| Artist |
| Mantus |
| Title |
| Zeichen |
| Format/Cat |
| CD TRI 416 CD |
| Label |
| Trisol |
| Style |
| Symphonic Metal |
| Date of review |
| 20th December 2011 |
| Reviewer |
| Carl Jenkinson |
| Rating |
| 6.5/10 |
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Hard-Wired Other Genres Reviews |
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| Home | |
| Review ratings: | |
| 1. Avoid | 6. Not Bad |
| 2. Poor | 7. Good |
| 3. Weak | 8. Very Good |
| 4. Worth The Effort | 9. Excellent |
| 5. Shows Promise | 10. Must Have |
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Here's another dose of symphonic metal courtesy of Martin & Tina &, once again, it really is amazing that two people can make such a full-sounding epic album. It's probably safe to say that, if you enjoyed their previous offering Demut, or indeed most of the other symphonic metal bands, then you should get on with this new one just fine as, throughout, they pretty much stick to the tried & tested template that such bands do, mixing symphonic strings, piano & heavy metal guitars underpinned by some appropriately ponderous (but complimentary) percussion. It all sounds very pompous but enjoyable....up to a point, as it does get a bit samey by the time it finishes. That's not to say there aren't a number of highlights to be found here as 'Verbrannte Erde' scales some impressive dynamic heights while, contrastingly, 'Zwischenwelt' sets a nicely reflective mood, a mood that is taken many steps further by 'Die Stille Des Oceans' as, starting almost like a piece of chamber music with Martin's voice working well on the mood so created, it then establishes itself as a fine piece of moving, emotive metal while the duration of over 6 minutes means it has the chance to really make the most of the established mood & the riffs are consistently impressive, expanding still further on the musical possiblities. Likewise 'Staub' starts out as a genuinely beautiful piece of music, classical & a bit medieval with tuneful German lyrics, it's a lovely piece of music & while the heavy guitars that come in latterly are complimentary enough it would have been nice had this been left to its initial premise, it would have stood out much more, as would 'Traumerei' had the nicely atmospheric piano not suffered a similar fate, a fate that 'Echo' does avoid more successfully, as, while it again builds from its quiet beginnings with Tina's operatic vocals adding nicely to the sumptuous feel with the increasing percussion seemingly acting as a portent to what is to come, the choirs do soften the blow somewhat, making for a genuinely spine-tingling climax, leaving 'Der Schrei Des Schmetterlings' to up the medieval ante by means of some harpsichord-style riffs & another long track, 'Ein Anderer Mensch' to close the album in their established style. | |||||||||||||||||||
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Samsas Traum are one of those bands who are massive in Germany, regularly headlining at even the biggest festivals & playing to huge & enthusiastic crowds but who seem to have hardly any following here in the UK. That means that a hell of a lot of people are missing out as their music is among the very best of the current crop of symphonic metal bands & they easily stand out from most of them, partly through having a male vocalist in the shape of Alexander Kaschte, whose voice is versatile enough to change from the rich vocalisations of the action-packed 'Das Ist Liebe' to the manic-sounding voices that add a more offbeat mood to 'Im Zeichen Des Wurms', but even more so through their compositional complexity that, on tracks such as the closing 'Das Laecheln Eines Toten' sees them rivaling the best progrock bands, constantly bringing in new melodic facets whilst changing moods & tempi but always maintaining that all-important cohesion & constantly scaling new heights in terms of power, dynamics & good old-fashioned pomp, the latter facet even extending to the titles, several of which easily equal anything Yes could come up with!!. All of which is aided by some excellent musicianship throughout with the instrumental sections of 'Mein Versprechen' & the initially poppy-sounding 'A-wie Antarktika' benefitting from some superb guitar licks courtesy of Kaschte & Michael Beck. Add to this some medieval elements on the opening 'Was Danach Kommt: Spinnen' & the air of mystery that, thanks to the kind of strings, guitar & piano combination that are so beloved by so many similar bands, underpins 'Gott Hat Kein Gesicht' & you have an absorbing, dynamic release that is bound to have wide appeal; oh, and don't forget to check out the cover booklet art, either! | |||||||||||||||||||
