Andrew Danso

I've still to confirm the actual date, but Blue² will finally be live and kicking by the end of this month. Updates to come, and thanks again for your emails. Hurray!

Formed in 2006, The Intersphere are a German quartet, playing a brand of progressive-punk that’s becoming something of a recurrence for the country, producing the likes of Tokio Hotel which occupy much the same territory. There’s a breezy sense of freedom on “Interspheres, Atmospheres”, an absence of put downs, metaphors, and thinking; it all flows in its eccentric atmosphere, and the German quartet really do steal the limelight from their rivals because of this.

Even though The Intersphere are outside of their native tongue, their sound hasn’t been lost in translation, as when they plunge into dreamy instrumentals, the music speaks for itself. There is an edge to these German headbangers too. “Prodigy Composers”, hits on an energetic, punk-rock plateau, along with track “Snapshot” providing much the same muscle. However, The Intersphere are golden when in their proggy chaos. Tracks like “Right Through Me”, and “I Have A Place For You On Google Earth”, are weightless in full flow, imitating an energetic high of rocky progressions, and lows full of downstream spacey atmosphere, that never reach too deep into darkness, but certainly mellow out.

The Intersphere are close to 30 Seconds to Mars in their pop pedigree, side with Muse in their rock pedigree, and space out like King Crimson among their proggy archives. This is definitely nothing great, but may as well be an essential for any prog rocker, and equally just as important for anyone in the mainstream.

7/10 Powerplay issue #126

Rockburn are a four piece from Scotland, hailing to have ‘the balls’ to play all out rock’n’roll in a society wrapped by the complexity of production. Hats off to them, they certainly entertain in ways only great rock’n’roll can, with none of the same-old blandness this critic was expecting when reading their opening PR line, “classic rock’n’roll with a 21st century twist”. The results of the EP are ballsy, and to a greater degree stellar, when you think of modern rock enthused with ‘the next big production’, hiding behind the pillars that gizmos and producers often place.

As pools of talent go, this one’s deep, as Rockburn flaunt compelling rock’n’roll reminiscent of the 70s period, written in their own likeness. There’s nothing slack jaw whilst the numbers flick by, but this is extremely well executed rock, and a great reflection of the times. “The Last Stop” is a mash up of country and blues, which makes their sound more widescreen than what was initially expected. The vocal sides by the great Robert Plant comfortably, with Rockburn vocalist Stephen Baxter groaning like one of the best in the business.

Rockburn may lack that edge to elevate them into the stars, but enjoy this while it lasts; this is as honest and super-smooth jiving as you’d get, in 2010.

7/10 PowerPlay issue #126

Jayce Lewis journey to fame was shown on a BBC fly on the wall documentary, “Big in India”, highlighting live performances across India and a repetition of those live gigs only three months later, due to massive attendance. This, along with the release of his single “Icon” has landed him a five year deal with EMI Asia, true to the cliché of bedroom distro to rockstar (well, in Asia, kind of).

The Welshman may be big in India but he’s certainly not of that country, and his record reflects this with a hyper, modern vibe to his sound, so much so that it veins in cyber-rock (otherwise labelled ‘tacky’ in the UK). He combines metal, and electronica throughout the entire album, with enough ingredients either way to side with each genre, and tips the iceberg on an industrial alp. His tracks have much akin to Fear Factory, (minus the angry vocal) and are just far cheesier, with much greater commercial appeal. “Solitaire” is a muscular affair, with guitar chugging, throbbing dance pulses, and a tribal drumming style. With that said, the entire album can live in that description – and it’s redundantly repetitive. “Astral Halo” is an excellently written number, featuring synthetic vocal harmonies throughout, and waters down on the electronic element, which is welcome change.

Jayce Lewis self-titled debut is overcooked for the UK, but will certainly raise eyebrows in its niche. Don’t worry about Asia; it’s going to be kicking back to every second of this.

6/10 PowerPlay issue #126

Daggers Drawn may be circulating the underground, but their debut will surely elicit a wide spread enthusiasm. There are passages within the six numbers that are reminiscent of Gojira and Machine Head, but that certainly doesn’t mean these Plymouth headbangers are copycats.

