DamoXt7942

Keishiro Maki
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Registered more than 2 years ago · Last visit 11 months ago

Favorite Metal Artists

All Reviews/Ratings

9 reviews/ratings
JUDAS PRIEST - Sad Wings Of Destiny Heavy Metal | review permalink
JUDAS PRIEST - Rocka Rolla Hard Rock | review permalink
GADGET - The Great Destroyer Grindcore | review permalink
JUDAS PRIEST - Sin After Sin Heavy Metal | review permalink
ANAL CUNT - 40 More Reasons to Hate Us Grindcore | review permalink
NAPALM DEATH - Utopia Banished Death Metal | review permalink
NAPALM DEATH - Scum Grindcore | review permalink
ANAL CUNT - I Like It When You Die Grindcore | review permalink
NAPALM DEATH - Words From the Exit Wound Death Metal | review permalink

Metal Genre Nb. Rated Avg. rating
1 Grindcore 4 3.88
2 Death Metal 2 3.75
3 Heavy Metal 2 4.50
4 Hard Rock 1 4.50

Latest Albums Reviews

NAPALM DEATH Words From the Exit Wound

Album · 1998 · Death Metal
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Immersed in this shout "Go!". The first attack "The Infiltraitor" was really enough to knock me down, flooded with brilliant rhythmic explosion like "speed guru" and comfortable voice distortion. Quite surprised and amazed at this album veiled in such a burning pic of dread. Actually this album was my first NAPALM DEATH's one, in my younger days when I was not familiar with Metal at all. This is the reason why I considered this stuff should be quite death-metallic and this heavy, doom but strict, well-matured sound should stem from the core essence of NAPALM DEATH themselves, but I've found it would be wrong later. In their early days they've played more and more violently, dissectedly, and flexibly. Of course I do not think the "early aggressive" style should have been better than the "recent decent" one. Refined play is not bad indeed. Wish I could get immersed completely in this creation, after listening to various albums of theirs ... sadly. No suspicion this album is fantastic in the death metal world, though.

NAPALM DEATH Scum

Album · 1987 · Grindcore
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Exactly this. Such an unpolished, unrefined Napalm Death soundscape is definitely my favourite. This album “Scum” was released in 1987 as the debut full-length album of a British hardcore / thrash metal unit NAPALM DEATH. In those days Napalm Death's sound style was slightly different from the current one … Quite aggressive and violent indeed, but a bit awkward and charming (in a good sense of course). Their strict rhythmic stream and sincere voice distortion would be accomplished a couple of years later, and such a dissected atmosphere in a non-methodological manner sounds pretty unique and fascinating nowadays, let me say.

"Multinational Corporations” the first severely lethal attack of Nik’s “death” voices drives the audience mad definitely. No theoretical texture nor calculated flavour is here. The following "Instinct Of Survival” is another infernal revelation with superb metallic taste of blood. Very addictive is even 20 seconds short psychopath “The Kill”. The title track blended with downtempo heavy-meatllic vibes and speedy vital grandeur should express themselves thoroughly. Basically bombastic sound explosion along with meaningless (maybe) shout acts, gorgeously melodic guitar play, and powerful speedy drumming (Tim Morse might be incredibly inspired by Mick, I suppose). From “Life?” (namely upon Side B of the lp) Lee replaces Nik as a vocalist and Bill plays guitar in a more and more speedier manner. Their soundscape gets to be killa aggression and momentary sound discharge. Amazing power and torsion is in their inner world, but the same intention for thrash hardcore / deathcore like material upon Side A is here, and obviously not refined nor technical.

In conclusion, sounds like this album would be created and produced under a flexible, optimistic situation, at least for me. A young, promising combo might discharge such an enthusiastic stuff without breathing at all, I guess. Shall you enjoy the great debut creation with feeling so?

NAPALM DEATH Utopia Banished

Album · 1992 · Death Metal
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Harmonization of grindcore and thrash metal. ‘Utopia Banished”, veiled in a pic of infernal dread, was released in 1992, when the formation of NAPALM DEATH has got stabilized. Their settled period might let themselves introduce a novel music style - extreme grindcore blended with thrash metal. Their speedy, up-beated melodic and rhythmic distortion and dissection should’ve blow the audience deeply into addictive nightmare. This “Utopia Banished” can be thought as “Deathtopia Appeared”, and obviously our nightmare’s just got started at that moment.

