Technothrash!
-
FenderMedium
I will admit I had to leech quite a bit from people who shared with everyone before I had enough to share to gain access to the music nazi's files I am not ashamed as that is the only way I could gain access to the rare gems,I would wait until people went to sleep or left the computer as I could tell if they didn't respond very quickly and flew in on their files and I would have many albums done before they knew what hit them in the morning.
Fendermedium, that's a bit ridiculous, I'm sorry to say. I never had to sneak about soulseek, I had ripped my cd collection before I even found it, so I started with something like 1,000 cds online and nobody complained.
So yeah, it's someone in the band, if I had to bet. Simply too honest and naive to be a ploy to get some demos. Yeah, Flaming Anger shouldn't start plaing technical death metal, nor anything more 'modern' and stick to their guns. Here's hoping.
Dude continued talking later and was all - in sorta germanic english - 'how you know Flaming Anger? I thought, an 80's underground band....' and I was laughing and had half a mind to link him to this forum right there but I explained a lot of people love 80's underground metal still, and that I also am a bit of a technothrash geek, where a lot of the bands are from germany. Then he says his favourite bands were/are Sieges Even and Mekong Delta and Coroner. We chatted a bit more and he told me he'll keep me informed on the future of Flaming Anger.funny indeed! It could also be that since slsk is indeed p2p software, ppl are inventing new ways when they have nothing to share. Flaming Anger reunion would be fine if they'd stick to old sound and continue where they stopped.
So yeah, it's someone in the band, if I had to bet. Simply too honest and naive to be a ploy to get some demos. Yeah, Flaming Anger shouldn't start plaing technical death metal, nor anything more 'modern' and stick to their guns. Here's hoping.
-
doomedplanet
- Posts: 2173
- Joined: Fri Dec 01, 2006 10:48 pm
- Location: Oregon
just noticing this thread, Helm, welcome to this forum. I'll be curious to see that final list of what is thought to fit this category. But more importantly, you should make a similar list of what you are excluding and why.
I'm listening to ENTOPHYTE "End of Society's Sanity" 1992 Germany and wondering if this would fit the definition for this category? I can easily upload this.
Speaking of Sacrifice 'Apocalypse Inside", I was lucky enough to see them on this tour opening for Death at the Stone in S.F., truly an unforgettable set and for me far far better as Death were always boring on stage. Also unfortunately for many metal bands this was the stage where for all of them it was too little too late. Saw Believer around this same time frame (maybe 1 year earlier) and also feel very lucky to have witnessed that, I forget who they were touring with but it might have been Wrathchild America and Coroner.
I'm listening to ENTOPHYTE "End of Society's Sanity" 1992 Germany and wondering if this would fit the definition for this category? I can easily upload this.
Speaking of Sacrifice 'Apocalypse Inside", I was lucky enough to see them on this tour opening for Death at the Stone in S.F., truly an unforgettable set and for me far far better as Death were always boring on stage. Also unfortunately for many metal bands this was the stage where for all of them it was too little too late. Saw Believer around this same time frame (maybe 1 year earlier) and also feel very lucky to have witnessed that, I forget who they were touring with but it might have been Wrathchild America and Coroner.
doomedplanet: Thanks for the welcome.
Yeah, when and if I make a more finalized list (I am listening to 2-3 records from the recently downloaded daily, trying to keep my full attention on them. This isn't as easy as it was when I was just getting into Heavy Metal!) I will have a good definition of what I at least speak of when I say technothrash (some more expansive variation of that given in the first pages of this thread, most likely) and will say how and why most bands mentioned here fell short of that.
FenderMedium. if you don't mind me saying, your attitude is not conductive to filesharing. 'idiots' that want 'common files'? It's all piracy, man, it's not an exclusive Gentlemen of Metal club.
Yeah, when and if I make a more finalized list (I am listening to 2-3 records from the recently downloaded daily, trying to keep my full attention on them. This isn't as easy as it was when I was just getting into Heavy Metal!) I will have a good definition of what I at least speak of when I say technothrash (some more expansive variation of that given in the first pages of this thread, most likely) and will say how and why most bands mentioned here fell short of that.
FenderMedium. if you don't mind me saying, your attitude is not conductive to filesharing. 'idiots' that want 'common files'? It's all piracy, man, it's not an exclusive Gentlemen of Metal club.
Heh, I (apparently) ran into the vocalist of Necrobutcher on soulseek...Helm wrote:Amusing thing that just happened to me on soulseek
(15:59) [Hellboy67] Hello !!! Can i load the files quickly ??? I need the drumparts to practice for a Flaming Anger Reunion !!!