One of the most refreshing things about the EP is how it’s full of ambition, right from get-go. DD combine progressive, technical, and death metal influence throughout all of their numbers, though even if sections are rough around the edges, or needlessly haywire, all remains plausible. “New World Order” in particular combines all of their grains together most fluently, and highlights exciting prospects waiting.

7.5/10 Metal Mayhem UK

Lord of the Lost are another band which sound like ‘x’ band that’s popular. 'Type O Negative' is that ‘x’ band, as Lord of the Lost play with the same brand of metallic doom and gloom which characterised 'The Drab Four', and feature one of the best Peter Steele imitations heard in recent times. There is a fundamental problem with going down this road of straight imitation; you’re always playing catch up to what’s current in the first place.

Let’s not beat about the bush, 'Fears' is an excellent gothic rock album, with enough dirges, darkness and melodic hooks to satisfy any vamp infused rocker. But while the Steele impression is a brilliant one, there’s a lack of any character to 'Lord of the Lost' on their debut, enveloped in their hero’s vision and missing in their own. Tracks like 'Last Words' and 'Prologue' are great aggressors but lack an individual flavour. 'Never Forgive' is a Marilyn Manson inspired number, that has the strongest impact throughout the album, making their sound more widescreen than what was initially expected.

Ultimately, 'Fears' is wrapped in its title; scared to show its hand in a sea of other hopefuls, by way of being swept aside - and ironically, that’s precisely what will happen.

6/10 PowerPlay issue #125

The post-punk, post-hardcore group, Sometimenever, are off-the-leach on 'Father Hope' with their take on writing something far and away different, to prove to us and themselves that it could be done. This comes in the form of aggressive punk, chaotic progressions, and happily, at no expense of a brain. More importantly, what this lofty lot from Cambridge want to portray on 'Father Hope' is that all of the chaos played has a depth and meaning, that so many overlook for the sake of sounding hardcore. This is an attempt to create a less madcap punk, which still has the genres recklessness – and that’s no easy feat.

Refreshingly, the nine numbers which make up their second release don’t have vocalist Adam Powell screaming over each track for the sake of sounding crazy. Instead, melodies and spoken word are often used, which help give 'Sometimenever' an individual flavour. Things often fleet between the progressive, and manic as evidenced in tracks 'Terror (Terror, Terror, Terror)' and 'Narcissus', and in contrast their more punk-ish numbers, 'Two Words, Six Letters Get _____' and 'Wake Up' help mix the albums pacing, outside of its hardcore traits.

Unfortunately there’s nothing here to suggest a great album, or even a memorable one. But this is certainly an artistic achievement, shaken down to its bare bones.

7/10 PowerPlay issue #125

Rifftrospective is a compilation release from Bristol headbangers Left Side Brain celebrating ten years since their inception. They’ve released three albums prior to this one, and have chosen what they feel to be their best material, which make up the thirteen tracks. But whilst the sound of this quartet is barely blazing in originality, few imitate The Wildhearts and Therapy? so emphatically.

Initially, Left Side Brain emulate the discontent, noisy output of Therapy? on opener 'Exit Route'. However, as the numbers flick by, it’s only then that you realise how big the bands scope is for an alternative metal vision. 'Weaponise' thrills in ghostly vocoded vocals filling the background; 'Almost Had Me' has a fluid blend of crunching guitar riffs with pop-vocal harmonies slapped on top and 'Gifted' goes wild at heart with The Wildhearts. Further more, Left Side Brain claim that all they want to do is play big riffs to blow your socks off – but there’s something much more evergreen to this showcase of work; hints of experimentation and masterstrokes of song depth, which only few achieve.

Don’t be put off by the album title, or the whole celebrating ten years under a rock thing; Left Side Brain have pulled off superbly balanced and written alternative metal, as well as being able to flaunt their instrumental nous, that bubbles underneath.

7/10 PowerPlay issue #125

Slaves to Gravity are a bunch of brit-rock hopefuls, unannounced to the masses, but certainly are on the up. Since releasing their debut in 2008, Scatter the Crow, the band has spent the last two years touring the US and the UK, turning heads at the Download festival, and playing with the likes of The Butterfly Effect, Pitchshifter, and Bullet for My Valentine.

