Archive for September, 2011


Exhumation To Perform At Impending Doom Fest 2 In Bangalore

SLIDE SHOW: Exhumation Live At Rolling Stone Metal Awards At Blue Frog


Music Review: SuperHeavy (2011)

Given the amount of cribbing I’ve done about AR Rahman doling out trashy music for Hindi films for many years now, I don’t blame anyone for expecting me to pan this album. The guy’s made some of the best music ever and he has also disappointed several times, but here’s where AR Rahman totally redeems himself. The songs on SuperHeavy would sound aimless and out of place if you heard one and then another one much later, but as a whole, the album is an amazing mix of sounds and ideas.

With zero display of conventional songwriting, Rahman, Mick Jagger, Joss Stone, Dave Stewart and Damian Marley have composed very little that you can sing along with (Satyamev Jayate, an attempt at creating an anthem, being the exception), and there’s nothing here that sounds contrived. The biggest surprise here is that all the members are contributing to the songs only with what they can truly offer and only when they have to; they slip into the background when they’re not supposed to be heard. The songs seem underwhelming when you listen to them as singles, but listening to SuperHeavy as a full album you’ll think it’s so cool they’re not doing over-the-top stuff just because they’re all biggies.

SuperHeavy isn’t a supergroup of superstars collaborating to make foot-tapping chartbusters; it’s a merging of super-talented musicians underplaying their individual genius and creating original music that’s nearly impossible to criticize or complain about. Thumbs up.

RELATED LINKS: AR Rahman & Michael Jackson | A Lost Victory For India


Music Review: Bush – The Sea Of Memories (2011)

It’s Bob Rock ruining things for the band trying hard to make a worthy comeback by making The Sea Of Memories sound way too radio friendly. For all that Sixteen Stone had to offer, I was taken by the restraint of the-not-very-liked Razorblade Suitcase (what is it with me and sophomore albums). The Sea Of Memories is far less imposing than I expected it to be – nowhere near the dark angst of Cold Contagious, no chord progressions that make me nod my head in agreement, the guitar feedback too weak to make me want more despite being unmistakably Bush, even though they have a new guitarist. And it’s a delight to hear Gavin Rossdale’s voice after so long, but I liked it better when he was brooding and incoherent. Songs that remain with me after a few listens would be so much better, but for now I’m just grateful Bush isn’t letting the cables sleep.

MORE:  KongPoush | Beermageddon 6 | Asterix The Satanist


Music Review: Foo Fighters – Wasting Light (2011)

By Karan Patel (Simple Complex Continuity)

Foo Fighters just never ceases to impress. Wasting Light was released earlier in 2011. I heard the album this past week. A little late but totally worth it. It is punk moulded with organized growls, lovable high-pitched vocals, enough aggression, not overdone solos, grunge  (of course), a little of blues and rock n’ roll, commercial but unconventional and at the end of the day, just pure jumpy madness. I missed the Wasting Light pre-release concerts in Los Angeles because I was out of town. There is one coming up next month and I can’t wait to be there and hopefully a lot more. Foo Fighters have a great credibility when it comes to live shows. The energy is kinetic, at least, that is what I have heard from friends, and it has a cult following, which is what I know. I am huge on Foo Fighters. Dave Grohl, the vocalist, rhythm/lead guitarist and chief songwriter for the band wears too many hats and is arguably one of the most talented musicians. What I mean by “too many hats” is all his involvement in so many side projects and pre-Foo Fighters work – Nirvana, Queens Of The Stone Age, Them Crooked Vultures and Probot. Wasting Light is everything that I have mentioned. It’s a feeling you get when you kickstart a bike for the very first time.

P.see: Of course, each and every song in the album is great.

Also, since many people don’t know about them, I would like to share:

Taylor Hawkins’ solo project: Taylor Hawkins and the Coattail Riders

A lot of the stuff is on Youtube. I like it a lot !!!


