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| Reviews:
Underground Survivor - The Pictorial |
| SOURCE:
http://www.metal.de/
Die Metalszene ist voll von Ikonen: Tom Araya (SLAYER), Alice Cooper (ALICE COOPER), Dimebag Darrell (PANTERA), Slash (Ex- GUNS N' ROSES), und, und, und. Ins Unendliche k�nnte ich die begonnene Aufz�hlung fortsetzen, doch sollten wir auch die etwas "weniger beachteten" Urgesteine und Legenden der Szene nicht vergessen: Glen Benton (DEICIDE), Chris Reifert (AUTOPSY) oder auch Paul Speckmann, welcher seit nunmehr 32 Jahren seiner T�tigkeit als Bassist und S�nger der amerikanischen Death-Metal-Urgesteine MASTER nachgeht.
Doch eben dieser Paul Speckmann ist weitaus mehr als nur eine Ikone und eben deshalb widmet ihm der Verlag Weisses Licht eine Piktographie mit dem Titel "Underground Survivor � The Pictorial", welche das Leben des "Exil-Amerikaners" vom beinahe ersten Tag bis in die Gegenwart beleuchtet. Das erste Highlight erwartet den Leser bereits auf dem Cover: ein edler Pr�gedruck, verziert mit dem Gesicht des am 28. September 1963 geborenen Vollblutmusikers.Am Anfang �ffnet der Nachkomme deutscher Auswanderer die privaten Familienalben. Von den Auswanderungspapieren seines Gro�vaters, �ber dessen Todesanzeige, zu einem herausgeputzten, munteren Jungen, dessen erste B�hnenerfahrungen als "Mysterious Master of Magicians" und erste Kontakte mit der Szene (in diesem Fall ein Treffen mit Ozzy Osbourne auf dessen "Blizzard Of Oz"-Tour) gew�hrt man uns einen tiefen Einblick in das Erwachsenwerden eines ganz normalen, amerikanischen Teenagers.
Folgerichtig geht es weiter mit den musikalischen Anf�ngen, die ersten WARCRY-Shows, kultige, sepiafarbene Bandfotos aus den Jahren 1981 und 82, weitere Stationen auf dem Weg zur Szene-Bekanntheit und exklusive Fotos aus den Proben zum ersten FUNERAL BITCH-Demo. "Der Weg nach Oben" (Kapitel Vier) beschreibt die ersten handfesten musikalischen Fortschritte: ABOMINATION, die ersten Shows mit MASTER und die darauf folgenden ersten Auslandsreisen (nach El Salvador und Holland).
Eine der wichtigsten Entscheidungen in seinen Leben findet ebenso Platz auf den 196 Seiten. Im Fr�hjahr 1999 entschlie�t sich der damals 36-j�hrige nach Tschechien zu reisen und dort KRABATHOR vorerst am Bass zu unterst�tzen. Shows in Japan, der Slowakei, Holland und Mexiko festigen den Entschluss der endg�ltigen Auswanderung nach Europa. Einen Abschluss findet das Portrait der musikalischen Karriere in unz�hligen Fotos der direkten Gegenwart, darunter Livebilder, Promo-Shots und Fotos mit Fans.
Am Ende des Buches steht ein weiteres Mal der Mensch an sich: Paul Speckmann erz�hlt �ber Urlaube, seine Heimatstadt (das tschechische Uherske Hradiste, eine St�dtchen mit 25 000 Einwohnern), gew�hrt einen Blick in sein Hochzeitalbum (2006) und zeigt sich am Schluss noch einmal mit seinen Liebsten - seiner Frau, deren Familie, bei gemeinsamen Weihnachtsfeiern und mit seinen beiden Hunden. Den endg�ltigen Abschluss bildet eine Auflistung aller ver�ffentlichter Werke (bisher 53).
Abschlie�end bleibt zu sagen, dass "Underground Survivor � The Pictorial" einen beinahe unversch�mt tiefen Einblick in das Privatleben des Paul Speckmann gew�hrt. Egal ob unz�hlige Geschichten oder Anekdoten des MASTERs selbst oder Fotos von diesem in ebenso unversch�mt kurzen Shorts oder im Bett liegend mit zwei Scho�h�ndchen, die 196-seitige Piktographie bringt einige waschechte Perlen hervor. Ein kleiner Wermutstropfen ist lediglich die teils etwas stumpfe und lieblose �bersetzung der englischen Begleittexte ins Deutsche, doch dar�ber kann ich in diesem Fall getrost hinweg sehen. Wer dachte, dass Paul Speckmann bereits in seinen Interviews einen tiefen Einblick in sein bewegtes Leben gew�hrt, der sollte unbedingt einen n�heren Blick in dieses Buch werfen.
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| Reviews:
The Witchhunt |
| SOURCE:
www.metal-hammer.de
Unerl�sslich, stur und mit Bart: Ohne Erbarmen k�mpft sich Paul Speckmann seit etwa 30 Jahren durch alle H�hen und Tiefen des Death Metal. Ein Urgestein und Mitbegr�nder der Szene � keine Frage. Trotz negativer Kritik an einigen Releases hat der urspr�nglich aus Chicago stammende Wahl-Tscheche nie aufgeh�rt, seinen simplen, r�udigen und absolut puren Sound zu zelebrieren.