[Helm] holy shit, Flaming Anger reunion!
[Helm] Yes!
[Helm] you're on my list
(16:09) [Hellboy67] Thanx !!!! Meatal never die !!!
[Helm] You're dead-on. Hope the reunion goes well, and you guys get some cuts on record.
PIRACY SAVES THE DAY! Also, Flaming Anger reunion! You heard it here first!
.Technothrash reviewed!
If nobody minds I'll be posting a few reviews here before I have enough to make a website of it. I'll be going alphabetically, reviewing the things I have, and when I exhaust those reviewing all the things I've gotten in the mean-time.
Here's the first two: Accuser and Acid Reign. Aftermath and Anacrusis next!
Accuser - Who Dominates Who
Germanic Thrash band with hilarious cover.
That they indulge in a few fast guitar runs, doesn't make them technothrash. This is somewhat-fence-sitting technical thrash metal with some good solos and neat structural embellishments on otherwise simple songs, naive political lyrics and an annoying drum machine. It's funny how even the band evidently couldn't stand the sound of the drum machine that they tend to take out the repetitive hihat timekeeper accent from many drum parts, leaving the cold snare and (actually okay) kick to do the polka.
They want to be a bit like Testament (or whichever american generic flashy thrash band you'd like to mention), as the intro to 'Symbol of Hate' proves, but they usually settle for the savage thrash more typical of their scene. The speeds are pretty consistently high with a few exceptions: 'Bastard' is a mid-tempo song most notable for its hilarious chorus of "FASTER YOU BASTARD". Way to be unintentionally ironic there, Accuser! 'Black Suicide' is a forgetabble plodding martial mid-tempo number with an even more predictable fast middle sequence. There's a lot of interesting riffage, however the songs tend to not leave an impression. The thing is, you'll probably find 40% of these riffs forgettable, 40% slighly similar to other great riffs and the last 20% of them are honestly awesome, new applications of the thrash-riff formula (which famously was exhausted somewhere around 1994). These aren't the best odds, and it creates this strange feeling of pity when the really good riff comes up, swimming otherwise in seas of mediocrity and derivation. One feels the need almost to harvest that prime 20% from the whole and write perhaps two songs of absolute asskickery. Still wouldn't be technothrash, but at least it would be awesome string-of-riffs material.
They might think they're technothrash, though! The rerelease I don't have seems to have an extra track called 'Technical Excellence' and I'd like to see what Accuser's idea of such would be.
As far as Reason goes, the band seems unfocused on what exactly it should put its tightness and instrumental prowess towards promoting. What I've catched from the lyrics it seems really derivative thrash-material (opression is bad!) thematics are the order of the day, and in the end comes across like a hobby thrash band that has written a few okay thrash riffs, puts them together to form a few okay thrash songs and then has the singer write angry sociopolitical lyrics on top. No cohesion, no rhyme, well... no Reason. This is a band foremostly interested in PLAYING THRASH, not why they play it or what they could do with it. This isn't always a problem as it's generally fairly indicative of lots of great music, but as far as technothrash goes, I need to hear that there is conviction in something other than the primal atavistic kick one gets at playing 230 bpm thrash riffs.
But to play that fast, practise they did. Discipline-wise, it's a bit of a sad situation to hear two pretty tight guitarists enjoy playing their music together so much (and doing a quite clean job out of it) but having the end result be bland and directionless. The drum machine could actually have a somewhat alluring quality in the context of this reasonably precise music, but here it's delegated to the bland duty of the simple timekeeper. Mid-tempo stomp, double-time, here's some thrash polka, that's it. The bass doesn't do much that I can discern besides follow the guitar lines. This is reasonably well-oiled a machine, but it's speeding down route Bland, to Generic-City. What little sense of propulsion and drive is on display occurs usually during solos. The articulation of the lead guitarist does a much better job of validating these songs than the thematics the singer has chosen to bark about ever do.
Intensity starts off pretty high (fast tempos, good crunch, nice riffs here and there, the vocalist is gruff and pissed-off!) but due to lack of variation in the material it all blends together to the point where it becomes easy-listening music. Thrash-ambient, so to speak. A band interested in hammering a point home would juxtapose serenity with violence, or at least have the means to upstage expectations by piling on more and more savagery when needed. Accuser as sadly one-gear. If progressive metal bands neuter their sound by refusing to be intense, then bands like Accuser neuter their sound by being intensively directionless.
