Foreseen - Grave Danger (Review)

In a break of the tradition of the blog, find below my very first review on the blog.
This will be cross-posted on the eternally essential Metal Archives.

Foreseen’s sound is often described as crossover, but I think this is perhaps ever so slightly overstated. It’s true that the band’s bill sharing has been predominately dominated by hardcore bands as well as putting out releases on specialist hardcore labels (such as the brilliant ‘Quality Control’ from the UK). However on ‘Grave Danger’ it’s easy to observe a stronger influence of NWOBHM coming through. This isn’t to say the album is anything like a NWOBHM record, but rather it explores this melodic framework in a rustic, rudimentary and brutal manner similar to the ways ‘Show No Mercy’ or ‘Schizophrenia’ does. Chunkier riffs permeate this record along with some explorations into vocal hooks.

But make no mistake, the Helsinki savagery present from the first record continues in ruthless form. I absolutely love the drumming on this record. I think its part drum sound, part drumming style, but this guy reminds me of Pete Sandoval’s performance on ‘World Downfall’. There is an intensity and energy behind the kit, I can’t necessarily remember any illustrious drum fills but there are very few moments of respite – it’s sharp, fast and relentless throughout. There is also versatility on display, with some cool symbol work in places and even moments of d-beat, but predominately I hear Pete which… is a huge compliment and testament to the fact this guy is a genuine beast behind the kit.

There are several riffs, tempo changes and breakdowns. The mention of breakdowns, particularly in the context of a crossover band, sometimes causes concern but this shit is done correctly - tastefully deployed and with purpose. The few solos are nice but I never personally mind vulgar displays of virtuosity in heavy metal. But the guitars of course follow the theme already established of the rhythm department in never letting up any pace.

Vocals resemble a slightly off kilter bark, harsh and mostly difficult to distinguish until you have the lyric sheet, wherein you notice a tasteful accent to go with it. Good use of crowd shouts too. The lyrical themes explored are mix of modern social justice concerns along with Thrash’s age old anxieties of corporate and international power. The album is under half an hour, but in the context of its ferocity it’s absolutely perfect. Anything more would make it tiresome and potentially result in a less consistent quality throughout. So if you’re looking for an uncompromised, modern Thrash record that never lets up, you’ve probably already wasted enough time on this review..


Mojo, Heavy Nuggets Compilations, Vol 4.

All downloads have been re-uploaded and links updated accordingly. Rest in peace Charles.

2017 - Heavy Nuggets, Vol. 4

1. Cowboy Lovers - Poor Lord (1:55)
2. Uncle Acid & The Deadbeats - Mind Crawler (4:21)
3. Charles Bradley - Changes (5:42)
4. Wolf People - Ninth Night (3:16)
5. Rival Sons - Thundering Voices (2:51)
6. Elephant9 - Dodovoodoo (5:12)
7. The Obsessed - Be The Night (Demo) (2:12)
8. Sleep - Dragonaut (5:41)
9. Grails - Self-Hypnosis (8:05)
10. Boris - Pink (4:21)
11. The Skull - The Door (5:37)
12. Motorpsycho - Lacuna, Sunrise (9:46)
13. Earthless - Violence Of The Red Sea (14:45)



This one is so hot off the presses at the time of writing one of the songs still has a digital glitch on the bandcamp, which is fair enough, it was only released two days ago! So this is a a band from the Land of Oz (I'm talking Kansas dudes...). Anyway, unlike Zodiac who had a series of tunes or whatever behind them to fuel my continued interest (they actually are from the land of Oz), Snowchild had originally uploaded a few demo tracks, or maybe even just one single demo track up on Bandcamp. I can't even re-call but it was at least a year ago now. 

So the first thing that struck me about Snowchild was the vocals that sounded so much like that Vol. 4 Ozzy that I was already pretty softened up.. but I also noticed some definite quality in the musicianship and composition. But holy fuck, these guys have put out a unbelievably mature and explorative Doom Metal record. The use of synths are incredibly well deployed and won't leave you feeling like you're listening to what to some now sounds like dated cheese - I am of course speaking in reference to "Who are you?" off Sabotage. The drumming is very tasteful, actual fills and some style behind the kit going on. The guitar has a displays an impressive level of subtlety and variety too. No mention about the bass because I've just noticed I've spun this twice over without it turned up on my speakers.... idiot. 

Four songs clocking in at 40 minutes. Held my attention on repeated listens.. would not at all be surprised to see this ultimately re-released on Svart or StB or some shit like that. This deserves the turntable treatment, no doubt.


The power of the riff compels me...

After several months without a laptop, the one I bought had the soundcard fuck up. However, it's now finally back for good. The dude at Lenovo obviously thought I was some prick who hadn't tried to fuck about with my drivers/software, but whatever. Promises of more regular posts will now be fulfilled. If anyone has another of them 'power of the riff' stickers they are willing to let go.. holla.

ps. Wu-Tang is forever baby. 


Ladies Of Leisure

The blog isn't dead and updates will, EVENTUALLY, become more frequent. This is an absolute promise. Life has been fairly absurd these past few months and it continues. I'm currently laying on my front in some kind of Sex in the City blog writing pose as my leg has been numb from sciatica a few days now and sitting up causes me searing pain. I was greedy in the gym after (again) reaching my PR strength wise and went on to do a drop set... stupid, stupid shit.

Back to the jams though,  this album is really good and it does surprise me it's continued to fly under the radar as it has. The first song is just doomy perfection in my mind, Sabbathian plods, hypnotic but catchy vocals and a good sense of fuzzing out in general. Ladies of Leisure have that funny thing going on where they seem to exist in that ambiguous space between Metal and Hard Rock. The entire record has a really fun sense of melody and rock'n'roll which I always like. I'd say it's almost like a more Doom Metal orientated Stoner Rock album. Worth your ear chap/ettes, 


Blind Authority

Updates will become more regular once I start thinking about this like a work e-mail. Bish bash bosh. So to start this new approach we have Blind Authority.

I spent about 3 months listening to this record everyday in the car on the way to work. I mean, it's got that catchy grind vibe Terrorizer had, it's got that NY cro-magian swagger shit, it's got dem slow Harmony Corrption type riffs and enough speedy power violence moments to keep all happy. I'm genuinely a big fan of this record. Just 17 minutes of meaty riffs and a fistful of bollocks mate. Sick intro...

EDIT: They also sometimes finish off their set with a banging cover the below;