Mit THE WITCHHUNT kommt das nunmehr zw�lfte Master-Studioalbum auf den Markt und klingt erstaunlich frisch und agil � ein absoluter Ohrenschmaus, nicht nur f�r eingefleischte Master-Fans. Herrlichstes Geschrammel, nackenqu�lende D-Beats und ein rudiment�res Knaller-Riff nach dem anderen lassen des Oldschoolers Herz h�her schlagen. In Songs wie �Another Suicide�, �Manipulated To Exterminate� oder �The American Dream� wird gnadenlos mit der Gesellschaft abgerechnet.
Verschnaufpausen sind absolute Fehlanzeige! THE WITCHHUNT walzt von vorne bis hinten durch, sodass sich manch ein zwanzig Jahre j�ngerer Todesblei-M�chtegern mal gut zehn bis dr�lfzig Scheiben abschneiden k�nnte. Es bleibt nur eines zu sagen: Bitte nie aufh�ren, Herr Speckmann!
6/7
SOURCE:
www.stormbringer.at
So arbeitswütig wie derzeit war der olle Speckmann Paule schon Jahre nicht mehr. Kaum haben wir das wirklich starke 2012er Album „The New Elite“ und die Wiederveröffentlichung des 1985er Altwerks „Unknown Soldier“ aus den Gehörgängen bekommen, bläst der langbärtige Death-Metal-Miterfinder zur rigorosen Hexenjagd. Dazu gab es auch eine nicht unwesentliche Änderung, denn mit dem Plattenfirmenwechsel von Pulverised Records zu F.D.A. Rekotz scheint der Exil-Tscheche auch einen kräftigen Kreativitätsschub mitbekommen zu haben. War „The New Elite“ letztes Jahr schon ein herrliches Manifest richtig alten Death Metals, schwingen MASTER auf „The Witchhunt“ nämlich verstärkt die Thrash-Keule – und das so stark, wie schon seit vielen Jahren nicht mehr.
Obwohl wir gerade im Death-Metal-Sektor heuer eine unheimlich starke Auslese haben (CARCASS, SUFFOCATION, FLESHGOD APOCALYPSE, BROKEN HOPE – um nur einige zu nennen), tut es verdammt gut, dass uns der Metal-Lemmy mal wieder zeigt, wo der Hammer hängt. Hier jubelt nämlich die Kuttenfraktion, denn Speckmann scheißt wieder auf jegliche Modernität und knallt seinem rifflastigen Old-School-Sound auch eine verdammt rohe Produktion drauf, die so manchem wohl zu dünn, vielen anderen aber eben herrlich Szene-ehrerbietend ertönen wird. Wobei es schon ein bisschen dauert, bis das zwölfte Studioalbum wirklich Fahrt aufnimmt. Das Auftakt-Triple „The Witchhunt“, „Plans Of Hate“ und „Another Suicide“ rollt zwar im ICE-Tempo durch Mark und Bein, kann eine gewisse Eintönigkeit aber nicht verbergen.
Auf dem wühlenden „Waiting To Die“ nimmt Paule erstmals den Fuß vom Gas und besinnt sich auf seine einzigartige Punk/Death-Metal-Stimme, mit der er seine sozial- und gesellschaftskritischen Botschaften ins Mikro rotzt. Mid-Tempo steht dem alten Herrn einfach wirklich gut zu Gesicht. Zu den absoluten Album-Highlights zählen auch das mit einem unheimlich-unheilvollen Mittelteil ausgestattete „God Of Thunder“, die Doublebass-Stafette „Raise Your Sword“, der Punk-Metal-Stampfer „Wipe Out The Aggressor“ und das mit alles durchdringender Gitarrenwucht exerzierte „Manipulated To Exterminate“. Der Rest des Albums kann durchaus auch in der ersten Genre-Liga verortet werden, auch wenn den üblichen Songs der letzte Punch fehlt. MASTER können es aber auch noch zum 30-Jahre-Jubiläum (unglaublich oder?). „The Witchhunt“ ist ein in die Moderne gehievtes Manifest des Death-Metal-Urknalls. Nicht mehr, aber verdammt noch mal auch nicht weniger!
4/5
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| Reviews:
The New Elite |
|
SOURCE:
www.crossfire-metal.de
Das gibt es doch gar nicht! Master habe ich immer mit vierzehn Jahren geh�rt. Das Logo und die Cover fand ich damals richtig geil. Und in der damaligen Zeit hat man sich CDs immer nach Cover gekauft, ohne vorher reinzuh�ren. MP3s und Downloads gab es ja noch nicht. Ich habe Master in den letzten Jahren ziemlich aus den Augen verloren und war �berrascht, als ich h�rte, dass sie neulich mal wieder durch Deutschland getourt sind. Mastermind Paul Speckman ist vor einigen Jahren von Chicago nach Tschechien ausgewandert und bringt seitdem in sch�ner Regelm��igkeit neue Alben heraus.
