Be'lakor's Stone's Reach Review

Being a crony of mine, art always haunts me whether it’s a sculpture or imagination and this time Perseus with the head of Medusa caused my cursor to click on Be'lakor's sophomore effort Stone's Reach. It was surely a good reflection of band's taste. At the first instance, the opening briefed me with something really inspired from Opeth followed by the lifting with heavy riff and the low end growls that gave me a similar vibe of Amon Amarth and Orphaned Land. Eventually, as the opening track proceeded further, I myself generated stimuli of having a progressive/melodic death/doom experience coming ahead. Although, it’s really easy to translate the tone with many similar acts like Dark Tranquillity, Opeth, Amon Amarth and last but not the least Insomnium, but I think, this is some sort of an amalgam of vast influences. I witnessed mixed elements of folk as well as atmospheric along with the overshadowed progressive melo-death. 

When there are lot of similar acts experimenting with the same genre, it is really hard to put something idiosyncratic but impressively, Be'lakor didn't let me put this down and proved to be a solid release. The songs have complex structures and time signatures as well as a balanced chord and lead-esque rhythms along with main leads. The tempo is not easily predictable nor the arrangement/sequence of riffs and have variations, From Scythe to Spectre can be taken as an example, Outlive the Hand has a unique starting that eventually changes to a different variation and so on. Those who are merely addicted to melo-death/progressive may have some Deja-vu experience as it sometimes feels that it might have the same kind of riffs or chord progression coming out frequently. The acoustics and keyboard played a pivotal role in creating the mood of the songs. Lyrically, it has surely a huge Pagan & Greek Mythology texture. Some songs have a deep cynicism’s influence that I observed and I think it is some sort of esoteric or abstruse to understand them to their actual intended meaning. The production/mixing of the album is credible, as of my previous experience, with the low-end growls, sometimes it feels like to have other instruments dominating more over the vocals but here, it is not that same case. Overall, this album may have some flaws but is inevitably a thumbs up from my side. 

Also on Death.fm:

Katatonia - The Fall of Hearts (2016)

So, “The Fall of Hearts” is finally here. Since, the release of the two singles “Old Heart Falls” and “Serein”, I was anticipating this album so much. I’ve found one thing with Katatonia, from “Last Fair Deal Gone Down” they have never been deviated from their formula but this thing either makes the sound deja-vu or may be new-new. Here, I feel a new wave of Katatonia though there is no such uniqueness in this album but still Moilanen and Ojersson brought a good contribution. The key highlight that I have observed is about the guitar tone, the rhythms are not the chuggs nor much vicious but smooth and lead-esque. They never really focus much on the solos/leads but in this album the tone is marvelous. The little harmonies in the background are just toothsome, percussion and acoustic combinations are very fascinating, keyboard and effects work are also appreciable in this album and this is what giving each song a new atmosphere. All applause to Ojersson for the solos as well as to Nystrom for the rhythm part. As always, Renkse maintains a well-balanced vocal combination with all the vocal effects.

Tool, Porcupine Tree and Opeth influence truly have overshadowed in this album and the impact is prominent and reflects. Katatonia mean low spirits and yes, that’s true but to me, this album is the most “Progressive” among the Katatonia’s discography. This is not depressive rock at all. The lyrical themes are somewhat bleak and only “Decima” can be described as gloomy among other songs. The way this band had improvised their classics in “Sanctitude”, I expected there would be something big coming from them and now with this solid addition, it has been proved. 

Spectral Lore - Gnosis (EP/2015)

Lycinna is the belle of Gnosis and this was the reason of having my first introduction with Spectral Lore and I found this one as a good avant-garde-instrumental-ambient-atmospheric-post-black-metal "album". I might be biased in writing this review but honestly this is my cup of tea although, I shall maintain a balanced momentum here and won't over specified it. If you like atmospheric black metal/folk metal then this might become a good taste for you. 

Giving a conceptual instrumental album might be a tough thing but Ayloss did an inventive job in creating the atmosphere of this album. This is a 50 min EP which gives you chills for sure, only if you feel that atmosphere. Traditional Greek music influences the whole album and this is what allure me the most due to the similarity I felt with having an imagination of a nomad of the Northern coast of Pakistan playing a Bouzouki or Rubab in a cold frosty night. Gnosis have some of the most lead-esque rhythm guitar playing with a good use of Harmonic Minor and this is really good but overshadowed the whole album, there are the same oscillating rhythm patterns throughout this album but I think Ayloss wanted to have a connectivity, after all it depends upon the taste and nature of composition to balance the overall atmosphere of the album.

