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The Axis Of Perdition - "Deleted Scenes..." REVIEWS

Discussion in 'code666' started by Emi, Mar 27, 2005.

  1. Emi

    Emi underdog

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    post here all the reviews you find (mags, web, etc...)
     
  2. Emi

    Emi underdog

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    let's start with a great one ;)

    from METALREVIEW.com

    http://www.metalreview.com/viewreview.aspx?ID=1561

    rate: 5/6

    In this culture of litigious consumers, the staff of MetalReview would like to assist The Axis of Perdition and Code666 Records by providing potential consumers and the public with the following Public Service Announcement:

    The following statements are warning signs that a loved one is becoming dangerously effected by Deleted Scenes From the Transition Hospital, the new album from The Axis of Perdition:

    1) Upon initial exposure, he is simultaneously enthralled and horrified. (It is not unusual for new listeners to be forced to take measures such as burying the disc in the backyard at night in order to be able to sleep without fear and intrusive thoughts.)

    2) Your loved one has developed an unnatural and uncontrollable fear of elevators.

    3) He becomes obsessed with the appendages of dismembered mannequins.

    4) You catch him cutting out the eyes of people in photographs.

    5) After weeks of being wracked with fear and concern, you go into his room at night, only to find that he has dug an underground tunnel that connects to a secret chamber filled with mechanical torture devices.

    If you recognize these behaviors, you need to know the following information about Deleted Scenes From the Transition Hospital, and how it works its dark arts on the unassuming minds of metal fans.

    The Axis of Perdition is a relatively new entity, having previously released their debut album, The Ichneumon Method, in 2003, and last year’s bulging EP, Physical Illucinations in the Sewer of Xuchilbara, which was originally to be a split with Blut Aus Nord. Like the recent work of Blut Aus Nord, The Axis of Perdition assaults unsuspecting listeners with icy atmospheres of futuristic black metal with industrial overtures, which TAOP use more prominently than their French counterparts. Few bands are able to sculpt and construct such palpable and tangible atmospheres that are at once engrossing and entirely horrific. It’s as if the listener is immersed and transported to an actual different location via some kind of aural virtual reality.

    The Ichneumon Method was a nightmarish glimpse of the underbelly of the most vile and base natures of the deviant human condition. Although Deleted Scenes From the Transition Hospital continues that theme, TAOP has evolved its style by eroding human elements into a more coldly mechanical sound. The dialogue samples of confused and terrified people only serves to further the sense that an unearthly entity is victimizing humans with an apathetic cruelty. Both albums leave the listener feeling greatly unsettled and considerably scandalized. “Deleted Scenes I-In the Hallway of Crawling Filth” opens the album with a lengthy intro consisting of ambience and unsettling sound effects, before transitioning into a heavy awakening of riffing and growls. Although DSFTTH is as heavy as you’d like, it is somewhat more varied than The Ichneumon Method. The persistent blast of percussion has been varied this time around, and the album includes more tempo variation in general. The outro of “Pendulum Prey (Second Incarceration)” even contains the odd inclusion of a jazzy piano and guitar interlude, albeit covered with static. Combined with the increased reliance on industrial and ambient methods, TAOP have created a horror movie for your ears that shows evolution from their prior work but still contains their indelible stamp of identity hammered into the music. “The Elevator Beneath the Valve” is three minutes of ambience and sound effects that call to mind a long descent into another world on a freight elevator unlike any you’ve seen. These “ambient” passages are more active than that descriptor usually brings to mind, but on occasion they run too long. “Isolation Cubicle 312” is the most engaging of these.

    Now that you have been made aware of the dangers of this cantankerous new album and its damaging effects, there is only one thing you can do to help your loved one afflicted by Deleted Scenes From the Transition Hospital—visit Code666 Records or your local shop and pick up your own copy. This thing is too big to go through alone.
     
  3. matt99_crew

    matt99_crew Member

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    ^That's my review. Really enjoyed the album--hope it is well received.
     
