Maltese metal band Align the Tide have released “A
Murder of Crows,” a new single and music video that continues the group’s move
toward a darker, heavier and more atmospheric modern metal sound.
The follow-up to their previous single “JINN,” the
track is built on contrast, balancing aggression with atmosphere and giving the
song room to “breathe” before returning to its heavier passages. The title, an
English term for a flock of crows, is reflected in an ominous visual and
musical identity that avoids genre clichés.
“We wanted the track to have its own atmosphere and
personality, rather than trying to create a new version of what we have already
released,” the band said.
About Align the Tide:
Formed in September 2015, Align the Tide are a
five-piece metal band from Mellieħa, Malta. They have performed in Malta,
Europe and the United States, including a 2018 US tour supporting Mushroomhead
and a 2024 appearance alongside Suicide Silence. Their albums Dead Religion
(2019) and Hollow (2022) were released through Cleopatra Records.
Ο
David Coverdale είναι ένας και μοναδικός! Διέθετε την πιο μπλουζίστικη χροιά
φωνής (πλέον δεν ξέρω...) και το ανάλογο παρουσιαστικό. Το 1989, παρέα με το
supergroup του, αποτελούμενο από τους κυρίους Steve Vai, Adrian Vandenberg,
Rudy Sarzo και τον «τούφα» Tommy Aldridge, όλοι μαζί έκαναν την «παραδρομή της
γλώσσας τους» (Slip of the Tongue).
Σοβαρά
τώρα, κάποτε σνόμπαρα αυτόν τον σύμπτικτο δίσκο (το CD λέω), αλλά πλέον,
βλέποντάς τον πιο ώριμα, θεωρώ ότι αποτελεί κορυφαία στιγμή του συγκροτήματος,
τουλάχιστον της ύστερης περιόδου των '80s. Αν θέλεις να τον πεις και λίγο Glam
ή Hair Metal, δεν πειράζει. Εντάξει, δεν είναι και τίποτα φλωρολελέδες (τύπου
Def Leppard ή Poison) οι Whitesnake! Hard Rock με μια δόση λακ στα μαλλιά, ναι,
το λες!
Το
«Judgment Day» —και τα δόντια απ' το σαγόνι μας για ρέστα— και το
επανηχογραφημένο κλασικό «Fool for Your Loving» του 1980 είναι τα μεγαλύτερα
χιτ του δίσκου. Τοομώνυμο «Slip of the Tongue», τοταξιδιάρικο «Sailing Ships», το «Wings of the Storm» καιημπαλάντα «The Deeper the Love» ακολουθούν.
Η
επετειακή έκδοση του 2019 περιλαμβάνει, ανάμεσα στα έξι bonus tracks, και το
«Sweet Lady Luck», ένα κλασικό b-side κομμάτι που, κατά τη γνώμη μου, θα έπρεπε
να βρίσκεται στην κανονική κυκλοφορία του άλμπουμ.
English:
A Love Affair of an Album!
David Coverdale is one of a kind! He had one of the
most bluesy voices around (although, these days, I'm not so sure...) and the
looks to match. In 1989, alongside his own supergroup, featuring Steve Vai,
Adrian Vandenberg, Rudy Sarzo and the big-haired Tommy Aldridge, they all
collectively committed a little “slip of the tongue.”
Joking aside, I used to turn my nose up at this rather
over-the-top album (the CD, I mean), but with a more mature perspective, I now
consider it one of the band's finest moments, at least during their late-'80s
period. If you want to call it a bit Glam or Hair Metal, so be it. Let's face
it, Whitesnake are hardly a bunch of sissies like Def Leppard or Poison! Hard
Rock with a generous helping of hairspray, now that's a fair description!
“Judgment Day” — the kind of track that makes you want
to tear your jaw off — and the re-recorded version of the 1980 classic “Fool
for Your Loving” are the album's biggest hits. The title track, “Slip of the
Tongue,” the atmospheric “Sailing Ships,” “Wings of the Storm” and the ballad
“The Deeper the Love” follow close behind.
