Betzefer is one of those bands that I've had a love/hate relationship with over the last handful of years. When I first heard their debut album, "Down Low," around 4-5 years ago, I fell in love. It was a great slab of groove metal, and it wasn't until I researched more about the band that I found out that they were actually from Israel, which I found to be pretty amazing.
So, fueled by my love for their debut album and interested to see which road the band would follow, I had to wait until 2011 (over 5 years after their previous album had been released) to get their next one, "Freedom To The Slave Maker," which title inspired something very promising. However, I was extremely disappointed with that one, as I found that the band had changed heavy grooves and extreme metal vocals for an alternative metal approach, something that didn't fit their vibe or their tone well at all.
So, with that in mind, we approach "The Devil Went Down To The Hold Land" with a practical wariness, yet hopefulness that the band has righted the ship that is Betzefer...
------------------------------------------------------------------------------------------------------------
1.) "Tropical"
Typical minute-long, sound effect-fueled album opener. Pass.
2.) "The Devil Went Down To The Holy Land"
The album starts off with a driving drum beat, and immediately jumps into a hard rock-fueled vibe. This isn't quite the groove metal album opener that I was hoping for, but it's actually quite interesting. Vocalist Avital Tamir has found the correct niche for his voice, settling for a Bobaflex-sounding shout instead of the Page Hamilton-inspired squeal he went for on the last album. This song is a nice heavy rocker, and I am absolutely okay with that. A good way to start things.
3.) "Killing The Fuss"
"Killing The Fuss" pretty much picks up where "TDWDthHL" ended, carrying the same hard rock vibe, but adds a bit of the groove metal crunch that their first album relished in. All-in-all, it's a much better track than anything that was on the last album, and it really picks up near the end. It really bridges the gap between heavy rock and groove metal, and we finally get to hear Avital Tamir scream a little bit. Guitarist Matan Cohen really provides a lot of great riffs for this track, and even gets a few Jerry Cantrell-sounding moments throughout the song. I didn't really get a taste of the entire lyric sheet, but it seems like this track addresses a lot of the people like myself, who'd rather micromanage the band and tell them to direct their sound, which I respect.
4.) "Cash"
Now THIS is what I'm talking about. Starting off with a thrashy intro, Cohen really brings things down into a heavy groove, helped out with a really strong bottom section (bassist Rotem Inbar and drummer Roey Berman are just as responsible for this strong groove sound). This song legitimately sounds like something that I would have expected as a continuation of "Down Low": this song is nothing but heavy ass grooves. I love it. If I wasn't excited for this album as a whole, I am now. Cohen really shines in his grooves and solos, and I'm happy as hell to hear Tamir screaming his head off again.
5.) "Yuppie Six Feet Underground"
This track sound like something straight off of "Down Low." It starts off with a heavy bottom-heavy groove, and a blood-curdling scream from Tamir before heading into a slow-moving groove sound. A pretty good track, and at this point, I'm really enjoying the route this album is going down. Drummer Berman has some pretty awesome drum fills throughout the track, and Cohen gets to showcase some more Jerry Cantrell, Alice In Chains-like solo skills.
6.) "Copkiller"
A downright killer riff by Cohen gets this song off on a great start, and before long, the band is balls deep into the heaviest groove that they may have ever written. Within a minute into the song, I'm all ready to declare it my favorite song they've ever written. It's that solid and that fucking heavy. I love it. I don't know what else to say, it's just a great song, albeit short (barely over 3 minutes).
7.) "Sledgehammer"
"Sledgehammer" starts out with the makings of a rock anthem, and then quickly delves back into the heavy groove that has defined this album thus far. A really strong rhythm section carries the driving pace on this track, and then there's a sludgy-sounding Alice In Chains-inspired midsection that's just awesome.
8.) "The Medic"
This one definitely gets off to a slower-paced, sludgy sound, which I'm beginning to find a lot on this album. However, it really works, and it doesn't sound out of place, as it's still groovy as all get-out and carries the pace that the previous tracks have established while also throwing in a few more "rock" moments. This song really reminds me of something that the band Seemless would have written, as it's more bluesy-rock inspired than the others so far.
