concreteweb - Dooweet Agency

DXVXDXD SXLF

Dirk — Wed, 23 Jan 2019 13:55:10 +0000

Artist:

DXVXDXD SXLF

Album Title:

Of Wolves And Men

Release Date:

Tuesday, November 20, 2018

Label:

none

Distribution:

Dooweet Agency

Review Type:

Of Wolves And Men is the first official full length (aka EP, but the album lasts for more than thirty-five minutes, so it is not exactly an EP – yet that’s a discussion not of importance right here, right now) by DXVXDXD SXLF. The band’s name in fact comes from The Divided Self: An Existential Study In Sanity And Madness, one of the earliest works by British author / psychiatrist / philosopher R.D. Laing. This band, hailing from the ancient yet quite beautiful French city of Clermont-Ferrand (in the centre of the country), was formed in 2016 by Adam DSX and Guillaume Smiley, and the duo was joined shortly afterwards by Ludy Wotton and Alec Hourvari.

The eight-track album Of Wolves And Men, which comes with quite specific cover artwork, consists of four ‘normal’ tracks, and four unplugged ones. Since my promotional copy does not include those unplugged tracks, I will not go too deep into that matter. I have been listening to them on the band’s Bandcamp-page, and I could recommend you to do the same, if interested. You have to like it, or you do not…

The first four compositions are another story. The band describes their approach as a mixture of, and hold your breath: ‘from Deftones to Dimmu Borgir, from The Cure to IAMX’ (indeed), while the Dooweet promo-sheet speaks about ‘Alternative Goth Metal […] between Paradise Lost, Mastodon, Pain and Megadeth’. Well, I do not agree, actually, but it does surely refer to the wide range of musical styles and influences brought by these Frenchmen. And ‘Alternative Goth Metal’, well, that’s quite fitting, to my opinion.

DXVXDXD SXLF’s material mixes elements from Alternative Rock, Gothic Metal, Dark Metal, Progressive, Metalcore and Emo / Screamo, including quite some poppy hints. At the same time, the four tracks are catchy / catching, as well as energetic and dynamic. The whole is strongly guitar-based, with lots of (sometimes intriguing) leads (staccato / tremolo / dual) and solos. This gets supported by a powerful rhythm section, and because of a very professional production, the rhythm instruments are not just ‘something additional’ at the background. No, on the contrary, despite the head-role for guitar-laden grandeur, all other instrumental ingredients are equally represented. The synth parts, by the way, give the whole, when put on the foreground, a symphonic touch of bombast. It is not exactly orchestral, yet at least it strengthens the dramatic atmosphere of most parts. And the few acoustic excerpts provide a touch of integrity and tranquillity.

The main vocals are melodic, little sore, and it might be a turn-off, especially within the more emotional parts. But a surplus is that there are some nastier injections too, i.e. a couple of deep-grunting screams. The advantage is that it is part of the variation, which characterises this band for sure.

Of Wolves And Men turns out to be a catchy, even poppy Alternative Rock / Metal album, which is not a recording that reinvents the scene, yet at the other hand with an own face, an own approach.

Ivan Tibos.

70/100

ghUSa

Dirk — Sun, 04 Mar 2018 10:30:59 +0000

Artist:

ghUSa

Album Title:

Öswedeme

Release Date:

Friday, May 5, 2017

Label:

White Square Records

Distribution:

Dooweet Agency

Review Type:

Welcome on the Viking Ghost Ship tribute to the Gods of Death Metal bands…

I was sort of catapulted into the world of extreme (Death / Thrash / Black / Doom / Speed / …) Metal during the second half of the Eighties (damn, I’m getting old…). I will not go to deep into the matter, to avoid a mental-melancholic breakdown (for I’m getting old indeed), but the contemporary scene would not be so impressive and well-evolved without the grandiose things that happened back then in, for example, Sweden. Let’s be honest: the scenes in several Swedish cities and areas have deeply created the basement, the structure of a certain, deeply-rooted ‘popularity’ that remains. Okay, the U.S., Germany, Holland and many more countries are of undeniable importance too, but Sweden… Malmö, Gothenburg, Stockholm, Eskilstuna, and so on; there was a hugely vivid scene out there, putting its stamp on the future.