The 2019 anniversary edition includes six bonus
tracks, among them “Sweet Lady Luck,” a classic B-side that, in my opinion,
should have been included on the original album in the first place.
It is obvious that people are showing an increasing
interest in the various subgenres of metal, and I think that is a good thing.
Here in Greece, judging from the live shows I have attended lately, thrash
metal seems to be attracting a little more attention than before. I believe
that the genre is also experiencing a new period of popularity in other parts
of the world. EXELOUME is a Norwegian metal band whose members have
considerable experience in the scene, and with Fairytale of Perversion, they
join forces to present their own approach to contemporary thrash metal.
Regarding the technical aspects of this release, I
have to admit that the production and mixing are very good. The sound is
modern, powerful and clear, allowing the listener to appreciate the individual
elements of the band's music without sacrificing the overall impact. The
musicianship is equally impressive, with the members demonstrating considerable
technical ability without allowing their skills to overshadow the compositions
themselves. Their playing remains focused on serving the music rather than
becoming an exercise in technical proficiency for its own sake.
As for their influences, EXELOUME combine the familiar
characteristics of US Bay Area thrash metal with some old-school death metal
touches, which are particularly evident in the vocals. This combination gives
their music a heavier edge while keeping it firmly within the thrash metal
tradition. In general, Fairytale of Perversion is a pleasant listening
experience, and there is no denying that the band knows how to deliver its
music with precision, energy and a polished sound.
However, despite these positive elements, the album
has a significant disadvantage: its overall approach is rather familiar,
bringing to mind numerous other contemporary thrash metal bands. More
importantly, the compositions tend to sound too similar to one another, making
it increasingly difficult to distinguish individual tracks as the album
progresses. As a result, the songs struggle to establish their own identities,
and once the record is over, there is not much that remains in the listener's
memory.
Fairytale of Perversion is an album with impressive
production, capable musicians and all the necessary technical qualities to
satisfy fans of modern thrash metal. Unfortunately, these strengths are not
matched by equally memorable songwriting. It is another release that sounds
good while it is playing but leaves little behind once the final notes have
faded. A record that may appeal primarily to devoted followers of the genre,
although those looking for more distinctive compositions might find it
difficult to become fully engaged.
“Man or Machine” is the debut album of the German
metal band ALPHA TIGER, or more precisely their first release under that name.
Until early 2011 the group was known as SATIN BLACK, and under that moniker
they put out the album “Harlequin” in 2008 and the demo “Martyr’s Paradise” in
2010. The name change also brings a change of direction: where SATIN BLACK
leaned towards a thrashier sound, ALPHA TIGER play U.S. power metal with a
number of European power metal elements, a combination that gives the album a
classic yet fresh character.
The album makes a very strong impression. The vocals
of Stephan “Heiko” Dietrich are outstanding, powerful and expressive, and they
carry the melodies with confidence from the first track to the last. The guitar
work is equally impressive, with inspired riffs and melodic leads that give
each song its own identity. The album is consistent throughout and has no weak
moments, yet a few tracks stand out clearly: “Starrider”, “Against the Time”,
“Karma” and the title track “Man or Machine” are the highlights and are bound
to leave a lasting impression on any listener.
So far it is the best album of the year in my view,
and a safe choice for every fan of classic metal, who should not hesitate to
pick it up. The band has made a promising start under its new name, and the
next release is awaited with great anticipation.
A final word on the artwork: the cover is a pleasure
to look at. It is handcrafted in spirit and avoids the sterile,
computer-generated look of many modern covers, which suits the music inside
well.
Κι
ένας από τους λόγους είναι αυτό το άλμπουμ. Εντάξει, έχω τα τέσσερα πρώτα τους
σε CD, αλλά αυτό είναι εκείνο που ακούω λιγότερο απ’ όλα. Απορώ κι εγώ που
κάθομαι να γράψω αυτή την παράγραφο. Πολύ του πέφτει! Θα έπρεπε να πληρώνομαι
από την Q-Prime, την εταιρεία μάνατζμεντ που τους ανέλαβε τότε!
