New York Music Daily

No New Abnormal

Tag: Sol Perez guitar

Icon of Sin Put an Expertly Cynical, Smart Update on a Classic Metal Sound

Brazilian band Icon of Sin play a surreal blend of gritty, anthemic late 70s acid rock and early 80s British metal. They take the spirit of early Iron Maiden to its logical conclusion, but with more original and tuneful songcraft than most heavy riff acts. Frontman Raphael Mendes sings in English, in an operatic Bruce Dickinson baritone with a sinister wink. Beyond the drama, it’s not often obvious what he’s singing about, adding to the surrealistic factor. Bassist Caio Vidal plays with a Steve Harris snap, but closer to the ground. Likewise, drummer CJ Dubiella keeps the drive straight-ahead and uncluttered. Guitarists Sol Perez and Mateus Cantaleãno play catchy, anthemic changes with soloing that’s flashy enough to draw some blood but not so much that it becomes a cartoon. Their new album, streaming at Spotify, is one of the first rock records so far with the guts to tackle the ugly consequences of the lockdown, even if they do that opaquely.

They open with their brisk, propulsive theme song: hey, if you’re going to sin, you might as well do it iconically. The second track, Road Rage is an even harder-charging, thrashy number: run to the hills in your tricked-out Toyota. The guitar chords grow fangs but get even catchier in Shadow Dancer, which seems to be a celebration of all the things that can only be found when the sun goes down.

Unholy Battleground is a heavy biker rock tune in a Death Wheelers vein, peaking out with a tasty, bluesy solo: a war-on-terror critique, maybe. Nightbreed is just as grimly anthemic, a big backbeat tune with tinges of 80s goth.

Is the lickety-split, Motorhead-inspired Virtual Empire a cynical commentary on the lockdowners’ attempt to take all human interaction online, where they can spy on you 24/7, Chinese Communist style? It would seem so. The band keep things in the here and now with the even more corrosive Pandemic Euphoria, which could be the UK Subs at the peak of their metal phase. The album’s best and most epic track is Clouds Over Gotham, shifting between gentle, early Genesis-tinged interludes, a fullscale stampede and nightmarish symphonic angst…but if Mendes’ prophecy comes true, we will rise again!

Arcade Generation is a steady, midtempo metal take on Stiv Bators’ old observation about how video games train the kids for war. The band turn Japanese for a moment in The Last Samurai, with its elegant folk-tinged intro and rapidfire, bellicose Asian riffage. They nick a classic early 80s Maiden sound for in The Howling and stick with it for the closing cut, Survival Instinct. Let’s hope they survive to make another album as good as this one.

Creepy, Anthemic, Relevant Metal From Semblant

Murder of Crows, the first track on Brazilian band Semblant’s new album Obscura explodes out of a creepy minor-key intro from keyboardist J. Augusto. Drummer Thor Sikora gets his twin kick pedals going behind the big crescendoing chorus, with layers and layers of digital reverb on the guitars – that’s Sol Perez and Juliano Ribeiro getting into a tantalizingly brief, machinegunning duel. These guys want you to listen to the rest of the record, whether at their youtube channel or elsewhere.

The persistent dichotomy here is between soaring frontwoman Mizuho Lin and Sergio Mazul’s guttural death-metal roar. The songcraft is catchy and anthemic, usually based on upward waves from verse to chorus, as in the rapidfire intensity of Left Behind, a relentless minor-key punk-metal number.

Dethrone the Gods, Control the Masters, Legacy of Blood is much the same: somebody sends a scream into the stratosphere and signals a guitar solo over the classical synth and ominously ascending firestorm. “The number of unconfirmed deaths is unknown…the government declares a state of emergency.” Sound familiar?

Techy, blippy synth introduces the venomous guitars and gritty bass of Mere Shadow, set in an in an increasingly familiar dystopia where “The walls are closed down, separating me from the emptiness unfolding,” as Lin wails.

Likewise, the band explode into the chorus of Porcelain, an ominously lingering anthem in 6/8 time. They shift up the rhythm for The Hunter, the Hunger, angel versus devil, then pick up the pace with Wasteland its menacing, allusively Middle Eastern guitar break. They hit Barely Breathing just as hard, although it could have been a new wave-era hit if you switched out the guitar roar for a synth and left the vocals to Lin.  Remember Ninth House’s crushing cover of Real Life’s Send Me an Angel?

The demon/angel tension reaches a peak in the murderously crescendoing, rapidfire Wallachia. A tortured blues intro foreshadows the album’s best and most dynamic, classically-influenced anthem, Daydream Tragedy, Lin’s avenger vocals finally taking over for good. The album peaks out at the end with Insomnia, a grimly strutting chromatic assault: it looks like the bad guys win this time.