Throughout the years, Death Metal permanently evolved, but many bands kept on playing that old styled thing. Many (Swedish) bands from that era have never left their path (hail to them, and f*ck those who betrayed their roots when getting mainstream, looking for popularity and attention – the sound of money overruling the sound of ‘true’ Metal), and quite some new bands (both Swedish and international) do not want to play anything else but that what they consider as their main influence. And now I’ll introduce you to French act ghUSa.

Actually – but I must admit that I did not know them either – ghUSa were formed in 1989 (!) by L. Chuck D., and named after some abbreviation for ‘god hates us all’. The first years were not that successful, and a first period of total silence destroyed ghUSa’s ambitious plans. There was a first ‘resurrection’ at the beginning of this century, but once again everything seemed to fade away into oblivion. But I do not think the band ever officially split up. So, L. Chuck D. and French label Great Dane Records (still alive and kicking) compiled the past’s anthology under a 2-disc format in 2015, and with a partly renewed line-up, L. Chuck D. had the second ghUSa full length album recorded, about 11 ½ years after the debut Letter To My Son\’(s) (self-released in very early 2006).

Öswedeme consists of ten tracks and gets released by the young label White Square Records. The release gets heavily supported by the open-minded team of Dooweet Agency (for sure one of the most prominent labels lately to support the French Metal / Rock / Alternative scene). The material was engineered, mixed and mastered at the Jipouille De St Loup’s Studio, and the title, Öswedeme, is the word-play taken from ‘Old Swedish Death Metal’. That’s why my introduction about the Swedish scene in combination with a French act was of importance as representation for this review. Thank you for your attention (smiley…)…

Öswedeme starts in an intriguing way, with a cool instrumental piece (28 Days Later) as introduction for H, a track that uncovers this project’s adoration for the Old School. It’s an approach of the more melodic roots, rather than the grinding skull-crushing one – though skulls get crushed mercilessly for sure. Of course, and I think it is quite logical, the album lacks of originality. But hey, this is a tribute to the past, so it means that being renewing would be stupid. As I stated in tens of other reviews, the lack of originality does not bother (at least, that’s the case for me) as long as the result equals, or trespasses, the original scene. Well, in this album’s case, I think it presents a lot to support my opinion.

It starts with the sound quality. It’s heavy, it’s fat, it’s powerful. It lacks clinical over-production. It maintains a specific rawness. There is a nice balance, a fine mix / mastering, showing a perfect equilibrium for all instruments involved. It is correct… Nothing more to add…

The song writing too is acceptable. Okay, I’m going to be honest: there are no killer tracks, anthems-in-spe, on this album. But there are no fake fillers either, nor irritating or disappointing songs either. Actually, this just is a fine album to listen to. There is quite some variation in the structure of the melodies (sometimes guitar-oriented crafted, then again filthier and heavier, or rather epic and warlike), as well as in speed (energetic the whole of the time, yet with several excessive parts, as well as a couple of decelerations). The material is injected with some groovier parts, some Thrash-edged excerpts, and even some hints of Doom-Death. And still ghUSa succeed to play with a pure coherence. Besides, the play is done very professional, showing a convinced craftsmanship. The uncompromising guitar leads and fiery solos are played with fury and a carefully skilled attitude. Also, the rhythm section (bass and rhythm guitars + drums) is powerful, nicely supportive to the basic song structures. The main grunts sound as if they come from the most acid-like depth of the belly, being deeply growling yet still understandable. That’s a fine aspect. At the same time, they do not totally overrule the instrumental section, although the vocals take a leading role. On top of it, there are a few blackened shouts and screams, strengthening the obscure aspects, and some experimental try-outs (though limited), without pathetic exaggeration.

