The Thread Where You Talk About Music You Like
- Thread starter V.V.V.V.V.
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Dazed and Brutal
Yall About to Witness
Anyone into Savatage, Queensryche, or Psychotic Waltz should a 100% pick up any of the first five Fates Warning releases.
Favorite Danzig songs. I'm a new fan and am curious what other Danzig fans favorite songs are.
Mine:
End of Time
Heart of The Devil
Evil Thing
Devil's Plaything
Godless
Possession
Until You Call On The Dark
Left Hand Black
Her Black Wings
Twist of Cain
Not of This World
Bringer of Death
Snakes of Christ
Mine:
End of Time
Heart of The Devil
Evil Thing
Devil's Plaything
Godless
Possession
Until You Call On The Dark
Left Hand Black
Her Black Wings
Twist of Cain
Not of This World
Bringer of Death
Snakes of Christ
Manic Ferocity
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She Rides is a pretty awesome song.
I still prefer The Misfits and Samhain to Danzig, though.
I still prefer The Misfits and Samhain to Danzig, though.
Skepticism
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Manic Ferocity
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What's the general consensus on Sodom's The Final Sign of Evil? I still haven't heard it but it sounded pretty promising considering the line-up and the supposed raw production job.
unknown
fuck ftagn
godDAMMIT. I think it's safe to say Sculptured's Embodiment will easily make my top 5 of 2008
Skepticism
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skeptik
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The Other Foot In Cheese - 15%
Written by AsPredatorToPrey on July 25th, 2007
It is disheartening and sometimes funny to listen to subpar bands copying their heroes, passing off the result as being original, and taking it far more seriously than they should. It's even worse when those bands are revered as innovators.
Like previous Cirith Ungol albums, the cover art is amazing and is the highlight of the CD. The music, however, does not live up to the same standards. As with most American "epic metal" bands of the time, this was simply a generic version of the NWOBHM style. The only "charm" that those epic metal bands had is the cheese factor. The music of Cirith Ungol has more in common with early-80s macho rock like The Rods, TNT and Rose Tattoo than with any sort of higher-functioning music. This is probably why "100 MPH" is the only song on this album that works with their style and the lyrics are perfect for it.
"War Eternal" begins with a pseudo-symphonic overture before settling into a typical hard rock riff and the horrendous vocals of Tim Baker proclaiming that you stand before the gates of hell. The juvenile and overdramatic delivery of the chorus doesn't help either. The song follows a structure that was predictable long before this album was released in 1986 and concludes with a reprise of the bloated, pretentious melodic overture that started it all. This is a perfect example of the lack of substance on display here.
Some of the songs on One Foot In Hell, as was a trademark of Cirith Ungol, were based on Michael Moorcock's Eternal Champion series. However, Cirith Ungol's limited verbal abilities simply do not conjure anything similar to the themes or images of those novels. Some fantasy-inspired bands have phenomenal, thought-provoking lyrics that would stand well enough on their own even without the music. Cirith Ungol's fantasy-inspired lyrics are more trite and saccharine than the worst Forgotten Realms novels.
One Foot In Hell should not be judged by the greatness of its cover. The idea of a band creating music that evokes those kinds of images is worth exploring, but you will not find Cirith Ungol at the end of it all. If this band had put as much emphasis on creating quality songs as they did on using quality cover art then their legendary status would be well deserved. However, there is no valid reason why a band whose music is this obvious and this derivative should get the kind of reverence they do.
The cover artwork is worth your time. The music is not.
Stunted and Stumbling - 25%
Written by AsPredatorToPrey on July 12th, 2007
Manilla Road were a stunted enigma that over time became the object of morbid fascination for fans of obscure, generic-sounding metal bands. At its core, Crystal Logic is an attempt to combine the doomy vibe of Black Sabbath with the melodic energy of the NWOBHM and the esoteric lyrics of Blue Oyster Cult. However, this album comes nowhere near achieving those lofty ideals and simply falls flat on its face.
"Necropolis" kickstarts the album with a hard rocking riff and lyrics that engage the listener; drawing you toward the "darkened city veiled in crimson mist." However, the music is too simple and derivative even for the time when it was released. The riffs and rhythms of the title track border on southern rock which was common for many hard rock and metal bands of the time. "The Riddle Master" strikes the listener as an undiscovered Uriah Heap song that is twice as heavy, but half as good. The album's closing track, "Dreams of Eschaton," shows promise at the start with a soft buildup, but when the song erupts it's just full of cliched riffs that seem to serve no purpose other than to extend the length of the song making for a tedious listen.
The lyrics are very well written and evoke images of fantasy in a believable way, but the irritating vocals are incongruous with the magnitude of the concepts; like Willie Nelson singing Celtic Frost. Mark Shelton's nasal and high-pitched tone is far removed from the type of performance this album needed. The musicianship, however excruciating and obvious the riffs are, is tight and well-executed from beginning to end.