Overall: Not a bad technical thrash record. Somewhat tiring to sit through and suffering from lack of identity and focus. I have a soft spot for Small German Thrash Bands That Could, so I can see myself listening to this a few times more, but a lot of people would probably find it too indistinct to mention.
Acid Reign - Obnoxious
British 'humourous' Thrash band that is actually pretty serious!
Well, this is much more my speed. The first track, 'Creative Restraint' is a thorough social critique of British worker class life, and seems pretty incisive and poignant -to foreigners at least! It explains how servile conformity leads to atrocity just the same as the full-mouthed romantic ideals of 'Aryan Dictators past'. This record starts off pretty strong! Other themes covered in various degrees of detail are: enviromental polution (on the simply crushing 'Joke Chain') emotional dispondency and alienation ('Thoughtful Sleep', a schizoid patient-observation into one 'Richard McClenan'), Sartre-ian Existentialism (in the again savage and pulsating 'You are the Enemy') moral ambiguity and state cohersion ('My Open Mind') and finally sarcasm and jokes ('This is Serious' obviously)!
Chopped-up crunch riffs, double-guitar work... this is pretty anxious music. Lots of pauses, synchopated accents and aclectic voicings. It is perhaps similar to '...And Justice For All'-era Metallica, while being actually more melodically adept than them, though unlike that record the long songs here do not suffer from lack of direction because they're linear stories where parts are introduced to serve the emotional concept of the song, not just selections of riffs played sixteen more times than needed.
I've always been told to steer clear from Acid Reign because they're a 'joke band' but that seems to have been bullshit. This is the thinking man's thrash (with all the good and bad this entails) and for that, it does an admirable job of holding the balance between ponytail-metal and mullet-metal. Perhaps however my bias a bit scewed so others might find them really toothless.
Whenever they do the unison thrash crunch, they're really convincing. Their singer sounds a bit bratty, but his delivery is very every-man which does suit the material sang. It's easier to connect with the message than it is say, with the higher-pitched siren singers of the Power metal bands. In this they are similar to Anthrax Joey-era, but unlike them they actually have something to say that isn't tired (even by 80's standards) pc group-hug bullshit. The various bits of two-voice harmony seem to be very composed, with an ear towards resolution but not without testing the listener with dissonance throughout the phrasings.
The music has a lot of variety. There's Exodus-like crunch, the aforementioned ...And Justice stop-start rhythms, accoustic passages, menacing double-ride mid-tempo segments of two distinct single-note phrases working in contrast and occasional union. Good stuff. There seems to have been paid honest attention to matching the music to the subject matter most of the time. For example, 'Thoughful Sleep' with its concept of a child misunderstood and unappreciated writing to his father and mother is as morose and depressing as it should be in its confessional verses, while starkly breaking though with psychotic odd-tempo accusationary bridges that lead back through inconclusive two-guitar metalhead-counterpoint into depression, and then again to violence. Pay special attention at the 5:02 mark on this song when the lyric goes 'To enter my dreams and I shall not wake'. The riff right after this declaration is stuttered again and again, reminder of violent refusal to aknowledge reality, an autistic giration towards ingression. Lost and closed inside oneself. This is actually a very good physio-musical representation of bipolar psychosis! How many bands have done this? Yes, Metallica in 'Dyer's Eve' though that song, as ass-kicking it is, is actually pretty one-sided. Yes, Annihilator in 'Alice in Hell' but it's not taken very seriously, rather an excuse for a Waters mini-opera.
There seems to be a concept of putting a simple song after a complicated song again and again which actually lends some respite to the listener. 'Joke Chain' is furious and straightforward before 'Thoughtful Sleep', and 'You are the Enemy' follows that and leads to the 9 minute long 'Phantasm'. Which, besides silly 'orchestra hit' presets on keyboards aside, is quite good.
Being a long track, Acid Reign decided to tell a linear story through it, and as with 'Thoughtful Sleep' it's music-as-emotion and done great. The first three minutes are savage thrash and depict the equally frentic escape of the boy protagonist from some... Tall man? The way these lyrics are written it seems as if they'r referencing some other source, a movie or a book which I haven't been exposed to, and there lies some of the fault of this otherwise awesome track: I have problems understanding what's going on. Obviously the second, more confident part of the song is sang from the point of view of this 'Tall man' (I slavetrade death, my powers are many and unknown, I feel no pity, shame or reason, I live to kill and kill to live!) It seems the boy from the first part of the song has entered and disturbed his domain and for that he must die. There is a confrontation towards the end of the song which cages the 'Tall Man', but he simply waits (in death?) and plans his return. Gosh, I'm going to IMDB search for 'The Phantasm' and I bet there's a movie with much the same plot...