Honesty is the single from the up and coming 'UNDERWATEROUTERSPACE', and it strongly hints at a vast change of direction from the debut. Much was made of the 2008 release, pushing the boundaries of pop rock to post-grunge and alternative rock, but two years on, and Honesty is the exact opposite, opting instead for a slick, polished and poppy taster for what’s to come.

There is one and only track on this disc and it demonstrates a brilliantly put together pop-rock-out tune, with ‘chuggy’ guitar riffs, an uplifting chorus, and a powerful vocal knitting it all together. But Honesty’s lack of experimentation and willingness to do something more cutting edge makes Slaves to Gravity very difficult to distinguish amongst the other pop rock outfits, and further more, easy to ignore. There’s also a lack of flavour to the production, as this time around there is no self-produced aesthetic; instead the band have chosen a commercially carbon mix, alongside producer Bob Marlette (Black Sabbath, Slayer, Alice Copper), which by the sounds of things, has had very little influence.

While Slaves to Gravity have created a terrific piece of pop rock, it’s one all too forgettable.

6/10 PowerPlay issue #125

This is short, but very sweet from Dan. There's something compelling about how his Dylan inspirations transpire into his own language - it makes for something really special.


His new single, Talkin' Belfast Bike Crash, is available for free on NI Charts. His newly titled EP Talkin' Belfast Bike Crash has just been released (with distribution to be announced, your best bet is to get in touch with him regarding a copy, dolbrodan@yahoo.co.uk).

Dolbro Dan is also to be featured on my new EP, Blue² (more anxiously soon).

Dolbro Dan, Grab It And Run Records

Scream is meant to be blasted through a Sabbath veterans dying ear lobes, and MTV simultaneously, and then also be approved by both audiences. On reflection that’s no easy feat. As sober as Ozzy may be, wondering if the magic has somehow dried up is usually on top of the public's agenda when mulling over another addition. The previous “Black Rain” was a cynical move in the Osbourne franchise, picking your cash strapped pocket for something branded with “The Prince of Darkness”, delivering on not much you’d associate him with, and more importantly nothing we want to associate him with. Each release probes an even bigger response though; how can this man end his career so cynically? Maybe we’re the naysayers for waiting on his eventual downfall, but then again he did define heavy metal in more ways than one. Why are the expectations never met?

Scream itself is another sober check-up on the Osbourne franchise. It rocks as hard as it wants too, but only when it wants. The ingredients are there for a metal magnum opus, but often Ozzy tailors everything to be somewhat radio friendly, with some sort of bang in between the commercial stuff. The content has no more Zakk Wylde on second fiddle, and you’ll be glad to know that that means no more maligned comparisons to BLS. Osbourne’s sound has been freshened up because of this but not to any huge distinction. Ozzy has paid the price for removing Wylde’s class of southern American rock to something extremely generic, and whilst it’s certainly a welcome change (if anyone apart from Ozzy released his previous work they would be regarded as certain “BLS” rip-offs), you can’t possibly recognise Scream from anything else played in a high street store. That’s unless you slap his vocal on top.

His performance on Scream is memorable, and should be lauded whilst everything previously mentioned has cut below the belt. With that said, this is another shallow addition to his discography. Scream rocks when it needs too, pops when it needs too, and that’s about it. Am I the fool to be left expecting more? Definitely.

2/5 Sputnik Music

Triptykon appears to have identity crises. The project has untested personnel, claims of experimentation, one would think new ground to follow aloft the name much bigger than the project itself. Thomas Gabriel Fischer. Triptykon is his understudy that was announced following the departure from Celtic Frost, and without his well-documented presence, Eparistera Daimones would be torn to shreds with a criticism based essentially on ripping off Monotheist. So, how does one make fair foundations to criticise Triptykon on? If this is the pure successor to Monotheist then why on earth didn’t Fischer simply reassemble Celtic Frost? How can you justify labelling a brand new project with precisely the same envisionment? This is Monotheist Mark II, so why not just call it that? It simply feels hungover, and otherwise exploitive. The saving grace perhaps, Fischer has came out and gave us the warning we so desperately needed, “Triptykon will sound as close to Celtic Frost as humanly possible”. Giving Triptykon an identity when the disc spins though, is more than simple, and the critic should only be asked of what’s heard in front of him. My notes read, Celtic Frost. Monotheist. Different personnel.