I want to link the third and the last instrumental in a comparative manner according to my understanding, Averroes (Ibne Rushd) was a philosopher and a polymath in Islamic history and considered as the one who spreads secular mindset, defended the rational reasoning and gave the actual meaning of Secularism back then which unfortunately still misunderstood as a synonym with Atheism which sounds ridiculous but this is what I personally observed. Aleppo is burning under the anti-Rushd mindset and that's why it is the epilogue of this album. Hence, "Averroes' Search" is actually for the revival of the forgotten "Aleppo".

Also at: 

Ethereal : Agalloch's The Mantle (2002)

Agalloch are one of the few outfits who had managed to create their own distinctive tone and atmosphere. Haughm's creativity is not only reflected from the diverse use of instruments and effects but also from the lyrical theme that has created an ambience with meaning and concept. I have been the admirer of Agalloch for many years. I have listened many similar acts like them but the overall atmosphere, effects and multiple instruments use, Haughm's use of clean/raw vocals, concept behind each track and last but not the least the cold narcotic feeling I feel is just what I can't explain. Their music is not for mainstream, I can deliberately say.

I personally decided to review this album conceptually as there are many reviews revolving around talking generally about the overall music and comparison.
"The Mantle" brought another masterpiece from Agalloch, Death in June & Godspeed inspired guitar blend is the foreground of this LP. Their influence from the filmography is reflected from "The Hawthorne Passage"; the influence from a folklore is much more reflected from "...and the Great Cold Death of the Earth" and from the deer skull chants on "The Lodge" and Nietzsche is reflected from "In the Shadow of Our Pale Companion"; the use of accordion, mandolin had brought a mellow tone in "A Desolation Song" and somewhat the sing-speak structure made this a little different from the other songs.
Well, I was reading their interviews and they said they were actually portraying some images and wanted to express those via this album and this is what they did. Each song is actually depicting its own story. Long passage of instruments mainly acoustics and leads are making a soothing and melancholy environment. 

stompbox-talk:

Besides from the concept and other things, I had been remain curious about the use of effects that Haughm does and I got lucky to see his pedalboard on effectsbay.com and he said in the interview that his effects always give birth to songs mainly like the Nova Delay is behind “Ghosts Of The Midwinter Fires” which you can listen in the intro. Delay is the main secret behind many of his composition that's why he has three units of delay (MoogerFooger Analog Delay, the Boss DD-6 and the TC Electronic Nova Delay). The noticeable use of flanger can be listened in the mid of "In the Shadow of Our Pale Companion" and MXR Micro Flanger is behind it. A must read for any Agalloch admirer: http://www.effectsbay.com/2011/12/talking-about-guitar-effects-with-john-haughm-of-agalloch/

Their music varies from atmospheric black metal to post-metal and post-rock with progressive rock influence but they describe it simply as dark metal and yes they are dark and cold. A best companion on a frosty night with nocturnal silence everywhere. You just can't get enough of this album, I bet. 

Also at:

  

The Most Horrible Way of Representing Beauty...

Uaral, the moment when I listened their sacred music I came to aware that life is more austere than death. The duo combined the real feelings, the real emotions and all the grief with their heart. This is soul touching music. In my opinion, unclassifiable. Uaral is love not lust. I seriously don't have words to describe the music. Something coming from the dark melancholy woods with swamps around the lake of tears and the mist around with a cold silence, nocturnal. The Chilean country-side and Uaral himself had inspired Aciago & Caudal so much that they inherited the mentor’s heritage in their veins and transformed in the form of their compositions.

"Sounds of Pain..." is the band's debut full-length. The lyrical theme mostly deals with sorrow, nature and experience of life with the use of classical Latin acoustic style guitar, flute and piano creates a mournful atmosphere. Much of the music in the album has a long passage of mixed instruments mainly acoustics and less vocals. The vocals are deep guttural growls creates a strong doom/death metal influence also Empyrium's Schwadorf style clean singing creates folk/atmospheric black metal environment. The songs also has laments, crying and all the bemoaning. I just lost in the chants, the whispering winds and the sound of rains. The sound varies with a non-linear song structure throughout the album.

This thing is a masterpiece. A perfect piece of depressive yet progressive music. Do read the interview of the duo on their un-official website. It sounds like souls are talking not humans. Bunch of thanks to the Iranian fans for making the website.

The epilogue is, listen this on a cold frosty night with full moon. You will be pleased. One of the best blend of doom/black/folk.

Visit: Uaral


Originally written for Death.fm

The best thing came after French Fries.....

