Hey, Foro. I love to know how others see my work apart from Eternal Sabbath! Frozen Pain has a whole bunch of different influences (I'd love to upload our whole gig, but, most of it aren't in proper quality to be presented, for now); this solo for Warrior, in particular, I think has some of Lifeson and Gary Moore, but the first solo I feel is quite away from one of my influences.
This a review a fan and friend of mine made of our demo. When have time to listen to our demo, see if you agree:
1997's Frozen Songs review by
Jouberth Maia Oliveira, translated by Jefferson Camargo:
My review for Frozen Pain's 1997 demo Frozen Songs
Eternal Night Mountain - Dynamic riffs, in certain moments, the scales addressed me to something more exotic, similar sensation I have by listening to Amorphis 1994's Tales From The Thousand Lakes. The vocals keep a style 'a la' Chuck Schuldiner. It's valuable to notice that, as the other songs on the demo, the band doesn't keep static. Although we shouldn't call it 'Progressive', the melodies are always in state of progression, not leaning upon common places or betting on endless repetitions. Proof of that is the song's outro, which concludes on a more rhythmic movement which goes on a crescendo 'til it culminates on a solo that would make Steve Harris proud of his band's influence.
Frozen Pain - Terrific how this song can cross over different influences in a matter of a few minutes. On the starting minute, I listen to the gloomy mood of the greats of Doom Metal, like that Psalm 9, from Trouble. The guitars grow, followed by the bass and, then, we have a fantastic and uncommon doubled melody, something in the shape of Sabbath's 'A National Acrobat', 'til it explodes on a beastlike riff which could easily enter on an album such as Death's 1993 Individual Thought Patterns. Once again, we have a non estatic band which risks on a slower and more melodious passage, in the middle of the tune. In only 5 minutes of music, we have an infinitude of subtleties very well tied and coehsive, all 'talking' to each other, nothing is thrown by the mere chance.
Heavenly Dream - Perhaps is the song where the rhythmic-melodic changes occurs in the most abrupt way, on the opus. The song starts on a very intense riff, where I highlight the rhytmic knowledge of the drummer in front of the melodic progression of the strings. The interaction amidst the hi-hat and cymbals moments is simply spectacular, marrying perfectly with the riffs purpose. It's not only about technique, it's about melodic vision (something which ex-Carcass Ken Owen give lessons, by the way). On a given moment, in the middle of the song, the 'bop' is interrupted for the arrival of a sabbathian riff, full of groove, in the shapes of Vol 4's Supernaut. Another moment which I praise is the movement shift which occurs at 3:25; the groove of this passage and the bass phrases harks me back to Rush's YYZ or even The Trees. Extremely dynamic and rich, but with horselike doses of heaviness. Past that, we have an efficient solo which ends with the entrance of a blockbuster riff (this, live on stage, only with ambulances on the surroundings. Motive: risk of intense mosh pits). Although the band had opted for a fade out to conclude the song, I confess I was on the wait to see where this riff would end up.
Carnal Ecstasy – At the beginning, we have a mood similar to Paul Di'Anno's era Iron Maiden 'ballads'. On the extreme opposite of it's antecessor sibling, this is perhaps the most straighforward on the album. Here, we don't have abrupt rhythmic/melodic changes. The riffs are powerful and, once again, the drumline which is adopted is jaw dropping. At the end of the song, we have a stunning melody change which culminates on a very beautiful solo, concluding the song.
On the 4 'pelts' which compose Frozen Songs we have, therefore, 4 different faces of an incredible work. Each, singular faces, but, carriers of something original and mutual. To my ears, I numbered several influences, but that does not turn the band into a foreign frankenstein. No! Frozen Pain builds its baggage and takes something out of the external influences, assemblying in this game its own identity, this, which will become more professed with time and on the new songs that will come along.
It's an extremely promissing band. Impresses me to see the gamesmanship on the composing of the songs. The maturity we see here, some bands (renowed, included) takes years to achieve.
The production is not one of the best. The solos are the most suffered on the mix, however yet, this dirtness which wanders all the time is entitled to the classic Death and Doom Metal of the 80's. In this case, more is less.
I won't count individual highlights. All members carry out their roles well. There's a feeling of unity which roams throughout these songs, making the quest in common focus, without falling on the quest for individual spotlights.
Thus, I strongly recommend to all who love an honest Heavy Metal, regardless of labels, because Frozen Pain breaks out from all of them and surpasses all with the 4 songs that compounds this incredible Frozen Songs.
Line-up:
Marcio '
Gárgula' - Vocals & Bass
Shinji Sakai - Guitars
Eros Seixas - Drums & Percussion
Those who still didn't listen Frozen Pain's 1997 demo Frozen Songs with lyrics, click here and download for free!!! -
http://www.reverbnation.com/frozenpain
Foro, your opinions are pretty valid. Keep 'em coming and other forum users, too!
Cheers, man! \m/
.