And with that, underlining what content is in Eparistera Daimones is very predictable. There’s the odd deviate off the trail from Monotheist to Triptykon’s credit, in adding darker ambient sections to the music, that can at times feel out of place (a bit 80’s too), but otherwise add a different flavour to their sound. Apart from that, this is very much in the same kettle of fish that Monotheist swam in. Expect more of the same.

That does not necessarily mean an entirely bad thing (Monotheist has been a personal favourite since it’s inception in 2006), but perhaps does show a lack of ambition, in starting a new project just to showcase a sequel intended for the same audience; you only need to head to MySpace to find copycats, and without Fischer present, Triptykon may as well live in those same webpage’s. Not that the Celtic Frost legend doesn’t know how to piece together his own music, he just did it much better in 2006. Such a wasted opportunity.

6.5/10 Metal-Mayhem UK

I did some harsh editing on a few articles a while back. It was mostly part of an experiment to see where my own refinement would lead me. I thought it went well, and it was pretty fun too. Below are two articles which I felt read better.

My first published attempt: Album Review: Devin Townsend Project - Addicted!

Blue-penciled attempt:

To the cynic, each Devin Townsend Project is simply new personnel with a different focus in its crosshairs. Perhaps part of the ploy, but the announcement of the project and in particular, the release of Ki shook the metal world into recognising how Townsend would react to his post Strapping Young Lad present. Ki was at the very least a success. It spanned of everything deep within the Townsend vein, marvelling a level of unpredictability rarely found in his metallic archive, which even scribed defining nuances into American prog rock. The following from Ki, “Addicted!” was set to be deflation, as the press release indicated a collectively ‘more fun and straight to the point’ record. Addicted! is Townsends most direct reaction to the SYL break-up (as stated in numerous interviews), and he wants us all to know, setting this record commercially humble and to strike worldwide appeal.

If warning shots were fired by Townsend prior to the eventual criticism of Addicted! then we’ve taken two the chest. He’s dead right, Addicted! has no where near the same care or depth associated with Ki. Instead the ethos of ‘let’s rock’ is Townsend’s mantra behind everything on the album. There’s not meant to be any undertones, it’s not meant to have a heavy handed metaphor, it’s just meant to rock’n’roll with enough impact commercially to make a boom. And that it does, very well.

Taking in the guile on the production, first time around however, isn’t exactly rock’n’roll. The amount of layering, and added quirky decals, makes Addicted! Townsend’s wackiest achievement in his chronology. “Universe In A Ball!” goes a long way for an explanation. It begins on a metal hammer, but mid way through adapts a silent-era, circus screen-play, only to throw us back into a wall of heavy metal. Surprisingly this is all pulled off with an elegance of realisation, that these elements swim with each other in the same water comfortably, yet somehow are centuries apart - and it’s a testament to Townsend, that he’s been able to weave it all together. There’s much to say about the others on the record too. “Bend It Like Bender!” claims the pop crown on Addicted! It retains a heavy metal coefficient but at the same time, can side by Weezer for a radio friendly rock-out tune. Whilst the self titled track “Addicted!” maintains a darker, and heavier weight, reminiscent of Strapping Young Lads early work. “Awake!” has much disco jive to it, and industrially fades out the album on a typical dance pulse.
7.5/10 Posted on Sputnik Music

First attempt: Album Review: Dioramic - Technicolor

Blue-penciled attempt:

Technicolor’s press release is riddled with the sorts of hyperbole best described as inextricably pretentious. Language like “Art-core” (not hardcore), “opposing acoustic concepts”, and “scientific law”, already say much about a band with a lot to say, but in the completely wrong way. This not at the very least, proves a massive disservice to Dioramics music (if I’m allowed to mention ‘Dioramics music’ in one swoop without breaking sweat, aligning them with the stars and some sort of theory about the abacus) misleading you every word.