Das Trio hat seine musikalische Ausrichtung mit der neuen Besetzung dadurch aber keineswegs ge�ndert. Warum auch? Man setzt auf Altbew�hrtes. Und das funktioniert wie immer hervorragend. Master zeigen der neuen Technical Death Metal-Fraktion, wo der viel zitierte Hammer h�ngt. Die Mischung aus Death Metal der ganz alten Schule, Punk und einer geh�rigen Portion Mot�rhead und sogar Sodom, klingt absolut homogen und tritt geh�rig Arsch. Flotte Rhythmen, schnelle Doublebass und wilde Gitarrensoli werden hier in gewohntem Gewand gekonnt aneinander gereiht und g�nnen dem H�rer keine Atempause. Master ist ein sehr gutes und vor allem sehr kurzweiliges Album gelungen, welches ihre Vorreiterrolle in der Szene eindrucksvoll unterstreicht. Sehr geil!
9/10
SOURCE:
www.metal-temple.com
There have been quite a few metal bands that have survived the test of time but do not have the appreciation they deserve and Master is definitely one. Formed originally in Chicago (they are now in Czech Republic), they have been making death metal since 1983 a few years before Possessed or Death and impressingly enough they are still going strong today. Master started out slow, but in recent years they have been averaging a new album every other year. �The New Elite� is their eleventh full length album and they show no signs of slowing down.
I would suggest this thrashy death metal band to any metal fan who enjoys their music extreme. Master has accomplished with three members what many bands have been unable to do with five members. Influenced by Slayer, Venom and Motorhead, they have a very heavy thrash sound. Vocalist Paul Speckmann greatly reminds me of Tom Warrior, the vocalist of Celtic Frost. Master has also greatly matured with age, unlike many death metal bands. In this respect, I would compare Master to Death. Just like Chuck Shuldiner and company greatly evolved from �Scream Bloody Gore�, so has Master from their debut release. Master's lyrics definitely show the thrashy pissed off side with themes of politics, death and religion. A great example of this is from Smile As You're Told, �Commanders are just put in place, the soldiers are easily blamed. The governments feed the machine as taxpayers simply complain.�
I absolutely loved �The New Elite�. My one and only complaint is that it's less than 45 minutes long. Master has proved themselves as an honest death metal band and this album is well produced and polished. If I had to sum up Master in one thought, it would be this: Sepultura if they were a death metal band. I recommend this CD to fans of Cancer, Obituary and Massacre. For those of us in North America we will have to wait until August 14th to get this album. Once you do, you may discover an aggression you never knew you had.
9/10
SOURCE:
www.rockhard.de
Man kann es nicht oft genug wiederholen: Wenn es eine gerechte Welt geben w�rde, s��e Paul Speckmann mit auf dem Extrem-Metal-Olymp. Dann w�re er allerdings bestimmt seit 15 Jahren in routiniertem Durchschnitt versch�tt gegangen und h�tte eher Besitzstandswahrung im Hinterkopf als das, was 'ne echte Death-Thrash-Granate nun mal braucht: Wut, Eier und eine Unbeschwertheit, die grunds�tzlich nur Jungspunde und erfolglose alte S�cke, die eh nix zu verlieren haben, zustandebringen. Lediglich dann perlen offensichtlich die Killer-Riffs, tropft der Rotz und b�ngt der Head wie ein Maschinengewehr. Speckmann bellt wieder herrlich asozial �ber rabiate Minimal-Gitarrensalven und alles zerst�rende Sch�delspalter-Beats. Wer bei Granaten wie 'Rise Up And Fight', 'As Two Worlds Collide' und 'Out Of Control' nicht in komplette Raserei verf�llt, hat nix kapiert. Ihren Titel tr�gt diese Scheibe mit stolzgeschwellter Brust.
Jan Jaedike
8.5
SOURCE:
www.the-pit.de
Es gibt nur noch wenige Death-Metal-Bands, die sich von der ersten Sekunde an zu den genretreuen Kapellen z�hlen d�rfen. Eine solche sind sicherlich Master. Frontmann Paul Speckmann ist schon l�nger in der Szene aktiv als viele Fans alt sind. In dieser langen Zeit hat er viele Dinge kommen und gehen sehen, aber eine Sache hat ihn w�hrenddessen immer begleitet: Sein hasserf�llter Gesang und seine sowohl musikalisch als auch textlich bissigen Songs hat er sich bis heute bewahrt. �The New Elite� markiert bereits das elfte Album von Master. Dabei ist die neue Langrille die konsequente Fortsetzung des Vorg�ngeralbums. Musikalisch hat sich nicht viel getan, allerdings ist der Sound deutlich besser und aggressiver. Die Gitarren schreien wie Kreiss�gen und das Schlagzeug h�mmert wie in einer Stanzerei.
Die Songs sind auf gewohnt hohem Niveau und spiegeln abermals die kritische Einstellung des Mastermids wider. Die Texte befassen sich wie gewohnt mit Themen aus Politik und dem sozialen Bereich. Dabei scheut Paul Speckmann auch nicht davor zur�ck, unangenehme Themen wie die Todesstrafe anzusprechen. Allgemein �u�ert sich der Exil-Amerikaner haupts�chlich kritisch gegen�ber seiner fr�heren Heimat.
