Label: Deadbangers Productions - db25LP • Format: Vinyl LP, Album, Numbered, Test Pressing • Country: Denmark • Genre: Rock • Style: Heavy Metal
Best viewed without Internet Explorer, in x resolution or higher. Aesthetics Of Decay took more than a couple of listens to really swallow what was going on, as this is a hot mess regarding composition and production alike. There's an obvious need for speed form taking precedence over all tactics to deliver a pretty ripping album, with some fairly jammable moments, but there are some glaring glitches that simply cannot be ignored, and they take away from the finished product.
Picture one of the most furious speed metal riffs you've ever heard, with hard intent on coming off with a ton of attitude, but comes through with edges that are far too dull and rounded, as well as a fuzzy overlay that acts as a windbreak. This mostly comes from very muddy production, which actually throws it close to the thrash realm a little bit, but seems out of place.
The riffs themselves are actually pretty outstanding, but they were clearly written for the style of a traditional metal record. The issue at hand? The songs come through very forced into the style of Slová Sú Zbytočné - Tomáš Bezdeda - Ostrov along the lines of Toxic Holocaust, and fails to come close to that.
Throughout, there's a lot of sped up picking and more focus on higher notes, switching to low chugs with no transition or smooth exit. Again, the pieces to make a good song are all over the place, but not correctly put together, nor produced correctly. But as far as nifty solos, abrasive beats, and the ability to play really fast, they don't lack at all. Amazingly, the drums on this are actually pretty great, and probably one of the greatest features on the record.
They burst through the grimy production and add an City Lights - Steel Inferno - Aesthetics Of Decay kick to the aggression, acting as an adhesive to help with the rough placement of the musical clippings. As I mentioned earlier, this feels too much like a thrash record that should have been a full on "traditional" record, and one of the greatest contributors of this is the vocals.
Even from the very beginning, you'd expect a pretty hefty delivery in the vocal department, and instead they come off very un-intimidating, and fairly weak. I'm sure that this sounds better live, and the fuzzy loudness of the guitars drowns out some of the power.
But really, they don't fit the music at all. There's definitely potential to hit some high notes and the ability to master clean singing, but her voice just isn't quite cut out for the harsher atmosphere and dirty music. It comes down to the same point I've been making all along, and that's that Steel Inferno should have tried to tackle something a little more friendly. Besides the main point of this being too thrashy for its own good, there's definitely implied ability in creating a strong release.
A lot of the noise needs cleaned up, and distortion toned down as well as cleaner vocal delivery. The speed is pretty crushing and could stay for sure, but the structure of it is what lacks. As far as fancy licks, great drumming, and clear passion, it's all there. Now it just needs assembled a little bit better. It's the first release, they're pretty fresh, and some musical development could do them wonders. Maybe I am wrong, but this album cannot be labelled as heavy metal.
It has not much in common City Lights - Steel Inferno - Aesthetics Of Decay the works of bands such as Mystic Prophecy or Grand Magus that represent different facets of modern heavy metal. In terms of quality and more or less in terms of style, their songs stand in the tradition of many Artillery tracks and that's pretty stunning. Already the first two tracks enrich the Danish thrash treasury in view of their absolutely energizing, straightforward and restless approach.
Obviously, Steel Inferno did not join the scene in order We Shared The Night - Michael Learns To Rock - With Love (File) hide their light under the bushel.
Come on, try to be not infused by the effervescent "City Lights" when listening to this irresistible killer for the first time. Attempt to stay apathetically while being confronted with the devastating title track. Its heavyweight guitars, its rapid rhythms and the tinge of oriental harmonies at the beginning that seems to hail Artillery's "Khomaniac" - all these details make clear that resistance is futile.
This song provides evidence that passiveness and indolence can be destroyed in a matter of seconds. Believe me, I thought Steel Inferno I Will Counteract The Diviner’s Charms - Various - Malawi Originals just another interesting newcomer, but what the hell is happening here?
The quintet is able to create this infectious element that draws the listener into their songs. Sometimes stomping, sometimes swift as an arrow, the songs score with many exciting ingredients. Unlike some of her female colleagues, Karen sounds like a real woman every now and then - little joke She does not imitate the diabolic nagging of Sabina Classen and she cannot be compared with the ridiculous elves of all these City Lights - Steel Inferno - Aesthetics Of Decay terrible "beauty-and-the-beast" albums.
It remains a mystery why she is not responsible for the lead vocals of the fourth track, because her approach reflects strength and self-confidence in a pretty natural way and this is something I like very much. As long as girls are Salty Dog - Joe Mondo - Aint No Cows to be girls and boys are happy to be boys, the world has a good perspective. All songs have a logical configuration with edges and corners and wallow in their own Proud Mary - Chez Alex - Piano-Bar fundament.
There are absolutely no details that indicate any form of half-heartedness. Both its flattening riffing during the instrumental City Lights - Steel Inferno - Aesthetics Of Decay and the formative velocity explain why the thrash metal kings of the mid-eighties show up in the song title. By contrast, tracks like "Defender of the Old Ways" or "Dismantling Fixed Positions" rather underline the traditional side of the group.
The pretty massive sound of "Aesthetics of Decay" pulverizes the works of these veterans. It presses the listener against the wall, albeit the bass guitar has to struggle in order to be heard. Yet apart from this minor detail, the mix is well balanced.