  4. BenMech

    BenMech student of the d'eh

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    that's a really well written review Matt
     
  5. matt99_crew

    matt99_crew Member

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    Thanks a lot! We write about 60 of these every month over at MetalReview (shameless plug).
     
  6. Emi

    Emi underdog

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    fromm WALLS OF FIRE

    http://www.wallsoffire.de/Reviews/show_review.php3?kritik_id=5160

    rate: 2/5

    Jaja, ich sehe schon jetzt wieder diese ganzen Kritiken, die The Axis Of Perdition als künstlerisch wertvoll und empfehlenswert anpreisen, und das nur, weil diese Briten in ihrem Infoschreiben mit Worten werben, die sie wahrscheinlich nicht einmal selber verstehen. Im Grunde genommen mischen The Axis Of Peridion nämlich nur einige Ambient-Klänge, mit düsteren PC-Sounds und lassen ab und zu mal ei8ne Eruption, die sie Post-Black-Metal nennen, los. Feine Sache, nur leider todlangweilig!
    Prinzipiell wäre die Platte mit so manchem Werk von Arcturus oder sogar mit „Grand Declaration Of War“ von Mayhem vergleichbar, nur dass die Norweger mindestens zwei Klassen höher spielen und es auch verstehen, ihre Musik spannend zu halten. Spannung bedeutet nämlich nicht, an einem seltsames Klangkonstrukt wie den wirren in die Länge gezogenen Opener „Deleted Scenes I: In The Hallway Of Crawling Filth“ ein vollkommen belangloses maschinelles Zwischenstück wie „The Elevator Beneath The Valve“ zu schieben, und das dann auch noch als große Kunst zu verkaufen.

    Ambient-Musik in allen Ehren, hier gibt es im Normalfall auch immer eine Menge zu entdecken, aber bei The Axis Of Perdition gehe ich nach einer guten Stunde Spielzeit nur mit dem Eindruck heraus, dass man versucht, soviel Krach wie möglich zu machen und dies mit völlig aus der Luft gegriffenen Wortwendungen wie post-apokalyptischer Black Metal zu verkaufen. Leute, die darauf hereinfallen, gibt es immer, aber seht zu, dass ihr nicht dazu gehört! Und jetzt kommt mir bitte keiner mit so Sachen wie „der hat die Idee hinter der CD nicht verstanden“…
     
  7. Myklon_B

    Myklon_B Member

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    For people like myself who are inept with German, the review can be summarised as:

    Ridiculously boring drivel, not as good as "La Masquerade Infernale" or "A Grand Declaration of War", and don't come crying to me that I "don't understand your art", you don't even know what you're doing yourselves, you dull bastards.
    2/5

    At least, that's what I gather from the Freetranslation.com version:

    "Jaja, I see already now again these entire criticisms, that recommended extol The Axis Of Perdition as artistically valuable and, and that only because these Britons in its information letter with words advertise, who understand it probably not once itself. In the reason mix taken The Axis Of Peridion namely only some Ambient-sounds, with gloomy PC-Sounds and let looked name occasionally once ei8ne eruption, that it postal service--Metal, loose. Fine thing, only unfortunately death boring! The disk with so many a work of Arcturus would be fundamental or even with „Grand Declaration Of was“ of Mayhem comparable only that the norwegian at least two more highly play classes and understand it also to hold its music exciting. Tension does not mean namely to push at a strange sound construct as well as the confused Opener pulled into the length „Deleted Scenes I: in The Hallway Of Crawling Filth“ a perfectly insignificant machine intermediate piece as well as „The Elevator Beneath The Valve“, and to sell that then also yet as a large art.

    Ambient-music in all honors, here there is, to discover a quantity in the normal case also always, but in The Axis Of Perdition, I go out after a good hour game time only with the impression that one tries to make so much crash as well as possible and this with word turns grasped totally out of the air as well as postal service-apokalyptischer looked to sell Metal. People, that on that hereinfallen, there is always, but watches that its not in addition belongs! And now does not come please no with so things as well as „that has the idea behind the CD understood me“…"

    Wow. Someone's on their high horse...
     