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It still tickles me that this particular Black Angel goes under the name of Dave Jason (I wonder if he deliberately doesn't call himself David to avoid any confusion with the famous British actor!!). I doubt it, actually, as it's hard to imagine Del Boy knocking out an album of symphonic metal like this. Yes, all you fans of Samsas Traum, etc will definitely want to give this, his second full-length release, a listen as, style-wise, it treads pretty similar ground with the usual quotient of epic strings, atmospheric piano & heavy guitars, epic strings & admittedly harder than usual drums which make this album a more punchy variant of the style; likewise Jason's vocals which are harsher than many such bands work, sounding not unlike Andrew Eldritch on the opening 'Ein Tiefster Nacht' & working well in combination with the more grinding guitar work on tracks such as 'Tanzende Schatten' & 'Halb Gott' as well as the surging action-packed numbers 'Lebendig Begraben' & 'Fieber Im Blut', the latter of which boasts an absolutely massive sound that is rendered all the more impressive by the quieter chorus that provide such a startling contrast. These contrasts are a hallmark of the album, the moods changing often enough to keep things interesting; that's not to say it does anything that hasn't been done before (albeit not necessarily better) although the more melancholic mood of 'In Zwei Geteilt' & the closing 'Wiegenlied (Totgeboren)' as well as 'Traum Einer Nacht', where the vocals seem especially relaxed, mean that it's not a one trick pony & fans of this style will no doubt find much to their liking here. | |||||||||||||||||||
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If you only went by the cover of this, the third album from Alexander 'Samsas Traum' Kaschte's other project, you'd probably think that this is going to be some kind of Marilyn Manson-style industrial rock. The back cover, however, suggests something more punky & down to earth while the music gives you all this & much more as, while the opening "Die Nacht Der Stempfen Messer' kicks proceedings off in a manic punky, metal style with some electro colouring, pretty much as you'd expect, really, the album as a whole sees the band widening their compositional pallet to good effect with some mighty axe licks making for a Judas Priest-style fist-clenching rock-out during 'Wenn Ich Einmal Gross Bin' while the guitar noodling that graces the instrumental breaks of 'Einen Lenin Pro Tag' & 'Herz Und Faust' rival Thin Lizzy in their complexity & melodic prowess, perhaps not enough to convince your rock-loving dad to give it a spin (if he saw the cover he'd no doubt run a mile!!) but it's no bad thing to see the album taking some unexpected turns; likewise the Theremin-like synthwork that adds something a little different to 'Alarm'. Indeed, it's when they stick to the more traditional metal styles on 'Kaputt!" that they let themselves down, their strength undeniably being in this incorporation of more varied (albeit traditional) elements & even if the more traditional electro colouring that crops up on the pacey 'Disko-Vampir' was perhaps to be expected, given the title, the closing title track sees Kaschte really showing what he's capable of in the vocal department as his soaring voice compliments the plaintive piano & strings combination extremely well, closing the album on a most pleasing note. | |||||||||||||||||||
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Every AD release I've heard yet has been a very different beast; Intervention was a thoughtful mix of electro & punk with political lyrics that brought The Clash to mind while Vanguard was their synthpop album that, at times sounded like they were trying to be VNV Nation! For this latest double offering, the bare but uncompromising cover of which has led to it being dubbed' The Red Album', AD stalwart Joel Heyes has recruited a new line-up & this has borne another new facet for the band as this is a much more raw offering that comes closest to the true punk spirit. It sounds almost like a bootleg recording which gives it an immediacy that few albums lack now, almost as if it the band were jamming & the whole thing was recorded on the spur of the moment. Throughout the scything guitars & raw vocals seem to feed off of each other, the lyrics again making some very astute observations; one thing's for sure, nobody's gonna accuse Joel of being blindly patriotic!!! Although there is a cohesive whole running through both discs, with the music being constantly embellished by samples of figures as far apart as Desmond Tutu & Nick Griffin (or Nick 'Fucking' Griffin, as the sleevenotes so wisely put it!) the moods do vary with some fine piano work contributing towards such darker tracks as 'Still Human Still Here' & 'Bad Elements' while 'Singing For The Clampdown' ends the first disc on a manic note, full of energy & anger. There are more electro elements to be found on disc two, most notably some decent backing sequences that do nothing to dilute the essential rawness. Penny Dreadful's vocals on 'Hunger Strike' add to this, bringing to mind Patti Smith while 'Blood & Feathers' raise a smile by including a sample to The Comic Strip's Mr Jolly Lives Next Door (I live my life by those words, as well!!!!). And if it's unusual mixtures you're looking for, just check out 'Exploitation Bingo" which starts with the Stripper music before diving headlong into another adrenaline-filled superspeed punk rush while 'Together', with its dark moods & superb guitar noodling, should appeal to any death rockers out there & thus provides yet another facet to the band's sound. | |||||||||||||||||||