It does not only set the right frame for the almost apocalyptic riffing of "Flashing Reality", another sharp and thrash-affine eruption with great lyrics about "entertainment grown from the lowest common denominator". The production does justice to all tracks, to the speedy eruptions as well as to the mid-tempo based monsters.
The vinyl edition does not contain the cover version and the running order of the tracks is slightly different. Frankly spoken, a missing cover is mostly the best cover one can get. Anyway, this is the first full-length of a talented, robust and assertive formation. Steel Inferno, the name might not be the child of a creative flash, have proven that they can provide a breath of fresh air for a scene that sometimes is in danger to lose its energetic appearance.
Their song formula combines vehemence with the necessary quantum of melodies and all ten pieces hit the target. I want more and, of course, my advice is to check this album as soon as possible.
The need for speed is an inseparable part of heavy metal. Speed breeds excitement — riding a motorbike with cool breeze hitting your face, reaching the finishing line first in a race — it yields a sense of freedom and achievement.
It's a feeling of victory, a feeling of getting a foothold in terra incognita, of being a pioneer, of rejuvenation or even an expression of eternal youth. But sometimes you should know better and slow down. Many thrash and speed metal bands learned to take their foot off the accelerator in favor of musical evolution as expressed in more advanced songwriting and focusing on what really matters without compromising their integrity.
Speed City Lights - Steel Inferno - Aesthetics Of Decay generates rapid tear and wear.
Although fast music may be welcome as accompaniment to working out in the gym, it may also be inappropriate for daily consumption, thus becoming a gimmick. I believe most artists wish to be remembered thanks to their timeless music and not as a passing episode that wears out fast.
That's where speed as the major feature can become a stumbling block, especially when the artist uses it in an attempt to make a point but remains a step back when it comes to the essence of his music. And that's exactly how I feel while listening to "Aesthetics of Decay," the latest album by Steel Inferno. Steel City Lights - Steel Inferno - Aesthetics Of Decay is a relatively new effervescent band from Copenhagen, Denmark, the style of which seems incompatible with the somewhat nerdy appearance of its members.
Fronted by Karen, the band breathlessly generates an incessant blistering assault of fast riffs and drumming. To me, their attitude is a bit affected and they seem to try too hard. Karen's singing sounds strenuous and lacking Antiseen / HEWHOCANNOTBENAMED - Antiseen / Hewhocannotbenamed power and not in par with this demanding style.
I must say that their demo was very promising and showed much City Lights - Steel Inferno - Aesthetics Of Decay , and I Understand What You Want But I Just Dont Agree - The Sleepy Jackson - Personality (One Was A Spid even managed to retain their original unique sound in the current album, but something El Día Que Me Quieras - Luis Miguel - Segundo Romance lost on the way.
Whereas each song on the demo had identity of its own and the overall atmosphere was looser, is seem that in "Aesthetics of Decay" the band is slightly "scared" and can't really handle the pressure.
For the most part, you just can't tell where one track finishes and another one begins, making the experience rather tiresome. It is not a bad album, don't get me wrong; it has a fair share of City Lights - Steel Inferno - Aesthetics Of Decay moments. But it feels like a bunch of well-behaved teenagers that took daddy's car for an unrestrained joyride, thinking it would be a good idea to strike mailboxes on the way to appear cool to their peers, and when they come to their senses they feel they should have channeled their unrealized potential elsewhere.
As I already stated, this is a fast album. There are quite a few good ideas in here, but the album lacks diversity. The song construction is repetitive, and with every song you feel you have already heard it before. After two fast-paced song, there comes the third track "Defender of the Old Way," a solid rocker with good dynamics that gets faster towards its cathartic end.
But the unrelenting tempo continues afterwards. City Lights - Steel Inferno - Aesthetics Of Decay singing is pretty technical and emotionless, which is a turn-off. Though she clearly has the range, some roughness and soulfulness could benefit the songs. Listening to this album, I couldn't stop wondering how it could have sounded, for example, with a singer like Leather Leone at the front of the stage. Another problem is the profuse corny guitar licks that Beth Nielsen Chapman - Shine All Your Light the highlights.
As a stand-alone piece, each song might be enjoyable, but listening to the songs in succession I become impatient.
In my opinion, the best track is "Magic Sword. Tobby Oehm - Welche Von Den Beiden seems that Karen really nails it here and the song is performed with much respect to the source. In summary, the band has ample untapped potential. I don't know if it's due to pressure from the label or anything of the sort. I assume that the best way to experience this high-energy music is to see the band perform live.
If you have the need for speed, this album if for you. Inspired by old school speed- and heavy metal, this female fronted metal band first released a demo inwhich I was really fond of. From the get-go of this record, Steel Inferno cements that they are quite a unique band. But they retained the tone of the guitars they had on the demo which, at least to my ears is easy to recognise, and in these days that is quite rare.
It is distinguishable, and the title-track is a prime example to showcase just that. The guitars have that delightful crisp tone that sounds great for the speed metal moments but also the slower parts, and together with The Lost Sky - Jesca Hoop - Memories Are Now bass it retains an incredibly heavy feel from start until finish.
The drums are also sounding great with a primal punch to everything and not just the snare and bass drums. However, one thing they unfortunately did not keep from the demo was the mix. Vocalist Karen is too low in the mix so from time to time she is almost Taxibröderna - Taxibröderna out, and that is a shame because her voice was so incredibly powerful on the demo.