Το
εμπορικό, αμερικάνικο, νερόβραστο στυλ αυτών των Άγγλων μού ανεβάζει το αίμα
στο κεφάλι. Κι άλλοι άλλαξαν, λίγο ή πολύ, αλλά εδώ έχουμε την αποθέωση του
«πουλάω τα πάντα» στον βωμό του κέρδους. Ποιον βωμό, δηλαδή; Τα «Women»,
«Rocket», «Armageddon It», «Pour Some Sugar on Me» και «Hysteria» είναι μεγάλα
hits. Αυτό μπορούν να κάνουν εν έτει 1987;
Μόνο
το πρώτο τους, το On Through the Night του 1980, παλεύω να ακούσω ολόκληρο, και
με το ζόρι. Το Pyromania, το τρίτο άλμπουμ τους, είναι το όριο της υπομονής
μου. Υστερικό και μέτριο, όσο κι αν ο δίσκος πούλησε και τη μάνα και τον πατέρα
του!
Το
MTV να ’ναι καλά κι αφήστε τους καλοθελητές να τους αποθεώνουν. Περισσότερο
τους ενδιαφέρουν τα λεοπάρ κολάν που φορούσαν τότε πολλοί —και που εξακολουθούν
να φορούν κάποιοι—, καθώς και τα αμάνικα με τη βρετανική σημαία και το λογότυπο
του συγκροτήματος από πάνω, παρά η ίδια η μουσική.
Κατώτερος
βαθμολογίας για μένα. Καπέλο μου!
English:
I’ve Had Enough of Them Since This Album
And this album is one of the reasons why. Okay, I own
their first four albums on CD, but this is the one I listen to the least. I can
hardly believe I’m even bothering to write this paragraph. That’s more than it
deserves! I should be getting paid by Q-Prime, the management company that took
them under its wing back then!
The commercial, Americanized, watered-down style of
these Englishmen drives me up the wall. Other bands changed, to a greater or
lesser extent, but here we have the ultimate example of selling out completely
in the name of profit. What am I talking about? “Women,” “Rocket,” “Armageddon
It,” “Pour Some Sugar on Me,” and “Hysteria” were all major hits. Is this
really what they were capable of in 1987?
The only album of theirs I can bring myself to listen
to from beginning to end, and even then with considerable effort, is their 1980
debut, On Through the Night. Pyromania, their third album, is about as far as I
can go. Hysteria is hysterical in all the wrong ways and mediocre, no matter how
much money the album raked in!
Thank God for MTV, and let the well-wishers keep
singing their praises. They seem more interested in the leopard-print leggings
so many people wore back then — and some still wear today — as well as the
sleeveless shirts featuring the Union Jack with the band’s logo emblazoned
across it, than in the music itself.
Κάποτε
έψαχνα αυτόν τον δίσκο με τρέλα! Τον βρήκα τότε σε CD, στα κλεισίματα του
ιστορικού Metropolis, στη γωνία Πατησίων και Πανεπιστημίου. Το ομώνυμο κομμάτι,
ή σχεδόν ομώνυμο, το «Go To Hell», ήταν ήδη γνωστό και αγαπητό.
Πάντως,
το δεύτερο σόλο άλμπουμ του τραγουδιστή και συνθέτη Alice Cooper —ή το ένατο,
αν υπολογίσουμε και τα άλμπουμ του συγκροτήματος Alice Cooper από το 1969, όταν
ξεκίνησε, έως το 1974— κυκλοφόρησε έναν χρόνο μετά το Welcome to My Nightmare,
του οποίου αποτελεί συνέχεια σε επίπεδο concept. Ωστόσο, μουσικά δεν
ανταποκρίνεται στις προσδοκίες μου, ακόμη και είκοσι τέσσερα χρόνια μετά την
κυκλοφορία του στην αγορά. Πόσο ακόμη πειραματισμό και πόσες επιρροές από τον
ήχο της Motown θα άντεχε τότε ο μέσος ροκάς οπαδός του;
Πολυσυλλεκτικό,
το άλμπουμ περιλαμβάνει, μετά το ομώνυμο κομμάτι, σχεδόν τα πάντα! Jazz
περάσματα, ηλεκτρικό rock, fusion, disco… όχι, αυτό τουλάχιστον δεν το έχει, ή
δεν το έχει σε αισθητό βαθμό. Ανάμεσα στα υπόλοιπα κομμάτια που αξίζει να
ακούσετε βρίσκονται τα «Didn't We Meet», «I Never Cry», «Give the Kid a Break»,
«Guilty» και «Wish You Were Here» —με τον τίτλο να φέρνει στον νου τους Pink
Floyd—, καθώς και η διασκευή στο θεατρικό-βαριετέ θέμα «I'm Always Chasing Rainbows».
