuances and dark enough to be doom done right. EVERY track is solid and crushing. I have listened to this album about 6 times in the last two days and it just keeps getting more badass. This is the perfect Halloween album (how timely). In true doom style the song lengths stretch out, but you won”™t be clicking ahead to the next track unless you have ADHD as bad as some of my most restless students. Yes, I teach 4th grade and start my day the right way”¦ loud.

There is no reason to pick apart tracks because if you know doom in the slightest way and enjoy it, you will be in for a world of euphoric darkness. Drums, bass, guitar, and killer vocals that are steeped in mucus-gurgle and depth. Go to the horror hive and you”™ll have this dome imploding disc in three days. While you”™re there, pick up Frightmare if you haven”™t already.
Quelle

Ein Blick auf das Label sollte reichen, um zu wissen, was einen erwartet. Hässlicher Death/Doom, der von einem Gegrunze direkt aus der Hölle untermalt wird. Moderne Anleihen wird man hier vergebens suchen. Oldschool Mucke as fuck.

Meine Wertung: 8.0/10

mudy on the 昨晩 / Mudy on the Sakuban - Kidnie (2009)
Genre: Instrumental Mathrock

Für Fans von: etwas ruhigeren Té

01. Ozis
02. marm
03. キセル
04. ASAI
05. NO ROOM
06. ミグルス
07. ZITTA

Zitat:I'm not a thrill junkie, but I would love to try base-jumping at some point. For the unfamiliar, base-jumping is what happens when you mix bungee-jumping and sky-diving: strap on a parachute, find something high, jump, and pull your cord before you become paste on the ground. The experience is brief, transient, but it is (presumably) a rush from start to finish, and when you hit the ground, you want to go back up and do it again.

I think that base-jumping offers the perfect metaphor for Mudy on the Sakuban's new record, Kidnie. Opener "Ozis" explodes into being from the second the record starts. This track has even more energy than "Pauze," the opener for their last album, VOI. The next five minutes take the band in every direction, from the ballad feel of the arpeggios within the opening minute to spastic full-band marcato bursts midway through to the hooky closing. "marm" refines the same formula, offering alternating moments of pure volume and energy with more subdued and melodic passages, and even a rather traditional structure with identifiable "verse", "chorus", and "bridge" sections. This track offers one of the most satisfying listens I've experienced in a while, with a perfectly placed catharsis and a clean wrap-up that makes the song feel complete.

From what I've heard, base-jumping never offers the same experience twice, but every jump is a rehearsal of the same basic parts, and the same is true for Kidnie. There can be no confusing "ZITTA" with "marm" or "NO ROOM," yet the same basic approach is in practice for all these tracks. The band seem to be more concerned with riffs or sections than with composing complete songs, as such, and far more often than not they are able to link these parts in ways that do justice to the individual elements while also creating something greater. This method of composition does, however, have the unfortunate effect of breaking the record up; the parts relate, but they're still distinct, and the transitions are not always of the smoothest variety.

The bottom line for both base-jumping and Kidnie is that both are exhilarating, high-octane experiences that have lasting power in spite of their short duration. The only caveat I might offer is that those who prefer albums with many layers and lots of depth should be aware that Mudy on the Sakuban have little concern with that. There is basically one level to this album, and it's a damn good one, but some might have trouble connecting with a record of this immediacy; it's a problem that I personally have, but is ultimately as much a product of individual taste as the record itself. Still, Kidnie picks up exactly where VOI left off, and if this is any indication of the future, MOTS will be making a lot of instrumental music fans happy for quite a while.

-Lee Stablein