Öswedeme for sure is not the best Death Metal album ever. It is not a classic-to-be. But Öswedeme is a convinced tribute to the late Eighties, especially focusing on the Swedish scene, including great material at the one hand, and an honest approach at the other. Every single piece is enjoyable, reminding the listener of the greatness of the past decades. Therefor it is a recommendation for fans of, well, let’s say Nihilist, At The Gates, Edge Of Sanity, Hypocrisy, Unleashed, Centinex and the likes… …or even Bolt Thrower, Benediction, the earlier scene from the Netherlands, whatever…

The past gives us a future…

Ivan Tibos.

80/100

Perihelion

Dirk — Thu, 22 Feb 2018 13:08:34 +0000

Artist:

Perihelion

Album Title:

Örvény

Release Date:

Friday, November 10, 2017

Label:

Apathia Records

Distribution:

Apathia Records

Dooweet Agency

Review Type:

Hailing from Debrecen, a Hungarian city close to the Romanian border, Perihelion were formed at the very beginning of this century under the moniker of Neokhrome. After three full lengths, the band decided to change their name (and their stylistic direction, which was much darker and aggressive in the early years - Ivan) into the current one, Perihelion, named after Neokhrome’s last studio album, and which is the scientific name for when a planet, satellite, comet or whatever comes closest to its star or planet (in case of a satellite) during its returning and repeating orbit. The band re-released that Perihelion album (with some bonus tracks), and came back with another full length (Zeng) and an EP (Hold) too in the meantime. And now they return with Örvény (which means ‘vortex’), released via France’s Apathia Records (heavily promoted by Dooweet Agency). It comes with cool cover artwork, once again painted by Costin Chioreanu (who worked with the band before).

Örvény stands for thirty-eight minutes of experimental and high-tech Rock / Metal. The approach, and that’s a cool element, combines old styled elements with quite some modern details. Especially riff-wise, the combination of both trends shows its face. In general, however, everything sounds quite progressive, with quite some funky and jazzy hooks. The latter gets expressed deeply by the rhythms section, with that Funk-laden bass sound and those alternative-proggy drum patterns. Quite some guitar leads too come with a pronounced avantgarde touch. In a spacy way, yet without fading away in exaggeration, are the fine synth injections.

Vocal-wise, it’s a ‘like-it-or-hate-it’ story. Gyula has a specific vocal timbre, clean and melodic, and unusual within the heavier Rock scene. He sings pure, that’s a certainty, with some rawer angles when going heavier, and without those silly high-pitched yells. Whether you like it or not, it does go well with the Post-approach of this band’s Music. A difficulty might be the fact that he sings in his mother tongue, Hungarian, which might be confusing for not-natives from Hungary (besides the dramatic change of their musical approach, this too is a huge difference with their existence as Neokhrome, back then performing with English lyrics - Ivan). But seen the titles and their translation (all hail Google Translate) it is not about merciless hatred, eternal war and suicide…

There is a lot of variety, in both song structure and speed. A couple of tracks are quite energetic, some are rather doomy, then it’s post-modern in approach, or atmospheric and dreamy. But it remains cohesive all the time. The fine intros and outros too are cool and mostly atmospheric. Some moments are quite expressive and extravert, then again you’ll notice a sensitive and emotional approach too. And the heaviness too interchanges a lot with calmer, more integer excerpts.

This material might be appreciated deeply by open-minded fans of melodic and atmospheric Doom / Alternative / Prog / Post Metal / Avantgarde Rock Music…

Ivan Tibos.

