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Young Polak

By Young Polak,
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Young Polak

Young Polak

Posted
Posted

I'm a fan of heavy metal and a big fan of Rammnstein + Meshuggah and so i decided to see if there are any other men out there who have a like for this genre.

This is for heavy metal only and I despise any other artist/songs that play viciously and meaningless and only to achieve loud sounds. Allow me to show some examples of what I'll be interested in, can be either slow+meaningful to aggression but not fucking senseless noise rape.

http://www.youtube.com/watch?v=4vi9ZdJnDUE

http://www.youtube.com/watch?v=IzVTSH-9MZ0

http://www.youtube.com/watch?v=N_fcn9ntnvY

http://www.youtube.com/watch?v=qc98u-eGzlchttp://www.youtube.com/watch?v=W3v3RvXRiuYhttp://www.youtube.com/watch?v=FtA3fxtbYvY

http://www.youtube.com/watch?v=o_FviuK_QHk

http://www.youtube.com/watch?v=hQ54cHjnhEkhttp://www.youtube.com/watch?v=weVXl6FJ92w

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Torn Asunder

Torn Asunder

Posted
Posted

ah, metal.... been into it (without giving away my age) since the beginings...

seen live - Anthrax, Megadeth, Metallica, Sepultura, Fear Factory, Slayer, Iron Maiden, AC/DC, Carcass, Bolt Thrower, Morbid Angel, Cannibal Corspe, Body Count, Mortal Sin, amongst others....

for me, best albums ever:

  • Slayer - Reign in Blood (no 1)
  • Deicide - Deicide
  • Carcass - Necrotism , Discanting the Insalubrious
  • Death - Spiritual Healing
  • Morbid Angel - Blessed are the sick leading the rats
  • Entombed - Wolverine Blues
  • Obituary - Cause of Death
  • Destruction - Live withouth sense
  • Megadeth - Rust in Peace
  • Sepultura - Arise
  • Metallica - Justice for All
  • Anthrax - Spreading the Disease

been listening to a lot of Viking metal lately - love Manowar, Amon Amarth and Unleashed

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marteaux

marteaux

Posted
Posted (edited)

Ok OP you say you like Rammstein but post some of their worst songs (they really do have some fucking shockers like Ohne Dich, Keine Lust and and some brilliant ones). (Also is not Heavy Metal but Industrial). Rammstein was my favourite band Yr6-7 and can pre much sing all their songs in German in a throaty German accent Nuggetsmegregor from Yarraside is also a fan and has a Rammstein tat. Seeing them at BDO 2011 was one of my most cherished moments and very glad I got to see them before they stopped touring. I was fucking cut they only played their 'hit's but what can you expect at BDO.

I will aware you.

(Only song by Rammstein I really listen to anymore)

And the all time famous show that landed them in Prison!

These days I'll take German DJs over German Metal bands.

Also am big Metallica, Megadeth, and Slayer fan. Also rate Marilyn Manson and Nine Inch Nails but as I said don't rly listen to this anymore.

And please aware self of White Zombie.

Edited by marteaux
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marteaux

marteaux

Posted
Posted (edited)

Rammstein was my favourite band Yr6-7 and can pre much sing all their songs in German in a throaty German accent.

Not sure why I laughed.

because my voice is the farthest thing from a throaty German accent? Or maybe a yr6 Marteaux headbanding to German Industrial would be hilarious.

You should hear me practising German though it is fucking hilarious.

Edited by marteaux
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Woody

Woody

Posted
Posted

Rammstein was my favourite band Yr6-7 and can pre much sing all their songs in German in a throaty German accent.

Not sure why I laughed.

because my voice is the farthest thing from a throaty German accent? Or maybe a yr6 Marteaux headbanding to German Industrial would be hilarious.

You should hear me practising German though it is fucking hilarious.

It's relatively easy to get your way around. Got the basics in primary school luckily.

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perthheart

perthheart

Posted
Posted

Would smash the girl in Rolo tomassi. She did a photo shoot for Fred perry pretty much fell in love. I think Rolo aren't going to be what the others in here are looking for. My metal of choice is more along the lines of:

Converge

Dillinger escape plan

Rolo tomassi

Fear before the march of flames

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kingofhearts

kingofhearts

Posted
Posted

When I was in grade 5/6 (98/99) it was all about Korn and Slipknot.

I know Korns not really heavy metal but still worth a mention seeing as It stopped me pigeon-holing myself into only hip-hop while a young lad

THIS!!!!!!

 

Still love them now as well as disturbed!

