• Khemmis - Desolation (2018)

    American doom metal quartet Khemmis offers a truly gorgeous cover artwork for its third full length record Desolation that honors Egyptian mythology but also artworks of several progressive and psychedelic rock bands of the seventies. There are further similarities to this era of adventurous rock music such as the fact that this release only offers six songs which however have extended running times adding up to a little bit more than forty minutes of immersive doom metal. The grounded production also blends in perfectly and makes for a quite homogeneous release.

    Khemmis is one of the more melodic doom metal bands. The charismatic clean vocals are soothing, hypnotizing and appeasing. Numerous melodic guitar solos recalling classic heavy metal and a few appeasing acoustic guitar passages offer welcome changes from the slow and sinister riffs torn in the background that are fighting their way back to the forefront. The rhythm section on the other side is heavy, precise and steady. The musicianship is usually adventurous enough to justify song lengths between four and a half and nine and a half minutes. Khemmis sound more concise than similar bands like Pallbearer.

    Genre fans will certainly appreciate this immersive release and I wouldn't be surprised if this album were to be elected as record of the year by some people since doom metal is back in vogue these days. However, I would describe Desolation as good record but nothing more. The main reason is that Khemmis rarely manages to stand out among the impressive number of doom metal bands these days. The quartet doesn't offer anything that one hasn't heard similarly and sometimes better before. The slow and sinister parts can't equal what Candlemass have done in the past. The few parts with harsh vocals aren't as dramatic and efficient than Opeth at the height of its career. The melodic vocals are nowhere near as haunting as what genre leaders Black Sabbath had to offer. Even among similar contemporary stoner metal bands from the United States of America, a group like Baroness is simply catchier than Khemmis. The six songs on this record have great pace and flow but don't stick out and fail to leave a deeper impression. The sum might be greater than its parts in this particular genre but I feel Khemmis could still improve its songwriting by a notch to find its own unique identity. 

    In the end, Khemmis' Desolation is a very good doom metal record with some adventurous passages in form of some faster passages, melodic guitar solos recalling traditional heavy metal and a few harsh vocals contrasting the hypnotizing clean lead vocals. However, the songs fail to be truly memorable and to add anything new to the genre one hasn't heard before. If you are an unconditional doom metal fan who already owns the best records from anything between Black Sabbath and Baroness, you can give this release a try and you will certainly enjoy it. If that isn't the case however, you should ignore this release and listen to some more remarkable doom metal first.

    Final rating: 75%

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  • Ladies and gentlemen!

    Here are some pictures of my mother, my father and myself taken during my outstanding summer holidays in Germany! I'm grateful for the top quality time I could spend with my family and friends this summer. I'm already looking forward to seeing them again in December!

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  • Burn After Reading (2008)

    Burn After Reading is a quirky spy parody directed by renowned Coen Brothers and starring a set of outstanding actresses and actors like Frances McDormand, Tilda Swinton, John Malkovich, George Clooney and Brad Pitt. The confusing story revolves around a retired CIA analyst who is going through a divorce. A disc with information about his finances and memoirs ends up in the hands of two idiotic gym employees who try to blackmail him. Soon, CIA agents, Russian double-agents and private detectives are watching and being watched around the analyst's house when things go berserk.

    The premise of the movie is quite intriguing. The story is original and filled with surprising twists and turns while also criticizing and making fun of American bureaucracy, cinema and society. However, this rather short movie takes too much time to introduce a bloated set of characters. The characters are often quite flat, predictable and stereotypical. Later on, the story develops draggingly and only the final thirty minutes quicken up the pace. The conclusion to the movie feels somewhat aborted and is mostly told and not shown which is a sign for limited filmmaking in my book. The worst thing however is that this parody just isn't funny. I'm not the most serious guy and sure like to laugh from time to time but everything this movie evoked was a tired smile in two or three scenes. There is some creative situation comedy for sure but not one single truly hilarious scene. Since there are few action scenes and only a few small doses of suspense, this movie is only kept alive by its quirky characters and story.