70/100

Lutece

Dirk — Tue, 26 Apr 2016 19:55:09 +0000

Artist:

Lutece

Album Title:

From Glory Towards Void

Release Date:

Thursday, January 14, 2016

Label:

Self Release

Distribution:

Dooweet Agency

Review Type:

Ten years ago, in meantime, vocalist Hesgaroth and instrumentalist Denosdrakkh (respectively the lyricist and song composer too) started this outfit, Lutece, after they disbanded Dark Requiem. They wrote and recorded some first material, and in 2007 they released the debut album …And Ancestors Still Remain. After an EP one year later (Awaking Ancient Gods), everything got quiet -Lutece was supposed to be a temporary outlet for both members involved-, but the band returned in 2013 with …Our Ashes Blown Away. And now the quintet (besides Hesgaroth and Denosdrakkh, the band consists of Ask on bass (he did not co-operate on this album), guitar player Hod Imensül, and drummer Kraftum) releases its third full length studio recordings. From Glory Towards Void lasts for just over fifty minutes and was mixed and mastered in Germany with Lasse Lammert (think: Huldre, Svartsot, Alestorm amongst others).

Lutece deliver quite an intense and overpowering full-force-ahead type of high-tech and melodic Black Metal, which withholds a timeless and universal approach. The multiple string lines (melodies, riffs & rhythms, basses included) are the basement of quite a powerful experience, strengthened by truly majestic drum patterns and excellent screams and grunts. Hammering, warlike rhythms interact quite subtly with intriguing tremolo riffs, strengthened by the technical escapades (mind the grandiose balance in between classic, somewhat nineties-oriented constructions and modernistic injections). There is no progressive experimentation going on, but don’t focus on the Second Wave trend either, because From Glory Towards Void trespasses certain pathetically narrow-minded limits. I am referring, in this case, to elements like the monstrous production, the organic but well-balanced interaction in between the different speeds (and believe me: the tempo really balances in between slow-doomed and blasting, and everything in between), or that fine-tuned equilibrium of harsher outbursts and well-prepared war-marches.

For there is not that much renewing, I won’t go to deeply into the concept this time. I’d like to conclude with my appreciation for this band’s high-crafted song writing and execution, and especially the magnificent sound quality. From Glory Towards Void is a great recording, despite lacking originality, but I am truly impressed by the result. Fans of no-nonsense, intensive Black Metal be warned!

Ivan Tibos.

82/100

Gloomy Hellium Bath

Dirk — Wed, 13 Apr 2016 21:05:38 +0000

Artist:

Gloomy Hellium Bath

Album Title:

Sistema Solera

Release Date:

Friday, October 30, 2015

Label:

Dooweet Records

Distribution:

Dooweet Agency

Review Type:

Gloomy Hellium Bath are a French collaboration with former members of e.g. Nerv and Würm. Via the crazy label Dooweet Records, they release Sistema Solera, which brings a totally frenzy mixture of Electronics, Industrial Metal and hundreds of other additions: Noise, Hip Hop, Death Industrial, Punk, Un-Pop, Trip-Hop, Indie, Goth Rock and so much more.

Don’t take it too serious; consider it an improvised yet, at the same time, quite well-thought expression of sonic disturbance… It’s totally mad, somewhat weird, but quite ironic, and despite the amalgam of all the influences the result might attract some sick-brained people for sure. But it’s not ‘Music’, okay; Sistema Solera is like a try-out for extravert outbursts as some anti-stress therapy; but it might make you even more stressed??? What to think, for example, about the Don’t You Love Her Madly re-interpretation in Ouarrrrrrch (you know, The Doors…)? And all those other things, such as cinematic excerpts, cosmic passages, hip hopping electronics, harsh voices, Djent-elements

From subjective point of view I do not like this stuff. But then again, the geniuses behind this project did create something that is unique, overwhelming, unusual. Of course I do appreciate pieces like the title track a lot, but that isn’t but a personal, subjective opinion for sure. But as a highly respected reviewer (no further comment, please) I do need to focus on some objective elements as well, and these ones lead me to the opposite of my subjective ideas. So let’s skip the crap: Gloomy Hellium Bath are nuts, and if you are too, you will have to try this one out! You will adore it, or you’ll be disgusted. But you’ll never know unless you give it a try, so why shouldn’t you…

Ivan Tibos.