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With this latest release, Rome continue to mix a number of differing elements into their music; folk, jazz, dark ambient, tribal & symphonic elements all make their presence felt, sometimes in the course of one track in the case of the gothic romantic dark folk of 'Reversion'! In comparison to the preceding release Nos Chants Perdus which had a very intimate feel, there's a certain distance throughout these 12 tracks, giving such numbers as 'A La Falveur De La Nuit' a mood of dislocation to the otherwise intimate mix of piano, percussion & Jerome Reuter's at times barely audible spoken vocals that, in unison with some uncredited female voice that form part of the backing soundscape, sound as earnest as ever although the climax of this track sees Reuter at his most abstract & inventive although this is then contrasted by the relatively bright & almost optimistic 'Das Unbedingte' which proves that anything can happen here. For sure, this is an album that refuses to follow any stylistic guidelines or observe any rules, it's always likely to throw up surprises. Witness the odd mixture that graces 'Hope Dies Painless' where some strummed acoustic guitar is backed by what sounds like an old locomotive emerging from the soundpool, forming a counterpoint to the mournful mood that becomes more evident as the track progresses, aided by some harmonised wordless vocals while the six minute duration means it has the room to really make its mark. Actually, as the album progresses these elements from the past come more & more to the fore with the title track being marked by the sounds of war & old brass snippets that work in unison with the percussive cascades to make for a mood that is at once bombastic & mournful. Likewise, the odd mix of effects that mark the beginning of 'Birds Of Prey' show a greater willingness to mix more traditional elements with more abstract ones while 'Les Hirondelles' mixes a repetitive martial music sample that could easily belong to a piece of strident neo-folk, with spoken voice that again feels both intimate & distant, giving the piece a far more introspective feel, like a commentary on human history coming from one who is far removed from mankind. | |||||||||||||||||||
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It's no doubt an unfortunate coincidence that the wings that are sported by the subject of the cover are the same as those worn by The Rock in the recent Tooth Fairy movie but I'm sure it's going to raise a few titters, as might the fact that the name of the lead protagonist is Dave Jason (no sign of Rodney or Uncle Albert, though!). Dave's hursuit appearance provides a clue as to what you're going to find on here & so it comes as no surprise when, after a short intro the title track kicks proceedings off with an ultra-powerful brand of metal made up of scything guitars, hammering beats & gruff German lyrics with additional keyboard colouring & occasional cello, courtesy of Timon Birkhofer, all combining into a wall of sound that's almost overwhelming in its intensity; turn it up loud enough & your brain will be mashed & your head will be spinning (believe me, I speak from experience here!). And that, bar one or two quieter interludes, is what the album is all about, the power barely letting up, at times even approaching the sturm und drang approach of Rammstein, particularly during the achingly pompous 'Planet Hass' with its sonorous chorus (it's easy to imagine their live show featuring flames shooting off all over the place & such like!!) & while it does start to get a tad samey before 'Niemals Entzweit' brings the album to a suitably manic & thrashing conclusion, the more melodic elements that add extra colouring to the album while doing nothing to dilute the album's uncompromising mood do enough to keep the listener interested in the unlikely event that the all-out power doesn't! | |||||||||||||||||||