The first interaction with Gojira was with "Love" and I was like WTF! Is this from the debut one? This thing is massive heavy. Progressive as well as technical death metal influence brought a brutal experimental package. The best thing is the non-linear composition of songs which is quite interesting, environmental friendly lyrical theme which is quite unusual yet impressive. The noticeable thing is the weird but heavy as fuck riffs but no solo at all so it is not the shredding enriched album (for those who thought some stuff similar to Necrophagist), technical drumming (Mario made his name big apart from being a painter), Bass is what many says the most under-dominant thing and has a usual effect parallel to support guitar and drums but here it is in the foreground. I hear less Joe's vocals and more chugg chugaga chugg! "Space Time". "Love" and "In the Forest" are the foreground images in this album. I feel an enormous nocturnal silence after listening these in headphones. "Lizard Skin" has gay style riffing but intro is good though. "Clone" is my favorite along with some other songs, simply a great opening track that overshadows the forthcoming tracks. "In the Forest" has a silence in between and after that a hidden track.

Overall, the album has an atmospheric thing rousing in between the compositions. Unique style, weird patterns and a blend of heavy alternate picking with pinch harmonics along with chugging like fuck along with kick-ass drumming and thick bass overcomes the cheesy growl/screamo. The beast thing comes after French Fries is Gojira.

9/10

Originally written for Death.fm

Sepultura's Arise (1991)

Well I think thrash is against all the masquerade behind the hypocrisy, the testical egoistic morons & not the very least against all odds. The 'old' Brazilian outfit with Cavalera bros. know this shit very well and they did transform all their expression with their critically acclaimed lyrics; incorporates mainly with anti-corruption,  anti-fascism and I think they had predicted many things coming to the future and what would be the outcome! I'll come to the point shortly about that. This album is my all-time personal favorite. I just couldn't get enough of it. One of baddest shit in the thrash. There are/were few bands who make their own peculiar sound or tone with crushing riffs, dexterous creative solos, tribal influenced drumming with fast gallops and blast beats, brutal dry savage vocals and lyrics that describes the 'inside' - that is Sepultura. You never omit them, listening is edict. 

Before going towards the album actually, I want to put some words about the band itself. Sepultura has quite a complex kind of genre history. Started as a death metal act had have lyrical themes dealt with Satanism i.e. Bestial Devastation (1985), Morbid Visions (1986), Schizophrenia (1987); followed by thrash metal elements with Beneath The Remains (1989), Arise (1991); then Chaos A.D (1993) brought a pre-bell to a disaster that came in the form of Roots (1996) because simply the band went nuts by changing towards nu metal and blah blah! Another unfortunate thing happened was the departure of the front man Mr. Max Cavalera, the man behind Sepultura. For me, Sepultura was dead the day he left the band and soon after his brother Igor did the same thing but because of the 'creativity differences' or whatever. Damn!

After listening Arise predecessor, I wasn't expecting Beneath the Remains part II but still the sound is something Deja-vu but an improved compositional skill along with lyrics explaining the anecdote of the sterile world. The album kicks off with 'Arise', a potent track describing the victims of the warfare like "Terrorist confrontation/Cities fall in ruin/Victims of war, seeking some salvation/Why must we die?”; strong vocals, Andreas' dive bomb, harmonics enriched solo is praisable. 'Dead Embryonic Cells' with 'Laboratory sickness/Infects humanity/No hope for cure/Die by technology' is another hit against the posers and dumbs ruining the humanity and yus what they said, happened and happening like Union Carbide incident, Chernobyl disaster and countless. Children 'born with pain/Suffer remains'. Here I hail 'Desperate Cry', powerful yet exposure of anger, nocturnal intro with rhythm that besiege heads, strong alternate picking and what we here is 'Desperate Cryyyyy'. Followed by 'Murder', 'Subtraction' and 'Altered State' with some traditional tribal elements that can contrast the cultural impact and some 'experimental' tone that you may feel. 'Under Siege (Regnum Irae)' is where I find that there is something lagging here with most of the usual rhythm patterns and less vocals but overall not that bad. 'Meaningless Movements' & 'Infected Voice' are the last two closing tracks. Many say that the album in whole have a usual pattern which they follow and so I completely disagree. Technically speaking, Igor has a vast range of gallop patterns blended with the tribal style, Max's rhythm stuff is broad each have a different pattern, Andreas' usage of scales like the minor, Locrian mode, harmonic minor etc. with chromatic notes and a very good right hand technique makes each solo lustful.

The epilogue is without Cavalera - there's no Sepultura. No offence!