55/100

Brainsqueezed

Dirk — Sun, 31 Jan 2016 20:34:55 +0000

Artist:

Brainsqueezed

Album Title:

Emotions

Release Date:

Sunday, August 2, 2015

Label:

Dooweet Records

Distribution:

Dooweet Agency

Review Type:

French label Dooweet Agency was started about four years ago by Christophe Sousa, in mean time joined by two (beautiful, but that’s another story) women to take care of promotion and consultancy activities. The label pretends to allow ‘artists from the underground music scene […] to promote themselves […] around the ethic and active passion of its members’. I cannot but praise the idea, the intention, the persuasion, the conviction, the passion; let’s be sure about that!

However, the result must be a pleasure for the listener’s ear drums too, and in Dooweet Agency’s case I do have my doubts from time to time. In a near future I will upload a review for new material by Gloomy Hellium Bath and Hills N’ Pills, and on January 14^th I did upload a review for the AntiPi-album by French act Order Of 315. Yet still, the idea of support is one I truly, eh, support as well!

So, Brainsqueezed are an outfit of Frenchman Sébastien Lalone, multi-instrumentalist, and (female) vocalist Claire Chouard (of Opal Sounds-fame). They bring a weird mixture of Progressive and Alternative, Hard Rock, Jazz, Metal, Vintage, Pop Music and Indie. Indeed, such amalgam on influences is quite, eh, unique, but the result, unfortunately, is indeed a melting pot of uncoherent songs. I do not think it must be taken too seriously, even ironic, yet still this will surely bother, even irritate, quite a lot of listeners, no matter how open-minded you are. Besides, the material was written over a period of several years, which strengthens the lack of coherence too.

Personally I detest the poppy ballads, for they do lack persuasion and invention. But also the heavier compositions are way too simplistic and uninspired to reach a level of memorability. Not one single piece really deserves my indevotional attention, and the second time I listened to the album, I started to push the ‘fast forward’ knob more than once.

Ivan Tibos.

10/100

Order Of 315

Dirk — Thu, 14 Jan 2016 20:48:59 +0000

Artist:

Order Of 315

Album Title:

AntiPi

Release Date:

Monday, December 21, 2015

Label:

Dooweet Records

Distribution:

Dooweet Agency

Review Type:

Order Of 315 are a French act which I actually hadn’t heard of before. Okay, I can’t know each single band and project around our (rotten, but that’s another story) globe, but apparently this act released an album before, called Near-Birth Experience (2012). Under the line-up of Edgar Jabberwocky (vocals, music and lyrics), John Doe (drums), Grm Lecouflet (bass) and Klaus Kersey (guitars, music, lyrics, production, engineering and mix – at the studio The Industry), these guys did record this new material in 2014 and 2015, and the result got mastered at Maor Appelbaum Mastering by, indeed, Mr. Appelbaum himself (think: Mayhem, Dagor Dagorath, Madder Mortem, Treponem Pal etc.).

AntiPi comes with, well, blue’ish artwork, and this seen from quite an original angle. But let’s focus on the sonic side. The album, which has a total running time of fifty minutes, stands for a modern blend of technical and experimental Thrash and Groove Metal, with quite some Hardcore / Metalcore elements. It is somewhat industrial in sound, and it shamelessly trespasses the (un-existing) borders with Djent, Industrial Metal, Half-Thrash and even Death Metal). There is quite some exciting experiment going on,

One cannot say that this band lacks of energy, because the whole experience is like a sonic whirlwind, a cloud of killer bees on speed, an aural eruption after a blue star’s explosion. But dynamism alone isn’t enough to convince. The band did write interesting material, and the performance is okay. Also the production and mix are satisfying. But (and hear you have it) it leaves me hungry, unsatisfied. The whole time I am impatiently waiting for something outstanding, something memorable, but I cannot find it. Actually, to me the result is too infantile, too catchy and even, despite the heaviness, too poppy.

Fans of Pantera, Machine Head, Animals As Leaders, Meshuggah and Korn must pay attention (but do not expect too much), but otherwise I recommend to listen at least once before buying / stealing AntiPi.

Ivan Tibos.

60/100