Jonathan Hill

A Soapbox for Uninformed Opinions

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Reverend Bizarre In the Rectory of the Bizarre Reverend Review

Reverend Bizarre In the Rectory of the Bizarre Reverend Review

Artist: Reverend Bizarre
Album: In the Rectory of the Bizarre Reverend
Genre(s): Heavy Metal
Subgenres(s): Doom Metal
Released: 2002
Length: 74 minutes
Language(s): English
Label(s): Sinister Figure, Low Frequency Records (2003 rerelease), Spikefarm Records (2004 rerelease)

Track List:

01. Burn in Hell!
02. In the Rectory
03. The Hour of Death
04. Sodoma Sunrise
05. Doomsower
06. Cirith Ungol

Reverend Bizarre In the Rectory of the Bizarre Reverend Cover

In the Rectory of the Bizarre Reverend is the first full length album by Finnish doomsters Reverend Bizarre. They draw heavily from doom metal pioneers Candlemass and most of the songs you’ll hear are upwards of 10 minutes with the exceptions being Burn in Hell and Doomsower, the latter of which is followed up by Cirith Ungol, the 21 minute monolithic conclusion to In the Rectory of the Bizarre Reverend.

Reverend Bizarre have all of the hallmarks of the traditional doom metal sound; long songs with an atypical structure, sparse guitar plods, dramatic baritone singing, religious iconography and a guitar tone so thick that you can almost see it. Opener Burn in Hell has enough material to carry itself while establishing the consistent sound of Reverend Bizarre’s debut. Singer and bassist Sami Albert Hynninen (performing as Magister Albert) delivers one of the best lines of the album on this song, the spiteful “you bastards” that finishes the dirge.

Unfortunately by the time you get to The Hour of Death, you’ll find the songs start to lack variety and substance as Reverend Bizarre force themselves to drag out the slow, distorted passages beyond what most people would consider reasonable and it feels like they are doing it for the sake of it. Cirith Ungol embodies all of these negative traits despite having some tasteful throwbacks to Black Sabbath’s self-titled song and Iron Man.

Guitarist Kimi Karki (as Peter Vicar) and drummer Jari Pohjonen (as Earl of Void) kick the songs into gear between the guitar plods (as heard best on In the Rectory and Sodoma Sunrise) with some fantastic up-tempo guitar grooves, rapid drum fills and even an extended psychedelic guitar solo that will catch you off guard. The entirety of Doomsower is a curve ball in its own right. It is a brilliant hybrid of doom metal and stoner rock that is condensed into relatively short 5 minute blast. It shows exactly what the trio of Reverend Bizarre are capable of doing when they get straight to business without any of the filler material pointlessly jammed in there.

When Reverend Bizarre can be bothered to play with feeling they have some serious content to offer and if they followed this routine for the other songs it would have improve the experience tenfold. The dragged out passages don’t have the desired effect of building a foreboding atmosphere and will instead leave you cold after listening for long enough. While Reverend Bizarre have a genuine passion for creating doom metal, they prove to be too ambitious for themselves on In the Rectory of the Bizarre Reverend so sparing a few glowing moments, this is an album that should be reserved for doom metal fanatics.

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Various Artists Flowers Made of Snow Review

Various Artists Flowers Made of Snow Review

Artist: Various Artists
Album: Flowers Made of Snow
Genre(s): Ambient, Folk, Industrial, Neoclassical, Noise
Subgenres(s): Dark Ambient, Martial Industrial, Neoclassical, Neofolk, Power Electronics
Released: 2004
Length: 55 minutes (CD 1), 63 minutes (CD 2)
Language(s): English
Label(s): Cold Meat Industries

Track List (CD 1):

01. Coph Nia – The Oath
02. The Protagonist – The Sick Rose
03. In Slaughter Natives – The Vulture
04. Olen’k – Season of Tears
05. All My Faith Lost – Sleep Now
06. The Last Hour – Into Empty Depth
07. Apatheia – Safehouse
08. Ataraxia – Incabala
09. Ordo Rosarius Equilibrio – Yesterday Brings But a Serpent of Ash
10. Hexperos – The Warm Whisper of the Wind
11. Sibelian – The Sin Eater
12. Sanctum – Lie Low

Various Artists Flowers Made of Snow Cover

Flowers Made of Snow is a Various Artists compilation by the Cold Meat Industry label. Presented as a sampler of the labels current artists, the compilation covers ambient, folk, industrial and noise music across 2 CDs and 23 different artists. The first CD focuses largely on the more accessible side of Cold Meat Industry with a diverse set of neofolk, martial industrial and neoclassical songs.