Review of Empyrium's Where at Night the Wood Grouse Plays..

Empyrium's third full-length and is actually an Acoustic Folk type album with its roots coming from narcotic, nocturnal, necrophobic alike (or whatever you may understand from these words). Before exploring it, this particular album usually very much compared to Ulver's Kveldssanger (released in 1996) which you can say that, it is some sort of inevitable because of the similar theme carried by both bands, 'Where at Night the Wood Grouse Plays' released in 1999 and I personally feel this album have a calm sound as compared to Ulver, although both bands had tried to combine the perfect sort of melancholy elements. It really carries to precisely give a feeling of a bucolic, tranquil pastoral mood, the dark lyrical theme have the context of countryside, story of ghosts; the moors, beacons , the meadows and everything that can create the atmosphere of something that's called doomy-gloomy (gothic). Delightfully composed enchanting classical guitar blends a realistic feeling, the choir combination with flutes creates a soothing/depressive effect.

The album is mainly by the husband-wife duo - Ulf Theodor Schwadorf & Nadine Mölter, while Thomas Helm appeared as a guest vocalist. Albeit the most consistent things in this album is the guitar along with natural effects, the use of flute, the choir and lastly the lyrical theme.
Here, Helm is the man that I can give a complement; he had poured his natural emotions in the album through his vocals, another thing that I feel is there is something that Marcus is lacking, I didn't feel the emotions that esoteric thing in his vocals (though he has a baritone range in vocals- what else I can say?), “The Shepard and the Maiden Ghost” if you see it is full of lyrics but actually the whole song is whispered. If I don't talk about 'Where at Night the Wood Grouse Plays' - the intro, than it would be bad for me. A nicely composed instrumental, one of favourite since times ago, the breeze and blowing wind creates the effect of lullaby.

The standouts on this release are the last two songs. “Many Moons Ago” which a  recitation of the story of a man who has seen the ghost of a girl.(OMG! Creepy! but not horrible!). “When Shadows Grow Longer” is a remake of a previous Empyrium song, but done much better. Helm and Stock are able to harmonize nicely.
At last, this is a strong acoustic album, as a fan of acoustic stuff this is like a treat for me. The album could have made more better but still it gives you something great to listen when you are thinking about the hazy moor, whispering laments. This is mourn.

Review of 'The White' EP By Agalloch

I have always been so fond of acoustics, being a pro-crustie it sounds lil awkward but still I really love good music. Again I have Agalloch here, like there are somethings that can be called as mandatory and this band is surely be one of them: underrated, progressive, creative, soothing, melancholy, meaningful and last but not the least blend of beautifully composed guitars. As a atmospheric/dark/neo-folk addict; this is like heaven.

'The White' is the band's fourth EP released in 2008 but actually recorded in between 2004 to 2007, unlike the previous EP 'The Grey' which contains only two instrumentals and not so impressive, this one surely be a class apart. Agalloch is considered to be one of those bands that are always be so anticipated because of their avant-garde nature. Well, lets come back to the review thing, this EP was restricted to 2000 copies only and released via Vendlus Records. It contains seven tracks out of which three are instrumental (or more) because of the extensive use of acoustics and long solos.

The songs "The Isle of Summer," "Summerisle Reprise," and "Sowilo Rune" contain samples from the 1973 film 'The Wicker Man'. "Birch White" in which several quotes spoken by actor Christopher Lee are used. While spoken dialogue in music can usually be annoying, things work very well here; bestowing upon the music, an unsettling, existential theme. Here it features vocalist John Haughm reciting the poem "Birch Tree" by A.S.J. Tessimond (info taken from Meallum).

I must say John Haughm is the man who writes, plays, composes what he feels through the sorroundings, something that's hidden just like a cauldron of light which makes everyone to look towards it when in dark but few can see the nocturnal darkness which has something that can't be explained.

To me this is more like an instrumental extended-play, I really appreciate the supporting melody of keyboards, Jews harp, goat horn, well there are number of different instruments that have used and make this masterpiece. The cave voice by Victoria Knippschild is just the way it needs. What can I say about acoustics, simply out of this planet. The cryptic harmony is sentenced.

Not a typical work, it is esoteric.