9.) "Milk"
Another rock-driven intro starts this one out with a garage-sounding bang. This track is definitely a good companion piece to the previous song, "The Medic," but features more "Freedom to the Slave Maker"-type vocals as opposed to screams. Cohen really gets to tap into his bluesy guitar solo side for this one, sounding similar in tone to an artist like Slash throughout. At around the final minute, there's some really cool Phil Anselmo-ish whispered vocals that are both creepy and effective.
10.) "Suicide Hotline Pt. 1"
Wow, this song is really a mixed bag of everything. The verses sound like something off of "Freedom To The Slave Maker," yet is immediately followed by a heavy double bass portion (good work, Berman) that features Tamir's most extreme screams yet (he really hit some highs AND some lows I didn't know he was capable of). If you're interested in hearing some of Betzefer's diversity and technical prowess, I would definitely check this one out. Great song.
11.) "Suicide Hotline Pt. 2"
This one starts off with a drum roll from Berman, and gets straight back to business. Drummer Berman and bassist Inbar really help drive this one home, establishing a killer bottom-sounding groove throughout the entire song. This one features another killer breakdown with some gang vocals and quite a few Alice In Chains-sounding moments. Another really good song.
12.) "Cannibal"
Heavy. That's the only word I can use to describe this track. It's the most death metal-like song Betzefer have ever recorded, and Tamir is channeling his inner Cannibal Corpse on this one. It's really surprising at how well the band can pull off the heavy driving death sound, considering I've never heard this side of them before, and they were on the brink of going alt rock on their last album. Another surprisingly great track that really pushes the boundaries on what Betzefer, as a band, is capable of. Apparently, they're capable of quite a bit.
13.) "I Hate"
The band is back to its grooviness again on this track, but Tamir has some more interesting vocals on this one. I've been pleasantly surprised by what he's capable of on this album, considering I thought he had lost his voice on the last album. This track is really Tamir's moment to shine, as the title of the track is inspired by Tamir screaming how much he hates everyone and everything... ofttimes throughout the song, he says it just forthright. Don't let that think that the other band members don't get their moments, though, as the last half of the song is just a straight groove rhythm-fest.
14.) "Can You Hear Me Now"
I'm always a stickler about the final track of an album, and no difference here. I'm expecting greatness after what I've heard, and... Betzefer doesn't disappoint. This song features some of the biggest hooks and grooves of the entire album, and the entire band is in top form. The band finishes it up on the perfect crescendo of aggression and hatred, and then lets the creepy sound effects carry you to the finish line. Another great outing by Betzefer.
------------------------------------------------------------------------------------------------------------
After the disappointment that was "Freedom To The Slave Maker," I wasn't sure what to expect from Betzefer. If I had another dull album from them, I might have been done: it only takes two crap albums from a band for me to lose interest, but thankfully, Betzefer did not.
What Betzefer have put out is a perfect mixture (in my eyes) between their first album "Down Low" and "Freedom To The Slave Maker." They took the heavy grooves and aggression from "Down Low," added some of the rock sensibilities of "Freedom To The Slave Maker," and then continued adding their own technical prowess and songwriting expertise that comes from experience and have crafted one of my favorite albums of the year.
Pretty much every track (besides the opening "Tropical") is a winner. I especially like the tracks "Copkiller," "Can You Hear Me Now," "Suicide Hotline Pt. 1," "Cannibal," and "Cash."
After thinking that Avital Tamir was done and had thrown his voice (like so many great metal vocalists beforehand), he surprises me and puts on a better performance than he did on the last two albums combined.
Guitarist Matan Cohen not only has grooves spilling out of his pockets, but he also kept things interesting by adding in some interesting solos and embracing his inner-Jerry Cantrell, which really showcases itself many times throughout the album.
Bassist Rotem Inbar doesn't get a lot of moments on the album to particularly showcase his skills, but he's more than responsible for bringing in the bottom-end groove that the album has in spades. Another person attributed for that is drummer Roey Berman, who is just incredible throughout the entire album; not only in his ability to write a groove piece, but also in his ability to perfectly fill from one segment to the other.
All in all, just a great groove metal album, and a splendid album in its own right. If you like metal than makes you want to tap your foot, shake your rump, or even dance, this might be a good one for you. Even if you just like metal, check it out.
