Sledge(Hyderabad)

Album Name :: Desert Of Souls

List of Tracks

1. Final Verdict
2. Liar To Follow
3. Soul In Disgrace
4. Deathly Hymn
5. Caught In A Crossfire
6. Serpent Of Sorrow
7. Say You Will
8. Last Breath

Year : 2005
Record Label : Times Music
Producer : Times Music
Mixed & Mastered : Dr.Maruth

Genre :: Death/Thrash Metal

Rating :: 8/10

Band Contacts :

sledgeindia@yahoo.com

http://www.myspace.com/sledgeindia

http://www.mosh.in/sledge

http://www.thegauntlet.com/bio/2250/Sledge.html

Review ::

Watching Sledge live for the very first time was an experience of its kind; it happened at IIT-D Blitzkrieg prelims a couple of years ago. The thing that struck me most about the band was the their shear heaviness exhaled with raw head moving trip. Moreover, sledge’s electric performances haven’t been limited only to their hometown Hyderabad or Delhi gigs, the receptiveness has always been phenomenal throughout India.

Meanwhile, all this has brought them a burdening tag of ‘too much of a Sepultura cover band.’ Truly that is one band they cover inch perfect. In order to give an answer to such criticism sledge unveils ‘Desert of souls’ (the much awaited debut, which is part of the contract with times music after the acclaimed win at Castrol garage rock competition). Hence, the uncovering act for ‘Desert of souls’ unfolds. Cover art depicting a grave land on a red background looks refreshing. Opening up, flipping through the 2-page inlay I am utterly disappointed, because, frankly I wasn’t expecting such bad production in terms of layout etc from a label like Times music. It’s got 8 tracks that run a little over 35mins. What it offers is traditional heavy metal having some occasional plucking and leads thrown in. Surprisingly there’s a negligible Sepultura overtures on the music. Thankfully, this was THE aspect they had to work on and they have reasonably done well in the department. Avinash (V)’s throat is consistently distorted, energized and merciless across the record. References to Max might be present, but overall range and emotion seems much advanced in comparison to what we have seen from the band all these years. On the other hand, guitar sound is a let down as it’s very feeble, undoubtedly it could have certainly increased the substance if it had been a bit more thick. Agonizingly, it almost fells like an extension to the ones used by glam bands of the 80’s. Song structuring is orthodox, apparently influenced with 80-90’s heavy metal era. A dazzling lead guitar presence is felt, whenever Shadrach (LG) maneuvers his fingers through those frets. He’s flamboyant and yet composed with his instrument. However, over plucking on the bulk of the record sounds a bit unnecessary at times.

Regarding drumming, I am in two minds whether they are using a drum machine or is Suman (drums) playing them? Whatever be the case, inputs are signficant, especially a quality double base work here and there. To add, the thumping base drum reminds of the effects from ‘And justice for all’ record (by the legendary band). But do not even dare comparing the style. All said and done, drums (sound and playing) are always a mandatory for heaviness, and sledge handles this well. Track6 ‘Serpent of sorrow’, track4 ‘Deathly hymn’ and signature original ‘Caught in a crossfire’ stand out for sturdiness, balance, composure and consistency. While these have charmers, they have a couple of losers in the form of ‘Say you will’ (track7) and ‘liar to follow’ (track 2) reason being, exact musical derivation from most heroes of their genre.

Pick the album; because the heaviness is intact, traditional HM character is plenty and its SLEDGE! And for those who are not into conventional metal, you have your say.

DEMONIC RESURRECTION (Mumbai)