*checks*
well, yes, I was right! So now I have to see this movie. I'm not much for 'gosh I liked that book/film so much I want to write a song about it!' but I'll refrain from judgement until I've seen this one.
There really isn't a bad song on this record by my standards. Even the joke song serves a valuable end in poking fun at the band itself for being so serious (or to say, obnoxiously serious) during this record. The technical proficiency levels are okay, though there isn't any solos of great praise. The band is in essence a tight american-type Thrash band and I get the feeling that the technothrash overtones are the result of the musical variety that's needed to do the lyrical concepts justice, and not an end in itself. They can play that well, so if they have to portray psychosis, they will. This clearly puts Reason above Intensity, and Discipline in servitude of both, which is how it should be as far as I'm, concerned. I only have a bit of a suspicion that some of the more social lyrical material here are a bit paint-by-numbers (a lot of thrash bands went with the 'social awareness' momentum much more than they went with the 'social awareness' movement) so Reason takes a small hit from that. Discipline is great on this record! Whatever concept they desire to serve, they serve brilliantly, with gusto and skill. Intensity is actually pretty awesome here because the fast songs really crush, sounding totally urgent and manic. However this isn't intentionally difficult on any other respect (even the long songs are easy to follow) and the humour towards 'Ends of Conformity' and 'This is Serious' hurts the cause! Remember! Beer Thrash: happy face! Technothrash bands: frowny face! These things are not to be contested by such a band as Acid Reign! Such insolence, such cheek!
Overall: Neat and diverse Technothrash record, marred by a bit of conceptual indecisiveness, saved by its down-to-earth moxy and highly competent delivery.
If nobody minds I'll be posting a few reviews here before I have enough to make a website of it. I'll be going alphabetically, reviewing the things I have, and when I exhaust those reviewing all the things I've gotten in the mean-time.
Here's the first two: Accuser and Acid Reign. Aftermath and Anacrusis next!
Accuser - Who Dominates Who
Germanic Thrash band with hilarious cover.
That they indulge in a few fast guitar runs, doesn't make them technothrash. This is somewhat-fence-sitting technical thrash metal with some good solos and neat structural embellishments on otherwise simple songs, naive political lyrics and an annoying drum machine. It's funny how even the band evidently couldn't stand the sound of the drum machine that they tend to take out the repetitive hihat timekeeper accent from many drum parts, leaving the cold snare and (actually okay) kick to do the polka.
They want to be a bit like Testament (or whichever american generic flashy thrash band you'd like to mention), as the intro to 'Symbol of Hate' proves, but they usually settle for the savage thrash more typical of their scene. The speeds are pretty consistently high with a few exceptions: 'Bastard' is a mid-tempo song most notable for its hilarious chorus of "FASTER YOU BASTARD". Way to be unintentionally ironic there, Accuser! 'Black Suicide' is a forgetabble plodding martial mid-tempo number with an even more predictable fast middle sequence. There's a lot of interesting riffage, however the songs tend to not leave an impression. The thing is, you'll probably find 40% of these riffs forgettable, 40% slighly similar to other great riffs and the last 20% of them are honestly awesome, new applications of the thrash-riff formula (which famously was exhausted somewhere around 1994). These aren't the best odds, and it creates this strange feeling of pity when the really good riff comes up, swimming otherwise in seas of mediocrity and derivation. One feels the need almost to harvest that prime 20% from the whole and write perhaps two songs of absolute asskickery. Still wouldn't be technothrash, but at least it would be awesome string-of-riffs material.
They might think they're technothrash, though! The rerelease I don't have seems to have an extra track called 'Technical Excellence' and I'd like to see what Accuser's idea of such would be.
As far as Reason goes, the band seems unfocused on what exactly it should put its tightness and instrumental prowess towards promoting. What I've catched from the lyrics it seems really derivative thrash-material (opression is bad!) thematics are the order of the day, and in the end comes across like a hobby thrash band that has written a few okay thrash riffs, puts them together to form a few okay thrash songs and then has the singer write angry sociopolitical lyrics on top. No cohesion, no rhyme, well... no Reason. This is a band foremostly interested in PLAYING THRASH, not why they play it or what they could do with it. This isn't always a problem as it's generally fairly indicative of lots of great music, but as far as technothrash goes, I need to hear that there is conviction in something other than the primal atavistic kick one gets at playing 230 bpm thrash riffs.