    On the positive side, Burn After Reading has a mostly original script and offers memorable scenes with plenty of strange situation comedy you will remember long after having watched this film. The actresses and actors are also delivering the goods and very convincing as they manage to make the most of their one-dimensional characters. John Malkovich is brilliant as disillusioned analyst, Tilda Swinton convinces as his cold-hearted wife, George Clooney mesmerizes as lying womanizer, Frances McDormand excels in her role as hectic gym employee who makes all the wrong decision and Brad Pitt is quite amusing as dim-witted sportsman who is constantly and stupidly singing and smiling.

    In the end, you can give this film a try if you know and like the aforementioned actresses and actors as well as other movies by the Coen Brothers who certainly have their very own style. If one leaves out the brilliant actresses and actors as well as the situation comedy, one gets a movie with a confusing story line that just isn't funny though. I would recommend this flick if there really isn't anything else on television on a rainy night but it's overall slightly overrated.

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  • Ladies and gentlemen!

    Those who are interested in or simply sharing my weird musical taste should check out the play lists Kluth 1, Kluth 2, Kluth 3, Kluth 4 and Kluth 5 on Spotify. The last play list Kluth 5 was only created a week and a half ago and offers about six hours of rock and metal music. The list was already played at a party and the reception was mostly very positive. Go check it out!

    Spotify

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  • Powerwolf - The Sacrament of Sin (2018)

    Powerwolf didn't change its winning formula with seventh studio record The Sacrament of Sin. Mid-paced melodic European power metal meets sacral orchestrations and tongue-in-cheek lyrics about the Catholic Church, werewolves and sexual innuendo.

    The brilliant opener "Fire and Forgive" comes around with an atmospheric overture including chiming bells and domineering keyboard sounds before powerful riffs, vibrant vocals and a steady rhythm section lead toward an incredibly catchy chorus. Powerwolf's greatest strength is to manage to write quite memorable songs with clear structures within four minutes that are made to be sung by huge crowds. The slightly more sinister "Killers with the Cross", the folk-driven "Incense and Iron" as well as melodic heavy metal closer "Fist by Fist (Sacralize or Strike)" all sound somewhat familiar in approach but are very efficient nonetheless.

    Before things get too predictable, repetitive and stereotypical, Powerwolf come around with a few minimal experiments in this record's intriguing middle section. "Where the Wild Wolves Have Gone" is an epic power ballad that convinces with melodic keyboard arrangements and raw but melodic vocals. The experiment is very successful and here is hope to hearing similar songs in the future. The atmospheric "Stoßgebet" is the most amusing track on the album with tongue-in-cheek lyrics in Latin of doubtful quality and German that essentially talk about a priest having sexual intercourse with a woman. "Nightside of Siberia" on the other side has a cinematic note and manages to sound even more diversified, dramatic and epic than the rest. If there is ever going to be a movie about werewolves in Russia, this has to be its title track.

    Another element that needs to be pointed out regarding a band with such an important lyrical, musical and visual concept as Powerwolf is the brilliant colourful cover artwork that summarizes everything the band stands for. The booklet is even more diverisfied as every individual song is represented by a specific artwork by Zsofia Dankova who did an outstanding job. Purchasing the limited physical edition of this release offers even more value for money. It comes around with a stylish key chain and a generous bonus disc that underlines Powerful's enormous popularity in Germany but also abroad. Ten different bands have covered ten specific Powerwolf songs, including a very playful rendition of "Sacred and Wild" by Epica, a raw medieval metal Interpretation of "We Drink Your Blood" by Saltatio Mortis and a shot of Celtic atmosphere in Eluveitie's elaborate take on "Nata Vimpi Cvrmid / Ira Sancti (When the Saints Are Going Wild)" to only name three great examples.

    In the end, Powerwolf's seventh studio record The Sacrament of Sin will please fans of the band and make those who dislike the group's concept cringe as usual. If you haven't purchased a Powerwolf record yet, you might as well start here as The Sacrament of Sin represents everything this band stands for. The band didn't change its winning formula but avoided repeating itself too much thanks to a slightly more adventurous middle section, brilliant and precise song writing and a wonderful package with great bonus disc, stunning cover artwork and detailed booklets. Powerwolf hasn't delivered the best album of the year but certainly one of the most accessible, catchy and entertaining releases in recent memory.

    Final rating: 80%

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