ALBUM REVIEW OF DYING OUT FLAMES SHIVA RUDRASTAKAM IN ENGLISH BY XTREEM MUSIC..... BAND: DYING OUT FLAME (nepal) TITLE: Shiva Rudrastakam AUTHOR: Kill Again GENRE: Vedic death Metal LABEL: Xtreem Music YEAR: 2014 FORMAT: CD RATING: 9 TRACKLIST: 1 Praise of the Omnipresent One 2. Shiva Rudrastakam 3. Eternal Mother of great Time 4. Vayuputra 5. Maisasura Maridini 6. Trinetra Dhari (Three Eyed One) Not every day talking about a band of this nature, so I take the liberty to think aloud and share certain previous reviews that I consider as important as the music itself or simply comment on a disc, as well as serving as a basis to assess this work properly, with sufficient care. DYING FLAME OUT is a group from Nepal, and conform quite possibly one of the most sincere and original proposals of the times. It is difficult, if not almost impossible, to get out of a style without receiving saber everywhere, even without feeling indifference by a large majority. When instruments like flute, Indian tabla or sitar are involved, in addition to introducing various songs and voices of ancestral color, inherent in their own culture and providing an unambiguous ethnic value in a debut disc is as bold as crucial risk . In this case arises without even having the opportunity to have taken up other options towards certain trends, being a debut. This band will leave the accounts, because they have been able to differentiate very well the brutal parts of the sound, and when the intersect is through an enabling environment, with very musical results, even surprising. This album called Shiva Rudrastakam is a firm commitment by the label Xtreem Music. In addition, the XM 154 CD involves a graphic art of the most striking and appropriate. I always thought that there are two types of functional mergers: the first is produced when opposites, or just root very different styles are printed, and are made with all the consequences in relation to the knowledge necessary to carry out this task. The result is called Fusion (not talking Jazz Fusion style, which is more broad), and it is not easy to do because for each element available and authentic character sounds natural or mixture itself must be very homogeneous clear all parameters involved in the culture of each style, and breathing them. The second is the fusion of musicians, in which, without the need to get to have full control of the styles made, all instrumentalists interact seamlessly, creating stylistic mixtures and respecting the rhythmic rules, this being just one of the great advantages: more freedom and a lot of musical improvisation (if the opportunity arises). All this seems significant to me, and the opportunity to let go here well worth it, given the exceptional case in point. Traditional instruments and / or acoustic contained in this Shiva Rudrastakam have been introduced through the collaboration of additional musicians, which could indicate fusion musicians. However, the idea of bringing this project and have embodied in this way is a true musical fusion, because its components absolutely commune with this philosophy, music and thought. Whereupon, we have all the ingredients because DYING FLAME OUT parameters embraces the two mergers. And best of all, the combination of the elements of Hindu roots with Death Metal is well distributed, even brilliantly conjugate. But mostly separate intelligently, where appropriate. Two music completely temperamental, and two distant cultures for centuries, naturally embracing and offering a credible and functional product. They define their style as Hindu / Vedic Death Metal . Shiva Rudrastakam has been billed in three phases, which somehow indicates quite careful in choosing the corresponding tasks. The recording has been made in Silence Studio (Kathmandu), the mixture D. Shakya Studio by Davin Shakya, and mastering took place at Sound Fusion Production, by Bishal Kiwara Ray. The result of all this work, clearly differentiated and sequenced, is very good. We are facing a dynamic disk, loudly and musically. The mixture moves away from saturation to which we are so accustomed lately, although the compression used to define each instrument, which gives a strong overall package. Regarding the brutal parts, maintain clear influences from classical groups, both as the Death Thrash and Death Brutal at times. Battery is proficiently executed, rage and precision, sounding very organic. It is an important asset, and its role is brilliant. The bass is well defined, acting as the center and filling perfectly with the other frequencies, highlighting certain passages in which one or more sounds like this, especially in light sections and its mixture with acoustic instruments. Overall, the rhythm section creates a good link. The role of the guitars is remarkable both in its role as rhythmic melodies and solos, achieving some absolutely memorable moments. Regarding the guttural voice, his tone is serious and works in a single record, very powerful. How to divide the influences of extreme styles is another success, covering different moods in each court: Eternal Mother of Great Time offers sound Thrash I stale of Slayer 1998, mixed with some very intense melodic tremolos matching with the voices. When introduced in the middle of the track with an acoustic sitar part on a double murderer hype, which leads to a Brutal Death KRISIUN type or HATE ETERNAL section do naturally. Even the voices of the final recalls a Mandatory Suicid e of the XXI century. Vayuputr to is a wild song, but includes corresponding section recited, this time with clean vocals on the distorted base. Towards the middle, the guttural voice works with a guitar and drums, by marking stereo to which are added the second guitar and bass. Maisasura Maridini and Shiva Rudrastakam vedistas begin with singing, going to become exercises Brutal Death Metal epic, the first of its technical and completely devastating facet, the second with an anthemic chorus section, embraced by melodic guitars. Trinetra Dhari (Three Eyed One) begins with an unusual and impressive riff in a major key, in a devastating and highly original instrumental base. The issue contains essences MORBID ANGEL and DEICIDE, and its central development is an achievement, and a statement of intent that combines female voices on a pace almost Slap Funk and low type, with an insane battery and obsessive themes present in other songs the disc. But much remains to Death Metal in their grooves. Finally, to quote the song Praise of the Omnipresent One , a song that opens the work and takes the cake in terms of increasing intensity and good ethnic development, an interesting introduction, in which the instruments sound fantastic. More and more bands that introduce parameters ancient civilizations, whether you are influenced by those engaged in this type of pioneering these styles. But lets forget: any concept or reaches this level of commitment. One thing is pincelar or acclimate, and another is born with this post. Now up to each listener to determine whether what they do is valid, the better, original or just the opposite. For myself and to be clear, I think that this is one of the most original and personal commitments I have watched in a long time. There is a complete determination with each musical note or sound of this work, in all its facets, and a way to translate that moves away from everything we have heard and also to be considered extreme metal. From the simplest to the most complex sections or completely emaciated parts. Everything is made with a good level, intention, feeling and great determination. Suffice to say that the bet by Xtreem Music DYING FLAME OUT constitutes another great success, precisely because of the great risk involved open-mindedness. The world changes and expands from small gestures, but well selected. If you want to enjoy something different but at the same time with a good dose of intense Death Metal, grab this disc ... spend just forty minutes, isolating itself from the world, worth it. And its the only way to assess it in terms. The occasion calls for it.
Posted on: Sun, 17 Aug 2014 09:11:58 +0000
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