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Tuesday, August 23, 2005

HEAVY METAL, BABY!

This issue is a review that I did of an excellent independent metal project I had came across not so long ago. As you can tell from the vagueness of the profile, Kade likes his metal! Especially in raw form!

I am not just highly honoured to have experienced this project during this phase, but also proud to know its creator, an individual who goes by the name Fowler. I was also honoured to have communicated with him via email, and gotten first hand insight into his rare knowledge on ‘do it yourself’ home production.

Without further delay, I present to the readers an amazing culmination of old school cocktail of death/thrash and instrumental heavy metal! MetalWorx.

Link: http://www.audiostreet.net/metalworx

The Metal Workshop Of the Gods!: A review of MetalWorx.

Excellent material, in terms of quality and innovation.

The journey through these three tracks is like a tale of metal dominance and progression to new grounds and levels through aging sands of time.

Retaliation:
We start, with the very first track of this holy resurrection of classic metal. The track almost pays homage to its title, with its relentless thrash rhythm. However, the brutal impact of the metal shattering riff-work was not the only and TRUE shinning point of this track. This track is blessed to its core with a melancholic ambience of some of the most classic and inspiration lead guitar layers, topped further with some brutal shredding.

This track truly symbolises the retaliation of old-school metal, almost like some national anthem for the metal militia. The impact this track with will make, should suffice enough to define the term “retaliation” for most.


Neverending:
From the thrashing introduction, we are taken into the grove tempo of some of the finest progressive licks merged with the never ending passion of thrash. The atmosphere in this song is captured best by the epic yet steady tempo of the song, which almost sings out its own atmosphere in most part, from the start, to its sour-sweet end.

Of course then you’re suddenly hit with the steady interlude, of course, the steady introduction isn’t even a prelude, but a deception, as it’s swiftly layered over by a grinding shred session. The killer pace of this solo also lives to compliment the slow grove of the rhythm and tempo, giving the listener the best of both worlds.

A never-ending ocean of killer riffs and leads, which then moves on to its real end, an end that embodies a smooth and confident conclusion to the sturdy progressive roots of this track.

Pharoah:
Heavy, dirty, and pure thrash, is the final chapter to this saga.

Pharoah captures the essence of the low-ends appreciated by the wielding artist. However, the heavy rhythm and slow tempo aren’t the only two elements in this cocktail, which soon blared into a full on classic old-school thrash anthem of speedy riffs, backed by the percussive raves of the drums, topped with some dandy lead work.

Of course, going through the previous two-tracks, one would expect another epic solo. Well would the listeners get one? Most certainly, one would, seeing as the shredding and speedy solos would make their wielder’s mark, signature and or stamp of approval on this track.

As stated earlier, this track is heavy, it’s dirt loaded with distortion, and chaotically held together with the classic thrash element.

Conclusion-
Words are sometimes not worthy of being used to define one's opinion on such exhibits of art. The tracks speak for themselves, there is no analysing them; one can only be left in a positive kind of awe from hearing these tracks, which uphold their own glory.

The gods just fell to their knees with the shattering impact exuded in each of these tracks.

It is my honour to be amongst the first few to watch the promotion and growth of this project. I look forward to seeing more. They should keep it up, for their minions, myself included, yearn for more!

However, Mr. Fowler did have an important comment to make about his music, which went something like, “Compensation Issues have forced me to remove the Vocals! I think the music stands on its own.” Well, to that little contention, one would devote a small additional paragraph.

If there is a voice behind this greatness, we think it would do great coming with the tracks. However, one can understand the wishes of the artists, and also the purpose behind such a philosophy. Yes, the tracks do speak for themselves and the music does stand, indeed, it does.

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