  8. Crenshaw

    Crenshaw Demon of the fall

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    The Axis of Perdition
    "Deleted Scenes From The Transition Hospital", Album
    (Code666 2005)
    Industriell doom/black/ambient
    Spilletid: 55:44

    7/10

    Det finnes overhodet ingen lyspunkt i The Axis of Perditions lydlandskap. Her hersker totalt, overvelmende mørke. Det tunge, mørke og infernalske albumet de fire britene har snekret sammen går inn i historien som et solid gjennomført, skrekkframkallende metalalbum.

    Med et kaotisk, nedstemt, mørkt, tungt og maskinelt lydbilde maner The Axis of Perdition fram bilder av sinnsykdom og mareritt. Albumet baserer seg på et konsept om en person som er fanget i et slags sykehus; ”Transition Hospital”, som det heter. De fire personene som står bak har valgt å bruke programerte trommer, noe som fungerer utmerket: Her er ikke det ikke instrumenter eller partier som skiller seg ut, men i sin helhet er albumet fantastisk. Skiva starter med ”Deleted Scenes 1: In The Hallway of Crawling Filth”. Bandet beskrives som black metal, men her råder minst like mye doom og ambient. Det er så sykt og ekkelt til tider at det glatt kunne vært et soundtrack til ”Silent Hill” – hvis det er noen som har spilt det. Den ti minutter lange låta avløses av et slags mellomspill i form av ”The Elevator Beneath The Valve”, men den virkelig mugne følelsen får ikke innpass før ”Pendulum Prey (Second Incarceration)” baner vei over anlegget. Her har den skrikende og ekle black-vokalen fått en viktigere rolle. Blandet sammen i et sammensurium av samplinger, syke lyder, forvrengt gitar, varierende tempo blir det hele til et ganske frastøtende men velfungerende soundtrack. Det jazza partiet som løfter opp låta på slutten gjør det hele mer psykotisk og sinnsykt. Herlig gjennomført!

    Bandet holder standarden vedlike hele veien med å ikke forhaste ting, men ta seg tid til å utarbeide det musikalske landskapet. De maler forpinte stemninger, og holder lytteren på tå hele tiden. Hør bare på den lille ”pustepausen” i form av ”Isolation Cubicle 312”, der samplinger og en ekkel feedback er stort sett hele låta. Andre høydepunkter er ”Entangled In Mannequin Limbs”, og ”One Day You Will Understand Why”. Et fantastisk gjennomført album, som fullfører 100% og får til akkurat det de vil; Et heslig, ekkelt, mørkt og forpint konsept.



    Summasurium:

    Very twised, I love it, but I can't listen to it too often...

    http://powerlord.dataportalen.com/metalnorge/index.php?action=omtaler&ID=1084
     
  9. Emi

    Emi underdog

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    from zwaremetalen

    http://www.zwaremetalen.com/recensie/4086.html

    rate: no rate but a great review (in dutch ;)

    Tijdens mijn ontbijtje vanmorgen had ik gepland om de cinematic industrial black metal van The Axis of Perdition eens te gaan keuren, maar mijn ontbijtje moest wachten tot de laatste noten van deze band weggeëbt waren: ik zat kwijlend in trance met een blik van “whoa, dit is vet…” op de bank. Op “Deleted Scenes…” zet deze band een ontzettend zieke sfeer neer, met laag tempo nummers, klagend riffwerk, veel industrial noise samples en heerlijke vocalen.