Review of compilation Kocytean by Katatonia

Katatonia is like a must have band in my playlist for many year. The post-Scandinavian blends with Canterbury inspired sound is the prominent  feature of this act. Well, I usually don't prefer to listen or even check compilation type stuffs until it has some new elements or remastered version but still when it comes to Katatonia, I seriously couldn't stay behind.
So, 'Kocytean' - pretty unusual name or seems like more esoteric or dwelling, derived from Greek mythology called 'the river of wailing' or some underwater thing. The compilation is limited to some 2000 copies and released as 12" vinyl. It contains 6 tracks, three tracks on each side of the record. This is a Record Store Day exclusive release that has been celebrated on April 19th. Starts with the artwork, the name says everything 'Travis Smith' who did artwork for Amorphis etc. While surfing the web I came across that Anders comments on how the idea came up behind the artwork “I had this scenario playing over and over in my head and together with my graphics shrink Travis Smith decided to convey them down into a series of four images where it takes you through struggle, despair, tranquility and hope”. - enough said. A mighty and sacred piece of art, the last image is very much similar to the art of their previous track 'Unfurl' which purely explains the image: 'Releasing the vapor into the lungs, letting the wings unfurl.'

Opens with 'Unfurl' - which appeared in 'July' EP 2007, perfectly combines the electro & post-melo sound together; a more atmospheric doomy style followed by "Sold Heart" was originally released on the EP "The Longest Year." Renkse's harmonized vocals is just amazing, used mostly clean guitar along with reverb in this song. Then we have 'Ashen' which appeared in 'Night Is The New Day' in 2009, a more electro-harmonic based vocal along with the combination of traditional clean and distorted guitar work but the tempo is not the same and variates in between.'Second' is from 'Dead End Kings' released back in 2012, one of my favorite track has a fairly slow tempo which upbrings with rhthm guitar, love the guitar work in this song, twinkling back in the whole song. The second last rack 'Code Against Code' is taken from my favorite album 'The Great Cold Distance' starts of with a delay-clean guitar, there is a drum interlude in the song and it has nearly the same pattern through out the song. The last rack is  'The Act of Darkening' taken from 'Dead End Kings' it has one depressive pattern from the start followed by acoustic strum and beats having some violin in behind; lovely track BTW soothing, calm and moderate. For Katatonia lovers and collectors, it is surely be a must have. :)

Review of 'Rewarded with Ingratitude / Infernal Hatred' split by In-Quest/Sarcastic Terror

 

Greek death metal? OSDM? Well I couldn't get enough of the Scandinavian & Florida based OSDM shits! I may have checked out many Greek death metal acts (which are mostly of the new-wave) but old-school; right now Dismaed's 1995 demo 'Messages from the Place of the Dead' and Decay's 1992 demo tape 'Ceremonial Torture'  and last but not the least there was a band called 'Nocturnal Death,' (I don't remember any release of them but still got to have their name because of  the grind masters 'Naplam Death') are coming in my mind & now here I have Sarcastic Terror's split with one of my good-name Belgian act 'In-Quest' to write about. I came across this split called 'Rewarded with Ingratitude / Infernal Hatred' back some years when I was giving a listen to the 'In-Quest' discogs. It was released in September 1995 and contains four tracks; one by 'In-Quest' called 'Rewarded with Ingratitude' which was also appeared in their demo 'Xylad Valox' released back in the same year & three by 'Sarcastic Terror' among two of them: 'Intro' & 'Putrescence' were appeared in their self-titled demo, released back in 1992 only 'The Last Act of Subsidence' by them was newly recorded.

I mainly reviewing 'Sarcastic Terror' so 'In-Quest' shall not be in here. Starts with the recording; it wasn't recorded precisely there's alot humming in the back, I don't know the format of release but still like the vintage style. OSDM is always remain the most in my playlist and for eveyone who loves the kvlt way should have this split. If you really tote Xysma or Baphomet sick shits then this split is for you. Guitar along with the blast-beats and the same vintage style of death metal, you still can't get enough of it. Unfortunately with no valid reason, the band soon gone hiatus and later split-up. It was their last recording and I haven't seen any of their personnel formed any other badn except for their guitarist who was in 'Nocturnal Death' and some other local underground bands.

In the last, when it comes to the favourite one so it would be ' Putrescense' although the song has a coherent pattern but still it does kick-ass headbanging stuff with crushing riffs and heavy blast-beats, ‘The Last Act of Subsidence’ is one sick track and heavy as fuck, I love the rhythm pattern also I want to add-in that this split acts as a main influence for brutal death metal due to the fade-up growls. In this split there is no neo-classical influenced solo as you can have in like Obituary's Cause Of Death or Dismember's Dreaming In Red. Highly recommended for a DM freak! not for the core-kind punks!