The Oath by Coph Nia sets the tone with a dramatic spoken word performance. The lyrics act as a proclamation for Cold Meat Industries, which are seemingly the rejection of mainstream culture and more specifically the music associated with it. Ordo Rosarius Equilibrio is the only other martial industrial band featured on Flowers Made of Snow and while the subgenre is sadly underrepresented, together they show what can be offered in their brief but powerful presence.

There are 3 neoclassical nightmares courtesy of The Protagonist, In Slaughter Natives and The Last Hour. The only thing to be said for certain of the neoclassical songs is that the performers are not happy people. Between the hushed murmurs, haunting soprano wails, tense violins and bleak ambiance, you’ll feel as though you’ve found yourself in the middle of someone else’s misery in these emotive pieces.

Making up about half of the first CD is a set of groups playing neofolk music that at times sounds worlds apart from each other despite being under the same umbrella. All My Faith Lost and O’lenk play low key songs with female lead singers that don’t pull any punches. In contrast Hexperos follow suit until their song (The Warm Whisper of the Wind) is warped into another neoclassical nightmare akin to The Vulture by In Slaughter Natives.

Apatheia and Ataraxia both perform uncharacteristically lively songs that are like reimagining’s of medieval folk music. They both have catchy acoustic guitars and more upbeat singing styles (the latter of which sounds like a cross between chanting, yodelling and opera singing) that evens out some of the tension present in many of the other songs.

Sibelian takes influence from both the neoclassical and martial industrial camps for the 9 minute mini-epic The Sin Eater. Some elements of electronic music can be heard through the sound effects and (what sounds like programmed) drumming. This conceptually links to Lie Low by Sanctum, the final song on the first CD. It is a dissonant song belonging to the power electronics subgenre of noise music. It doesn’t fit in with the rest of the music found here and acts as a disturbingly unwelcome prelude to the second CD.

The first CD in the Flowers Made of Snow compilation does an excellent job of showcasing what Cold Meat Industries and the fringe genres of martial industrial, neoclassical and neofolk have to offer if you can stomach melancholic music in this diverse and ever twisting compilation.

Track List (CD 2):

01. Desiderii Marginis – Where I End and You Begin
02. Raison D’etre – Mouldering the Forlorn II
03. Atrium Carceri – Impaled Butterfly
04. Mz.412 – In Hoc Signe Vinces
05. Brighter Death Now – While You Sleep
06. IRM – My Mother
07. Deutsch Nepal – Of Parasites and Disguises
08. Nacht – Death Posture
09. Beyond Sensory Experience – The Trade
10. Sephiroth – Therasia
11. Skin Area – Choose Art… Not Life

The second CD of the Flowers Made of Snow compilation is in stark contrast to the first. It focuses exclusively on the subtle and the abrasive (and arguably hostile) side of Cold Meat Industries in the form of dark ambient and power electronics music.

It starts out harmless enough with Where I End and You Begin by Desiderii Marginis, a dark ambient song fused with soft guitar distortion and what sounds like the slow, distant groans of a didgeridoo. Raison D’etre and Atrium Carceri carry on the dark ambient themes and almost link together to create an interesting 3 part song.

Mz.412, Brighter Death Now and IRM are three noise groups that work together in the same way as the dark ambient trilogy do. Unfortunately these songs are on the opposite side of the musical spectrum and are grating enough to make blood ooze profusely from every orifice on your body. Thankfully Nacht and Skin Area are the only other 2 noise groups on the CD with Deutsch Nepal, Beyond Sensory Experience and Sephiroth stepping in between these seemingly unending harsh songs to offer some relief from the discomfort they cause.

You could just as easily sit in a cement mixer and get someone to bash it with crowbar to achieve the same headache inducing effect that you get from the noise songs. The only difference is that you wouldn’t need to put up with the artistic pretence to get one.

The coupling of these genres provides an excellent contrast in sound if nothing else. The dark ambient songs on the second CD of the Flowers Made of Snow compilation are certainly worth a listen if you have the patience for eerie soundscapes but the noise songs should be left well alone unless you are a masochist or hate yourself.