    “Deleted Scenes…” is een ontzettend zieke muzikale beleving. Het is een conceptueel gestructureerde nachtmerrie, die gaat over een persoon die opgesloten zit in het “transition hospital”. Al ronddwalend wordt het hem uiteindelijk teveel en draait hij volledig door. Stel je voor dat je door een oud ziekenhuis loopt, zonder aanwezig personeel, waar alle dodelijk zieke, gemuteerde, psychisch gestoorde mensen van de hele wereld zijn opgesloten en volledig aan hun lot zijn overgelaten. Het is er warm, vochtig en ontzettend benauwd, de geur van ziekte en rotting dringt je neusgaten binnen. Links van je ligt een dode man in een plas pus, duidelijk afkomstig uit de vele opengebarsten zwellingen die hij had. Rechts van je zie je door een beslagen raam iets bewegen, en opeens slaat een bebloede hand tegen het raam aan, en glijdt vervolgens naar beneden, een bloedspoor achterlatend. Overal om je heen hoor je de klaagzangen van de lijdende verschoppelingen en de achtergrondgeluiden van de grote machines die ervoor zorgen dat het lijdende leven van deze ellendelingen op de een of andere jou onbekende manier zo lang mogelijk nog verlengd wordt. Als je daarna een deur open ziet gaan en iets onbeschrijflijks menselijks naar buiten ziet kruipen, kun je alleen nog maar krankzinnig en paniekerig de uitgang proberen te vinden… De sfeer op deze cd is echt geweldig, en doet denken aan computerspellen als Doom 3 en Fallout, gemengd met de nodige zombiefilm. Geen knipogen, The Axis of Perdition brengt pure misère!

    Door naar de muziek, waar het om draait. De verhouding industrial noise versus daadwerkelijke metal is zowat 1:1 op deze plaat. Elk nummer heeft wel een lange intro en/of outro vol samples, waardoor je na elk nummer in spanning zit te wachten op de eerstvolgende riff, vele lange minuten lang! Machinale geluiden, organische (menselijke?) gorgelingen, plotseling vallende metalen platen, mensen die doom 3 gespeeld hebben kunnen het zich meteen voorstellen welk beeld deze stukken oproepen. Ze zijn het best vergelijkbaar met de noise die Anaal Nathrakh gebruikt.

    Als dan de trage verlossende riffs beginnen te klinken, wordt het er niet veel rooskleuriger op. De voortreffelijke vocalen passen perfect bij de zieke atmosfeer en versterken die zelfs nog. De riedelende “Dead Skin Mask”-lead-riffs doen vaak wat denken aan Diabolical Masquerade, en hier en daar komt Forgotten Tomb in me op. Net als de vocalen klopt de gebruikte (computer-)bass-drum ook perfect: het geluid is niet zo dof zoals bij veel death metal bands, het woordje “organisch” beschrijft die drum op twee manieren erg goed.

    De herinnering aan Fallout wordt nog versterkt door een stuk van het nummer “Pendulum Prey”, waarin een piano en een gitaar de spottende jazzy klanken van de spel-karakteristieke muziek voortbrengen. Twee woorden beschrijven deze cd: ZIEK en GENIAAL! The Axis of Perdition steeft wat mij betreft de gevestigde industrial black metal acts finaal voorbij met dit meesterwerk. Op de onderstaande website van de band is een sample te beluisteren, onder het kopje “Creative Therapy”. Een aanrader voor iedereen die houdt van een macabere sfeer, zombiefilms, en voor iedereen die ervan overtuigd is dat deze wereld verdoemd is verder te vervallen in de zwarte diepte van een bodemloze put.
     
  10. Emi

    Emi underdog

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    from METALNEWS.de

    http://www.metalnews.de/?metalid=5&action=show&cdid=775

    rate: I fear it's 1/7 ... hehehe... quite bad... germans seems to don't understand this album

    Menschen tun sich gegenseitig die grausamsten Dinge an. Greueltaten bar jeder Beschreibung scheinen an der Tagesordnung, wobei zum Glück das meiste davon illegal ist. Aber dennoch haben ein paar Jungs aus England einen legalen Weg gefunden unbescholltene Musikredakteure bis zur Grenze des Erträglichen hin zu martern. The Axis Of Perdition nennt sich der sadistische Verein, der sein Folterinstrument euphemistisch als ihren neusten (und inzwischen dritten!) Output bezeichnen und ihm den Titel „Deleted Scenes From The Transition Hospital“ gaben.