Black Satan.... My KH-2

My KH-2 is not LTD, it is ESP. Chinese made (don't know the year). The guitar comes with glossing black finish also it has 24 jumbo frets, skull-inlays, thin neck (neck contour is very smooth), Floyd Rose bridge, locking nut, three-way pick selector, two tone control and one master volume knob; a set of EMG 60/81 pick-ups which I think is not active in my guitar because I see no battery compartment in the back. So for sure it is passive, something like EMG HZ. But whatever it does sound bad-ass.

This guitar is a beast. I play metal mostly (death/progressive/thrash) but also some blues/neo-classical/hard rock/grunge/jazz type stuff and it suits me in most cases but I use my Fender Stratocaster for playing blues etc. I can get every sound from it from classic Guns N' Roses to Slayer to Gojira. Clean, twang, punk to dirty real dirty. My signal chain goes to Zoom G1 Next and then to Yamaha TG-25; I also use Line 6 Spider IV 30. As an amateur bedroom guitarist, it really fits the way I play. The guitar is never noisy but earlier when I get it along with poor cables, it gave me buzz and hum while the guitar is not playing but soon when I replaced it with a better one - the problem wiped out. 

Well, when I decided to buy this satan; the first thing inspired me was the finish and the skull-inlays which give it a brutal look. The black finish is so fascinating No doubt one of the finest ESP ever made. The main con was the action; the tone knob was erasing the sound due to loose controls which I later get it fixed along with adjusting the truss inside, rather everything was perfect. The neck contour finish till the neck is so smooth. The classic golden ESP logo on the headstock looks great.

Yus, for sure I can depend upon it, though I have never gigged with it but still I can trust on this. Playing this for the last four months and I can surely say it will never bend me down. The durability (finish, sound, everything blah blah blah!) depends upon the handling and care, just don't abuse it and it will stay with you till your death. I clean it after each play and also cleans the fretboard once in two-months with lemon oil (yes, I do love to take care this baby). Strap buttons are solid and it gives a good sustain.

I had three choices at the time of buying this guitar: Ibanez GIO, Jackson Warrior and Epiphone Les Paul Standard and now I can say, it was one of my finest purchase ever. Sounds epic, looks brutal, suits my metal-head playing style so what I shall need any more? I am also willing to buy ESP M-10 (passion for guitars - reason). If anything bad happen to this, I will probably never unwind myself. It is like a companion for me now. Every time I play, it puts smile on my face. Best for shredding and solo type stuff.

Originally written for  & can be accessed here:

http://www.ultimate-guitar.com/reviews/electric_guitars/esp/ltd_kh-2/

...........We Die Young!!

<==== A mosh-pit yus!!

In Pakistani media, coming to mainstream is very easy if you really know the humour of the people over here; what they want to listen? how much should you glitter yourself to commercialize?. Well we do have the answers in the form of several posers who have brought up and still emerging which every one can look through and feel by seeing towards the music TV channels - plagiarize of the Indian cinema oriented music.

<=== Priests of hardcore..

 I don't know what to say but the mainstream media is providing a podium to these mediocre; so how the music videos they make? enough bucks in the chamber? here the notorious idea - taking a mademoiselle from the streets along with some bunch of goofs trying to impress her or something with the similar shit; blah! I can't define it, a fag comes up with some emo style wearing some wayfarers along with some more bunch of guys and start doing something really crap, weird music; eerie lyrics and some random shitty dance - no shit given just wrote what I saw and still seeing through the tv channels, where their is ARY Musik, AAG, Oxygene all are ruining the real talent by not giving chances to the underground struggling acts.

<;=== (The geeks of metal)

Rohail Hyat of CokeSickStudio, I just don't understand this guy, I really admire his work with Vital Signs but what the hell he did to Coke Studio? keep on inviting the same materialistic faces. Fuck it man! Here Nescafe Basement is like a wind of change, a podium that nourishes the creative minds  - under the supervision of Xulfi ex EP guitarist, the folks did great job.


Well here comes some pros too, Its a very good thing too in this all environment! Really?? WTF then? Some FM Radio Stations do need real applause for upbringing the talent, I would like to name City Fm 89 (especially the Wes Malik; a real guy who truly knows how to present. His healthy humour is very appreciable, he often invites many underground bands and plays 'hidden' tracks; artists like Isloo based Heavy metal act Blackhour have gain a good recognition and last but not the least Gibran Nasir the frontman of Messiah - one of the first metal bands to came through hosted 'Black Sunday' which totally devoted to the metal scene but unfortunately it is no more due some reasons. How can I forget 'All That Jazz' by late Masood Hasan, he was finest in his creative selection of vintage jazz, one of my favourite columnist he was.). Also 'The Awakening' on FM 94 plays a pivotal role in the same case. Radio One FM 91 (Umair Afzaal, the guy who runs Shor Bazar Artist Management along with some mates, through which have done many interviews of several underrated artists to aware the unaware guys WTF is 'music'!. Poor Max Cavalera, hahah! poor and sick us! the mathafuckin' circumstances didn't allow him to come in here. well here are the interviews that can be accessed here:

(A dream that fucked apart.......................)