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The most amazing thing about this album is not the dynamic heights it regularly hits nor is it the sheer majesty that is a constant feature of its 12 tracks; no, the most amazing thing about it is that it took only two people to turn out such a massive sound, namely Martin & Tina (no doubt it would take a few more musicians to present this 'properly' on stage but that's another matter!!). I'm actually convinced that if the term 'symphonic goth metal' were ever included in the dictionary just a few seconds of this album would provide a better definition that a thousand words ever could as, throughout, the duo concoct a truly epic, full-blooded symphonic sound that's formed through a barrage of heavy guitars backed by symphonic strings (with standout tracks such as 'Fallen' & the excellent 'Endlos' being a prime example of the heights this album reaches) that is offset in places by some touching piano work while the rhythms provide a constant backdrop to the overwhelming musical vistas. The melancholic vocal style that the duo adopt add a more understated gothic-edge to the album, providing a definite contrast to the trumped up music, particularly on tracks such as the opening 'Vanitas' (although the choir recital of 'Hallelujah' soon ups the pompous ante once more!!) & 'Traenen Eines Clows', where the massed choir, strings & guitars again make for an epic experience. And that is very much what the album is about, continuing on its way in more or less the same fashion although the closing 'Gespenster' is likely to make you sit up & listen as the opening chords are a ringer for ABC's The Look Of Love & while it soon becomes obvious that this is where the similarity ends I'd be surprised if more people didn't notice it! I've no doubt that fans of such bands as Within Temptation & the like (you know, the bands with gorgeous female singers & lots of hairy blokes in the background!) will find plenty to love here &, while Mantus lack the commercial edge that is usually present with such bands, there's no reason why they shouldn't enjoy a decent level of success. | |||||||||||||||||||
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If you're looking for an intense listen of a different kind then this, from the Luxemburg-based band, based around one Jerome Reuter, is where you'll find it. It's not intense in that the music is at all heavy, exactly the opposite in fact as it's a mostly quiet album as notes from either the guitar, piano or dulcimer are sprinkled like confetti onto proceedings; no, the intensity comes from Reuter's vocals which are gently sung or spoken as the mood dictates in either French or English, being delivered with such quiet conviction that every word, every syllable is of the utmost importance & are recorded in such a way that it's as if his most private thoughts are being captured. It's certainly a very personal & startlingly intimate way of working &, similarly, the music often sounds as if it were being played right in front of you, as is the case during 'Le Chaitment Du Traitre'. There's a strong folky element running throughout much of the album & the mood is mournful & melancholic pretty much throughout with only the beginning of 'Le Vertige Du Vide' & the closing 'Chanson Des Gestes' bringing anything light to proceedings & even if the music does sound outwardly restful that earnest voice just keeps drawing your attention. Indeed when the album does pick up something in the way of power, as on the relatively epic 'L'Assassin' with Nikos Mavrides' violin adding the mood & 'Les Iles Noire', there's a certain Nick Cave similarity, the latter bearing a resemblance to Where The Wild Roses Grow &, while it sounds less spooky the spoken French voice is just as intense in its own way. One thing's for sure, this is not an album that would serve either as background music, neither is it something that you'd just put on, it deserves to be listened to in a manner that's as intense as the music & while 'La Commune' could have a wider appeal to gothic fans & 'Le Rose Et La Hache' has so strong a Gallic flavour, thanks to Borislav Ivanov's accordion, that it instantly brings to mind the image of the band playing it on a rainswept Paris street corner, it's not likely to have a very widespread appeal. Still, if it's a cloudy day outside & you're feeling in a reflective mood & that Nick Cave album seems just a little bit too joyous (or even that Leonard Cohen one!) then this could well fit the bill. | |||||||||||||||||||
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Well now, it’s time for some life-affirming sounds all the way from the US of A, Bellingham, WA to be precise. Jan Peters has been playing music and cheering audiences for over 25 years with some pretty lovely creations. So go get your rocking chair, put it on your decked veranda – or maybe you’d prefer a hammock, gently swinging between the trees in this lovely spring sunshine, with the butterflies fluttering by. Take your pick, tune in to this channel when you’re ready. ‘Cold Seattle Morning’ is as sweet as a honey-covered crumpet, with a cinnamon toast aftertaste. It’s got some really pretty guitar picking too, it’s toe-tapping bliss, really… “I didn’t sleep last night” – well it’s worth staying up to listen to this in the early hours, it’s mellow and has a golden ambiance. ‘Call to All’ pushes away like a steam train, with a definite eco-awareness attached – so that would make that a bio-ethanol train then. It’s got that feel-good factor, like you’re doing something good for the planet just by playing the CD, so you can stop feeling guilty about those carbon emissions. Phew. Ohoooh, and I do like ‘Shaking Away’ – featuring such truisms as: “Now is the time for everyone to see/that everyone is related to a refugee. Anything that happens to one of us, happens to us all.” Yes! Get that Jim Davidson, and any NF types – go figure, that includes you. It’s all down to karma at the end of the day. Such a strong statement sung so sweetly, but would be equally good blown up on a poster, somewhere near Parliament. Everything swings most pleasantly through ‘Drumming In The Night’ and ‘Little Lost One’, then BAM! It’s “Hasta La Vista baby” to numb sculls with ‘Primera Vista’ (the vista concerned could well be the U.S. government program established in 1964 to provide volunteers to work at improving the living conditions of persons in impoverished areas of the U.S., its possessions, and Puerto Rico.) But then again I could be wrong. ‘These Waters’, the title track, polishes things off to a buffed shining finish. What more can I say – for music that touches the soul, for any life moment that requires a certain amount of soul-searching or Deep Thought, this would be the perfect accompaniment. Cos we’re all on the same side when the mushroom hits the sky, aren’t we? | |||||||||||||||||||
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Once aware of Art Brut there is no room for sitting on the fence. You will either love singer Eddie Argos, with his witty way with words, or you'll run to the hills from the band's 'slap dash' style of recording. This time ex-Pixies front man Black Francis has joined the team on production duties.
Debut single "Alcoholics Unanimous" is catchy, no doubt we will hear people across the land sing, 'Bring me tea! Bring me coffee!' The way in which the backing vocals disagree with singer Eddie raises a smile. "DC Comics And Chocolate Milkshake" ruminates on the finer things in life, and what it means to be an adult. There is also a laugh-out loud moment as Eddie sings: "I'm in love with the girl, in my comic shop/She's a girl that likes comics she probably gets it a lot." Black Francis is a subtle presence throughout, inspiring the guitars to be a little more raucous than usual, such as during "The Passenger" which is what the Iggy Pop of the song of the same name should have been i.e. an ode to the delight of using public transport. Eddie Argos is a fine English eccentric. Despite his claims of 'arrested development' and 'Peter Pan syndrome' ("DC Comics And Chocolate Milkshake") I like to think the tale of fancying a girl, but being too shy to talk to her as documented by "Am I Normal?", took place in Argos' past. Somehow such behaviour seems less endearing when you are 29. The Art Brut musical palette is limited to spiky guitars on songs that know they lack variety so get out while the going is good, before the listener has had a chance to get bored. "What A Rush" stems from the debate about whether The Beatles or The Stones were better. As ever, the backing vocals are worth paying attention to: 'Parents please lock up your daughters his rebellious henchman is giving the orders!' "Demons Out!" is an Indier-Than-Thou invective against talent shows such as The X-Factor. Argos postulates that 'If we can't change the world lets at least get the charts right'. The 'ahh-ahh-ahh-ahh' backing vocals are delightful during the chorus. There's also an over-the-top metal guitar solo that adds to the feeling of hysteria. Argos seems particularly inspired when writing about music, as during "Slap Dash For Cash" in which he asks 'Why would you want to sound like U2?' Black Francis' influence shines through here, giving the song a punk edge."The Replacements" is also about Eddie's love of music, in which he debates whether the cheapness of second hand records makes them better than reissued CDs which have extra tracks. A guitar solo during "Twist And Shout" with a Pixies feel makes up for the (deliberately) out of tune singing. "Summer Job" sees Argos in nostalgic mood again, about the titular employment. Best line: 'In the staff room I feel like an anthropologist'. The final song "Mysterious Bruises" is almost eight minutes long, which is about 20 minutes in relative Art Brut time. It starts slowly, before gaining tempo. This song is about a drunken night out and the injuries you receive which you can't recall. Laugh out loud moments: 'I only dance to songs I like/So I was sat down most of the night' and 'I fought the floor and the floor won'. This song shows a subtle sophistication, including a mix of tempos, which hopefully signposts the band's future direction. I never thought I'd want eight-minute Art Brut songs, but if this is how they use their time then they are more than welcome. |
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