Amon Amarth – Berserker

Beserker Cover

Amon Amarth – Berserker
Metal Blade Records (North America)/Sony Music (International)
Release Date: 03/05/2019
Running Time: 56:35
Review by Tsarina Wilson

Amon Amarth’s eleventh full-length “Berserker” is a non-stop beast of an album with killer riffs, growling vocals and more energy than ten well known energy drinks and if you’re not headbanging by the end, I think you need to look into your choice of musical taste!
The band, which consists of Johan Hegg on vocals, Ted Lundstrom on bass, Johan Soderberg on guitar, Olavi Mikkonen also on guitar and Jocke Wallgren on Drums definitely knows how to pack a punch into an album.
Each track is its own mini story with awesome drumming and guitar riffs. Hegg’s gravel voice is epic, yet, unlike a lot of bands of this genre, you can still understand him which is a blessing as the power that goes into all the tracks would be lost and that would be a shame. These fast and heavy songs have brutal melodies whilst not missing a beat and go into some of the craziest riffs I have heard in a while.
The Swedish band recorded the album in Los Angeles with renowned studio guru Jay Ruston (Anthrax/Stone Sour) manning the controls and it was after recording several rounds for the new songs (initially with fellow Swedish metal icon Peter Tagtgren and later with Ruston himself) the band crossed the Atlantic to make the final recording in LA.
The track “The Berserker At Stamford Bridge” is a visceral but vivid historical tale, recounting the Vikings last stand against the English army in 1066 and with epic lyrics such as “Englishmen, I am waiting here, in my heart I know not one ounce of fear”, it conjures images in your head of a Viking stood tall and strong, wielding a axe not scared of death one bit.
Johan Hegg says that this is Amon Amarth 2.0 and I must agree. This album is so intense and powerful. Why would a band want to just keep going over and over the same things? Fans would soon wander off, so the fact they plan to explore themselves musically is only going to benefit us fans and they certainly are a band who wants to please the fans as well as themselves.
Hegg admits he has (and I quote) “the best fucking job in the word” and you can tell this by the album. They are not a band who just put lyrics to music and bang out album after album. There is a definite vibe in the album, a passion, a dynamic which has the hairs on the back of your neck on edge. It’s like listening to a metal story book and you need to keep listening to find out the next chapter.
Amon Amarth give it 100% and it shows, even the album cover is epic.
What can I say? Impressed? Yes! Love it? Hell yes! These guys give it hell.
01. Fafner’s Gold
02. Crack The Sky
03. Mjolner, Hammer Of Thor
04. Shield Wall
05. Valkyria
06. Ravens Flight
07. Ironside
08. The Berserker At Stamford Bridge
09. When Once Again We Can Set Our Sails
10. Skoll ans Hati
11. Wings Of Eagles
12. Into The Darkness

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Disclaimer: This review is solely the property of Tsarina Wilson and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Obszön Geschöpf – Master Of Giallo

Master Of Giallo Cover

Obszön Geschöpf – Master Of Giallo
Dark Star Records in association with Sony Music/Universal Music
Release Date: 31/10/2018
Running Time: 46:30
Review by ‘Dark Juan’