But to play that fast, practise they did. Discipline-wise, it's a bit of a sad situation to hear two pretty tight guitarists enjoy playing their music together so much (and doing a quite clean job out of it) but having the end result be bland and directionless. The drum machine could actually have a somewhat alluring quality in the context of this reasonably precise music, but here it's delegated to the bland duty of the simple timekeeper. Mid-tempo stomp, double-time, here's some thrash polka, that's it. The bass doesn't do much that I can discern besides follow the guitar lines. This is reasonably well-oiled a machine, but it's speeding down route Bland, to Generic-City. What little sense of propulsion and drive is on display occurs usually during solos. The articulation of the lead guitarist does a much better job of validating these songs than the thematics the singer has chosen to bark about ever do.
Intensity starts off pretty high (fast tempos, good crunch, nice riffs here and there, the vocalist is gruff and pissed-off!) but due to lack of variation in the material it all blends together to the point where it becomes easy-listening music. Thrash-ambient, so to speak. A band interested in hammering a point home would juxtapose serenity with violence, or at least have the means to upstage expectations by piling on more and more savagery when needed. Accuser as sadly one-gear. If progressive metal bands neuter their sound by refusing to be intense, then bands like Accuser neuter their sound by being intensively directionless.
Overall: Not a bad technical thrash record. Somewhat tiring to sit through and suffering from lack of identity and focus. I have a soft spot for Small German Thrash Bands That Could, so I can see myself listening to this a few times more, but a lot of people would probably find it too indistinct to mention.
Acid Reign - Obnoxious
British 'humourous' Thrash band that is actually pretty serious!
Well, this is much more my speed. The first track, 'Creative Restraint' is a thorough social critique of British worker class life, and seems pretty incisive and poignant -to foreigners at least! It explains how servile conformity leads to atrocity just the same as the full-mouthed romantic ideals of 'Aryan Dictators past'. This record starts off pretty strong! Other themes covered in various degrees of detail are: enviromental polution (on the simply crushing 'Joke Chain') emotional dispondency and alienation ('Thoughtful Sleep', a schizoid patient-observation into one 'Richard McClenan'), Sartre-ian Existentialism (in the again savage and pulsating 'You are the Enemy') moral ambiguity and state cohersion ('My Open Mind') and finally sarcasm and jokes ('This is Serious' obviously)!
Chopped-up crunch riffs, double-guitar work... this is pretty anxious music. Lots of pauses, synchopated accents and aclectic voicings. It is perhaps similar to '...And Justice For All'-era Metallica, while being actually more melodically adept than them, though unlike that record the long songs here do not suffer from lack of direction because they're linear stories where parts are introduced to serve the emotional concept of the song, not just selections of riffs played sixteen more times than needed.
I've always been told to steer clear from Acid Reign because they're a 'joke band' but that seems to have been bullshit. This is the thinking man's thrash (with all the good and bad this entails) and for that, it does an admirable job of holding the balance between ponytail-metal and mullet-metal. Perhaps however my bias a bit scewed so others might find them really toothless.
Whenever they do the unison thrash crunch, they're really convincing. Their singer sounds a bit bratty, but his delivery is very every-man which does suit the material sang. It's easier to connect with the message than it is say, with the higher-pitched siren singers of the Power metal bands. In this they are similar to Anthrax Joey-era, but unlike them they actually have something to say that isn't tired (even by 80's standards) pc group-hug bullshit. The various bits of two-voice harmony seem to be very composed, with an ear towards resolution but not without testing the listener with dissonance throughout the phrasings.
The music has a lot of variety. There's Exodus-like crunch, the aforementioned ...And Justice stop-start rhythms, accoustic passages, menacing double-ride mid-tempo segments of two distinct single-note phrases working in contrast and occasional union. Good stuff. There seems to have been paid honest attention to matching the music to the subject matter most of the time. For example, 'Thoughful Sleep' with its concept of a child misunderstood and unappreciated writing to his father and mother is as morose and depressing as it should be in its confessional verses, while starkly breaking though with psychotic odd-tempo accusationary bridges that lead back through inconclusive two-guitar metalhead-counterpoint into depression, and then again to violence. Pay special attention at the 5:02 mark on this song when the lyric goes 'To enter my dreams and I shall not wake'. The riff right after this declaration is stuttered again and again, reminder of violent refusal to aknowledge reality, an autistic giration towards ingression. Lost and closed inside oneself. This is actually a very good physio-musical representation of bipolar psychosis! How many bands have done this? Yes, Metallica in 'Dyer's Eve' though that song, as ass-kicking it is, is actually pretty one-sided. Yes, Annihilator in 'Alice in Hell' but it's not taken very seriously, rather an excuse for a Waters mini-opera.