Music Review: Alice Cooper – Welcome 2 My Nightmare (2011)

Supposedly the sequel to the classic, Welcome 2 My Nightmare has quite a few good songs. Starting the album with I Am Made Of You, Alice Cooper sounds like the prince of darkness, following it up with Caffeine – a song that makes it clear where Dave Mustaine gets his singing style from, and the songs that follow are poetic rock n’ roll. A Runaway Train sounds like Bob Dylan in a hair metal band, and Last Man On Earth is pure Tom Waits stuff. The original Welcome To My Nightmare line-up is playing on this one, and they’re a backbone strong enough to let Alice be as silly as he wants. Disco Bloodbath Boogie Fever and Ghouls Gone Wild – hilarious and ridiculous, and What Baby Wants – a duet with Ke$ha on which Alice sings like he’s auditioning for Black Eyed Peas. Wait, he’s experimenting. Then you listen to a ballad like Something To Remember Me By and fun country music like I Gotta Get Outta Here and wonder how Alice Cooper can be effortlessly classy on some songs. Alice Cooper‘s bringing ‘shock rock’ back even if it’s more glam than shock, I’ll Bite Your Face Off being the best example. Welcome 2 My Nightmare is as frightening as the guy on its album cover, but so much fun to listen to!

ALSO READ: Anthrax’s Worship Music | Opeth’s Heritage


Music Review: Anthrax – Worship Music (2011)

Magnificent is not a word that can be used to describe Anthrax’s music. It can be shamelessly flung around when speaking of their peers: Metallica was grand, Megadeth has finesse, and Slayer had unmatched aggression – but AnthraxAnthrax lacked the x-factor, that certain something which made the other three titans of thrash click with every metalhead; those three bands turned countless kids into metalheads.

Worship Music takes a few listens to get used to; the first two tracks hardly make an impression, but the thrash metal really fucking flows after that. The album sees the return of Joey Belladona, which should be the highlight for old-time fans, and he doesn’t disappoint. Even if you didn’t think too much of Anthrax earlier ‘classics’; never cared for Joey’s singing style; didn’t consider yourself a fan of the band – Belly Of The Beast from Persistence Of Time being the only Anthrax song you enjoyed banging your head to, you have to give it to the band and the man – some of the songs are very good, and Belladona sounds fucking amazing. He sings with power and righteousness, and despite the kind of groovy songs the band threw around when John Bush (Armoured Saint) was the frontman, Fight ‘Em Till You Can’t and I’m Alive are enough to teach anyone that Joey Belladona was always meant to be the vocalist for Anthrax.

Anthrax’s 2011 album has the band pounding away you’d expect them to, with NWOBHM influences showing in places. Charlie Benante and Scott Ian are great as ever, and it is them I think of whenever the topic of Anthrax comes up. The band has mixed old-school thrash with the groovier songwriting style they later adopted, and adding melodies to the pounding definitely makes the songs more interesting.

On Judas Priest is a part that sounds like the chorus of Sheila Ki Jawani.

With an aging Metallica dragging themselves to India after Iron Maiden (way past their prime) and Megadeth (their next album says something in chat lingo), and with Slayer too tired to do anything, this may very well be Anthrax’s moment.

Metallica To Thrash Delhi, Bangalore In 2011

Megadeth Deserves A Grammy Award

Golden Mango Awards 2010

Black Stool Awards 2010


Music Review: Opeth – Heritage (2011)

Had it been a distortion-free album, Opeth’s latest could well be on loop at a beach shack you’d spend a part of the day drinking at. But then again, Opeth isn’t that easy to listen to. Alluring from the piano intro, Opeth in 2011 is the ’70s group you’ve never heard. The band launches into short rock n’ roll moments every now and then on Heritage, even as the tasteful guitar-playing eases you into a feeling of completeness. The classic-progressive nature of the music (it’s rock, not metal) is upfront, and Opeth once again choose not to use any kind of vocal style apart from clean singing, and that’s a big deal when the singer’s such a fine growler. Heritage’s strength lies in its subtle way of keeping the listener hooked and already looking forward to another listen, and not just to believe how eclectic Opeth can get. Fans should contemplate this change.


Exhumation’s ‘Consider This’

15 Metal Bands To Watch Out For In 2011

The Best Beers Available In India In 2011

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