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Lost Horizon A Flame to the Ground Beneath Review

Lost Horizon A Flame to the Ground Beneath Review

Artist: Lost Horizon
Album: A Flame to the Ground Beneath
Genre(s): Heavy Metal
Subgenres(s): Power Metal, Progressive Metal
Released: 2003
Length: 53 minutes
Language(s): English
Label(s): Music for Nations

Track List:

01. Transdimensional Revelation
02. Pure
03. Lost in the Depths of Me
04. Again Will the Fire Burn
05. The Song of Earth
06. Cry of a Restless Soul
07. Think Not Forever
08. Highlander (The One)
09. Deliverance

Lost Horizon A Flame to the Ground Beneath Cover

A Flame to the Ground Beneath is the second and final album by Swedish metal outfit Lost Horizon. It is a direct continuation of the distinctively uplifting power metal/progressive metal sound that they developed on their first album, Awaken the World.

The songs are longer than before and in keeping with the tradition of progressive music, they contain many verses that can flow easily from one to the next without necessarily having the need for a chorus. The saving grace Lost Horizon balances this out with is never getting wrapped up in taking their songs in a thousand and one directions while maintaining their triumphant sound and positive message about self-empowerment and free will over fate in their lyrics.

Sadly, Lost Horizon still insists on including their ambient interludes which fail to leave a lasting impression. The introduction song, Transdimensional Revelation, is slow on the uptake and doesn’t give any indication as to what A Flame to the Ground Beneath is all about. However it does serve as an excellent buffer to the first metal song, Pure, and gives it a bigger impact when it kicks in seemingly out of nowhere (although it should be noted that like the other songs, it can speak for itself). The odd coupling of ambient interludes and heavy metal is by no means a bad concept but the execution is definitely in need of refinement.

Both the bass and keyboard playing can be heard clearly enough but the bass still finds itself competing with the guitars and drums like it does in many other metal bands. The keyboard tends to find itself in a supporting role but has a few moments to bolster some songs such as Lost in the Depths of Me and Again the Fire Will Burn. It is also the only instrument on the mid-album interlude The Song of Earth, which pleasantly enough turns out to be a full song rather than misguided soundscaping.

Much like Awaken the World, A Flame to the Ground Beneath is sung entirely in English and not being the bands native language, there are some mishaps with the lyrics that don’t flow exactly as they should do. On most occasions Daniel Heiman’s vocal range alone will distract you from this and more than makes up for it.

One of the major highlights of A Flame to the Ground Beneath is Highlander (The One), a 12 minute epic that features some of Daniel Heiman’s most extravagant moments and with all the wailing he does, it would make you think that the entire song was written for him to push his voice to the limit. The last minute of the song is by far one of the best metal moments committed to a recording. Unfortunately A Flame to the Ground Beneath ends with the interlude Deliverance. This deals a significant blow to the flow of the album as it should have ended on Highlander (The One) to give you the massive triumphant feeling that Lost Horizon is all about.

The songs (that go from 6 to 12 minutes) might sound daunting on first impressions but Lost Horizon have the musical chops to back up their ambitious goals and present another significant entry into the power metal/progressive metal catalogue with A Flame to the Ground Beneath.

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Palms Palms Review

Palms Palms Review

Artist: Palms
Album: Palms
Genre(s): Rock
Subgenres(s): Post Rock, Shoegazer
Released: 2013
Length: 47 minutes
Language(s): English
Label(s): Ipecac

Track List:

01. Future Warrior
02. Patagonia
03. Mission Sunset
04. Shortwave Radio
05. Tropics
06. Arctic Handshake

Palms Palms Cover

Palms is a post rock/shoegazer super group made up of Deftones singer Chino Moreno and 3 members of Isis. The first thing you’ll notice about all of the songs on their self-titled debut is that they all lack hooks and grooves to grab your attention. Instead they rely on lengthy guitar soundscapes that focuses heavily on layering shimmering clean guitar tones alongside their fuzzed out counterpart (that sometimes boarder on becoming blue noise) with Chino Moreno’s ethereal voice sitting comfortable in the middle of it all.

Unfortunately the soundscaping that Palms indulges in also happens to be the major pitfall of the album. It becomes apparent early on that the songs lack definition and given that the song lengths average out at almost 8 minutes each, there is little variety and ever fewer memorable moments. This becomes frustrating when the songs sound like they are building up to something but then nothing significant happens, resulting in some rather lengthy songs that don’t appear to have any real momentum behind them.

Sadly the album isn’t what it could have been and while Palms have a lot of style in their well-crafted ambience, they lack the substance in the song writing department that makes an album memorable and engaging. If you hear a single song from Palms then you’ve heard the rest of the album. Stronger song writing would have given it the potential to be a sonic masterpiece but the lack of variety is what holds Palms back.