There seems to be a concept of putting a simple song after a complicated song again and again which actually lends some respite to the listener. 'Joke Chain' is furious and straightforward before 'Thoughtful Sleep', and 'You are the Enemy' follows that and leads to the 9 minute long 'Phantasm'. Which, besides silly 'orchestra hit' presets on keyboards aside, is quite good.
Being a long track, Acid Reign decided to tell a linear story through it, and as with 'Thoughtful Sleep' it's music-as-emotion and done great. The first three minutes are savage thrash and depict the equally frentic escape of the boy protagonist from some... Tall man? The way these lyrics are written it seems as if they'r referencing some other source, a movie or a book which I haven't been exposed to, and there lies some of the fault of this otherwise awesome track: I have problems understanding what's going on. Obviously the second, more confident part of the song is sang from the point of view of this 'Tall man' (I slavetrade death, my powers are many and unknown, I feel no pity, shame or reason, I live to kill and kill to live!) It seems the boy from the first part of the song has entered and disturbed his domain and for that he must die. There is a confrontation towards the end of the song which cages the 'Tall Man', but he simply waits (in death?) and plans his return. Gosh, I'm going to IMDB search for 'The Phantasm' and I bet there's a movie with much the same plot...
*checks*
well, yes, I was right! So now I have to see this movie. I'm not much for 'gosh I liked that book/film so much I want to write a song about it!' but I'll refrain from judgement until I've seen this one.
There really isn't a bad song on this record by my standards. Even the joke song serves a valuable end in poking fun at the band itself for being so serious (or to say, obnoxiously serious) during this record. The technical proficiency levels are okay, though there isn't any solos of great praise. The band is in essence a tight american-type Thrash band and I get the feeling that the technothrash overtones are the result of the musical variety that's needed to do the lyrical concepts justice, and not an end in itself. They can play that well, so if they have to portray psychosis, they will. This clearly puts Reason above Intensity, and Discipline in servitude of both, which is how it should be as far as I'm, concerned. I only have a bit of a suspicion that some of the more social lyrical material here are a bit paint-by-numbers (a lot of thrash bands went with the 'social awareness' momentum much more than they went with the 'social awareness' movement) so Reason takes a small hit from that. Discipline is great on this record! Whatever concept they desire to serve, they serve brilliantly, with gusto and skill. Intensity is actually pretty awesome here because the fast songs really crush, sounding totally urgent and manic. However this isn't intentionally difficult on any other respect (even the long songs are easy to follow) and the humour towards 'Ends of Conformity' and 'This is Serious' hurts the cause! Remember! Beer Thrash: happy face! Technothrash bands: frowny face! These things are not to be contested by such a band as Acid Reign! Such insolence, such cheek!
Overall: Neat and diverse Technothrash record, marred by a bit of conceptual indecisiveness, saved by its down-to-earth moxy and highly competent delivery.
Really count in what extent? Doesn't hurt the integrity of the core album? I can see that sort of view-point, yeah, but I don't really mind it.
I'm not sure if there's actually an audience for yet even more reviews of metal music on the internet, especially something as niche as Technothrash. Should I go on? I enjoy writing, but if it's an end in itself I can see myself loosing steam after ten of those or so.
I'm not sure if there's actually an audience for yet even more reviews of metal music on the internet, especially something as niche as Technothrash. Should I go on? I enjoy writing, but if it's an end in itself I can see myself loosing steam after ten of those or so.
In extent that it was only good enough for cd release. It doesn't have much in common the rest (the whole vinyl version). Vinyl is glorious though. Enough VoiVod riffs to satiate my needs and quite difficult to get into. As for reviews, write them when you feel them. Don't force yourself. They're very interesting - using lyrics as a base.Helm wrote:Really count in what extent? Doesn't hurt the integrity of the core album? I can see that sort of view-point, yeah, but I don't really mind it.
I'm not sure if there's actually an audience for yet even more reviews of metal music on the internet, especially something as niche as Technothrash. Should I go on? I enjoy writing, but if it's an end in itself I can see myself loosing steam after ten of those or so.
I am ... the One you warned me of