 

 

Seeing a band called tool on Sunday, has anyone on here heard of them? They make some amazing music

 

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xXJawsaXx

xXJawsaXx

Posted
Posted

Very sad news in regards to Jeff Hanneman, I am not the biggest fan of Slayer, but his contribution to not only heavy metal, but music in general will not be forgotten. With that being said, I am into more Hardcore than anything else, a lot of local stuff like Northlane, For All Eternity, Glorified etc, we have such an amazing scene here in Australia and especially Melbourne, a ridiculous amount of awesome bands here, but even though I love that kind of stuff, Progressive Metal is the thing I love most, this right here haha.

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perthheart

perthheart

Posted
Posted

Still bewilders me how GWAR headlines anything. Fucking horrible band. I saw a band called Deafheaven a month ago. Fucking amazing music. Amazed at how much critical acclaim they've received of late. Seemed to be on every top 10 of the year list. Even on sites that traditionally shun heavy music.

 

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Dylan

Dylan

Posted
Posted (edited)

Bit old but Opeths new album is called Pale Communion. Absolutly can not wait. Here is a track by track review (before the names were announced)

 

Track One (6:46)

If you would have told me this was a lost track written between Ghost Reveries and Damnation I wouldn't have even questioned it. The song kicks off with some organ and drum runs that settle into a little groove, another distant keyboard that sounds like a mix between strings and a theremin joins in and then everything explodes into the full band. The song sticks with the Ghost Reveries groove-vibe for a little and then calms down into Damnation pianos and mellotrons with the classic clean-toned droning guitar over top. Vocals come in around three-minutes and they're really layered over top what feels like a beefier version of the first section. Think Heritage with teeth. There's a killer guitar solo and then right before it's all over, there's a really interesting instrumental section that's a little shreddier than anything Opeth have done up to now. Not shreddy as in wanky, but this big full-band unison thing going on that's just really cool. Then a string section and organ fade the song out.

Track Two (5:36)

The track opens with an oscillating noise that sounds like an effected guitar and underneath comes this big, full band groove. I mean one seriously fat motherfucker of a riff. "Track Two" is a lot less progressively influenced than "Track One." There's a few verses, a chorus, a guitar solo and a few little four-or-eight-bar runs between the sections. Where the song lacks in progressive grandiosity, it makes up for by being a straight up headbanger. You know how when "Bohemian Rhapsody" by Queen comes on and there's that one part everyone head bangs to? This whole song is like that. One of the best moments is the guitar solo, not only because it just rips like mad, but because there's this punctuated, stop-and-go riff underneath that absolutely demands a foot tap at the very least. I would not suggest listening to this song in public because you're going to be forced to react to it in some capacity.

Track Three (10:53)

"Track Three" is one of those songs where you don't even realize eleven minutes has passed because you're enjoying the music so much. It's a really, really intense sounding song. I'm not precisely sure what makes it so sinister but there's a lot going on instrumentally that melds, yet clashes, in a really interesting way. The song evokes feelings of dread, like something bad that's about to happen any second now… it's coming for you. In my notes I wrote "4:40 is downright evil," and upon a second listen I was dead on with that. There's some back-masked vocals, sounds of something distant clattering and foggy keyboards. Whatever the dread being evoked before was for, it's there in that moment. Then out of the blue the song cuts to a vocals-only section followed closely by xylophones and acoustic guitars. Or at least for that section that goes until about 6:50 where the first section's mood gets revisited and slowly evolves into a mournful major key.

Vocals play a huge part in this song with their layering and general prominence, but that seems to be the story of this album so far.

Track Four (4:46)

It's hard not to compare this track to something off Damnation. Åkerfeldt croons "I don't want to bear my scars for you," acoustic guitars caress your ears with cold, bony fingers, a mellotron quietly plays a muted string patch in the background and the rhythm section tries to keep it as quiet as possible. The reliance on acoustic guitars in this one is strong, and it's such a simple chord progression that carries the song… but the structure around it is just beyond bleak mood-wise. If there were ever a song one could name as "the darkest" song Opeth have ever written, this one is a contender. "Track Four" is a testament to the band's ability to write heavy music without really incorporating any instruments that convey "heavy." This one weighs on the mind.

Track Five (4:32)

For what it's worth, this is a sick instrumental that strips away a lot of the instrumentation used throughout the rest of the record. This is Opeth doing Opeth without the aid of vocals, so the determination of song quality lies solely in the riffs. Which are delivered in abundance. The intro also sounds like it might be a fade in from another song, though if this one ends up being a standalone thing I'm not sure anyone is going to complain. The focus of half the instrumental is a phased, swirling, palm-muted guitar line that pokes through like a thousand dull pin pricks, letting tiny streams of light come through the foundations laid by the rest of the band. The other half is just a monster riff fest.