Friday, November 22, 2013
Saturday, November 9, 2013
Album Review: Heart Of A Coward - "Severance"
Heart Of A Coward is a band that I don't have that much experience with. The only reason I know that this band exists is because the original singer of Sylosis, Jamie Graham, left that band a few years ago in order to focus on this style of music. After listening to HOAC's first album, "Hope & Hindrance," it's easy to tell why: both this band and Sylosis are metal, but there couldn't be a bigger distance between the two. Whereas Sylosis focuses on the melodic death-genre of metal (with quite a few thrash, metalcore, and even doom metal influences), HOAC is a more "current-sounding" style band, with a lot of groovy djent elements to their sound.
"Hope & Hindrance," their first album, was good, but it wasn't necessarily great. I loved elements from it, but I wasn't totally enthralled by it like I was with Graham's two Sylosis albums, "Conclusion Of An Age" and "The Supreme Opressor." Some tracks like "Shade" had be bumping my foot for hours after hearing, but it seemed like the band was trying to be too "djenty" without fully embracing a sound of their own.
Hopefully they've managed to turn it around for their new album, "Severance"...
------------------------------------------------------------------------------------------------------------
1.) "Monstro"
"Severance" starts out with a bang with "Monstro." The down-turned guitar is very prominent, and sounds MUCH more crisp and clear than it did on their last album. Clearly, this is still a djent band, and their cementing themselves fully into that corner. However, one of the big things that kept me from fully embracing their last album was the production, and the production on this song alone is outstanding. This is a great album opener, fully of the groove and ambient guitar parts you'd expect from a djent band.
2.) "Prey"
The quality production carries on to "Prey," which offers a more straightforward metal sound while still retaining the djent elements. This is a great track, full of groovy bridges in between Graham's screamed verses and clean choruses. This is a track that's almost impossible not to nod along to. Guitarists Carl Ayers and Steve Haycock do a really good job of establishing a soundscape with their guitars throughout this track, instantly being able to split apart and balance the heavy groove with the dark ambient tones that make this more than just a metal song.
3.) "Distance"
This song immediately carries on from the end of "Prey," and delves into a brief melodic intro similar to something the Deftones would do, into an aggressive and passionate screaming performance by Jamie Graham, who delivers his best vocal performance to date. His singing voice has really matured from his days with Sylosis into (yet another Deftones comparison) a croon similar to Chino Moreno. The melodic style the band embraces on this track really works, especially when compared to the aggressive parts of the song, and the breakdown during the final ~35 seconds of the song is insane.
4.) "Nauseam"
"Nauseam" was the first single that the band released from this album, and I've actually been listening to it for the past couple of months. This was the track that got me incredibly excited for this album, as it's everything I could ask for: heavily aggressive and full of groovy metal riffs, yet also melodic and balanced in its own way. "Nauseam" has a few great hooks throughout it's 3:30 running time, and the entire band is in-sync. Even bassist Vishal Khetia and drummer Christopher Manbridge get to showcase their rhythm section throughout the track, particularly through the more rhythmic, groove-inspired sections of the song. If you want a good example of what to expect from the album, pick up this track in some way or give it a listen.
5.) "Deadweight"
Mansbridge gets "Deadweight" off of the ground with some absolutely killer double bass attacks, which really run throughout the entire duration of the song. "Deadweight" features some of the absolutely best heavy groove riffing I've ever heard, and even while the tempo of the song changes multiple times, it always retains a hardcore-level of aggression. If I had to pick an early favorite for the album based off of a first listen, I'd choose this one.
6.) "Eclipsed"
The first minute or so of this track is creepy guitar instrumental that helps set a tone, and it builds up to some awesome rhythm parts before leading into a shortened ambient track. Khetia and Mansbridge really help build up the tone of this track, while Ayers and Haycock build around it. It's not a particularly interesting track, but it fits the album well.
7.) "Psychophant"
This track immediately kicks off with some aggressive groove, and after the buildup that was "Eclipsed" it's a well-built momentum. This track really carries itself on that groove, which features the entire band prominently. Ayers and Haycock trade off in some pretty awesome ways, while Khetia and Mansbridge really prove themselves as the base of the entire band's sound. Even Graham gets to showcase some particularly heavy vocals during this track, as there's no real melody to this song: it's an all-out bruiser.
8.) "Mirrors"
"Mirrors" starts off in an ambient groove, which quickly continues on into an all-around groove. The guitar sound on this track is particularly bass-like, but it works really well for the song. "Mirrors" reminds me of something off of their first album, "Hope & Hindrance," and Graham's vocals sound similar to some of Sylosis' earlier tracks. Graham is really the standout of this track, balancing his guttural screams and eerie, ambient cleans in interesting ways.
