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Thursday, November 29, 2012

LIVE: Sabaton, November 23rd

Sabaton's Swedish Empire Tour had three stops in Finland in November, shows supported by Dynazty and Raubtier.

We arrived too late to see Dynazty at all, yet heard most of Raubtier's gig anyway. With little knowledge of the band beforehand, the experience was surprisingly entertaining. Raubtier was actually a very good support act for Sabaton; in spite of representing a different genre to begin with, the band does sound a bit like Sabaton and seemed to excite the audience and certainly warm them up for what they all had come to see.

The venue was at least nearly sold-out, with roughly a thousand metalheads shaking their fists along to Sabaton's war inspired metal. The gig began almost on time too, starting out with Ghost Division (after The Final Countdown and The March to War). After the Panzer Elite had set the audience on fire, it was the time for Gott Mit Uns off of their newest album Carolus Rex.

After the first two songs Joakim Brodén introduced the following song by saying it probably needed no introduction in Finland at all – as it was White Death. It was followed by Carolus Rex and then Karolinens Bön, which was actually performed in Swedish. Sabaton had asked in advance on Facebook whether their fans in Finland wished to hear their new songs in English or Swedish. English was the leading option in the poll, yet obviously comments and other requests had resulted in a compromise solution. In spite of the change in language, there were many people singing along in the audience anyway.


Songs such as 40:1, Cliffs of Gallipoli and Uprising kept the audience on fire, singing along and throwing their fists in the air until a brief, calm moment when a keyboard was brought onto the stage for Joakim and most people in the audience fell silent to concentrate on listening to The Hammer Has Fallen. Those few minutes were certainly the most peaceful during the whole gig, with some matching purple lighting to create a dramatic yet serene atmoshpere – with a couple of cigarette lighters waving among the audience to compliment the performance. The peace did not last long though since soon enough Berlin was burning with Attero Dominatus.

Although the band did leave the stage for a few minutes, encore came soon enough with The Art of War, Talvisota – to the Finns' national entertainment (or is it just pride?) and naturally, Primo Victoria, to which the audience was also jumping wildly. And last but not least, with the war theme abandoned, Metal Crüe to remind us not to take this genre too seriously.

Altogether the one-hour-and-a-half long gig was energetic and engaging. The setlist was good, yet a few magnificent tracks were missed – Coat of Arms, The Final Solution, Panzer Battalion and Wolfpack to name a few. And to keep us all excited still, Sabaton revealed they would be playing at Sauna Open Air metal festival next summer. I bet Tampere is eagerly waiting.
– cm_

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For me it was the second time I got to see Sabaton's full live performance. I originally saw them in Sauna Open Air 2007 but merely from the bar area, and I only recognized Primo Victoria anyway. Tuska 2009 was my first proper show, and a damn good one at that. Unfortunately, in 2010, I missed out on the Coat of Arms tour despite really wanting to go, so it was about the time I got to see Sabaton again.

The gig was held in Pakkahuone in Tampere (Finland), which is a venue well-known in the Pirkanmaa region. As noted at the start, the venue was nearly sold-out with around 1000 infantry troops showing up. Since it was an under 18 gig, the area was split into two halves: one for the alcohol-thirsty battalion and the other one for the kids and drivers of the aforementioned battalion. That also meant the beer queues were fairly long, with only 4–5 lines to serve all the thirsty panzer corps.

As noted above, we skipped Dynazty and arrived to witness some of Raubtier's performance, and their live act indeed was pretty good, with some short speaks completely in Finnish between the songs! Musically they were somewhere along the lines of industrial metal. Pretty good live act, but probably not as tempting on a studio album.

Sabaton played a solid set with not many surprises. The set list perhaps left a bit to be desired (as always), and I'd have liked to hear Into the Fire and Coat of Arms also. Cliffs of Gallipoli is not a bad song, but in its stead the similarly-arranged The Price of a Mile would've been more to my liking.

White Death is a great tune and I was certain we'd hear it (since it's about a Finnish sniper in WW2) and I was happy about it. I can't say the same about Talvisota which as a song doesn't live up to many others, but due to its patriotic theme for Finns they just "had to" play it I suppose.

The Hammer Has Fallen was an oddity I didn't expect. While it was fun one time, I hope it's not a permanent addition to the set after the tour is over. Some people also have criticized Art of War as an encore song but I'll disagree. I thought it fit in well and I don't find it a dragging song like some people have described it.

All in all a good gig, but I'd rate the Tuska 2009 gig higher. The band seemed to have fun and it was great to see Thobbe Englund on the stage, and not to mention the one and only Snowy Shaw who filled in for the drummer boots while Robban Bäck was away due to family matters. Hopefully the set list gets a bit of a refresher for Sauna Open Air 2012, and we'll get to hear songs like Poltava or Killing Ground  (and naturally more of Coat of Arms)!
– dw_

Monday, November 26, 2012

Machinae Supremacy – Redeemer

From the northern Sweden hail Machinae Supremacy, a band renowned for their "SID metal" sound which incorporates synthesizer sounds from a device known as SidStation – a device capable of "mimicking" the MOS 6581 aka SID sound chip found on old home computers such as the famous Commodore 64.

MaSu originally rose to fame by covering old game tunes such as The Great Giana Sisters or the Sidology medleys using metal-like approach backtracked by the SidStation. These tracks would then find their way on the MaSu website in the early 2000s for redistribution – a method which proved immensely popular at the time.