Musikalisch verpackt er seine Anklagen in furiose Death-Metal-St�cke, die an die wirklich glorreiche Zeit dieser extremen Spielart erinnern und mit Sicherheit das Herz eines jeden Old-School-Death-Metal-Fans h�her schlagen lassen. Auf der Langrille haben sowohl Schleudergangnummern wie die ersten beiden Songs als auch Arschtreter wie �Redirect The Evil� Platz gefunden. Die Keule legt der Fronter w�hrend der ganzen CD nicht aus der Hand. Munter l�sst er sie auf alles niederprasseln, was sein Gem�t erhitzt. Fast schon beil�ufig gibt der Rundling dabei so viel Energie ab, dass einem schwummerig werden k�nnte. V�llig egal in welchem Tempo sich Master gerade im Moment durch den Menschensumpf w�hlen, der �rger weicht nicht aus der Musik und den Lyrics. Er ist fast greifbar.
Wenn Lieder wie �Remove The Knive� oder auch �As Two Worlds Collide� mit den bissigen, kraftvollen Gitarrenriffs bei bevorzugt hoher Lautst�rke aus den Boxen knallen, dann sollten sich Old-School-Deather im Normalfall nicht mehr unter Kontrolle halten k�nnen. Die Musik ist so rei�erisch und mit Widerhaken besetzt, dass sie einen nicht mehr los l�sst. Diese Aussage trifft auf das komplette Album zu. Innerhalb der elf dargebotenen Songs gibt es keine einzige Schw�cheperiode. Das Teil holzt von der ersten bis zur letzten Sekunde. Hier sollten einige andere Bands einmal reinh�ren. So macht man Death Metal. So und nicht anders.
9/10
SOURCE:
www.metallus.it
Paul Speckmann e i suoi Master tornano dopo due anni dal riuscito �The Human Machine�, presentando tutto inalterato: stessa formazione, identica label e totale similarit� di suono (e quello davvero non era difficile da prevedere).
Un parallelismo che resiste anche nella buona qualit� di incisione e nella stesura semplice ed efficace dei brani, ma che prevedibilmente si tramuta nell�ennesima sequenza di song dal gusto datato e dall�incedere prevedibile.
�The New Eilite� apre le danze con un riffone a cavallo tra thrash e punk, con l�abituale vocione di Speckmann a far da collante e una solidit� ritmica che ormai possiamo definire d�ordinanza. Un brano tanto banale quanto riuscito, se contestualizzato nella discografia dei Master.
Il resto si compone di schemi altrettanto noti e la pi� death-thrash �Rise Up And Fight� non pu� non rimandare ai primordi del genere, cos� come l�inizio rallentato di �Remove The Knife� che si risolve in un�accelerazione brutale aderisce ad una tipologia riconoscibile non solo nei primi Master, ma addirittura in un lavoro seminale come �Scream Bloody Gore�. �Redirect The Evil� ha poi quel sapore marcio dentro che riporta ai primi Autopsy, ma ovviamente Paul Speckmann non copia nessuno, questa � anche la sua musica e la sua personale interpretazione � sempre riscontrabile, soprattutto nel taglio punk-rock di certi riff e nella timbrica inconfondibile delle vocals.
Sar� che ormai � difficile trovare band credibili nel mettere in pratica questa formula, ma a noi i Master attuali continuano a sembrare pi� che in forma, sempre capaci di confezionare un prodotto diretto e trascinante senza muoversi di un millimetro dai canoni stabiliti 25 anni fa.
In qualche modo anche questa � un�arte.
7 points
SOURCE:
www.violence-online.pl
Dzieje Paula Speckmann�a to temat na calkiem obszerna biografie. Abomination, Death Strike, Speckamnn�s Project, przeprowadzka do Czech, Krabathor, wojny z wytw�rniami� Nieprzejednana postawa tego czlowieka, nawet jesli nie zawsze robil dobra muzyke, moze imponowac. A jesli po latach zdarzy mu sie splodzic rzecz zaskakujaca, robi sie zupelnie milo. Takim zaskoczeniem jest dla mnie �The New Elite�, jedenasty krazek klasyka metalowej sceny � Master. Zaskoczeniem jak najbardziej pozytywnym.
Po cholernie nudnym, nowym albumie Gojira i jeszcze gorszym, wt�rnym krazku Nile, w sukurs moim smutkom przyszla muza z zupelnie nieoczekiwanej strony. Projekty Speckmann�a zawsze byly dla mnie dosc kontrowersyjne. Na chwile chwaly Abomination sie nie zalapalem, calkiem wyraznie pamietam za to, w jak spektakularny spos�b spieprzyl muzyke Krabathora na plycie �Unfortunately Dead�. O swoim najwazniejszym chyba dziecku Paul jednak nigdy nie zapomnial i dorobil sie az jedenastu plyt Master, z kt�rych najnowsza jest powodem ponizszych zachwyt�w.
