ROADHOG - The Oppressors (2017)

Oppressing the Mind (With One Fracture in the Road)

My huge expectations has increased doubly since the title and front cover have been published by the band. Even if Roadhog isn’t a mainstream giant (in future, who the hell knows that?), the debut impressed me a lot stealing my dreams very often and still ripping the empty silence in my world. That’s true I’m a slave to such songs as „Poison Man” or „Dead of the Night”, many times I just catch myself singing those choruses in many various situations. Yes, „Dreamstealer” was a blast. And still is.

With that in my mind I proceeded to „The Oppressors”. Again under the banner of Stormspell Records, again with drawing attention front cover (this broody busty lady has a haircut similar to Pemo, hasn’t she?). But this time Olof Wikstrand has been replaced by Cederick Forsberg as a sound engineer. And if compared to the debut, the sound realization is given in much modern way, not being any kind of fault to the whole: it is just great keeping the things all audible. So, the main question from my point of view appears: did they give me a better album? Well, let’s see, the beginning couldn’t be better, with even more power and speed comparing to „Liar”, „Fall from Grace” simply cuts my head down. Somehow it touches speed stylistics in early Agent Steel vein: it is fast, crushing, neck-breaking, firing totally effective riffs to the crowd. And however the song isn’t any sign of genre changing, another „Fight It Back”should be a concert firecracker as well, just like a closing track, simple and riffs mesmerizing. But as I wrote, the speedy madness isn’t an oppressing key here and the rest is maintained in rather mid tempo.

The first half is absolutely fine. We have energetic „The Fear” with very catchy bridge and chorus becoming another highlight next to the mentioned duo (however great leads starting at 2:50 and lasting till 4:00 turn the title into „The Bliss”, which is kind of accidental paradox, don’t you think?); we have very slow „Suffer in Silence” and faster a bit „Black Moon” which is probably the best one in family, being just a great tribute to Heavy Load, with surprising intro, mysterious and eerie, definitely something new for the band. A heavy killer, indeed! And the title song ends the first half, „The Oppressors” sound really promising. But the number six belongs to „Children of the Dark” and… something broke in the machine. Those fully balladic 4:32 minutes are the only controversial tunes here, that’s true I did not expect to hear the highlight like „Children of the Damned” or „Watch the Children Pray”, ‘cause it’s impossible I guess. Something was wrong here and originally I gave it many very careful meetings. What’s more, during listening to the whole album, „Children of the Dark” got more chances than others. With a booklet in my hands or with closed eyes. Thinking about using of children choir and pretty nice guitar leads. About powerless Krzysztof vocals and unnatural keyboards in the background. And concerning the final opinion, the song sticks out absolutely, however it’s not the thing I hated it, but it feels so damn out of place here. For a single release as an additional one? Maybe, but this time Roadhog has just failed…

…and luckily „Fight It Back” has woken me from the sonic torpor and brought the band on the right road. Don’t know their intentions but this song is like a balance weight and it works here splendidly. The rest doesn’t bring any confusing surprises, only the stuff I’d like to listen to, it’s worthy to notice completely untypical guitar lead in „Set the World on Fire” (no, it’s not the cover song) or the next track that reminds me a bit about „Annihilator” song from „King of the Kill” album. Then, „(Don’t) Follow Them”, a highlight from last year Ep, and the album is ended by „All Hell's Breaking Loose”. And yes, the track list has been done right now. What about the vocal lines, the underbelly from the debut? When I consider the music itself, the whole idea and performance, lyrics, front cover, production-wise and general heavy metal spirit, Roadhog machine is Premier League level using football terminology. In turn, Krzysztof endeavours are in Championship yet, with Fulham attitude during this season with two wins, five draws and two defeats by the end of the third week of September. It’s nothing extraordinary, just a solid work. His Polish accent is still distinguishable, there are really good moments opressing the mind (in fast songs, especially) and there are moments that need to be improved (mostly in slower parts).

If I am in the kingdom of maths, my final mark is a bit lower as compared to the bestial stealers of dreams, yet I cannot write about any letdown.  When one song is skipped, „The Oppressors” provide ten equal heavy metal shots served in a way it should be executed. Generally speaking, the band matures, it’s not the highest offer yet and I’m sure the musicians know that. But with such a potential, the future looks really auspiciously, don’t it?  

82/100

-Tlacaxipehualiztli

(written in September, 2017)      

RAVENOUS DEATH - Ominous Deathcult (2017)

An Ominous Meeting

And we have yet another death metal act hailing from the land of Mexico that contains the person of Miguel Angel. His curriculum vitae starts to look pretty impressive, but most of the crews he is involved in, are rooted in deathly dimension: Remains, Fractal Entropy, Darkcreed, Dew of Nothing now to name just a few. It seems he hates a monotony in life and it’s fucking good as Ravenous Death is straight journey to the tunes once intended but served here in a really interested and devastating way, with a proper gloomy atmosphere.

As compared to his mentioned bands, Ravenous Death is definitely more oriented on US death metal scene and even if band’s name comes from Vomitory song, such legends like Autopsy or Death’s mighty debut are some determinant what this „Ominous Deathcult” is all about. However during countless meetings with the stuff clocking in nineteen minutes only, the child of John McEntee and his newer efforts is the main influence for the band I guess. But Mexicans don’t use such crushing almost doomy slow-down parts and the whole is maintained in fast pace mainly, without any needless introductions. There are tempo changes, some shy melodies are audible in opening „Worship the Flagellated” or splendid short slowing down in „Rotten Flesh Murderer”, but the most important here is to strike the listener with simple obscure yet successful metal of death. It’s worthy to draw the attention on vocal butchery in mentioned „Rotten Flesh Murderer” or more head-banging rhythms in „Throwing Up the Guts” which should be a live killer. For sure the last piece is a bit different in the family, „Knowledge of the Occult” due to rhythm section beginning, nice clean vocals (it really fits to the song) and moderate tempo. Simply, what a great final!