BAND NAME: DEMONIC RESURRECTION

ALBUM NAME: A DARKNESS DESCENDS

BAND:
THE DEMONSTEALER-Vocals & guitar
MEPHISTO-Keyboards
HUSAIN-Bass
JP-Drums

BAND CONTACT:
www.demonicresurrection.com
DRonline@thevortex.com

COUNTRY: INDIA,Mumbai

FORMAT (CD/MCD/DEMO): CD

TOTAL TIME: 58.08mins

LABEL NAME: Demonstealer records

RELEASE DATE (MONTH/YEAR): 2005

RATING : 7 /10

REVIEW:
Signs of maturity are indeed evident considering all aspects of this Demonic Resurrection release. I heard DR 5 years ago, when they released their debut-’DEMONSTEALER’; it was a weak outing, comparing it to bands playing symphonic black metal here in Asia. All that ‘Demonstealer’ could do for young Sahil (vocals/guitar) was, provide an immense confidence that extreme bands can record and sell records in this part of the world. Let me not waste precious web space for my site by getting too much into technical aspects of that album. Mind you, this is reworked DR in terms of shape, formation, style, direction and production.
I can sense the high tides about to hit seashores of mumbai, as soon as track 1 ‘Prelude to darkness’ concludes. ‘Dreams of the dead ‘provides a gut-busting opening; first thing worth noticing was profound drumming; that strengthens audibleness of ‘a darkness descends’ as a whole. I am specially mentioning this because, it has always been my complaint with extreme Indian bands that have completely disappointed me in drum mixing department. Total credit to DR’s sound engineers for a perfect mix. Although, I still have doubts regarding presence of live drums on the album?! No, offense to JP’s abilities to play blast beats/hyper blast beats (whosoever has seen him live, would agree with me!).
DR sound reminds me of ‘Prometheus’ era by the mighty Emperor to an extent. However, this is also too big a statement, moving parallel, may be the right way to describe it. With that album Emperor had broken a shell of a typical scandinavian sound, by infusing newer progressive elements and powerish riffs and vocal turnarounds. DR show similar aspirations on this album. But, their success rate quotient will be answered best by review conclusion. So better not jump onto it. The interludes and background keyboards are best wedged on ‘dreams of the dead’ (track2), ‘frozen potrait’ (track10) and ‘spirit of the mystic mountain’ (track 6). Although I feel they have gone a little over board with keyboard use. I personally had wanted it to be less loud. Moreover the choruses with all the guest backups are a little off tune and turnout to be an unhealthy mismatch, these are sadly illustrated on ‘Apocalyptic dawn’ (track3). Even the biggest symphonic black metal heroes ‘Dimmu borgir’ would jerk away from such experiments, and keep it as much unadulterated. Nevertheless, it’s the bands vision of construction; unmatched top-notch production gives it a one above. But this isn’t a saving grace for matters look a little confused; it appears patched by different genres.
Pick it to believe me. Hard work has surely paid-off, but not just.

Rudra(Singapore)

Album Name :: BRAHMAVIDYA PRIMORDIAL 1

Genre :: Death Metal(Vedic)

Rating :: 8/10

Band Contacts ::

Email: bsprod_bali@yahoo.com

http://www.rudraonline.org/

http://www.myspace.com/vedicmetal

Conceptual death metal can be extremely challenging as a task, i.e. to play as a band and to feel as a listener. The band I am reviewing has never belonged to this genre. Though all 3 albums (Om, The Aryan crusade and kurukshetra) by Vedic metallers Rudra are primarily theme ridden, but were never concept based in total. Then why talk all this? News is, their latest offering BRAHMAVIDYA PRIMORDIAL 1 primarily showcases a concept approach. Gauging its effective charm will be certainly tedious!

I believe the whole process started with their last album itself, Kurukshetra (the name of the place where ancient battle of Maharbartha took place) which marked a perfect prelude to what the band has evolved into, however it wasn’t too uni-directed and similar in terms of music, but was certainly how a predecessor to the current album should have been. BRAHMAVIDYA has ten songs, running close to forty-six minutes (approx), each of these inspired by Principal Upanishads (are metaphysical texts of the Vedic traditions, out of hundred Upanishads, ten are popular for teaching brahmavidya-knowledge of Brahma-The god of creation according to Hindu mythology). Moving on from concept to music, its authentic, marrow chilling, whipping death metal fused incredibly over scriptural chants and usage of Indian instruments like dholki and tabla. (All those of you who are well versed with Rudra’s previous albums already anticipate all that).
Drums hurricane from start to finish, remaining the chief pace driver, it’s almost rampaging enough to beat the skins out of the stands. Also, bother to put a careful ear into Shiva’s (drums) rolls, you are sure to conclude his presence is indispensable for Rudra Moreover, drum sound replicates one heard on recent Vader albums (Blood, The beast). Variation and technicality gets controlled superbly courtesy all this. Twin guitars; intoxicate your ears, finely tuned closer to likes of Vomitory and Vader. Leads are occasionally ultra fast, sure to deceive your imagination on few occasions, when it comes to flair and impact they provide. Pace average on the record, exceeds a little over flat –out brutal DM.Kathir’s vocals are as usual stellar, which makes the whole concept stand out, beaten-up, dry, creating a torturous thrash range might be other appropriate words to describe it. Experimentation is witnessed best on ‘Ageless consciousness, I am’ (track 6), which mingles twisted riffs over dholki during intro, classical vocals on ‘Shovoham’ (track 9) by Aishwariyah S, which is a plannno hymn, and kathir’s reverberating throat on key phrase on ‘Aham bramhasmi’ (track .