Nie, wcale nie dlatego, ze Paul odkryl nagle math rocka albo jazz core�a. Nie dlatego, ze postanowil poflirtowac z czeska muzyka ludowa. Pow�d jest prosty i jednoczesnie strasznie banalny � �The New Elite� swietnie sie slucha, bez zadnych podtekst�w. Nowy Master to sila tradycji, proste riffy, wszechobecny ped do przodu i zmeczony, gardlowy glos lidera. Na nowym krazku zespolowi udalo sie jednak uchwycic niesamowita energie i wprowadzic w obreb kawalk�w sporo fajnego luzu. Na plycie ogniskuja sie wszystkie milosci Master. Jest motorhead�owy ciagnik, jest riff, smierdzacy slayerem, jest wreszcie wyraziste zapozyczenie patent�w z death�n�rolla, co objawia sie stosowaniem tzw. d � beatu, sprzezonego z praca podw�jnej stopy. Z tego wychodza takie petardy jak kawalek tytulowy, �Rise Up and Fight�, gdzie zesp�l moze stac sie mistrzem wsp�lczesnych hardcore�owc�w, zakochanych w Disfear. Jest Zab�jca w �As Two Worlds Collide� i oparty na blascie �New Reforms�. Znakomicie wypadaja zr�znicowane, nieco inaczej zbudowane kawalki w rodzaju �Guide Yourself� z fajnym �mieleniem� na poczatku czy najlepszy chyba na plycie �Souls to Dissuade� (zwraca uwage basowo � perkusyjny wstep i swietnie brzmiace solo gitary na podkladzie czystej sekcji). Zaskakujace sa tez nawiazania do stylistyki p�znego Gorefest w �Redirect the Evil�. W kazdym kawalku, obok obowiazkowego napierania do przodu pojawia sie nieco aranzacyjnych niuans�w, zas w szczeg�lnosci musze skomplementowac gre perkusisty Zdenka Pradlovskiego, kt�ry niesamowicie napedza machine, popisujac sie bardzo dobra technika (pojawia sie nawet kr�tkie solo�) i trzyma wszystko w kupie.
Na �The New Elite� spotyka sie stary death metal, rock a moze nawet archetypiczny thrash, jednak to nie polaczenie r�znych swiat�w jest tu kluczem do sukcesu. Moim zdaniem, tym ostatnim jest sila i niesamowita determinacja bijace z plyty. Gdybym nie wiedzial, z kim mam do czynienia, postawilbym na sprawnych i wkurwionych debiutant�w. Co wplynelo na taki lekki shape lifting Master, nie wiem, ciesze sie jednak, ze w dobie, gdy coraz wiecej plyt mnie denerwuje i rozczarowuje, stare pryki potrafia przyjsc na ratunek. Tego sie nie spodziewalem.
4/6
SOURCE:
www.allover-ffm-rock.de
Ich sag es immer wieder, egal wer Paul Speckmann bel�chelt, er ist seit 1983 aktiv und somit ein Urgestein der Death Metal Geschichte, ob mit Speckmann, Abomination oder wie hier mit dem neuen Werk von MASTER, der gute Paule zieht sein old school Death Metal Ding durch. Nicht rechts, nicht links, gerade voll auf die Omme gibt es sofort mit dem Titelst�ck, geradliniger Death Metal der alten Schule wie es im Buche steht und wenn dazu Alex "93" Nejezchleba seine geilen Riffs und Soli zockt, f�hle ich mich wieder wie in den Glanzzeiten des Death Metals, roh und unverf�lscht. So holpern im positiven Sinne "Rise Up and Fight" oder auch das teils richtig flott getr�mmerte "Remove the Knife" aus den Boxen und Speckmanns Vocals sind �ber die Jahre bei mir bekannt wie ein bunter Hund. Diese erinnern wie in dem Up Tempo geholzten "Smile as You're Told" an Venom�s Cronos, aber trotzdem bleibt der gute Paul ein Original. Dr�ckender und stampfender wird es bei "Redirect the Evil", doch daf�r kloppt "Out of Control" wieder ordentlich im Up Tempo.
Kurz und knapp, wer old school Death will, braucht MASTER, da f�hrt kein Weg dran vorbei. Das Trio ist zwar keine neue Elite, aber daf�r eine schlagkr�ftige.
5/5
SOURCE:
www.heavymetal.dk
Det tjekkiske band Master er et af de helt gamle d�dsmetalbands og har p� mange m�der v�ret med til at forme d�dsmetalgenren. Inden folk falder helt i svime, m� jeg hellere skynde mig at sige, at Master oprindeligt var et amerikansk band, der blev dannet i Chicago af Paul Speckmann (ogs� kendt fra Abomination). Speckmann fik �benbart nok af USA og flyttede sidst i 90erne til Tjekkiet for at spille i det tjekkiske band Krabathor. Da Krabathor gik i opl�sning i 2004, besluttede Speckmann sig for at blive i Tjekkiet og hyrede to tjekkiske til at tage sig af guitar og trommer i Master. S�, ja, Master er et tjekkisk band nu.