9.) "Desensitize"
This track really carries itself like a hardcore track, and I can even imagine myself two-stepping along to this track. The sound on this track isn't a far distance from the rest of the album, but it carries more similarities to hardcore and punk than djent. Graham sounds incredibly youthful on this track, his vocals really carrying it.
10.) "Severance"
Just like with my previous Trivium album review, I'm incredibly curious how HOAC will end the album. The track "Severance" isn't a far cry at all from the rest of the album up until this point, carrying the same vibe that they've established throughout the album's duration: groovy guitar attack, heavy rhythm section, and ambient noises to match Graham's vocal prowess. "Severance" doesn't try and reinvent the wheel to send you off with a bang, instead it really tries to nail home the sound that HOAC have created. However, it might be the best cut that the album has to offer, nailing the transition from heavy to melodic INCREDIBLY well. Graham's vocals and the melodic guitar work great together, especially as the song builds up.
------------------------------------------------------------------------------------------------------------
All in all, was "Severance" an album that will change music? No, very few albums can say that. Did it even necessarily make me a fan of the djent genre? That remains to be seen.
Heart Of A Coward is a band that I was wary to like, after becoming such a huge Sylosis fanboy, but I thoroughly enjoyed this album. Like I stated previously, I was iffy on HOAC's first album, but this one really cemented it for me. The band clearly knows who they want to be, and they're not trying to change music history to do so.
Heart Of A Coward isn't just a simple djent-influenced band, they are a band that is more likely labelled "djent" because of their style: heavy ass grooves, with a lot of melody. To me, the band does the "djent" style better than the heavyweights of the genre (bands like Periphery, etc.), as they actually create songs with structure that work well within the confines of themselves.
With "Severance," Heart Of A Coward have established a great album. Jamie Graham doesn't need to do much else to establish himself as a good metal vocalists, but guitarists Carl Ayers and Steve Haycock really make a name for themselves on this album. The soundscapes they create with groovy riffs and ambient tones (two phrases that I realize I've used multiple times throughout this review) are amazing. Unfortunately, drummer Christopher Mansbridge and bassist Vishal Khetia don't get too many standout moments of their own, but they do incredibly well with what they have.
A good album.
"Hope & Hindrance," their first album, was good, but it wasn't necessarily great. I loved elements from it, but I wasn't totally enthralled by it like I was with Graham's two Sylosis albums, "Conclusion Of An Age" and "The Supreme Opressor." Some tracks like "Shade" had be bumping my foot for hours after hearing, but it seemed like the band was trying to be too "djenty" without fully embracing a sound of their own.
Hopefully they've managed to turn it around for their new album, "Severance"...
------------------------------------------------------------------------------------------------------------
1.) "Monstro"
"Severance" starts out with a bang with "Monstro." The down-turned guitar is very prominent, and sounds MUCH more crisp and clear than it did on their last album. Clearly, this is still a djent band, and their cementing themselves fully into that corner. However, one of the big things that kept me from fully embracing their last album was the production, and the production on this song alone is outstanding. This is a great album opener, fully of the groove and ambient guitar parts you'd expect from a djent band.
2.) "Prey"
The quality production carries on to "Prey," which offers a more straightforward metal sound while still retaining the djent elements. This is a great track, full of groovy bridges in between Graham's screamed verses and clean choruses. This is a track that's almost impossible not to nod along to. Guitarists Carl Ayers and Steve Haycock do a really good job of establishing a soundscape with their guitars throughout this track, instantly being able to split apart and balance the heavy groove with the dark ambient tones that make this more than just a metal song.
3.) "Distance"
This song immediately carries on from the end of "Prey," and delves into a brief melodic intro similar to something the Deftones would do, into an aggressive and passionate screaming performance by Jamie Graham, who delivers his best vocal performance to date. His singing voice has really matured from his days with Sylosis into (yet another Deftones comparison) a croon similar to Chino Moreno. The melodic style the band embraces on this track really works, especially when compared to the aggressive parts of the song, and the breakdown during the final ~35 seconds of the song is insane.