This is Lifeforce Records first 2010 offering. And, whilst the underwhelment doesn’t take long to kick in, it says much for the attitude of the label. That being, a willingness to publish ambitious projects that wriggle far from the conventional, and we can only applaud Lifeforce and Dioramic for their efforts, if even the finishing line hasn’t been quite reached. Notably this is Dioramic’s full length debut, with only uploads and an EP to have completed their otherwise baby-steps to inception. If you feel that’s enough to warrant a sympathised critique, we digress; there’s enough promise present on Technicolor to recognise the trio amongst others, but not near enough nous needed to pull off this technical, progressive and hardcore experiment.

Dioramics meat and vegetables (like most technical acts) is their guitar riffing, fulfilling mostly a melodic component on the record. The shifting flavour of the ‘chug’ and chord progressions throughout the guitar playing, help give Technicolor a diverse complement, as finding both played at the same time (in the said genres), is rare at best. The vocal floats between clean and higher pitched yelps that are reminiscent of Freak Kitchens, Christer Örtefors. It being second seated beside the guitars, it lacks the muscle needed to punch above them, instead creating melodic layers often lost within the guitars mid and fuzzy frequencies or quasi technical plucking. You’ll find a very strong and talented drum performance present, adding the needed flex of a percussive undercurrent, along with the bass throbbing taking the back seat. Samples are often thrown in, adding further depth to the tracks, and invariably Dioramic do experiment with various instruments across the board, which help only to mix things up.

With so many ideas flowing around the mix at once, Technicolor ultimately fails to come to the boil on any of its laurels (its progressive nature, its hardcore nature, and its art). What strikes, as most disappointing is the records broken structure, with each track feeling 50% complete, whilst the other half begins or ends in a complete slouch. The complete material lends a hand at demonstrating the potential for this act, but also reinforces that Dioramic’s ideas have no were near been fully realised. Its artistic ideas overflow genius, but it’s piecing together into one coherent package, is clumsy and ineffective. This is great art, poor execution.

A 2010 reboot by Lifeforce that comes across average at best. 6/10

Posted on Sputnik Music

I've finally got around to updating my MySpace page; it really yearned for a spring clean! Anyhow, I'll not bombard with a load of HTML buttons screaming "Buy Now!" anymore. It's not the purpose of the page, nor is it me.

I've also added a track from my new and to be released EP, Blue². I hope you enjoy it.

National Sunday Law aren’t in any way, a religious two-piece (in fact, quite the opposite). Throughout our musical history, purposeful subtleties have lived within the fabric of many artists’ names, but choosing “National Sunday Law”, seemed outright odd at first glance, for two atheists. On the flip side their music doesn’t express an uphill struggle against the devout, which is more than refreshing, especially in the said genre (Doom, progressive metal).

The Fifth Ape continues were their previous entry “La Storia Di Cannibali” left us, deep in a brand of post-rock and doom metal. This E.P’s notable change from its precursor is that it’s a much more muscular affair in comparison. The song structures are directly laid out, carrying you from riff to riff in a quicker motion than previous. And whilst the material here is similar stylistically, it twists and rocks with you in an immediate urgency, instead of the progressive layering heard on their previous record. The biggest merit on The Fifth Ape, is that it’s somehow, still an occult of doom metal, designed to sludge and carry the weight of the universe on its shoulders with the said combined.

What makes NSL’s tribulations that more interesting is their sheer modernism, fusing both progressive and post-rock movements into one doom image. “Joshua The Anchor”, begins cordially, but capsizes on doom hooks, that are patterned and aggressive. “The Last Flight Of The Dodo Bird”, is a rhythmical jig that lapses into progressive territory. Soundwise this diversity comes across as modernism, layered on top of a genre aged, suffocated and surely crippling. The level of imagination present deserves recognition, even if it’s not particularly earth-shattering.

NSL’s case in point is their refinement and fat trimming. Rarely is it found that acts so early in their careers, possess the nous to make an excellent debut album sound meeker, in light of a follow-up E.P.

8.5/10 Metal-Mayhem.co.uk

Special thanks to Ben Simpson (drumming), and Mark Kernoghan (engineering) for their help. Also, a thanks to SERC for letting us in!

An exciting few weeks are ahead, as the project wraps up.

I'm having to pushback Blue² for a few more weeks. I did expect the material to be finished around the beginning of this month, but at the moment, that is simply not the case. Other than that, I feel it's materialising quite nicely.