Following their internet-based success MaSu released their first album titled Deus Ex Machinae in 2004 via a UK based label MDB Records. In autumn 2006 one of the better known metal labels Finnish Spinefarm took MaSu under their wing.

Redeemer was released in early 2006 – first as a self-release (titled Underground Edition) – and later in 2006 officially by Spinefarm, simply dubbed as "Retail". This review is about the retail version, and it's worth pointing that out as its tracklist is different to that of the Underground Edition's.

Redeemer follows in the Deus Ex Machinae vein but takes things one step further, a natural evolution process that is. The musical genre is still glued to what one could well describe as power metal with SID-like synthesizers. The singer and main songwriter, Robert "GaZ" Stjärnström, still has his easily identifiable, somewhat creaky voice, which one will either love or hate, and the guitar melodies and synthesizers are just as high-blazing as on Deus Ex Machinae. The main changes stem from slightly more serious lyrical themes as opposed to writing tracks (mostly) about video games. In fact, one of the clearest video game reference tracks, Fury, was indeed left out of the retail release which is a huge shame as it's a very good song.

Most tracks are fairly mid-tempo with some faster beats here and there, but one thing they all have in common: memorable choruses. The songs are very easy to get into despite their musical prowess and showmanship of instruments. The album ends with the slow, darkly atmospheric and perhaps a bit sad Reanimator which is also the 3rd installment in the March of the Undead series.

Lyrics mostly deal with individuality and choices in life, often times telling a kind of a story while leaving the exact meaning and background open for listener's interpretation. Some political criticism (Seventeen) is up in the air as well.

Overall Redeemer is a rock solid album, standing on its own from the first seconds on until the end, with only small bows inbetween. To me Redeemer defines what Machinae Supremacy are about, and I would wholeheartedly recommend this to anyone with keen interest in (old) games and (new) metal. Once you've been bit by the MaSu bug it's difficult to let go – and why should you, there are other albums like this one waiting for you out there, including the brand new Rise of a Digital Nation, of which a review is coming up within the next weeks!

You can listen to Redemeer and other Machinae Supremacy albums on Spotify.
Through the Looking Glass musicvideo.

9

Thursday, November 15, 2012

Battle of Songs: Instanzia vs. The Clan Destined

In the Battle of Songs we both choose a song for each other to listen and review. Each battle has a theme, however random we decide. The purpose of the battle is to introduce such individual songs which may not get much attention otherwise. Feel free to suggest themes!

Theme of the battle: A song about a person who lived in the 20th century.

For cm_ to review:
Instanzia – The Desert Fox
On seeing the length of the given song, over 11 minutes, I felt like 'woah', perhaps a bit prejudiced as well; it's not easy to compose a song so long, not everyone is Matt Smith.

So the song is about Erwin Rommel, who was widely known as the Desert Fox. If you don't know much about this man, well, the song will surely teach you something. The lyrics tell quite a story, and it seems to be rather accurate as well (without actually checking out the details).

The lyrics, yes... Such a concept could have been carried out much better. The lyrics contain a lot of information, but occasionally they are so awkward it's horrible. Some parts of the song are lyrically just anything but beautiful or interesting. Personally I like rhymes a lot, but they are not the key to interesting lyrics. Some parts sound just like they were listing the most important facts and merits of Rommel, perhaps in a chronological order. However, some repetition, that of the chorus, saves the lyrics from being thoroughly awful. The C part closer to the end of the song is relatively good already, though the beginning left me upset.

The song certainly gets better towards the end, and much to my surprise, it's not too long with its remarkable length. The melody is nice, but not breathtaking, and the awkward lyrics and strange lines spoil the beginning. The best parts of the song would be very good material for an epic power metal piece, yet there would have been a lot to refine.

You can listen to The Desert Fox on Youtube.

7



For dw_ to review:
The Clan Destined – T. C. Lethbridge
For the Battle of Songs I was given a track called T.C. Lethbridge by The Clan Destined (a band formed by ex-Skyclad singer Martin Walkyier).

I'll be honest and admit upfront I'd never heard of anyone named T.C. Lethbridge prior to hearing the song, but apparently Thomas "Tom" Charles Lethbridge was an archaeologist and an "experimental scientist" with notable interest in occult-like pursuits.

While much remains in haze (without really extensive background checking) about the character himself, The Clan Destined draw upon his apparently rather ridiculed image in their fairly straight-forward heavy metal song about the man in question.

I've always been a fan of being straight-forward, and I must say I like the song. I'd heard A Beautiful Start to the End of the World by The Clan Destined previously, but wasn't really sure what to expect from this particular song.

There are no amazing guitar tricks, super-groovy bass lines or audacious drum beats, but simple, genuine, good-hearted heavy metal. I've always liked Walkyier's rough voice, and it fits The Clan Destined sound very well. The chorus is clever in all its simplicity, even if it's basically just chanting the letters "T.C.L.E.T.H.B.R.I.D.G.E". There are added female vocals during the chorus, but the song would've been just fine also without them.

At 3:06 minutes the song's length remains quite optimal. Like this, it's easy to get in to, easy to grow fond of and easy to listen to every time you'll need another reminder of yet another wrongly understood scientist, whose legacy will undoubtedly live on among the wiser of mankind.

You can listen to some of Walkyier's other work, including the song in question, at his Myspace website.

8