1. Max Cavalera (Soulfly, Cavalera Conspiracy, Sepultura) interviewed on 1st March 2013 with Munib Nawaz on Radio 1 FM91 Music Is My Lifeline Pakistan
Recording: soundcloud.com/fm91-shorbazaar/max-cavalera-soulfly-cavalera
2. Joel Ekman (Isaac James, Stone Sour) interviewed on 29th March 2013 with Munib Nawaz on Radio 1 FM91 Music Is My Lifeline Pakistan 
Recording: https://soundcloud.com/fm91.../joel-ekman-stone-sour-isaac

3. James Black, Rick Jackett (Finger Eleven, Blackie Jacket Jr.) interviewed on 2nd April 2013 with Khurram Suleman on Radio 1 FM91 Music Is My Lifeline Pakistan 

Recording: https://soundcloud.com/fm91.../james-black-rick-jackett
4. Terry Glaze (Lord Tracy, Pantera) interviewed on 4th April 2013 with Khurram Suleman on Radio 1 FM91 Music Is My Lifeline Pakistan 
Recording: https://soundcloud.com/fm.../terry-glaze-pantera-lord-tracy

5. Paul Allender (Cradle of Filth, White Empress) interviewed on 5th April 2013 with Munib Nawaz on Radio 1 FM91 Music Is My Lifeline Pakistan 

Recording: https://soundcloud.com/fm91.../paul-allender-cradle-of-filth

6. Shawn Dailey (Hole) interviewed on 11th April 2013 with Khurram Suleman on Radio 1 FM91 Music Is My Lifeline Pakistan 

Recording: https://soundcloud.com/fm-91.../shawn-dailey-hole-blood-moon

<==(Hymn to the dying EP, I also own one :))

7. Barney Greenway (Napalm Death) interviewed on 18th April 2013 with Iman Azmat on Radio 1 FM91 Music Is My Lifeline Pakistan 
Recording: https://soundcloud.com/fm-91.../barney-greenway-napalm-death

Blackhour boys! =======>

8. Gus G (Ozzy Osbourne, Firewind) interviewed on 27th May 2013 with Khurram Suleman on Radio 1 FM91 Music Is My Lifeline Pakistan 
Recording: https://soundcloud.com/fm-91.../gus-g-ozzy-osbourne-firewind
9. Ilan Rubin (Nine Inch Nails, Angels and Airwaves, Paramore, The New Regime) interviewed on 25th April 2013 with Khurram Suleman on Radio 1 FM91 Music Is My Lifeline Pakistan 
Recording: https://soundcloud.com/fm-91.../ilan-rubin-nine-inch-nails

Multinational Corporation's Jamat Al Maut - I also own dis crust shit! 

====>

10. Sami Yusuf interviewed on 7th August 2013 with RJ Sophie on Radio 1 FM91 Music Is My Lifeline Pakistan 
Recording: https://soundcloud.com/fm-91-shor-bazaar/sami-yusuf-ramadan-specia
11. Troy McLawhorn (Evanescence, Seether, Dark New Day, Doubledrive, Still Rain) interviewed on 23rd August 2013 with Munib Nawaz on Radio 1 FM91 Music Is My Lifeline Pakistan 
Recording: https://soundcloud.com/91shorb.../troy-mclawhorn-evanescence
12. Robert Trujillo & Chloe Trujillo (Metallica, Suicidal Tendencies, Infectious Grooves) interviewed on 20th September 2013 with Munib Nawaz on Radio 1 FM91 Music Is My Lifeline Pakistan 
Recording: https://soundcloud.com/91s.../robert-trujillo-chloe-trujillo

<=( Good pals of mine, Dionysus guys)

Bands running by many friends (Hassan Buay, Sheraz Ahmed, Farhan Rathore, Waleed Ahmed etc.)  of mine: Multinational Corporations, Foreskin, Myosis, Dionysus, Takatak, I See Insanity, Inferner, Basheer & the Pied Pipers, Bumbo Sauce, Malang Party, Qayaas, Usman Riaz, Odyssey, Blackhour, ehl-e-rock, Project Barkeley  and countless there are, I can't put all the names here - yus! because there are enormous talent

hidden here, I don't know whether am I giving the fuck while writing all this? but yes trying to aware those who don't know the real face.

