Anthony Vincent of the YouTube Channel 10 Second Songs is back with another amazing parody video. Here is tackles Disturbed’s original classic hit single ‘Down With The Sickness” in 20 popular styles including Simon and Garfunkel, Metallica, Tears for Fears Faith No More Childish Gambino, Buju Banton, Michael Bolton, The Hu, Bill Withers, Yungblud, Pink Floyd, Barney The Dinosaur, Strapping Young Lad, Beethoven, Earth, Wind & Fire, Genesis and more! Continue reading
Search online for bands named Trees and the only entries you’ll find are references to the glorious British Folk outfit of the late sixties and early seventies. Deep in the recesses of Finland, however, comes another such incarnation: one that joins the gathering of acts that have revitalised the genre this year. Continue reading
1968: the year following the Summer of Love, and the year before I was born. It’s 50 years ago now of course, and the Cheshire quartet bearing that year as its name is steeped in the Proto sound of that era. Having relentlessly gigged and released two EPs since their 2013 inception, Ballads of the Godless (HeviSike) is the band’s first foray into long-playing territory. Continue reading
Disturbed’s quest to “Secure a legacy that will never die”, remorselessly exclaimed during the title track of their sixth album, has, surely, already been achieved over a fifteen year recording career that has seen them outsell all but a handful of their contemporaries, and with a stellar canon under their belt. But as they “feed on domination”, they’re back to prove that, despite a hiatus of five years, they’re still the top dogs.
No mistake is being made here: Immortalized (Warners/Reprise) further cements their status as pack masters of mainstream metal. There are few surprises, a tweaking and refinement here and there, an absence of “Wah-ah-ah-oh”’s, but Disturbed are back at bat and swinging for the fences with the same World Series winning technique and bluster they’ve always had, armed with a consistent and strong collection of anthems, an assembly that serves to showcase the best of everything they’ve had to offer throughout their career.
As cock-of-the-walk with inflated chest puffed out, assured, this is a release that shows strength in depth by having a tail that wags as strong as the top order hits and there is an excellence in simplistic execution prevalent throughout. Songs are punctuated by unashamed chugged fist-pump and head-bang inducing riffs, syncopated verses are rhythmically and melodically strong, bridges lift and escalate songs to powerfully delivered choruses that open out to epic anthems as, in a lot of ways, Disturbed call to mind Manowar in terms of style and structure. Tracks are based around the succinct pounding rhythmic guitaring of Dan Donegan with great vocals (and vocal lines) raising each track to the rafters. While the rhythm section may dependably underpin, once again, David Draiman is the star, his distinctive tones and melodies firing this album up.
Whereas Asylum and especially Indestructible (both Reprise) had a tendency at times to sound a bit rote and by numbers, when the melodious ‘The Light’ rolls in, ‘Open Your Eyes’ – a festival anthem in the making, crafted for a sea of voices to join in as (ten thousand) fists fill the air – stirs, the dark metallic ‘Save Our Last Goodbye’ powers by, ‘What You Waiting For’ lurches and bounces, ‘Never Wrong’ gets down with The Sickness (Giant/Reprise) and the piano-led inspired cover of Simon and Garfunkel’s ‘The Sound of Silence’ brings gravitas and a change of emotion, all under the controlling voice of Draiman, this is an album with depth, angles and shades at each turn, all while remaining undeniably and unashamedly Disturbed.
And that’s without taking account of the more straight-forward stadium metal belters of ‘Who’, ‘The Vengeful One’ or the title track…
If they do indeed feed on domination, then there should be some full and sated bellies.
I’ve been promising myself I’d check out Coloradoan duo The Flight of Sleipnir for some time and latest album V. (Napalm) points out just how criminal my tardiness has been. Opener ‘Headwinds’ starts out all ‘Planet Caravan’ with gently warbling vocals drifting through dreamy psychedelia. Suddenly, emerging hostile screams escort mellow leads through bristling anger, an anger which is subdued somewhat by a mix favouring the moaning harmony. The ensuing ‘Sidereal Course’, a doom-laden Simon and Garfunkel meets Jefferson Airplane, is graced with a growling riff and brief explosions of fire and brutality, a ferocity that adds violence to the core feel, which has a real air of 70s Americana about it.
It’s a shame the pummeling drums and rhythms are frequently cocooned in a mono-style production; the desolate hostility of ‘The Casting’ dwarfed by a delicious, ephemeral lead sequence. The creativity here, however, is immense with ‘…Casting’s’ riffs lending a frosted black edge to a reflective folk-rock pace which is graced by seriously emotive tones, while ‘Nothing Stands Obscured’ blends a maudlin Haight-Ashbury vibe with London Grammar-style wistfulness before a stratosphere-rending, post-black conclusion. The easy, lilting harmonies of ‘Gullveig’ splinter on the rocks of a crashing riff and icy screams, an acoustic-infused folky Floyd meeting a harrowing mournful edge, in a marriage of beauty and acrid bitterness that sums up the album as a whole. ‘Archaic Rites’ has an indie female vocal ghosting over a gently veering undercurrent, augmented by a tasty hippy flute solo, a snarling riff and hypnotic oscillations closing an affecting track, whilst a lazy yet impassioned blackened groove is speared by truly spectacular lead work on closer ‘Beacon In Black Horizon’, David Csicsely‘s impressive drums quietly dictatorial, the eerie coda a lament to a fallen chieftain.
The differing elements of ‘…Horizon’ epitomise an album with feet in so many pies that it aurally represents the eight-legged beast the band is named after. As legs connect the horse’s hooves with one body so organically, so this duo melds its various strands into a belonging whole; to an inventive tour de force and an essential experience.