    Selbst nennt der Club von Soziopathen die pseudomusikalische Lärmbelästigung, die sie da verewigt haben, „Cinematic Industrial Postapocalyptical Black Metal Dark Ambience“ um mal die Meisten der verwendeten Begriffe anzuführen. Es wurde wohl versucht die Hässlichkeit der Welt mit all ihren Erscheinungsformen in einer modernen Gesellschaft und psychotische Angstzustände in Tönen wieder zu geben und das ist ihnen in gewisser Weise sogar gelungen.

    Zu hören bekommt das Opfer überwiegend elektronische Soundkollagen, die den Industrial-Anspruch erklären, durchsetzt von dem ein oder anderen riffbetonten Abschnitt und einigen Growls und Sprechgesang sowie leicht chorähnlichen Passagen. Aber die elektronischen Sounds sind uninspiriert, die Riffs bestenfalls 08/15 und die Vocals reißen es auch nicht gerade heraus. Der dahinstampfende Drumcomputer ist indiskutabel. Das ein oder andere Element könnte sich als Intro vielleicht noch ganz gut machen, aber das haben zig andere Bands in der Form schon besser eingebaut. Das dann auf bis zu elf Minuten aufzublasen trägt nicht unbedingt zur Begeisterung bei.
    Zugegeben, in einem Film als Hintergrundschocksound könnte sich einiges davon als brauchbar erweisen und als schreckensverbreitender Klangteppich bei Rollenspielsessions bestimmt seinen Zweck erfüllen. Einige Perfomance-Künstler würden sich bestimmt auch darüber freuen. Aber die von der Pressestelle versprochenen Alpträume kriege ich in dem Zusammenhang eigentlich nur bei dem Gedanken, ein armer Mensch könnte dafür hart verdientes Geld ausgeben. Das beste an dem Album ist eigentlich das eingebaute Cool-Jazz Interlude gegen Ende eines der Songs.

    Vielleicht bin ich auch einfach noch nicht bereit für diese Art künstlerischen Ausdrucks. Aber am besten zitiere ich mal das Beiblatt der Promo:
    ”...“Deleted Scenes...“ sees the Band more drenched in dark ambience than ever, the guitars more abstract and warped into unpleasant shapes, the vocals as cathartic and painful as ever. You have been warned: It just gets worse…”
    Getränkt in (geistige) Dunkelheit, unangenehm verzerrte Formen der Gitarre, schmerzhafte Vocals...besser kann ich es auch nicht umschreiben.
    Ich fühle mich nach dem mehrfachen durchhören der Platte (man versucht ja trotz allem eine fundierte Meinung zu entwickeln) um die Lebenszeit, die ich damit verschwendet habe, betrogen und bin völlig entsetzt, wer denn heute einen Plattenvertrag hat, und welche zweifelhaften Substanzen scheinbar diejenigen konsumieren, die darüber entscheiden.

    Am Ende bleibt mir nur die Gewißheit, dass ich mein Bestes getan habe euch zu warnen, der Rest liegt in eurer Hand...aber hoffentlich nicht in eurem CD-Player.
     
  11. Emi

    Emi underdog

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    from BRIGHT-EYES

    http://www.bright-eyes.de/baseportal/CDs/kritikendetail&Id==5896

    rate: 7/13

    „Cinematic Industrial Black Metal” nennt sich der Sound des Quartetts, das unter THE AXIS OF PERDITION eine knappe Stunde lang den CD-Player belegt. Wirklich eingängige Songs sucht man auf „Deleted Scenes…“ eher mit der Lupe, denn die 4 Musikusse schnüren ein gesamtkünstlerisches Paket, das als Soundtrack für einen apokalyptischen Endzeitfilm durch gehen könnte. THE AXIS OF PERDITION packen alle Ideen zusammen, für echtes Songwriting im normalen Sinne ist jedoch wenig Platz. Eine 9minütige Nummer wie „Pendulum Prey (Second Incarceration)“ ist ein chaotischer Mix aus Geballer, Hass, Depressionen und kranken Bildern, der in ein Soundkorsett geschnürt wird, das aus dem Hause „Abruptum unter der Fuchtel von Cult Of Luna“ stammen könnte. Ähnlich auch das 13minütige „Deleted Scenes II: The The Gauze-Womb Of The God Becoming“, wo einfach zu düsteren Dark Ambient/Industrial-Klängen ein Gedicht rezitiert wird, und nur ab und zu einige spärliche Riffs auftauchen. Am nachvollziehbarsten als Song sind noch „This, Then, Is Paradise“ oder „Entangled In Mannequin Limbs“ (hier könnte man annehmen, Mindrot und Morgion machen auf Industrial). THE AXIS OF PERDITION sind ein nett gemeinter Albtraum, und wer gern schlecht träumt, sollte sich das Soundtheater der Briten durchaus angedeihen lassen.
     