Από
εδώ αρχίζουν τα σκαμπανεβάσματα για τον Alice Cooper. Μια σειρά από εναλλαγές
ανάμεσα σε μέτριους και κάπως καλύτερους δίσκους θα αποκαλύψει σταδιακά ότι ο
καλλιτέχνης αντιμετώπιζε προσωπικά προβλήματα με το αλκοόλ. Μια περίοδος με
λιγότερο φως σε σύγκριση με την πορεία της καριέρας του έως το 1975.
English:
To Hell and Back? Seriously?
I was once absolutely obsessed with finding this
album! I eventually tracked it down on CD, just as the legendary Metropolis
record store, on the corner of Patission and Panepistimiou streets, was nearing
its closure. The title track—or almost title track—“Go To Hell” was already
familiar to me and a personal favourite.
Still, Alice Cooper’s second solo album—or his ninth
if we also count the albums released by the Alice Cooper band between its
formation in 1969 and 1974—came out a year after Welcome to My Nightmare,
serving as its conceptual sequel. Musically, however, it falls short of my expectations,
even twenty-four years after I first got my hands on it. How much more
experimentation, and how much Motown influence, could the average rock fan have
been expected to tolerate back then?
A diverse collection, the album has just about
everything after “Go To Hell”! Jazz passages, electric rock, fusion… disco? No,
not really, or at least not to any significant extent. Among the other tracks
worth your attention are “Didn't We Meet,” “I Never Cry,” “Give the Kid a
Break,” “Guilty” and “Wish You Were Here”—a title that inevitably brings Pink
Floyd to mind—as well as Cooper’s adaptation of the theatrical vaudeville
number “I'm Always Chasing Rainbows.”
This is where the ups and downs begin for Alice
Cooper. A succession of albums alternating between mediocre and somewhat better
efforts would gradually reveal the personal problems he was facing with
alcohol. Compared with the course his career had taken up to 1975, this was a
period when the light began to fade.
Norway’s SLAVES TO FASHION are generally labeled a
progressive rock/metal band. The description is fair enough, but it doesn’t
capture every aspect of their music, nor does it place them in any more precise
category. I can’t offer a tighter definition either, because with their debut
full-length album, “Artistic Differences”, the band has shaped a thoroughly
personal sound that sets them apart.
There are skeptics who believe the contemporary music
scene has little left to offer. The best way to change their minds is to have
them listen to a release like this one. SLAVES TO FASHION weave an abundance of
musical ideas and genres into a result that is both beautiful and homogeneous,
balancing energy with enchanting melodic lines. Rather than sounding like a
patchwork of influences, the album feels unified, with each idea serving the
song it belongs to.
The song structures, riffs and melodies are memorable
enough to draw the listener back to the play button again and again. The
choruses are catchy, and the tunes and lyrics linger in the mind for hours
after the album has finished. The arrangements reward repeated listening too,
since new details surface with each return.
The technical side is equally strong. The production
is crystal clear and dynamic, giving every instrument room to breathe, and the
band is made up of highly talented musicians. The vocalist deserves particular
mention: his passionate, emotive delivery lifts the songs even further and
gives the album much of its emotional weight.
For anyone seeking music that is melodic yet catchy,
and that marries the past with the present and the future, “Artistic
Differences” is a release that can bring that search to an end.