N�, men det vigtigste er jo musikken. P� The New Elite bydes der p� d�dsmetal af den helt tidlige slags (alts� som d�dsmetallen l�d i slutfirserne), og dette vil sige, at der egentligt er tale om musik, der ligger et sted mellem at v�re d�dsmetal og thrash metal. Der er masser af old school d�dsmetal riffage, men dette blandes med hidsig uptempo thrash metal, og enkelte numre har ligefrem et hardcore-v�sen over sig, s� som "The New Elite" og "Smile as You're Told". S�ledes er der tale om musik, der p� mange m�der er ret primitiv, men ogs� sindsygt energisk, og man kan n�rmest ikke lade v�re med at rocke ud til de hurtige bopti-bopti-trommer. I bedste old school d�dsmetal-stil er skivens guitarsoli kaotiske, og vokalen er mere en slags snerrende r�ben end d�dsmetal-growling. Der er da enkelte blastbeats nu og da, men mere bliver det heller ikke til fra den moderne metal.
Med andre ord, der er ikke sket megen fornyelse siden 2010s The Human Machine - eller i det hele taget - men det er heller ikke det, man vil have fra Master. Fra Master vil man have primitiv, aggressiv old school d�dsmetal fra dengang, far havde mere h�r p� hovedet end p� skuldrene. Og det f�r man her. Ogs� i den grad.
S� fans af d�dsthrash og gammeldags d�dsmetal b�r bestemt give The New Elite et lyt, og fans af Master kan ogs� v�re helt sikre p�, at det f�r, hvad de vil have.
80%/100%
SOURCE:
www.avenoctum.com
Paul Speckmann, mastermind (if you�ll excuse the pun) of Chicago�s Death Strike and Abomination, returns to blast the world with another exercise in old-school death metal; �The New Elite� marking album number eleven for Master. Consisting of the same line-up which has been assisting the �Lemmy of death metal� since 2004's �Spirit of the West�, this album boasts more of the same tightly executed music that we have come to expect from this evolving US-Czech unit.
Given the almost thirty year gap between Master�s inception and 2012, the band�s core sound has changed surprisingly little � aside perhaps from the ultra stream-lined �On the Seventh Day��. After the prolific, brilliant early-90s period, just one inconsistent album appeared between 1993 and 2002. Since shifting to mainland Europe though, Master has undergone a steady process of refinement. As before, social injustice, government control and capitalist greed are the primary targets of Speckmann�s vitriol on �The New Elite�, and if anything, the man sounds more disillusioned than ever by the hypocrisies of democratic existence. The opening (title) track immediately launches into familiar Master territory: thrashing riffs, solid double bass and Speckmann�s bourbon-breath demon vocals directing the tirade. In comparison to the last album, on which the man�s voice sounded like he�d swallowed a grenade before laying down vocal tracks, here they are an even distance between that style and �normal�. As previously, the playing of Zdenek Pradlovsk� (drums) and Alex �93? Nejezchleba (guitar) is technically proficient, consistently locked-in and energetic.
�Get a grip on reality and fight the machine. You must fight the fucking machine!� implores Speckmann during �Rise up and Fight�, as his bouncy bass works away beneath a bunch of forceful riffs and restless drum beats from his Czech mates. Immersion into the Central European death metal scene seems to be largely responsible for the more angular, jarring edge of modern Master, and as suggested earlier, it�s a positive attribute. The production is also perfectly balanced, lending weight to each aspect of Master�s precise instrumentation. Although the relentless guitar work of Alex �93? does shine through in particular � with solos that vary from frenetic to soulfully melodic. Musically, the album is full-on, with the frantic likes of �Smile as You�re Told� and �Out of Control� embodying the general feel. Things are evened out somewhat in the form of the slower �Redirect Evil� (though only just). As �New Reforms� opens up, blasting away with pinch harmonics, it comes to symbolise the unifying effect that the �new� members� involvement has had on Master�s mission � namely that their playing styles fit the unceasing disdain of Paul Speckmann to an absolute T.
The final two tracks contain a couple of notable moments amidst their gnarly groove, with some funky bass initiating �Souls to Dissuade�, and the death row narration of �Twist of Fate�, climaxing with the utterly bleak assessment: �So death will be the best solution for myself�. Contemplative moments aside, �The New Elite� displays all the subtlety of your average Mot�rhead album thrown through a death metal blender. The arguable downside to this approach is that it�s sometimes less than easy to remember exactly which track is which. As I�m a fan of Master, being encompassed by the overwhelming mass of their compositions is no problem at all.
As it stands, �The New Elite� is certainly one of Master�s most well-executed and consistent efforts. By extension, it is also among their finest.
8/10
SOURCE:
www.metalireland.com
I could hardly believe it.
Master � a band name that seemed like a by-word for all that�s old, tired and grey about Death Metal. And that�s just the state of main man Paul Speckman.
He�s the old hand who�s kept it lit for longer than most people reading this have been alive.
Who knows what he�s still got to be angry about after all that time. There must be something though � perhaps the state of young bucks with fringes and Ed Hardy shirts playing deathcore? � making him cross, because this new album is absolutely bursting with fire and riffstone.
I mean, even the title � �The New Elite� � just seems so out of context for a band like Master. But let�s not dwell on all the incongruities. This is an album to be straight out enjoyed, nay relished.
The opener, also the title track, cracks the can and lets out a jolly burst of double kick and punishing riffwork that just immediately harks to the greats: oldest Sinister, Vomitory, Dismember, and even further back toward Autopsy, �Scream Bloody Gore� and �Leprosy� era Death, Massacre and so many more.
