ゼ [Ze]
Suck It Up
2012
Reviewed by Sebastian Kluth

When it comes to imaginative music from exotic places, I’m always ready to discover new things and spend some time on obscure bands. This was the case when I stumbled over the traditional hard rock and heavy metal band ぜ (Ze). It’s a project of Canadian musician Pete Klassen, who has been the bassist of heavy metal outfit Sacred Ally, and is now also involved in the heavy metal band Stinger, both of which come from Calgary, Alberta. The innovative and talented musician is now involved in a more progressive and thrash-orientated heavy metal band called Skulldozer from Calgary, where he plays guitars and sings, as well as taking up vocal duties with another heavy metal band called Evil Survives out of Winnipeg, Manitoba.

ぜ (Ze) is a project where Pete Klassen got the help from several band members of his other projects, as well as from a multitude of Japanese musicians. However, he always remains the creator and writer of the band, as well as its only truly permanent member. All in all, at least seventeen different musicians have already been involved in this Canadian-Japanese collaboration. Formed in 2008, the project released its first record entitled Suck It Up in 2012, and has since then published another EP before beginning work on a new release.

Suck It Up is an entertaining thirty-eight minute ride through the classic heavy metal genre with a strong retro touch of the eighties. The riffs are heavy and melodic, the bass guitar thumps with a lot of energy, and the slightly high-pitched vocals represent everything heavy metal is all about. Only the drumming sounds quite powerless, and is undoubtedly the record’s biggest flaw. The strength of the project is its ability to create catchy choruses and hooks right from the start, as one can hear in the opener “Afraid Of The Light”. The catchiest tune is easily “Thunder Calls My Name”, which sounds somewhat like an old school metal version of Bon Jovi’s legendary “You Give Love A Bad Name”. Another cool song is definitely the heavy closer that is sung by a guest singer (in Japanese) which features a few crazy lyrics. The song title can be translated to “I Want To Be Your Washcloth”.

Don’t expect any big surprises on this release, which varies from harder stuff like the title song “Suck It Up”, to slower and groovier tracks like “The One That I Want”. The acoustic interlude “Without You” could have been a great idea, but it’s too short and features no vocals. Any fan of fresh but traditional heavy metal could give this interesting experiment a few spins though, and should also try out Pete Klassen’s other projects.

3,25 // 5

Soilwork
The Living Infinite
2013
Reviewed by Sebastian Kluth

Soilwork is probably Sweden’s most famous melodic death metal band after the legendary In Flames. Both bands have recently released more courageous and experimental records with modern electronic influences, but have also included progressive elements and more than a bit of metalcore. The reaction of many old school fans has been rather negative, while younger audiences have cheered the last releases. The new Soilwork record is a perfect answer to old, more closed-minded metal maniacs, as well as their more recent fan base. The six guys from Sweden, France, and Belgium simply released a double-record with eight-five minutes of music and a total of twenty tracks. This definitely is value for money, but let’s also take a look on the quality and not just the quantity.

The first disc is more likely to please fans of Swedish melodic death metal. The tracks are short, easy to digest, straightforward, absolutely energizing, and include great hooks. The first three songs are among the most pitiless ones on the double-album, and the band seems to want to prove to its fans right from the start that they can still play music like they did in their earlier days. The most intriguing song for me on the first disc is “Tongue”, because it has a very beautiful melody and a catchy chorus you won’t get out of your mind anytime soon. Towards the end of the disc however, a few songs get a bit too catchy, sweet, and radio orientated. I already hear the old school fans complaining about it and this time they might be right.

The second disc is more for the fans of modern Soilwork, and is much more experimental. There are, for example, two well done but not outstanding instrumental songs in “Entering Aeons” and “Loyal Shadow”. A few truly atmospheric and dark tracks like the gripping “Antidotes In Passing” or the original and almost progressive closer “Owls Predict, Oracles Stand Guard” keep the tension high until the end, and are clearly among my favorite songs. Many tracks manage to include diversified changes of rhythm and style as well as a few modern sound experiments, all while keeping quite addicting hooks that can maintain the attention of a larger audience, as seen in “Rise Above The Sentiment” (even though it has a terrible music video that supports it) or “Parasite Blues”. With these songs, Soilwork has found the right balance for old and new fans, in my humble opinion. As you might guess, the second disc appeals to me much more than the first, as the overall atmosphere and clear guiding line is there, but also because the individual tracks are more outstanding and surprising.

In the end, fans of other Swedish melodic death metal bands like Darkane, Gardenian, Scar Symmetry, Solution .45, Sonic Syndicate, and so on should give this release a fair chance. It’s no highlight of the genre but a very entertaining release with a lot of material that should cater to old and new fans alike. From that point of view, Soilwork has done a clever job even though I would have preferred a shorter and more consistent release with only ten to twelve songs in the end.

3.75 // 5