Therefore, those of who missed out on classical rudra elements-shlokas, demented acoustics, force and a ripping effect, on the last release will not be disappointed as you get all of it on BRAHMAVIDYA.My picks are ‘Twilight of quality’ (track 1), ‘The pathless path to knowable unknown’ (track 3) and ‘Aham bramhasmi’ (track for urgency, progression and exploding effect respectively. A word of caution though- Go through the conceptual preface and lyrics of the album if you really want to freak out on it. It took me only couple of spins to compose this review, and I have no clue how many spins will it take before I get tired to get it out my CD player. And, for all you rudra fans there’s a limited edition digipak includes a bonus death metal compilation disc featuring Narasimha, Rough cast, Angel of sin, Suicide solution.etc.

The overall blend is an epic in construction. Grab it!

3rd Sovereign (Mizoram)

BAND NAME: 3rd Sovereign

Tracklist:
1. Pathetic Ignorance
2. Necrophobia
3. Destined To Suffer
4. Dying Sun
5. Gathering Of Lies
6. Life Of Mortal
7. Victimized
8. Suicidal Corpse
9. Funeral Rites

ALBUM NAME: Horrified visions.

BAND:

Mala-Vox
Anshuman-Guitars
Jonah-Bass
Reuben-Drums

BAND CONTACT;

baptizedwithin@yahoo.co.in
www.soundclick.com/iiisovereign

http://iiirdsovereign.metalhordes.com/

http://trendcrusher.googlepages.com/3rdsovereign

COUNTRY; INDIA
FORMAT : E.P
TOTAL TIME: 12mins(approx)
LABEL NAME: Self-release
RELEASE DATE (MONTH/YEAR): Apr 2006
RATING – 9.5 /10

REVIEW:
I still remember the spring-winter season of year 2002-2003,when an unknown entity from Mizoram came, played and conquered North India rock festivals with their stupendous style and musical prowess. The band talked about here is 3rd Sovereign and the highlighted competitions were Delhi College of Engg and BITS Pilani Whosoever, has seen them in that era (I being one of the lucky few), or at the recently concluded Resurrection 5 festival in Mumbai would agree that they discharge-energy with unmatched stamina and eagerness to stretch to limits. 3rd sovereign have come a long way, evolving into an 8-legged juggernaut, which specializes into an art called DEATH METAL. However, they always lacked one essential ingredient in each of their performances-ORIGINALS! ‘Face of despair’ was the only saving grace original (released earlier on ‘Resurrection’ compilation last year) that used to make a cut to their set, which used to be filled with covers of Cannibal corpse, Carcass and Death. But this E.P having 4 new songs swings tide towards their shores making them one of my most respected bands under extreme Indian scene. ‘Destined to suffer’ EP opener has a very meaty distorted riff, riding on a furious fret work. A minute into the song tempo change occurs which reverts backwards-forwards. This immediately reminds about clear ‘Decapitated’ influence. Mala’s vocals are dry, mixing- matching Sauron (decapitated)-Benton (post-‘Serpents of the light’ era), drums are thumping, delivered with typical signature Reuben blasts which is refreshingly thick in production, unlike other Indian bands. Title track ‘Horrified visions’strats with a relatively slower pace, that picks from the intermediate section and develops into a cyclonic shape that gathers around you. Mala stands firm here alongside pinch harmonics by ‘Anshuman’ (G) during the penultimate shell, leaning into never ending kind of larynx growl-Butchers you away. (Heard it several times before commenting).’Everlasting burn’ is my favorite among the lot built up on a haunting intro moving towards a gentle bass tapping, that develops into a straight riff, which eventually expands into a hurricane effect when complimented by double bass, and after about a minute before unfolding of groove part, guitar churns with Reuben’s consistent snare beating, this! is sure to take toil on any ones neck. Then again after another minute and a half it’s back with a punch. May be I am stressing too much on it, but believe me it can put the best bands in business to shame. Another high point is band keeps unnecessary ‘leads’ out, that would have been baffling and obnoxious. ‘Suicidal corpse’ seems inspired by structures of CC’s last outing ‘Wretched spawn’. It’s got an immense display of powerful, hatefilled streamline growl execution, simultaneously enriched in a pain soaked scary note. By this time, you must have guessed what my verdict is going to be like. Therefore listen to the song to understand better.
Hence, ‘Horrified visions’ is brutal, bone wrecking technical death metal played with enthusiasm and self-belief.
ADD THIS E.P TO YOUR CATALOGUE NOW OR SUFFER FOREVER!