If this album had been released five years earlier it may have been considered innovative and unique. As it stands, Manilla Road were born too late, unable to compete with their more advanced contemporaries, and to this day can only be seen as an inferior knockoff of bands with much more vision and songcraft. It could also be argued that the entire American "epic metal" scene was just a fumbling attempt at capturing the energy and ideals of the New Wave of British Heavy Metal with the result being a pathetic mockery of true innovation.
Some obscure bands truly are ahead of their time while others deserve their obscurity. Manilla Road have more in common with the latter description because listening to Crystal Logic out of pity doesn't make it sound any better.
Written by AsPredatorToPrey on July 25th, 2007
It is disheartening and sometimes funny to listen to subpar bands copying their heroes, passing off the result as being original, and taking it far more seriously than they should. It's even worse when those bands are revered as innovators.
Like previous Cirith Ungol albums, the cover art is amazing and is the highlight of the CD. The music, however, does not live up to the same standards. As with most American "epic metal" bands of the time, this was simply a generic version of the NWOBHM style. The only "charm" that those epic metal bands had is the cheese factor. The music of Cirith Ungol has more in common with early-80s macho rock like The Rods, TNT and Rose Tattoo than with any sort of higher-functioning music. This is probably why "100 MPH" is the only song on this album that works with their style and the lyrics are perfect for it.
"War Eternal" begins with a pseudo-symphonic overture before settling into a typical hard rock riff and the horrendous vocals of Tim Baker proclaiming that you stand before the gates of hell. The juvenile and overdramatic delivery of the chorus doesn't help either. The song follows a structure that was predictable long before this album was released in 1986 and concludes with a reprise of the bloated, pretentious melodic overture that started it all. This is a perfect example of the lack of substance on display here.
Some of the songs on One Foot In Hell, as was a trademark of Cirith Ungol, were based on Michael Moorcock's Eternal Champion series. However, Cirith Ungol's limited verbal abilities simply do not conjure anything similar to the themes or images of those novels. Some fantasy-inspired bands have phenomenal, thought-provoking lyrics that would stand well enough on their own even without the music. Cirith Ungol's fantasy-inspired lyrics are more trite and saccharine than the worst Forgotten Realms novels.
One Foot In Hell should not be judged by the greatness of its cover. The idea of a band creating music that evokes those kinds of images is worth exploring, but you will not find Cirith Ungol at the end of it all. If this band had put as much emphasis on creating quality songs as they did on using quality cover art then their legendary status would be well deserved. However, there is no valid reason why a band whose music is this obvious and this derivative should get the kind of reverence they do.
The cover artwork is worth your time. The music is not.
Stunted and Stumbling - 25%
Written by AsPredatorToPrey on July 12th, 2007
Manilla Road were a stunted enigma that over time became the object of morbid fascination for fans of obscure, generic-sounding metal bands. At its core, Crystal Logic is an attempt to combine the doomy vibe of Black Sabbath with the melodic energy of the NWOBHM and the esoteric lyrics of Blue Oyster Cult. However, this album comes nowhere near achieving those lofty ideals and simply falls flat on its face.
"Necropolis" kickstarts the album with a hard rocking riff and lyrics that engage the listener; drawing you toward the "darkened city veiled in crimson mist." However, the music is too simple and derivative even for the time when it was released. The riffs and rhythms of the title track border on southern rock which was common for many hard rock and metal bands of the time. "The Riddle Master" strikes the listener as an undiscovered Uriah Heap song that is twice as heavy, but half as good. The album's closing track, "Dreams of Eschaton," shows promise at the start with a soft buildup, but when the song erupts it's just full of cliched riffs that seem to serve no purpose other than to extend the length of the song making for a tedious listen.
The lyrics are very well written and evoke images of fantasy in a believable way, but the irritating vocals are incongruous with the magnitude of the concepts; like Willie Nelson singing Celtic Frost. Mark Shelton's nasal and high-pitched tone is far removed from the type of performance this album needed. The musicianship, however excruciating and obvious the riffs are, is tight and well-executed from beginning to end.
If this album had been released five years earlier it may have been considered innovative and unique. As it stands, Manilla Road were born too late, unable to compete with their more advanced contemporaries, and to this day can only be seen as an inferior knockoff of bands with much more vision and songcraft. It could also be argued that the entire American "epic metal" scene was just a fumbling attempt at capturing the energy and ideals of the New Wave of British Heavy Metal with the result being a pathetic mockery of true innovation.
Some obscure bands truly are ahead of their time while others deserve their obscurity. Manilla Road have more in common with the latter description because listening to Crystal Logic out of pity doesn't make it sound any better.
Rabid Headbanger
New Metal Member
The Ozzman
Melted by feels
Zephyrus
Tyrants and Slaves
seedofvengeance
Boosh!
Dazed and Brutal
Yall About to Witness
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