It�s got the same kind of energy and lust for life that the rekindled Deicide had on �The Stench of Redemption�, though obviously not quite the same blast laden intesity. No, this is the kind of proper death metal for real men: blasts when they�re necessary, and a good jaunty pace for the rest of the time.
Speckman is on real form. Let�s face it, railing against conspiracy and government is usually the preserve of the lyrical infant. Yet Speckman�s got it down, particularly in the groovy �Rise Up And Fight� where he snarls �Get a grip on reality � you must rise up and fight the machine�. It�s total, old school class.
Then there�s the Cannibal Corpse-esque
�Redirect The Evil�, which is full of those �Hammer Smash Face� trills and hammer-ons.
Another mosher, it�s a class track that shows a different side to the riff work.
There will, by this point, be many a hardened death metal head needing to crank up the heavies just a bit more. Fear not! Paul and the boys hear your call. And remarkably, this late in the album, the blastbeats start raining down. Just hear
the savage �New Reforms� for a blast that will absolutely gun you down.
Alright, so it�s a bit heavy on the pinch harmonics. It flags here and there, naturally.
But on balance this is an absolutely relentless album
in the classic death metal mould � the mould that Paul Speckman himself helped shape. It utterly shits on what Morbid Angel and the Hoffmans are doing these days for a start, as well as tucking kids with luminous trainers firmly back into bed.
It�s just got everything. From the Angelcorpse attitude and guitar tone to the God Dethroned crispness of attack and songwriting, it�s a wealth of death metal delight. And best of all, it�s so simple, so straightforward, in a way that underground metal used to be.
GET IT!
4,1/5
SOURCE:
www.mega-metal.de
Der Albumtitel birgt schon eine gewisse Komik in sich, wenn man sich vor Augen h�lt, dass Paul Speckmann ja mehr als alles andere zur alten musikalischen Elite geh�rt. Oder geht es dem Rauschebart dabei wieder um eher politische Dinge, wie es Songtitel wie "Rise Up And Fight", "New Reforms" oder "Smile As You're Told" (yeah �) implizieren. Politik geh�rt f�r mich aber nicht zum Heavy Metal, also wird das Thema wieder ausgeklammert. Musikalisch ist auch auf dem zehnten Master-Album eh nichts Neues zu finden. Was bei anderen Bands gleich als negativ abgestempelt, sorgt bei ewig Gestrigen wieder einmal f�r wahre Begeisterungsst�rme. Die Riffs, der Beat, die rotzig fr�tzelnde Stimme von Paul - wo Master draufsteht, ist eben Master drin. Ich finde es eigentlich richtig faszinierend, wie Herr Speckmann sich �ber die ganze Zeit seine Wut erhalten hat und sie immer noch mit aller Wucht umsetzt. Still sitzen ist auch mit "The New Elite" einfach nicht m�glich. Death/Thrash ohne Firlefanz, immer noch vorne, immer mit Dampf, immer ohne nennenswerte Ver�nderungen � immer geil. (sw)
8/10
SOURCE:
www.stormbringer.at
Er hat�s schon wieder getan, der Speckmann Paule. Da denkt man daran, dass der b�rtige und l�ngst nach Tschechien emigrierte Death Metal Genre-Mitgebr�nder sich nach gut 30 Jahren im Todesblei-Business endlich in die l�ngst verdiente Altenrente verzieht und dann spuckt der gute MASTER-Pauli mit �The New Elite� pl�tzlich einen sozial- und gesellschaftskritisch getexteten Groove-Hassbrocken aus seinem bierbenetzten H�llenschlund, der selbst hartgesottenen Brutalo-Lunatics die Ohren auf �Habt Acht!� stellt.
Schon beachtenswert, dass der alte Mann noch immer so derbe l�rmen kann, denn beim bereits beim Opener �The New Elite� packen MASTER eine derbe Groovekeule aus dem Sack und w�rzen diese mit einer kr�ftigen Kick-Ass-Dosis Punk, was vor allem Old-School-Liebhabern � la DARKTHRONE-Fenriz wie �l runterrutschen sollte. Aufgelockert wird dieser hochsympathische Hybrid aus OBITUARY und BOLT THROWER durch wohldosierte Gitarrensoli und wuchtige Drum-Stafetten, die ein ums andere Mal f�r unmenschlich-derben Druck sorgen. MASTER 2012 bedeutet n�mlich auch, dass auf �The New Elite� tats�chlich jeder der elf auf Polycarbonat gebrannten Songs seine Daseinsberechtigung besitzt, was beim Vorg�nger �The Human Machine� vor zwei Jahren noch nicht der Fall war. So klingt �Remove The Knife� etwa genau wie das Gegenteil des Liedtitels � der doomig-angehauchte Grundgroove dr�ckt euch die Klinge ganz tief ins Fleisch, �Redirect The Evil� walzt euch die Birne platt.