ACRID SEMBLANCE (Delhi)

BAND NAME: ACRID SEMBLANCE

ALBUM NAME: FROM THE OBLIVION

BAND CONTACT:

www.acridsemblance.com
acridsemblance@gmail.com

COUNTRY: India, New Delhi
FORMAT (CD/MCD/DEMO): CD
TOTAL TIME: 38 mins
LABEL NAME: Demonstealer records
RELEASE DATE (MONTH/YEAR): September 2006
RATING : 10/ 7
REVIEW:
It was September 2003, when I saw this band live for the very first time at IIT-D prelims. Before they started playing, a pal of mine (who already knew their style) whispered in my ear these guys cover ‘Children of bodom’, the moment I heard that I jumped out of my seat, and went charging next to the stage to head bang to their amateurish cover of ‘Bed of razors’. Although that performance was quite feeble, but I got hooked onto them, trusting the promise they showed The subsequent release of ‘Soul Corrosion’ EP was widely appreciated and got a thumping review in first Metalindia print issue. However, that EP left few questions unanswered, 1-Why such a shabby recording? Secondly, Can Acrid come out of thick realm of COB, with something more concrete, forceful, true and original?
Let me find how ‘From the oblivion’ performs? Starting off, no complaints with doomish cover artwork, inlay, and print; it looks totally absorbed with delivery of an oncoming dark crusade. Scandinavian melodic death metal shades are very imminent from your amps right from start to finish. Although I would have definitely liked a much more thrash and freaky guitar tone. Probably, that’s the reason why aggression seems controlled. Instrument production is crystal clear, although disappointingly vocals are a little low on recording. Another matter of huge concern is Anubhav’s vocals are shallow, fluctuating and non-caressing in delivery. This looks like a serious issue, because I used to think that this might just be an anomaly while he’s on stage. But in studio also he sounds shaky. Riffs are pitched in between COB/Stratoivarius/In flames.’ From the oblivion’ (Track 1) opens a progressive hard-hitting melodic DM fascia. The song infuses alternating rhythm-lead guitar work that walks on for ages over you. Keyboard also cadavers through the composition providing a knitting action. Track 2 ‘A perfect pseudocrity’gains respect mid way after initial 2 minutes 45 seconds, when they lie it down slowly, then explode and dive down deep into haunting melodies. This one definitely has a unique fragile effect.’Mindwarp 2’is an instrumental that plays next and honestly speaking this and its next rendition ‘mindwarp 1’are an utterly baffling inclusion on the record, in terms of their positioning and sense. I don’t know when the band was riding a certain momentum, why break it just for the sake of it. They are indeed a very ordinary, no thought provoking misfit. Can’t write much about it, as I completely dislike it. ‘Genesis 18:05’ plays next; it’s the first song on the record that shows headcharge, thought and conviction in composition. Listeing to this one is shear bliss. Let me just pen down some ponderable lyrics from the song ‘Genesis, is all I need, lets start off again, there is no other way for you, Genesis, just die again’, thumping base drum and bass along with enthroned depth of pain spills out of this one, central section is head moving around 2.20mins and later riff lead juices skid out from Kshitish and Vikas’s axes. This song climbs to its apex at 4th minute, when anubhav sings ‘Die! You now, you live this life for long! A mountaineering echo of keys and riffs are a lift that supplement its climb up the hill. A roar what an end!!!’Acrid arts’ is song no 5 its another spell bounder in terms of its musical arrangement. There are around 3 phase shifts in first minute itself, vikas ferociously churns through very nook and corner of the guitar. Complete focus is once again instrument playing. What a revolving revoking joyride. Some stupendous chorus and knifely riff criss cross. ‘Running for eternity’is just a show window of a typical ‘Inflames’ song. Here it leaps up and down in a cage, the cage referred here is an ‘In flames’ approach, Chorus on this one reminds of quite a few from Clayman album. Had they moved forward from a very colonial ‘Reroute to remain’ style to recently released ‘come clarity’ it would have made a remarkable difference. The next one is another pick for me’The descerator’ riding an intermediate pace its got relatively faster parts as well, quite an orthodox kind of song for a band like Acrid, nonetheless refreshing after a couple of ordinary songs. One of a typical head bangers choice! Hear it to believe it! OAAAAAH! Here comes ‘Burning the ashes’ final track on the album and I must say what a finale, that’s the fashion in which I always wanted them to compose. A misty filth of keyboard smog in the air, smoking up the whole place, over the rooftop vocals propagating what’s always expected from them. Solos flowing left right center, triplets on base drums, reversing-forwarding in and out riff segments. Midway when music breaks and it starts pouring in the background it makes my hair stand back on the back of my neck, and when vikas solos it out of that scene, it makes it so phenomenal that I don’t have words for my ecstasy.
Enough said, result time-’From the oblivion’is a benchmark in terms of creativity, but as a final product, it has its own set of problems that are mentioned in the above-mentioned review. Pillars have been moved, with few stones unturned. (7/10).