I realize that such band like Ravenous Death isn’t anything rare on nowaday scene. I can say even more: the scene is (probably) overcrowded now with maaaany craftsmen, yet luckily the EP shows a potential in creating old-school death metal not bringing boring whiles or impressions ‘oh no, another riffs stealers!’. And to avoid going into oblivion in a flood of titles, Mexicans should sign a deal with a bigger label. Now, they choose a safe way with this short performance, but I do hope to listen to another ravenous tunes very soon. Of course, as a full-length.

80/100

-Tlacaxipehualiztli

 

(written in September, 2017)

TERCER ACTO - Eternidad de un instante (1997)

AOR: Art Oriented Resuscitation

Strange are the ways and methods of meeting different albums. I got this album many, many years ago from my Mexican friend, recorded on cd-r with titles written on paper envelope. I listened to it a dozen or so, I liked it and… nothing special happened at that time. But, the year 2017 brought a major breakthrough in the case of Tercer Acto. I decided to check the album out once again… and it happened. Now, as an original copy, it joins barefacedly the section called: my best musical stuff. And what is the most interesting, not being a metal band…

Granted, I am a musical orthodox person, I need metal music to work and live. It fully satisfies my wants. And believe  me, I really wanted to put “Eternidad de un instante” into my metal dimension as an integral part. And I failed, unfortunately. Unfortunately? No, it’s not a good term. If the band’s genre is concerned, I found hard rock, progressive hard rock and AOR. The abbrev means adult-oriented rock, album-oriented rock, or just album-oriented radio. Well, no idea which definition should be the only one and the most precise, however ‘radio’ word makes me really puke. But I tell you, it isn’t important at all, as the good music only counts. Especially when it simply captivates me.

  

Yep, I really wanted to find it metal release. Seems I repeat myself, but this album gutted my world and took a seat next to metallic records in spite of all. Searching harder moments, definitely two songs should be mentioned: the shortest “Días sin tiempo” and “Jamás”. And if the first one is a pure hard rock through all the time, the latter could be a part of “Holy Diver” yet with strong Deep Purple influences, due to both riffs and more aggressive vocal appearance of Eduardo. These songs are the only one without any slowdowns or ethereal, balladic fragments, contrary to “Camino al destino”, “Esquinas compartidas”, “Falsa libertad” and “Sin ti”. They have hard rock riffs, especially when it starts off, varied lighter Gustavo’s forms in stanzas and heavier parts in chorus. And counting the songs sequentially, three of them pulsate with vivid energy, despite they’re just… ballads.

Ah, the ballads. Sometimes the sign of kitsch, sometimes an added value to the entirety. And although “Fingiendo sueños”,  “Bajo un cielo gris” and title “Eternidad de un instante” are marvelous songs, Tercer Acto managed to create some balance between such forms and the rest. It really works a splendid way. Mentioned “Fingiendo sueños” was the first song that conquered my heart, and it left the doors open for another tracks. Simply as that, isn’t it? What’s more, this group is probably one of the best such songs I’ve ever heard and if the whole instrumental layer is second to none, I really can’t miss Eduardo Contreras and his enthralling warm voice. He sings in rather middle range and he does it in a perfect way in Spanish, proving this language is much better than English. In faith, phenomenal. The title track that ends the album appears as a proper stuff to do that, the band decided to calm all the emotions down bringing a balm for my tired soul. And that’s the way I can feel it…

It’s hard to believe, but “Eternidad de un instante” recorded in 1997 is a debut album. Well, no problem at all, as these five musicians don’t look like incapable rookies and don’t sound like that. Starting from ideal sound realization that helps to fish all the tunes out, to the interesting design of booklet layout. Each song represents an undeniable (emotional) value I cannot live without. And if I listened to it hundreds of times this year, I arrive at a conclusion that the person of keyboardist Rafael Escalona has a huge contribution, not only because his instrument predominates here (and definitely in uncannily fabulous “ Borrando el pasado”), but it doesn’t… disturb me. For me keyboards are always very significant element of the musical puzzle and it sucks in most cases  being like an awful pollen allergen coming from poplar tree and attacking my daughter. Here, as such genre has been given, Rafael’s work is needful, indeed, and the most important I do not have impression he wants to be a leader. And mind you, there are no keyboard leads, fortunately. Leads, leads, guitar leads… Gustavo Hermosillo responsible for all guitar structures did everything to stick all the elements together in one impact. I’m far from claiming he is the most important guy on the stage, yet his performance is some kind of frame-work and clay bonding at the same time. It made the opportunity to display rhythm section’s talent and in final form just another great title in musical world. And if I have to find only one adjective to describe this album, I will give beautiful without any hesitation…

These ten tracks are like the Ten Commandments. Just throw one of them away and the Christianity doesn’t have any sense. Take any song and the monolith is not the same. You can quarter, burn or flay me, but I cannot give the best song in the “Eternidad de un instante” family. That means all the compositions are very equal in general quality, however the music itself isn’t hard to decipher, with simple means yet perfectly composed they conquered my soul till the eternity. Summing the thing up, the only album of Tercer Acto is one of the most important albums in these hard times being a complete contradiction to falsa libertad. And it’s very hard to me to get over the members are not together anymore as the band split up in 1998 (e.g. Eduardo joined Agora, Gustavo Angeles del Infierno). Nineteen years have passed away and now I am writing something about art called “Eternidad de un instante”. About its beauty, magic, catchiness and magnitude. And because my words are just poor, let “Camino al destino” fill the air once again…

99/100

-Tlacaxipehualiztli

(written during July and August, 2017)