Kennt ihr schon unser letztes Release? Der hier ist für die Biker! 😜

https://www.youtube.com/watch?v=yCu5Ozy5qLE

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#Bands, deren Namen nicht zum aktuell angesagten Ernährungstrend passen:

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Deliver the Galaxy – Bury Your Gods Review

By Steel Druhm

Written by: Nameless_N00b_85

It turns out space really is the final frontier. While topics like the nothingness of death, religion, and romantic predilections of the cadaverific kind will always be reliable tropes, space has long revealed itself to be the most tonally diverse of the metal fixations, with music to celebrate its infinite beauties as much as its unknowable (and very knowable) horrors. German melodeath outfit Deliver the Galaxy is poised to drop their third offering, Bury Your Gods, to expound on the “exciting idea that humanity is not alone in the universe.” By the time all is finished, will we have set our phasers for fun, or will we be nuking them from orbit?

After an over-the-top cinematic intro, the band comes out swinging with the title track. Featuring chunky and funky grooves, a healthy dose of Hypocrisy atmosphere, and a bombastic, amphitheater-friendly mix, it’s clear that the band dreams of big things. Choruses are catchy, and tones shift between the weight of black holes collapsing and the gentle colors of passing nebulae. “Unsterblich” is a real highlight, wringing an impressive amount of melancholy from its bridge, and a constant barrage of pit-inciting chugs turning into another earworm of a chorus. The entire package is sleek, immediate, accessible, and reliable.

However, that reliability quickly turns to banality, and a mere handful of songs in, the cracks begin to show. Deliver the Galaxy’s approach to catchiness isn’t rooted in clever vocal phrasing or compositionally clever hooks, but in rote repetition, where each verse seems to serve to get to the chorus as quickly as possible. The choruses themselves also rely on the literal song title being played in a loop. “Get Down” is a particularly egregious offender, repeating the phrase 31 times in its sub-three-minute run time (yes, really) while tacked on to music with a cheesy bop that We Butter the Bread With Butter had the sense to leave on the cutting room floor. The lyrical obnoxiousness is unfortunate, as vocalist Matthias has genuine flair, delivering his lines with a feral sense of conviction and an admirable amount of enunciation, but in the long run, these skills only betray the basic nature of the material.

The compositions themselves fare no better, as the few attempts at experimentation are ghastly. “Shadows” makes a shameless attempt at your local radio rock station with mediocre cleans and a big build-up let down by the even more mediocre chorus. The strange decision is made to end the album with a meandering piano outro, meant to serve as a cathartic release to an album that never earned it. But the biggest offenders are the solos–each is positioned exactly where you’d expect them to be, and each of which bores, stalls, and goes absolutely nowhere. Not every melodeath band needs to bring Scar Symmetry levels of shred, but when your leads are objectively outperforming your solos in both technical heft and emotional resonance, something has gone terribly wrong in the songwriting department.

Still, this album will undoubtedly find an audience, and they’re called “normies”—people who enjoy huge shows where they’re commanded to “let me hear you” or “let me see those hands.” Aesthetically, I like what the band is peddling here, and the enthusiasm with which they deliver the material is palpable. But mediocre songwriting will drag down even the nicest sounding of projects, and this album is high on melody and low on death. A commitment to overly formulaic song structures and a pop radio approach to choruses reduce the listening experience to empty calories for the ears or a space suit with low oxygen in the tank. Hopefully on the next outing the band Deliver the Goods—I’m certainly rooting for them to do so.

Rating: 2.0/5.0
DR: WAV | Format Reviewed: WAVY
Label: Massacre Records
Websites: deliverthegalaxy.com | facebook.com/deliverthegalaxy
Releases Worldwide: August 30, 2024

#20 #2024 #Aug24 #BuryYourGods #DeliverTheGalaxy #GermanMetal #Hypocrisy #MassacreRecords #MelodicDeathMetal #Review #Reviews #ScarSymmetry #WeButterTheBreadWithButter

Jeris Johnson – Dragonborn Review

By Dear Hollow

If you don’t know Jeris Johnson, let that horrendously edited self-portrait that would feel like a masterpiece of character design on Nintendo 64, like Lara Croft’s pyramid boobs, really sink in. For the uninitiated, he’s that guy who partnered with Papa Roach for a “reloaded” version of “Last Resort;” he did a collaboration with Bring Me the Horizon for a remix of “Can You Feel My Heart.” For the initiated, he is big on YouTube and TikTok. For his first full-length Dragonborn, you might be confused about what exactly this album sounds like. I’ve repeatedly spun it, and I remain confused.