UNDYING INC (Delhi)

BAND NAME: UNDYING INC

ALBUM NAME: PREFACE TO ERASE

BAND CONTACT : http://www.undyinginc.com/
COUNTRY: India, New Delhi
FORMAT (CD/MCD/DEMO): CD
TOTAL TIME: 28 mins (approx)
LABEL NAME: Undead Noise records
RELEASE DATE (MONTH/YEAR): March 2007
RATING 10/ 9
REVIEW:
Before I get into the analysis of ‘Preface to erase’, its very important for me to talk you through the conviction this band has stood for, during five years of its existence, filled with a no compromise attitude.
It hasn’t been easy for Undying Inc who have been criticized enough for primarily being a basement band, over-indulged in Pantera styled music, and a feeble act on stage. I think the band has sat over all this, and there has been a remarkable turnaround considering their immensely tight stage prowess witnessed by me over last one year.

Although this studio outing took a long time to shape up, nevertheless looking at the artwork, production and packaging I must conclude, the wait has paid-off. All 7 songs on the album are distinct be it construction of rhythm or pace. Which enhances much anticipated variety, and doesn’t remind of similarities to majority of monotonous hard/thrash core releases.

Album opener ‘Perfect hate’ starts with a thick viscous riff, throwing a headswing mood right from scratch to finish. All this when combined with Amitabh’s illustrious thrashy vocals, filled with tons of hate, act as a splendid fresh beginning. When you have lyrics like ‘‘A burning state, my name is hate, I cry aloud, fuck fate’’ I think you are about to feast on the diet of an authentic outflow of emotions, defining the bands of the genre. Mind you Biswarup’s guitar structures might sound a liitle stale especially on this song, provided you have heard enough of Obituary of mid nineties. But still they manage to roll a vibe, which is unmatched by most bands the country. Drum sound on this song is relatively smoggier comparing with other songs. justification for which can be given best by the band. I am still wondering whether they kept it that way deliberately? Thunderous opening!!
Track 2 ‘Shadow’ seems replicating and expanding whatever first track stood for. There’s an enormous outflow of energy from those pinch harmonics laced greasy riffs and skin peeling ‘Dimebag signature’ lead parts. Those run over those chunky bass grove lines during the intermediate section. The last shell catches ‘Amitabh’ equating his larynx stretching to that of Max Cavelera’s on ‘Straighthate’ from ‘Roots’. The thrash bent on the rhythms has fair similarities from Sepultura’s thrash of 90’s.
Next track ‘Burn’ is a personal favorite; it opens off with a demented leads in the background, OFF you are to a flyer of midtone classic tharsh plus scales of hardcore. It will be criminal on my part to compare this track to any other band, because this truly is a CULT display of mixing junk groves to captivating mean solos. Listening to it 30 seconds paat 2 minutes till the end is sure to send a chill across your spinal cord. Biswarup you created a frenzy of sorts! Who’s Andreas Kisser? (Andreas fans spare my blood!).
Midway on the release,’ Chaotic impulse’ discharges fresher fumes of rotting, as this one is little more down tuned, reptile and venomous. The lead portion on this song is very similar to Pantera’s legendary legacy of streaming leads over zero rhythms & thumping bass. Moreover drum triplets & a superlative roll treatment & a gentle double base roll outro by ‘Sangyt’ stands out adding a unique flair to this song. An amazing display of control & conviction on this one!
Title track ‘Preface to Erase’is upnext, over here it starts getting a little repetitive, may be all this is due to an exceedingly annoying slow. Oh, wait a second! The meatloaf arrives 2 minutes into the song, right after first solo, its kind of a stop and go high-end conveyer riff. Grabbing you by the neck giving a slam, a slam and another slam! After listening to which I feel like changing my above-mentioned opinion, terming it monotonous. Probably I was being judgmental too early. It’s sure to build up on you in a couple of spins. Another juggernaut!!
Final track on the EP is ‘Existence failure’ runs on a flatter, a faster, fit in the initial spinning of 30 seconds, and then twists, ripping through a cascading ‘Hatebreed’ fashioned riffing. It’s rapturous, combining power elements from New wave of American metal. The penultimate section is corrosive, acidic and leaves you cribbing for more.
In nutshell, “Preface to erase’ is a perfect amalgamation of Energy & Emotion!