Track Six (7:31)

After listening to this album maybe five or six times in one day (particularly yesterday), I still cannot believe this song is Opeth. "Track Six" is Opeth doing an emulation of 1970's pop-meets-rock in such a way where it's still identifiably them. Like, if this song cut out a few sections and was performed by a band like Boston or Bachman Turner Overdrive, nobody would even question it. Even the guitar solo and instrumental sections wear the influence on their sleeves. This is also one of my favorite songs off the record. Some of it is going to get stuck in your head forever, some of it is going to open your eyes to an entirely new side of Opeth that you didn't know you wanted until the first time you've heard it and all of it is going to blow you right the hell away.

"Musical boundaries? What musical boundaries?"

Track Seven (7:47)

Here's another song where Opeth take a bit of a detour from what you might expect. Reliance on guitars and keyboards might be a mainstay for the group, but what about the lower family of strings? I'm talking about upright basses and cellos chugging along with their raspy voices while Åkerfeldt sings over top of them with the occasional keyboard flourish. If anything, "Track Seven" sounds like it should be in the soundtrack to a movie. The song also boasts one of my favorite endings to a song so far (until you get to "Track Eight," as I've found out). As the song grows in intensity and the throaty strings reach monolithic proportions in all frequencies, Åkerfeldt simply asks "have you ever seen the aftermath of giving up?" Boom. The last minute of the song is just a rhodes keyboard and talk of giving up in the winter. If this song really is about dying and giving up, then the conveyance of that mood or final moments is nailed.

Track Eight (8:02)

"Track Eight" would work really well as the closer to the record or as a palette cleanser between the bigger, heavier songs. I've made the comparison before in this review, but this song happens to also sound like a much bigger rendition of something that was on Damnation. The addition of a much more present string section, big choirs, slightly distorted guitars, the string section, the string section, the string section… did I mention how the string section makes this song? Because it does. It's a present element through the track, disappears for a little while some acoustic guitars take over with ghostly electric guitars and a piano, and then comes back in a big way. Or at least for the last minute when it's just strings and some vocals. It's such a mournful, sorrow-drenched arrangement that as the last notes play your heart almost wants to go with it. There's just this underlying sadness to it like you're walking about out your best friend's funeral. Whatever follows this song has to hit hard immediately, and if this really is the end of the record… wow. Wow. Wow. WOW. PERFECT ENDING. Seriously, you're going to hear the last three minutes of this song and never be able to look at another song the same way again. Prepare to have your heart torn in two.

Overall Impression

Honestly? This is the best record Opeth have put out since Ghost Reveries. The band continues their tradition of not repeating themselves but in a much better, more accessible way than they have in the past. The melodies and riffs from each song are instantly identifiable as that particular song, the new elements incorporated into the music fit extremely well and it seems like the record was written with each separate song in mind. As in it doesn't sound like any particular song revolves around one singular instrument or riff, but has everything beautifully play off each other. Where Heritage and Watershed may have been a little unfocused at time or lost in their own adventure of a new song, this record knows exactly what it's doing and nails it through and through. I'll even go as far as saying this record conveys the widest range of emotions I think I've ever heard Opeth convey, and with unbelievable grace and style. Absolutely none of the writing is heavy-handed in trying to get a point across.

As a point of reference, I'd say this record is either the missing link between Damnation and Ghost Reveries or if Heritage was written directly after Ghost Reveries without Watershed having ever existed. You get the idea.

So hey, Opeth. If any of you are reading this- thanks. You've written one of my favorite records of 2014. If not my favorite record of 2014.

If not my favorite record of the last few years.

We recently interviewed Mik

Edited by Dylan
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Dylan

Dylan

Posted
Posted

https://www.youtube.com/watch?v=9xz_kJdntjI

Legitimate leak this one

Track Two (5:36)

The track opens with an oscillating noise that sounds like an effected guitar and underneath comes this big, full band groove. I mean one seriously fat motherfucker of a riff. "Track Two" is a lot less progressively influenced than "Track One." There's a few verses, a chorus, a guitar solo and a few little four-or-eight-bar runs between the sections. Where the song lacks in progressive grandiosity, it makes up for by being a straight up headbanger. You know how when "Bohemian Rhapsody" by Queen comes on and there's that one part everyone head bangs to? This whole song is like that. One of the best moments is the guitar solo, not only because it just rips like mad, but because there's this punctuated, stop-and-go riff underneath that absolutely demands a foot tap at the very least. I would not suggest listening to this song in public because you're going to be forced to react to it in some capacity.

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