Many thanks for your emails on the project, and I can assure the reservations will be sent to you.

If you're interested, feel free to send me an email.

Technicolor’s press release is riddled with the sorts of hyperbole best described as inextricably pretentious. Language like “Art-core” (not hardcore), “opposing acoustic concepts”, and “scientific law”, already say much about a band with a lot to say, but in the completely wrong way. This not at the very least, proves a massive disservice to Dioramics music (if I’m allowed to mention ‘Dioramics music’ without breaking sweat, aligning them with the stars and some sort of theory about the abacus) misleading you every word.

This is Lifeforce Records first 2010 offering. And, whilst the underwhelment doesn’t take long to kick in, it says much for the attitude of the label. That being, a willingness to publish ambitious projects that wriggle far from the conventional. We can only applaud Lifeforce and Dioramic for their efforts, if even the finishing line hasn’t been quite reached. Technicolor’s content shifts between the hardcore and progressive genres. Their guitar riffing is more of the ‘chug’ nature than chord progressions (mind you, both are present). The vocal floats between clean and higher pitched yelps that are reminiscent of Freak Kitchens, Christer Örtefors. You’ll also find a very strong and talented drum performance present, with the bass throbbing taking the back seat. Samples are often thrown in, adding further substance and depth to the tracks, and invariably Dioramic do experiment with various instruments across the board, which help only to mix things up.

With so many ideas flowing around, Technicolor ultimately fails to come the boil on any of its laurels (its progressive nature, its hardcore nature, and its art). What strikes, as most disappointing is the records broken structure, with each track feeling 50% complete, whilst the other half begins or ends in a complete slouch. The complete material lends a hand at demonstrating the potential for this act, but also reinforces that Dioramic’s ideas have no where near been fully realized. It’s artistic ideas overflow genius, but it’s piecing together into one coherent package, is clumsy and ineffective. This is great art, poor execution.

A 2010 reboot by Lifeforce, that comes across average at best.

6/10 Metal-Mayhem.co.uk

Another expansive journey into progressive territory. That’s the simplest way to coin Shifting, ‘progressive’. By its very nature, Shifting is an intricate experience, filled with melancholies, metal sections, ambient soundscapes; subtleties often deaf to the ear of the metallic listener. Providing a reference to lean upon usually helps, but this description certainly won’t. The only real similarities are Tool, Ephel Duath, Isis, and Mogwai. So, whilst diffusing the material mentally may be a challenge, sonically it’s nothing short of superb. The song writing is coherent, solid, and has much fluidity moving in and out of its rich progressions. There’s an unreserved creativity within Shifting, as At The Soundawn incorporate percussive and electronic elements to the production, heightening the experience, which would be woefully diluted otherwise.

In an ocean of ‘obvious’, ‘nearly’ and ‘no cigars’ At The Soundawn appear to find land on Shifting, with their brain of post-rock and progressive metal. Not nearly a perfected album, Shifting does have its faults (melodrama plagues parts of the experience, overly long winded writing style in periods) but none often memorable. On the contrary, each track present is memorable and distinct, to where it is going, and where it wants to take you. Every ingredient heard has had the breadth and scope of experienced and talented artists. Shifting is At The Soundawn’s defining record, so far in their otherwise short-spanning career.

8/10 Metal-Mayhem.co.uk

I've been away for the best part of this month working mostly on a new project. Named Blue², it is a complete shift in direction from the previous album, that is very much far away from my metal influences. I have it que'd for release within the next two months, that'll span of 5 tracks (not entirely concrete). However, I'll be trying a pay-what-you-want scheme, letting you pick up the EP for absolutely nothing, to how much you want to give me (this will hopefully work with most of the digital retailers too).

I'm taking reservations for anyone that might want a copy held. Just send your name, email, and shipping address to my email address (andrewdanso@live.co.uk), and I'll let you know as soon as I can, when a copy will be out to you -- this alternatively can be digital too. Remember, you don't need to give me a penny.

Blue² is to be the first of two EP's hopefully released in a couple of months. Red is the other project, which is planned to span of much more heavier and darker material.

I'll be sure to keep an update, thanks again.