Aside from detailed expression for every single track ... after infernal vocal madness and lazy, hazy dragging guitar play, Barney’s monotonous, distorted, deformed shouts open our inner brain in a forced or compulsive manner. Along with destructive, ultrafast rhythmic basis, Barney’s voices sound quite vivacious and immersive. Each instrument can get precisely synchronized and crystallized with others. Their crazy harmonies spin pretty violently but never broken nor collapsed. We, the audience should be attacked and tortured powerfully with such a distorted sound revolution for about 40 minutes indeed, but we would follow the “deathxplosion” completely I guess. NAPALM DEATH’s intensive attitude for us is serious and sincere, let me say.

ANAL CUNT 40 More Reasons to Hate Us

Album · 1996 · Grindcore
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Another shocking album to change my music life and thought drastically. This nasty album “40 More Reasons To Hate Us” by industrial hardcore gang A.C. has been released in 1996 for such a cheap, dull musical scene, veiled in a dirty, vulgar sleeve. Each of 42 tracks except one of Manowar’s masterpieces “Gloves Of Metal” is quite momentary, launched via Seth’s magmatic mouth and loud, distorted, but strictly-played instruments .... as everyone says, might be heard similarly to another one in this album indeed, but at least for me, sounds like every single track should have a potential different from others.

From the beginning "Face It, You're A Metal Band" until "Everyone In Allston Should Be Killed", we can feel a smooth stream of a crazy loud mass. Not known such a fantastic foolish shout, produced with Seth’s mischievous and diverse, excessive voice appearance. Laugh out to listen to “Kill Women” (the title is not laughable though). And sing together the song "I Just Saw The Gayest Guy On Earth" featuring cheap Karaoke-ish falsetto voices and downtempo chorus, one bass chop. Some tracks are against renowned persons or older members of A.C. but who cares? They might play like heels or villains always on stage or on material, I imagine.

Perfectly they make a fool of the audience all around the album, but mysteriously we cannot get upset at all ... the reason is obvious as mentioned above. On the other hand, please listen to “Gloves Of Metal” filled with magnificent power and serious attitude for a metal masterpiece. Why not impressive, excellent?

JUDAS PRIEST Sin After Sin

Album · 1977 · Heavy Metal
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"Sin After Sin" is known as JUDAS PRIEST's third full-length album and their first shot in their golden "authentic heavy metal" era, and (at least for me) looks like one of the most 'unfavourable' stuff for every progressive rock fan. The material in this album would have been composed, created mainly by Rob HALFORD (voices) and Glenn TIPTON (guitars), and been produced by Roger GLOVER ... their strong intention for shooting pure heavy metal out into the rock scene could be heard through it, I suppose. On the other hand, their sound-making, engineering and production should be pretty developed, which make us enjoy more and more keener, stricter soundscape.

The opening shot "Sinner" can be called as one of their masterpieces, and one of masterpieces in heavy metal world definitely. Heavy and speedy riffs via powerful guitars and Rob's high-tone voices ... both can be perfectly synchronized and crystallized. A tad theatrical and dramatic voyage round the metallic world is quite impressive. Yes they are powerful voyagers. "Diamonds & Rust", needless to mention here, was composed and originally released in 1975 by Joan BAEZ. The original one by Joan is acoustic and lyrical indeed, but Judas' cover version sounds harder, heavier, clearer, and more sharp-edged. Rob's not launched so high-pitched voices as other songs around in this album or something, but please listen carefully, and we can realize he would sing with less pressure and more pleasure. Forgive my overmention but enough might be only listening to these tracks (no, no, though). A heavy and ardent ballad "Last Rose Of Summer" will stabilize our inner soul. Crying guitar sounds are very cool in "Here Comes The Tears" filling tears in our eyes.

Again mentioned, but cannot understand the reason this album is underrated, and there is no suspicion this should emit crazy well-matured heavy metal flavour. Yay.

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