Archive for Bolt Thrower

Riff Sammiches: 5 Multi-Riff Masterpieces

Posted in Lists with tags , , , , , , , , , , , on November 7, 2012 by Lightning Slim

Welcome to the first segment in my new “Lists” category. Lists are a tried-and-true method for bloggers to put up some content when they’re a little lean on material. People also like ’em because they’re so flexible and generate discussion. After all, everyone has their own personal lists and they love to compare. I’m hoping y’all are no exception, so here we go:
We’re all here because we love a good guitar riff, and there are many ways to put them together and make songs. Some artists are stingy or minimalists, and keep their riffs sparse within the tune. Others are total riff factories and splash them about liberally. Here are five tunes made better by generous helpings of guitar goodness. And yes, of course there are more out there, probably by Tool and Machine Head, but I did want to keep things under the 9-minute mark:

5. Bolt Thrower – “Contact – Wait Out”. Featuring an unloved and unfairly judged one-off vocal performance from Dave Ingram, Honour – Valour – Pride starts off with a track featuring an entry riff, a mid-song change-up at around 3:20 and an exit riff that eventually blends with the entry. Superb.

4. Arch Enemy – “Enemy Within”. Another album starter, this time built on one of the best intros in the genre and the big debut of Angela Gossow. I always have to listen to this track twice because as beautiful as the solo section is, the rhythm guitar work underneath it is just as interesting.

3. Iron Maiden – “Powerslave” C’mon, where do you think Arch Enemy got the idea? Sure, we all know the big title riff, but the middle section has enough spare six-string in it write at least three more songs. Those were the days, no?

2. Overkill – “Gasoline Dream”. No strangers to riff largesse, Overkill often close out their records with something even more big and epic. Sometime it has to do with their Overkill-themed masterwork, sometimes not. “Gasoline Dream” is one of the stand-alones, filled with speed changes, multiple ideas and a Sabbath-influenced acoustic ending.

1. Black Sabbath – “Symptom of the Universe”. Did someone mention Sabbath? Mad drum fills! Super-stoned bouncy-bass outro! Cybernetic unicorns! Containing something for literally everyone, “Symptom” is like seven songs in one; none of which make sense and all of which are great.

Box Set Review – Various Artists “Grind Madness at the BBC” 2009

Posted in Album Reviews, Deals & Steals, Sevens to Nines with tags , , , , , , , , , , , on November 4, 2011 by Lightning Slim

What: Subtitled “The Earache Peel Sessions”, it’s a three disc set of just that.

Selection: 118 tracks from a pile of influential grindcore artists recorded in the 80s and 90s for the John Peel Show. Take a look (click and the res will clear up):

Is it enough? Some might miss the inclusion of Peaceville bands like Prophecy of Doom, but this is Earache’s party, the product of a deal with the BBC to identify and catalogue a bewildering pile of master tapes. It’s plenty! 8 out of 10

Packaging: Bare bones. Two jewel cases in a slip cover. The cover art is identical on the two disc cases – don’t you just hate that? Ah well, I suppose the grind aesthetic was never lavish. The initial pressing was in a gatefold digipack with a bigger booklet; go for that if you see it. In summary, nothing to put on display, but it will slot into a regular storage scheme. 6 out of 10 

Sonic Manipulation: These are Peel Sessions – in many cases the recording is superior to released product by the bands! 9 out of 10

Rarities/Extras: Again, nothing fancy. The booklet is an interview with Napalm Death’s Mick Harris, who shares some old war stories and pays respect to the memory of John Peel. 4 out of 10

Overall: Not a lot of fluff to be had, but if you’re all about the music this compilation is definitely value for money. My copy was $11 CDN from Encore Records, a deal that can’t be beat. A great snapshot of a wild chapter in the history of these artists, the legacy of John Peel and the development of extreme music in general.  8 out of 10

Classic Album Review – Bolt Thrower “Realm of Chaos” 1989

Posted in Album Reviews, Sevens to Nines with tags , , , , , , on October 25, 2011 by Lightning Slim

  If you haven’t heard Bolt Thrower’s second album, you’ve missed an important moment in the history of extreme metal. It’s a mess, but oh, what a glorious one. The album opens with what might be the sound effect of a steamroller or tank approaching, and then, for 35 minutes, the band attempts to emulate this sound using their instruments. The End.

Realm of Chaos, subtitled “Slaves to Darkness”,  is well named, doing Exactly What It Says on the Tin. It’s a lot like Kill ‘em All in its youthful exuberance, sheer sloppiness and ability to turbocharge the extreme attributes of genre. Metallica grabbed the burgeoning thrash movement and turned up the speed, the hype and the fun factor. Bolt Thrower examined the roots of grindcore and turned nothing up; they turned it down. Way down. The guitar tuning on this album renders the strings audibly rickety and spaghetti-like, turning even the fastest of riffs into a wallowing morass of sound. Perhaps BT felt that if Tony Iommi could play without fingertips, then they could bring new meaning to “slap bass” and just bash the instruments with their fists. Andy Whale’s “blast beats” plot a cringe-worthy rollercoaster course reminiscent of a tipsy driver barely managing to stay between the lines. The anguished, frenzied guitar solos are played as if  Gavin and Baz have jumped onstage with Slayer to join in the last 20 seconds of “Reign in Blood” and expect to be tackled by security at any moment. 

Sporting sheer sludginess that would make the Melvins blush, Realm of Chaos inhabits a universe of elephantine bruiting, monstrous roars and sudden cannon fire. There is no single identifiable human sound on this record. It stalks the desolate, crater-filled Warhammer 40000 landscape protected from any hint of irony by the self-contained armour of feverish conviction. Mankind’s dark future shall have no peace, no sense of humour, and certainly no death n’ roll.

There are bones to pick underneath the tracks of this death machine, but it seems churlish to bring them to light. So what if the beginning of “Plague Bearer” is lifted directly from the bridge of “World Eater”? It’s like saying Jackson Pollock used blue paint on more than one canvas. I have spoken with people who hate this album but still remain impressed with how bonkers the whole thing is, and that anyone would agree to produce it. I’m no hater. 9 out of 10

Album Review – Landmine Marathon “Wounded” 2006

Posted in Album Reviews, Sevens to Nines with tags , , , , , , , on December 23, 2010 by Lightning Slim

  Remember Star Trek IV where the giant alien ship comes to Earth and they want to talk to the whales and it’s kind of awkward because we murdered all the whales so the Trek crew has to go back in time to save the whales so the human race doesn’t get nut-punched by angry space whale-ians? Well, the story of Wounded is like that story, with less whale.*
 
In this story, secret metal scientists of today realize that American grindcore music is slick, repetitive and boring due to the lack of guidance from the European masters. All their readings indicate that without Bolt Thrower, all music will be doomed. To fix the problem, they create a beautiful grind-borg using some depleted uranium they have lying around and the DNA of Angela Gossow, Vas Kallas, Mel Mongeon and The Great Kat.
 
The grindbot (codenamed Grace) is sent back in time to 1988, where she travels to England and breaks into the headquarters of Earache Records and copies all the demo tapes. Then she steals several babies from an American orphanage and raises them in a secret desert hideout on a musical diet of nothing but Repulsion, Entombed and Brutal Truth. When they ask for techno, she beats them and plays Meathook Seed.
 
Eighteen years later, Landmine Marathon’s first album, Wounded, is released by this band of time travelers. The world is once again safe for old-school grindcore. The End – Or Is It? 7.5 out of 10
 
*Unless you mean Andy Whale, the drummer of Bolt Thrower.

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