4.) "Nauseam"
"Nauseam" was the first single that the band released from this album, and I've actually been listening to it for the past couple of months. This was the track that got me incredibly excited for this album, as it's everything I could ask for: heavily aggressive and full of groovy metal riffs, yet also melodic and balanced in its own way. "Nauseam" has a few great hooks throughout it's 3:30 running time, and the entire band is in-sync. Even bassist Vishal Khetia and drummer Christopher Manbridge get to showcase their rhythm section throughout the track, particularly through the more rhythmic, groove-inspired sections of the song. If you want a good example of what to expect from the album, pick up this track in some way or give it a listen.
5.) "Deadweight"
Mansbridge gets "Deadweight" off of the ground with some absolutely killer double bass attacks, which really run throughout the entire duration of the song. "Deadweight" features some of the absolutely best heavy groove riffing I've ever heard, and even while the tempo of the song changes multiple times, it always retains a hardcore-level of aggression. If I had to pick an early favorite for the album based off of a first listen, I'd choose this one.
6.) "Eclipsed"
The first minute or so of this track is creepy guitar instrumental that helps set a tone, and it builds up to some awesome rhythm parts before leading into a shortened ambient track. Khetia and Mansbridge really help build up the tone of this track, while Ayers and Haycock build around it. It's not a particularly interesting track, but it fits the album well.
7.) "Psychophant"
This track immediately kicks off with some aggressive groove, and after the buildup that was "Eclipsed" it's a well-built momentum. This track really carries itself on that groove, which features the entire band prominently. Ayers and Haycock trade off in some pretty awesome ways, while Khetia and Mansbridge really prove themselves as the base of the entire band's sound. Even Graham gets to showcase some particularly heavy vocals during this track, as there's no real melody to this song: it's an all-out bruiser.
8.) "Mirrors"
"Mirrors" starts off in an ambient groove, which quickly continues on into an all-around groove. The guitar sound on this track is particularly bass-like, but it works really well for the song. "Mirrors" reminds me of something off of their first album, "Hope & Hindrance," and Graham's vocals sound similar to some of Sylosis' earlier tracks. Graham is really the standout of this track, balancing his guttural screams and eerie, ambient cleans in interesting ways.
9.) "Desensitize"
This track really carries itself like a hardcore track, and I can even imagine myself two-stepping along to this track. The sound on this track isn't a far distance from the rest of the album, but it carries more similarities to hardcore and punk than djent. Graham sounds incredibly youthful on this track, his vocals really carrying it.
10.) "Severance"
Just like with my previous Trivium album review, I'm incredibly curious how HOAC will end the album. The track "Severance" isn't a far cry at all from the rest of the album up until this point, carrying the same vibe that they've established throughout the album's duration: groovy guitar attack, heavy rhythm section, and ambient noises to match Graham's vocal prowess. "Severance" doesn't try and reinvent the wheel to send you off with a bang, instead it really tries to nail home the sound that HOAC have created. However, it might be the best cut that the album has to offer, nailing the transition from heavy to melodic INCREDIBLY well. Graham's vocals and the melodic guitar work great together, especially as the song builds up.
------------------------------------------------------------------------------------------------------------
All in all, was "Severance" an album that will change music? No, very few albums can say that. Did it even necessarily make me a fan of the djent genre? That remains to be seen.
Heart Of A Coward is a band that I was wary to like, after becoming such a huge Sylosis fanboy, but I thoroughly enjoyed this album. Like I stated previously, I was iffy on HOAC's first album, but this one really cemented it for me. The band clearly knows who they want to be, and they're not trying to change music history to do so.
Heart Of A Coward isn't just a simple djent-influenced band, they are a band that is more likely labelled "djent" because of their style: heavy ass grooves, with a lot of melody. To me, the band does the "djent" style better than the heavyweights of the genre (bands like Periphery, etc.), as they actually create songs with structure that work well within the confines of themselves.
With "Severance," Heart Of A Coward have established a great album. Jamie Graham doesn't need to do much else to establish himself as a good metal vocalists, but guitarists Carl Ayers and Steve Haycock really make a name for themselves on this album. The soundscapes they create with groovy riffs and ambient tones (two phrases that I realize I've used multiple times throughout this review) are amazing. Unfortunately, drummer Christopher Mansbridge and bassist Vishal Khetia don't get too many standout moments of their own, but they do incredibly well with what they have.
A good album.
Subscribe to:
Posts (Atom)