Time Beast

Jethro Tull - The Broadsword And The Beast (1982) {Japan Mini LP Edition 2005, TOCP-67680}
EAC rip (secure mode) | FLAC+CUE+LOG -> 440 Mb | MP3 @320 -> 163 Mb | Artwork (web)
© 2005 Toshiba-EMI / Chrysalis | TOCP-67680
Rock / Prog Rock / Art Rock

In the '80s, Jethro Tull was no longer the dominant force on the rock scene they had been throughout much of the previous decade, but the indomitable Ian Anderson continued to make ambitious records based on themes of ages past, even in an era of skinny ties and drum machines. BROADSWORD AND THE BEAST has a marked swords-and-sorcery motif; Anderson is depicted as a winged elfin creature on the cover. Despite such leanings, producer Paul Samwell-Smith–original bassist for the Yardbirds–gives the record a modern gloss, weaving the synthesizer playing of Peter-John Vettesse and the out-sized guitars of Tull stalwart Martin Barre through BROADSWORD's vaguely medieval-sounding romps.

Beauty and the Beast, the second LP by Cassiber, was released in 1984 simultaneously on the British label Recommended and the German Riskant with a small difference in contents - the ReR Megacorp CD reissue includes all tracks from both LP versions. This album represents a giant leap from the group's 1982 debut, Man or Monkey. Yet, the same technique was used: No songs were written in advance. Drummer Chris Cutler had written lyrics to be used when considered suitable by singer Christoph Anders and some pieces had evolved from live improvisations. Everything else was improvised on the spot…

Breakup albums are the worst. Self-absorbed, bleating, and riddled with clichés, they provide catharsis for the artist while sucking the life out of the listener like a swarm of whiney mosquitoes. Luckily, Josh Ritter has spent enough time on the listening end to know what not to do when it came time for him to throw his own broken heart into the ring. The resulting Beast in Its Tracks, written in the wake of his divorce, treats the situation with anger, warmth, despair, humor, honesty, and most importantly, empathy for both of its subjects, something that many records of a similar disposition fail to achieve. Ritter approaches the arrangements for the 13 songs with the same candor, forgoing any unnecessary embellishments and allowing the melodies, like the newly single protagonist, the freedom to sink or swim all by their lonesome.

Originally released on Dream Theater’s YtseJam Records in 2005, this one-of-a-kind performance sees Dream Theater again paying tribute to some of their historic musical icons. "The Number of the Beast" is Dream Theater’s rendition of the classic album from legendary British heavy metallers, Iron Maiden. This unique 2002 performance in front of a French audience at La Mutualite in Paris, France is the only available recording of this one-off historic event, forever preserved in the YtseJam collection. A much-revered performance from Dream Theater's catalog, "The Number of the Beast", performed in its entirety, is a can’t-miss live release in the growing Lost Not Forgotten Archives series.

"No one can destroy this MALEVOLENT CREATION" is a legendary line by the late, great Bret Hoffmann, who passed away on July 7, 2018. Renowned and revered for his vicious vocal style and unique onstage presence, Hoffmann is impossible to replace, but co-founder Phil Fasciana decided to face the challenge and affirm the truth behind this lyric from the group's 1991 debut "The Ten Commandments". Now, MALEVOLENT CREATION has confirmed January 18, 2019 as the release date for "The 13th Beast", which introduces a new lineup consisting of Phil Cincilla (drums), Josh Gibbs (bass), Phil Fasciana (guitar) and vocalist/guitarist Lee Wollenschlaeger (THRONE OF NAILS, IMPERIAL EMPIRE). Musically, "The 13th Beast" expands upon 2014's "Dead Man's Path" yet also incorporates a brutality known from albums such as "The Will To Kill" and "Eternal", which is further accentuated by Wollenschlaeger's understandable-yet-deeper vocal tone and songwriting contributions. Just like "Dead Man's Path", the record offers artwork by German Latorres, and was mixed and mastered by Dan Swanö at Unisound.

Westward expansionist Nick Koenigs has been laying rusted highway scorpion riffs over ragged diesel chug since transplanting from Minneapolis to Echo Park in 2011 but Forever Beast is his first foray into Filthy Huns collaboration, enlisting Aaron Steinberg on burner synths and wind tunnel smoke. The extra presence revs the songs into deeper terrain, through shadowed canyons of shredded leather and bleached bones. Modes swerve between badlands raga (“Magick Tea”) and psychedelic ritual (“Class War”), cloaked in dub menace and pentagram fumes. This is the Huns at their headiest and heaviest, ripping ghost rider guitar and vortex keys from busted amps tied with chrome chains. The Beast rises.

Malta-based brutal death metal horde BEHEADED will release their long-anticipated fifth full-length next year via Unique Leader Records. Entitled Beast Incarnate, the infernal, eight-track production draws upon the brutal and melodic approach to 2012’s critically-championed Never To Dawn offering. Welcoming drummer Davide Billia and guitarist Simone Brigo to the fold, the album seethes with the band’s self-proclaimed Mediterranean brand of brutality belting out caustic vocals, punishing riff and crushing drum sequences. Recorded at MKII Recording Studio (Italy) and mixed and mastered by Ronnie Björnström (Teadeat, Bone Gnawer, Aeon, Those Who Bring The Torture etc.) at Enhanced Audio Productions Sweden, Beast Incarnate comes shrouded in the cover art of Gabriel Alegria Sabogal stretches the boundaries of BEHEADED’s signature sound to meet new extremes.