  12. Emi

    Emi underdog

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    from THE DARKEST HOURS (canada)

    http://www.thedarkesthours.com/main.htm

    rate: 65%

    I'm always exited when I'm receiving a CD from the label Code 666. The reason is simple. It's always something that sounds weird, unique and most of the time it's really really good! This time, I should say that I'm dissapointed. I could describe this band as Avant-garde industrial atmospheric black metal. The category may sound appealing but for me, it failed to catch my attention. The bad production doesn't really help. There's so much noise, distortion and also the bass drum sounds fake,etc..The overall production is poor in my opinion. Having said that there's also some positive point. The fact that this record is built like a movie soundtrack make it interesting. You got many atmospheric parts with wierd sound and dark ambient stuff that makes it sound creepy and the vibe is unique. This is the high point of this record. This is like a horror movie without images. This is like a nightmare! A story of someone imprisoned in the dark labyrinth of the 'Transition Hospital'. I don't have the lyrics with this version so it's hard to explain but it seems really interesting! That's an Epic journey into their dark world. You have to be open-minded and by listening that CD in the dark, with a lot of imagination, that could work well but you'll definitly needs more than one listen to fully understand it...
     
  13. Emi

    Emi underdog

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    from METAL SPACE Magazine (printed)

    rate: 8,2/10
     
  14. Emi

    Emi underdog

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    from MYMUSIC MAGAZINE (printed)

    rate: 5/10
     
  15. Myklon_B

    Myklon_B Member

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    Pretty much business as usual really, isn't it?

    The standard mixture of "this is astounding", "it's ok, but where are the catchy tunes?" and "this is appalling". As you say though, it does seem that there's a special concentration of unbelievers in Germany....
    C'est la vie.
     
  16. unhinged

    unhinged R.i.P. Lizard

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    in my experience the 'i fucking hate this' reviews are nearly as welcome as the 'i love this' ones

    its much better to evoke an extreme reaction of either kind than to have a slew of 'its ok' views.

    much better to be hated than mediocre

    unless
     
  17. Emi

    Emi underdog

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    from METALGLORY:

    http://www.metalglory.de/reviews.php?nr=2024

    rate: 8/10

    Es gibt Alben, bei denen ist irgendwie alles sperrig – vom Gruppennamen über den Albumtitel bis hin zur Musik selbst – geboten wird sogenannter “Cinematic Industrial Black Metal” – ist dies bei vorliegender Veröffentlichung eindeutig der Fall.
    Und – um es gleich vorwegzunehmen – dieses Album ist very very strange, ein verwegener Mix aus KREUZWEG OST, VOIVOD und postapokalyptischem Cyberpunk-Black Metal à la THE KOVENANT mit vielen eingestreuten Samples, Jazz- und Ambientklängen und vielem mehr.
    Strange heißt aber nicht unbedingt schlecht, denn die durchgeknallten Stücke haben mich sofort und unwiderruflich auf eine Art und Weise fasziniert, wie sie nur sehr schwer zu erklären ist. Eine Analogie hilft vielleicht, aber nur, wenn man vergangenes Jahr den Fantasy-Western „Blueberry“ im Kino gesehen oder sich demletzt die DVD zugelegt hat. Was der Hauptprotagonist in dem Film sieht und erlebt, als er das halluzinogene Indianertränklein runtergeschüttet hat, kommt den Visionen doch recht nahe, die sich einstellen, wenn man das vorliegende Album in voller Lautstärke konsumiert.
    „Deleted Scenes From The Transition Hospital” ist eine abwechslungsreiche Tauchfahrt des Schreckens und paßt hiermit gut zu meinen derzeitigen überaus realistischen Alpträumen – alleine die gruslig-knarrenden Maschinengeräusche, welche das zweite Stück darstellen,sind strengenommen schon das Eintrittsgeld wert, ebenso wie die sprichwörtlich unter die Haut gehenden fies fräsenden Zahnarztbohrer auf Stück 5.