HELLFEST is on its way for the third edition and it is so delightful to see this time because radio stations promoting the event and good to see the sponsors supporting the scene. Happening in Isloo! I am KHI. no worries still!, happy to see people are appreciating the event. Hopefully it would be great and safe

<==== (At Catacombs 2013)

Here is the list of Pakistani metal bands: http://www.metal-archives.com/lists/PK

Don't forget to google for some real shit coming your way! \m/ stay heavy! stay shredded! 

See Us Sleep Behind The Glass...Unaware of crime! (Review of The Great Cold Distance (2006) by Katatonia)

When I listen 'In Silence Enshrined' and then 'Unfurl', I emphasize myself to think; time amends. Well the kvlt doomy Katatonia which I still love to listen is no more since 'Discouraged Ones' (1998) which was the first release to offer clean vocals. Despite of changing the genre, the playing style, vocals, lyrical theme; they still underrated while this had alienated a number of people who love the old-school but they opened much wider to approach the fans of alternative/progressive, but indeed it is debatable, I went no backward nor I feel estrange from one of my favourite band.
'The Great Cold Distance' is the seventh full-length which enlighten their departure from doom/death towards unclassifiable genre but why not to assigned? because the new wave of Katatonia has a blend of different style: doom/alternative/progressive/depressive/gothic; but still they are a metal band and that is fair enough.
Well, the consistency brought much improvement from predecessor 'Viva Emptiness', the art-work, the lyrical workout everything is good as compared. Personally, I really enjoyed the album, one thing is that Jonas knows how to nib down the moor of feelings. Each song has its own theme, just by seeing the lyrics may be someone thinks it is as usual but by listening the song and then grasping, one can know what its all about. BTW, I can't imagine that Renske has got some very melodic and melancholy throat as he growls (not any more) but also sings very smooth and serene which complements the music of Katatonia.

(I have the same poster in my room) 

The distorted guitar work is good ranging with some heavy power-chords but still as a fan of acoustic, I am missing it. It could have made a good impact but nonetheless a good one. I think bass solos should have in the album which suits the dark/depressive sense but not a big issue though. Some folks said, the album do have good writing/vocal skills but more or less every song have the same pattern of composition, same heavy pseudo riffs along with the drum strokes. Well, Katatonia is a creative act. I don't feel this but yeah, they have their own style so one can say yus there's Katatonia (a trademark).
Its a must have for everyone not only for the metal-heads. It has a arm wide open. Cheers! \m/

(The Unfurl official tee and the poster that I have)

Shoegaze that mourns (Review for Agalloch's Ashes Against The Grains)

What can I say, Shoegaze influenced dark metal which people call atmospheric black metal is the most diverse and melancholy genre that I ever heard of. A loyal fan for many years, Its a part of my nature; I am like a nomad in the search of beacon passing through the hazy moor since many moon ago. What this soothing music gives me is an endless calm with loads of misery, at least I can escape from my fate rousing inside with endless tears. Agalloch was the first band along with Alcest (I remember) that introduced me to this doomy melody, before that I usually listened German based folk act Empyrium and others. My affection to this sacred music doesn't allow me yet to write about the album. huhuh!

'Ashes Against The Grain' is the third full-length from the Portland based act. The album was dedicated to Christoph Florian Rehse of Gothenburg scene's Escape The Day who committed suicide in 2005. John Haughm is the front-man, the genius behind all the lyrical content. As I do write lyrical themes inspired from the same phenomenon and circumstances, The lyrics need a big applause first; each track in the album is totally concept based which is very rare among the bands. The guitars are perfectly balanced creating dirge. The acoustic work truly truly suits the pattern. Vocals are like the laments while the hearse passes by. I really appreciate the drum work which is so prominent and doesn't fade apart in the raw riffs.

The album contains eight tracks out of which three are instrumentals. The prologue starts with 'Limbs' (my favourite track), the song should be listened in a narcotic silence so one can better feel the sorrowful tune. 'Falling Snow' is yet another masterpiece that leads you to the bleak winters. 'Fire above, Ice below, 'Not Unlike The Waves' & 'Bloodbirds (Our Fortress Is burning...II)' are something that has a depressive placebo effect that rectifies the person's solitude for a time. Instrumentals are awful too, amazing sort of work.
To me, Its a perfect art that can enrich sorrow but descends the austere.

The review later published on  with the name 'Shoegaze That Mourns' on 5-06-14 & can be found here: Shoegaze That Mourns