Obszön Geschöpf is:
Remzi Kelleci – Fucking everything. The annoyingly talented bastard!
Good afternoon, sinners and friends of the Nether Face of God. Dark Juan is here to force his unwanted opinions on you and to make or break the career of yet another musician. Why do they do it to themselves? Enquiring minds want to know. It’s chance you take when a record lands on my table as to whether I’m drunk enough to not give a fuck and take it apart, or whether I’m drunk enough to enthuse like a 12 year old girl at a concert of her favourite manufactured pop bollocks. Complete with girlish screaming and wild gyrating that can only be loosely classed as dancing…
Obszön Geschöpf are from Boulogne-Sur-Mer, France. This took me somewhat by surprise, as their name implied possible German extraction or even British or American influence (KMFDM, anyone? Kein Mehrheit Fur Die Mitleid? Or Kill Motherfucking Depeche Mode, depending on whether you ask Sascha or the Lord Of Lard, The Mighty Swine Raymond Watts. I’m not being rude. That is honestly what he calls himself…) and they first came to my dubious attention as a straight aggrotech/ EBM band way back when, but like Psyclon Nine they have started to incorporate metal into their primarily industrial stylings. This makes Master of Giallo sound like a more visceral La Sexorcisto era White Zombie, with the more industrial parts of Rob Zombie’s solo output… think Thunder Kiss ’65 and Black Sunshine having violent, unpleasant, bloody sadomasochistic sex involving blades, marsupials, lube made from the fat of dead babies and that neighbour up the road who you have always thought was pretty dodgy with pretty much any song from The Sinister Urge to a soundtrack of Grendel and Detroit Diesel and you have the measure of the sound of this record. It also has the benefit of the input of 46 international artists, from such legendary bands as Annihilator, Cradle Of Filth, Ratt (fucking Ratt? Hairspray and glam? Astounding), Accept, Pro-Pain and obviously White Zombie.
I’m stopping the review here for a brief moment because this is doing my fucking head in, I’ve had a bottle of red and it needs to be vented now, before this bizarre stream of consciousness babbling that passes for review writing turns into an appalling exploration of swearing in a number of different languages… Obszön Geschöpf IS NOT CORRECT GERMAN!!! It means Obscene Creature (which is ENTIRELY descriptive of the musical output here) but it should be Obszönes Geschöpf! Yes, I know I’m a pedant, but it gets right on my tits! Anyway, thank you for your patience…
This record has bass guitar on it that could reduce mountains to their component atoms. It is more thunderous than Thor and Zeus chucking lightning bolts at each other in a mad fit of cosmic God dick measuring. Standing next to a bass speaker with this record playing is going to be an exciting new form of suicide by liquefying your internal organs, literally turning you into a bag of human soup as you sink to the floor, venting fluid from orifices…
This is music for the deranged, yet there is still groove and melody in abundance, which I am enjoying as too much industrial relies on beeps and squelches or just slow chugging. It’s a heavier sort of KMFDM at their most metallic, but where KMFDM is a shiny, sleek silver fighter jet, Obszön Geschöpf is a battle scarred, rusty matt black bomber, rumbling its way over a distant target before discharging industrial death from its bomb bays. The weakest song on the record is the opener, The New York Ripper. The quasi Lemmy (there’s no more virgins in heaven now our Lord and Master is there) vocal jars awkwardly with the industrial metal vibe of the track, but then M. Kelleci hits his stride in a rather magnificent fucking fashion and turns in the sort of dirty grooves you just want to have filthy sex to. Or is that just me? Dammit, must stop thinking aloud…
I like this record. I like it more because it is French, and France has proved to be something of a revelation in the world of Dark Juan’s musical tastes of late, what with P.H.O.B.O.S. putting out what I considered to be the record of the year last year (Phlogiston Catharsis) and also Rostres releasing the superb Les Corps Flottants. Obszön Geschöpf stand worthy of joining these estimable bastions of excellence. EVEN IF THEIR NAME IS NOT PROPER GERMAN! It’s well known to the people I haven’t yet murdered savagely that I love industrial music and aggrotech, and to have the two combined to such terrifying effect on Master of Giallo has caused me to have a sex wee and ruin my trousers. Again.
Standout tracks are April Fool’s Massacre and the final track, Giallo Forever. The former because it is just visceral, and the last one because it grooves like a mescaline fuelled zombie gogo dancer with unsuited limbs. It’s sexy but it’ll kill you and you’ll feel weird about liking it. The whole record is dirty, groovy, sexy, unhinged and most of all fun to listen to. It’s no good being perverse unless you enjoy it. You’re talking to an expert here…
Tell you what, I like my job reviewing records. Obszön Geschöpf have made it that little bit better. I hope I get a bad record to review soon. I’m being far too nice nowadays.
The Patented Dark Juan Blood Splat Rating System gives Obszön Geschöpf a splendidly gory 9/10. Mrs. Dark Juan is away in jolly old Blighty so I’ll have the blood and entrails cleaned up well before she gets home. Although I am knee deep and now I need a new bonesaw…
01. The New York Ripper
02. April Fool’s Massacre
03. Body Pieces
04. Murderock
05. The Moon Watches Me When I Kill
06. The Black Gloves Of Terror
07. My Scalpel Dances At Midnight
08. The Death Kiss
09. Shadow Of The Hat Killer’s Knife
10. Giallo Forever
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Disclaimer: This review is solely the property of ‘Dark Juan’ and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.