ALBUM REVIEW: Letters From The Colony produce technical ecstasy on Vignette

THERE are moments as a reviewer when you hear something and go "what in the name of Satan was that?" And, then you check the accompanying blurb and find it was the roar of a deer...

Yes, the roar of a deer. Sweden's Letters From The Colony don't do anything the simple way. New album 'Vignette' is an exercise in all the extremes. Death, progressive, math or whatever genre you think of, all are thrown in to produce an album packed with diverse elements.

At one turn it is haunting, the next terrifyingly complex, such as on 'The Final Warning' with its shifts from intricacy to chugging along.

More than anything, however, this is a musical journey allied with a lyrical concept, that can be dug out from Alexander Backland's angered vocal lines.

That concept may be about the fragility of our planet, but apart from the instrumental interlude of 'This Creature Will Haunt Us Forever' there is nothing fragile about Letters From The Colony on 'Vignette'.

When it comes to producing such technically complex music allied to the extremities of death metal the demand for precision can sometimes compromise the 'soul' of the material. Despite the weft and weave of the songs there is soul throughout the album. Even if chief songwriter Sebastian Svalland admits that he had to write out tablature to explain the structure of the riffs...

What is evident is that they may have taken eight years of line-up changes and detailed thinking this début album packs a punch. There is a thoughtfulness that goes beyond simply making an album with loads of elements.

'Terminus' and 'Glass Houses' are perfect examples of this - fury in the music and fury in the words, but crafted to be more than howls of anger, but pointedly harnessing that anger.

The story of the album, however, are the opening weirdness of 'Galax' and the close to epic closer ''Vignette'.

'Galax' veers in its eight minute journey from full on attack through a delicate, almost trippy  interlude back to complexity, but always with a sense of space for the development of each element.

Now to the deer...

According to Letters From The Colony the purity of the deer in comparison to the vainglorious, greedy, all-consuming nature of humankind is a metaphor.

On the title track the sampled deer is there, therefore, for a reason. But more than that this track is a 12-minute monster. It could have ran out of control, but has enough elements that harken back to more traditional 70s style prog brought bang up to date with its structure and ferocity.

Within that structure is an exploration, including a lovely touch with the saxophone that contextualises the other parts of the song: rage can be expressed in many ways...

Even with its serious nature this a track to wallow in.

In fact Letters From The Colony have produced an album that you can wallow in, enjoy on many levels. However, what is most important is that is an album with real heart.

Review by Jonathan Traynor

Vignette is released on Nuclear Blast on 16th February.

ALBUM REVIEW: Thundermother shake the earth on album number three

IT has been all change on the Thundermother front as three quarters of the band were replaced, with only Filippa Nassil remaining. Has that diminished in any way from the band? Not at fucking at all.

If there was any doubt about the new re-purposed rockers this self-titled third album kicks that into touch.

The 13 track are straightforward no nonsense rock - all instant classics. Recording them in  a remarkable 10-day period live gives it an organic urgency, such as on the frenetic 'Racing on Main Street'.

There are no weak tracks here, from the moody opener 'Revival' to closer 'Won't Back Down'. Indeed that seems to be the musical and lyrical message - Thundermother are back to stay.

It's not however all finger in the air rocking out. 'Fire In the Rain' is a brooding ballad that builds to a chorus that is sublime.

Guernica Mancini does have similarities to her predecessor, but there is no imitation here, putting her own stamp on TM. The extremely catchy 'Hanging At My Door' is a perfect example of this, merged with a meaty riff.

New drummer Emlee Johannson and bassist Sara Pettersson have a relaxed but purposeful groove throughout, highlighted on 'The Original Sin'. Throughout drum sound in particular is impeccable.

There appears to be an under-current on 'Thundermother', about proving themselves, about re-birth and the usual "fuck you" attitude.

Sure, some tracks do pay homage to their influences (the bell and opening of 'We Fight For Rock N Roll' sounds like a sequel to DC's Rock N Roll Ain't Noise Pollution) but the  four-piece are much more than another hard rock band playing out clichés.

Instead they put their own stamp on hard rock. Take a pinch of Aussie rock, add 70s sounds, a dash of European classic rock and this Stockholm band have nailed it.

Even after repeated listens it still sounds fresh and vibrant.

Review by Jonathan Traynor

LIVE REVIEW: Mesuggah and The Haunted are the heroes of dark metal delight in Belfast

NEVER mind djaent or melodic death or whatever - when Meshuggah and The Haunted played Belfast it was simply about the metal - and what a night off metal it was for aficionados: power, precision and dark entertainment.

This was an exemplary showcase of Swedish metal might presented by The Distortion Project that packed out the Limelight and left those emerging into the January night (Tuesday 17th) with a sense of having borne witness to something special.

The Haunted were making a long overdue return to Belfast and vocalist Marco Aro was immediately urging the gradually filling venue to come forward.

Despite a restricted stage space they were clearly enjoying the opportunity on stage with Ola Englund's lead work impressive to the foil of Jonas Björler (bass) and Patrick Jensen's rhythm guitar, while Adrian Erlandsson was impressive behind the kit, despite the occasional teasing from Marco.

'The Guilt Trip' and 'Bury Your Dead' were highlights of a tight set, but it was 'Hate Song' that drew the most acclaim at the end of the set. The Haunted have presence and a perception that they are there both to entertain and enjoy themselves while on stage.

Preparations for Meshuggah's début Belfast show held much promise for the show, and within moments of the band appearing it was clear that this was a special presentation with a, literally at times, startling light show.

As part of the tour backing 'Violent Sleep of Reason' this was a set that you would expect from such extreme musicians as Meshuggah - little banter, band members shadows for large segments outside the first few rows and a level of technicality few can match or dare to try.

Jens Kidman was almost a dark shade of intensity as they kicked into high gear from the off with 'Clockworks' and an unwritten assurance that this was to be a special night of metal terror.

Meshuggah can never be accused of being accessible, but for those in 'the know' the familiarity of the tracks was only matched by the expected excellence of Frederick Thorendal, Tomas Haake, Mårten Hagström and Dick Lövgren.

To describe the set as tight is an under-estimate of what was laid out before the audience. 'Perpetual Black Second' or 'Nosrtum' could be picked out among any of the tracks.

The sweeping beams of lights from the bottom of the stage, the occasional spotlighted band member, the backdrop and Tomas' impressive kit were an invitation to an immersive experience, where the extremities of human existence were thrust forward to contemplate, while screaming in adulation.

The closing duo of 'Dancers To A Discordant System' and 'Bleed' rounded off an evening that showed that metal, no matter what other term you wish to affix to it, has a power that reaches the inner, elemental core of meaning and also leave you delighted and exhausted.

Review by Jonathan Traynor
Photographs by Darren McVeigh of MetalplanetBelfast