What Dragonborn does is drags pop versions of metal, rock, electronic, and hip-hop kicking and screaming into an album entirely devoted to TikTok trends like the “Hoist the Colors” bass vocal covers, Ronnie Radke’s antics, sea shanties, and melodies ripped from classic songs. Jeris Johnson helms the craft with a very confused charisma, a grungy smoky tenor that tries to adapt to the clusterfuck of influences, forcing a square peg of Viking and fantasy imagery through the round holes of trap music, nu-metal, and hard rock. Insufferably bland at best and unbearably awful at worst, influences slamming across the universe with Falling in Reverse-esque abandon. Dragonborn is as bad as you can imagine, and often worse.

Let’s start with the good mediocre passable tolerable. “John” is a dad-rock anthem with a decently written chorus that worms its way into your brain whether you like it or not – conjuring the likes of Nickelback or Staind. Jeris’ cover of Seal’s “Kiss from a Rose,” while utterly unnecessary and only adding a weaker vocal performance to song’s legacy, is as okay as a pop/rock song you hear on the radio in the mid-2000s. Otherwise, Dragonborn’s strengths shine as brief glimmers of potential in isolated passages: the Korpiklaani-inspired plucking in the intro title track isn’t bad; the riffs of “When the Darkness Comes,” “Down with the Dynasty,” and “Not a Person (Freak)” have some weight at first. Johnson’s voice is also capable and has potential, even if he can’t seem to write a solid verse, chorus, or bridge to save his life.1 So, uh, we’re in fucking trouble.

Perhaps the biggest and dumbest thing about Jeris Johnson is his ability to make an audio train wreck impossible to look away from. Interpolations are perhaps most jarring. “When the Darkness Comes” features a central melody stolen from the Arabian riff (aka “Streets of Cairo”) in an “I guess the minor key works if you’re into that” way, the central melody of “Siren Song” is unashamedly robbed from the fucking Christmas goddamn classic hymn “What Child is This?” for fuck sake and I never thought I would be checking that off of my 2024 bingo card. Meanwhile, “Story of Our Lives” tries to force electronic, trap, rap, and Tyr-esque medieval melodies into an orgy with no chemistry; “Welcome to Valhalla” feels like you wanted “Hoist the Colors” to be both a Wardruna cut and a trap metal song by Travis Scott; “Here’s to the Years” features an Alestorm-meets-Dropkick Murphys pirate vibe plus Irish shanty jig that makes me wanna puke; “Down with the Dynasty” is basically a metal cover of “Centuries” by Fall Out Boy without any fun or catchiness; “Not a Person (Freak)” features a We Butter the Bread with Butter-inspired shuddering deathcore breakdown that is only iterated fucking once; “Eat Drink War Repeat” is basically a Brokencyde song with all the soul-crushing cringe and likewise not knowing what sex is; “Ode to Metal” is just a rap/punk song that Ronnie Radke would start beef with someone over; and “Finish Line” is basically a Five Finger Death Punch power ballad. The independent nature of Dragonborn is also plain bad, as Jeris Johnson’s autotuned gaffs shine through “Story of Our Lives” and “When the Darkness Comes” with piercing clarity.

So what’s left? A singer/songwriter who has no idea what kind of album he actually wants. Is he a Viking king? A club-frequenting playboy? A hair-flipping fan of Falling in Reverse? Someone who would actually defend Ronnie Radke on Instagram? Someone who’s likes Shrezzers’ “PVRNHVB”? I’ll tell you who Jeris Johnson is: he’s an influencer on YouTube and TikTok. And Dragonborn is an experiment of the most embarrassing variety, but ultimately is not intended for us. I mean, if you’re into unnecessary variety and TikTok trends, have at it. I need to sit down.

Rating: 0.5/5.0
DR: N/A | Format Reviewed: STREAM
Label: Self-Released
Websites: jerisjohnson.com | facebook.com/killjerisjohnson | tiktok.com/@jerisjohnson
Releases Worldwide: August 23rd, 2024

#05 #2024 #Alestorm #AmericanMetal #Aug24 #BringMeTheHorizon #Brokencyde #Deathcore #Dragonborn #DropkickMurphys #Electronic #FallOutBoy #FallingInReverse #FiveFingerDeathPunch #FolkMetal #HardRock #HipHop #JerisJohnson #Korpiklaani #Metalcore #MorganWallen #Nickelback #NonMetal #NuMetal #PapaRoach #PirateMetal #Pop #PopRock #PostGrunge #Punk #Review #Reviews #Seal #SelfRelease #Shrezzers #staind #TaylorSwift #Trap #TravisScott #Tyr #VikingMetal #Wardruna #WeButterTheBreadWithButter

Seit langem nicht gehört 😂

https://invidio.us/watch?v=ev5eFchsZz4

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