    Mit Musik oder gar Black Metal hat das Gebotene über weite Strecken nicht viel zu tun, schon eher mit einem Hörspiel oder einem Soundtrack, mir hat’s aber gefallen und ich gratuliere Band und Label zu dem Mut und Selbstbewußtsein mit dieser Veröffentlichung, welche die Charts ganz sicher nicht erobern wird.

    Hereinspaziert, hereinspaziert, meine Herrschaften !! – Sie werden es nicht bereuen !
    8 Punkte.
     
  18. Myklon_B

    Myklon_B Member

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    From versacrum.com:

    The Axis Of Perdition: Deleted scenes from the transition hospital (CD - Code 666/Audioglobe, 2005).

    Non si può certo dire che i The Axis Of Perdition propongano un sound immediato e di facile ascolto, difatti questo loro nuovo lavoro richiede un po’ di tempo per poter essere compreso e apprezzato appieno… Quello che a prima vista sembrerebbe un album dark ambient (fortemente ispirato al suono Cold Meat) si rivela come un qualcosa di ben più particolare nel momento in cui le sonorità oscure e alienanti a cui ho appena accennato lasciano il posto a una sorta di techno-black metal delirante, fatto di veloci sfuriate a base di chitarre stridenti e anche di momenti più atipici e bizzarri, sottolineati da vocals che sembrano provenire dall’oltretomba! Se poi a ciò aggiungete la presenza di un passaggio jazz (al termine del lunghissimo “Pendulum prey – Second incarceration” c’è pure quello!) capirete che questa non è la classica band che ha semplicemente inserito nuovi elementi all’interno di un genere ormai stantio e sorpassato come il black, ma una formazione che è riuscita a rigenerare tale stile a livello strutturale, dando così vita a un ibrido che appare come una perfetta fusione di suoni molto diversi tra loro. In parecchi hanno tentato un’operazione del genere, ma i The Axis Of Perdition sono senz’altro tra quelli che hanno creato le cose più interessanti. Per certi versi il loro cd mi ha ricordato l’ottimo (e malatissimo) Seishinbyouin degli Atrium Carceri, ma ovviamente questo paragone vale solo per una delle componenti del sound proposto dal gruppo, che come ho già detto è così sfaccettato da essere difficilmente catalogabile. Proprio per questo motivo credo che una release del genere potrà attirare tipologie differenti di ascoltatori: magari chi ha familiarità con il metal estremo e contaminato non si stupirà più di tanto sentendo i pezzi inclusi in Deleted…, ma di sicuro questi ultimi sorprenderanno (e non poco!) tutti gli appassionati del dark-industrial di stampo classico…

    Edit: Er, incidentally Italian folks, what does that say, roughly?
     
  19. Emi

    Emi underdog

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    from DK666 portal:

    http://www.dk666.altervista.org/AxisOfPerdition_deleted.htm

    Eccolo il tanto atteso (almeno dal sottoscritto) come-back del duo britannico degli Axis of Perdition, band che occupa le prime posizioni fra le mie preferenze attuali. Il "manicomio" è tornato, gli incubi, le frustrazioni, le torture fisiche e mentali, vengono internate nuovamente nei solchi di un cd fra i più "difficili" e poco appetibili in circolazione...ad oggi gli AoP, si spostano su sonorità ancora più rarefatte e malate, il "black metal" apocalittico degli esordi oggi è disperso, ma non abbandonato del tutto, nel chaos e nel terrore tecnologico dai quali Brooke e Mike sembrano essere ossessionati...stavolta, non ci sono i ritmi impossibili sostenuti solo da una batteria elettronica, dietro le "pelli" troviamo Mullins dei Bal Sagoth e un conseguente, umano rallentamento...rallentamento necessario per le perverse visioni degli AoP...8 pezzi collegati logicamente l'unico fra l'altro, in cui troverete le atmosfere realmente lugubri di "The Elevator Beneath the Valve", gli scantinati della mente di uno squinternato di "Isolation Cubicle 312" (noise/ambient pura...), le vertiginose e apocalittiche accelerazioni di "Pendulum Prey (Second Incarceration)". Fra suoni/rumori lisci, freddi e industriali sarete testimoni delle perversioni più recondite dell'animo riportate alla luce da questa, ormai grandissima, ma altrettanto ostica, band d'oltremanica. Splendido l'artwork (come al solito la Code 666 non si smentisce mai), perfettamente in linea col contenuto. C'è poco altro da aggiungere, disco destinato solo a chi è stanco di ascoltare sempre le solite cose ed è in cerca di "emozioni nichiliste", probabile che possa fare schifo ma anche che sia adorato follemente...entrambe le cose non mi stupirebbero...one day you will understand why...

    Kosmos Reversvm
     
  20. Emi

    Emi underdog

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    from EUTK portal:

    http://www.eutk.net/rece.asp?id=3288

    rate: 7,5/10

    A pochi mesi di distanza dal mini “Physical Illucinations…” tornano i The Axis Of Perdition. Il nuovo “Deleted Scenes From Transition Hospital” riparte proprio da quel disco, anche se ne discosta non poco. Ormai il black metal non fa parte più del bagaglio sonoro della band, almeno non nel senso comune del termine. I nuovi The Axis Of Perdition si sono trasformati in un agghiacciante ibrido black ambient/industrial/doom, dove l’esplorazione della mente, dei suoi più reconditi recessi, sembra diventato l’obiettivo principale della band. E quando si scava a fondo dentro la psiche si può capitare in stanze oscure, buie, senza finestre, e ci si può rimanere intrappolati.
    È un po’ questa la sensazione che si ha in questo disco, un disco dove il rumore di fondo è assordante, dove il cigolio, il clangore, il convulso pulsare di una fabbrica in decadimento, sono una parte fondamentale del tutto. È come mettere insieme Mz412, Void Of Silence ed Evoken, infettarli con i Godflesh e servirli on the rocks. Un incubo claustrofobico ed angosciante è il nome di questo cocktail.
    Certo talvolta si nota che per la band questo è un esperimento primigenio, nel senso che è evidente una certa ingenuità di fondo, soprattutto nella struttura delle canzoni, se così si possono chiamare questi otto pezzi di metallo arrugginito. In effetti il pezzo migliore è senza dubbio “Pendulum Prey (Second Incarceration)”, dove il singer è veramente schizofrenico e maniacale e dove nel finale si sovrappongono il suono di un’orchestrina jazz e il noise più disturbato e disturbante. Non male nemmeno “This, Then, Is The Paradise?”, col suo finale brutale ed allucinato.
    Nel complesso un buon disco, con qualche passaggio a vuoto di troppo, soprattutto ho notato il poco ruolo dato alle parti vocali, ridotte all’osso. Forse è una scelta della band, che preferisce lasciar parlare le macchine, ma gli inserti brutali del singer, così come le sue spoken words catartiche danno una marcia in più ai pezzi.
    Per il resto ci troviamo di fronte ad una nuova forma di espressione della malattia mentale, qualcosa che a tratti è mostruoso, qualcosa che si muove, che sta mutando, che non ha ancora assunto una forma definitiva, ma che, e siamo pronti a giurarlo, prima o poi sorgerà dal disfacimento che l’ha originato, e sarà lucente, affilato, crudele, malvagio. Per cosa? “One Day You Will Understand Why…”
     

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