Mit �The New Elite� gelingt MASTER das Kunstst�ck, ein kongruentes, in sich v�llig geschlossen wirkendes Album erzeugt zu haben, ohne dass sich einzelne Songs besonders stark in den Vordergrund dr�ngen w�rden. Nahtlos reihen sich die einzelnen Kapitel aneinander und langweilen nicht eine Sekunde. Das besonders morbide Gekeife von Speckmann Paule und die angenehm in den Vordergrund produzierten Gitarren klingen fast so diabolisch und verroht wie MASTER eben vor gut 20 Jahren geklungen haben. Wer sich �New Reforms� oder das brachial-knallende �Twist Of Fate� durch die Geh�rg�nge zieht, erlebt auf �The New Elite� tats�chlich noch einmal richtig alten Death Metal, den heute sehr viele Bands nicht einmal unter Zwang auf die Reihe kriegen. Daf�r danken wir dir, Pauli. Und wir danken dir auch daf�r, dass du hier dein mit Abstand bestes Album im neuen Jahrtausend ver�ffentlicht hast. Die Pension kann ohnehin noch warten�
4/5
SOURCE:
www.twilight-magazin.de
�The New Elite� ist das mittlerweile elfte Album von Master, auf dem klar wird, dass MASTER sowohl zur ehemaligen als auch zur aktuellen Elite des Death Metal geh�ren.
Nun ist Paul Speckmann schon fast 50 Jahre und hat immer noch mehr Energie im Arsch als so mancher Newcomer. Der Mann ist ein Urgestein des Death Metal, der diese Musik immer noch lebt. Auch auf dem aktuellen Album haut der Wahl-Tscheche dem H�rer elf Mal rohe Fleischklumpen um die Ohren. Die Songs kommen weiterhin ohne gro�en Schnickschnack aus und sind sehr effektiv. Auch die Vocals geh�ren immer noch zu den besten der Szene. Speckmann kotzt sich jede Silbe aus dem Leib. Dass es auf �The New Elite� keine �berraschungen gibt, mag jemand als mangelnden Fortschritt bezeichnen. Ich bin froh, dass MASTER eine verl�ssliche Konstanz an den Tag legen. Stagnation auf diesem Niveau muss man erstmal erreichen. Alle, die die Band um den Rauschebart bisher mochten, k�nnen bedenkenlos zugreifen und alle, die ein rohes intensives Death Metal Album suchen, sollten mal bei der neuen Elite vorbeischauen.
13/15
SOURCE:
www.brutalism.com
One of the forefathers, in fact probably one of the first extreme metal bands is Master (US) who formed way back in 1983. This thing would eventually be called Death Metal, and throughout the years, Master have proved they still have what it takes when you see the list of the bands that cite Master as a major influence on their sound. Everything from grind to death, even some punk, yes, Master inspired them all.
�The New Elite� is the bands 11th album, and follow up to 2010�s well-received �The Human Machine�. Artwork is always important to me on death metal releases, this time it has been handled by German graphic artist Mark Bridgeman. Subtle, but effective, I like the fact that there is some imagination behind the art, not just gore and death. �The Human Factor� was a middle finger to the �establishment� and you are not going to find Paul Speckmann in any different mood on �The New Elite�. �Smile As You Are Told� talks about the world�s oil situation, the subsequent government control and the fact that whilst we all have outrage of the price of subsequent commodities, we do little more that watch the news unfold from the comfort of our own home, well, that�s my take on it anyway! There is a definite art to Master, their ability to pull off a natural sound when in fact there are many complexities to that sound just show you how good this album really is, for that matter �As Two Worlds Collide� is perfect reference material. This sound has influenced Obituary, Napalm Death et al, the list is endless, this is where it began and this is where it continues.
Essentially, if you want competent authentic death metal without continuous blast beats, triggers, pig squeals and all that other trickery, then you need to own �The New Elite�. The album title speaks for itself, whilst buried in true old school death metal, Master show an intensity and complexity engineered just right to satisfy punks, grinders and death metallers the world over, this is one of the best releases of recent times for these death metal legends, �The New Elite� is a consistently pleasing death metal blueprint.
5/5
SOURCE:
www.criticalmass.se
Man kan inte annat �n k�nna en viss l�ttnad n�r titelsp�ret p� MASTERs tionde full�ngdsalbum, �The New Elite�, briserar i stereon. Med en tidsanda som mj�lkar fram mainstreammetal och ynkliga f�rs�k till b�de death, thrash och black metal i parti och minut �r MASTER en lika hoppingivande som r�ddande �ngel.
Det numera tjeckiska MASTER, med ett f�rflutet som str�cker sig s� l�ngt tillbaks i tiden som till 1983, �r drygt trettio �r senare lika kompromissl�sa och omutliga i sin deathrash-mix. Att f� till k�nslan och de precisionsvassa riff som m�ngder av wannabes skulle bita av sig h�gerarmen f�r att komma i n�rheten av ter sig i Paul Speckmanns (s�ng/bas) regi som en naturlag. Vart och ett av de elva sp�ren p� skivan kan med sj�lvklar pondus stoltsera med h�rresande rytmfigurer och r�ttfram brutalitet d�r tv�takt har absolut f�retr�de.
Mellan de mer thrashiga landskapen v�xlar trion, som f�rutom Paul �ven best�r av Zdenek Pradlovsk� (trummor) och Alex �93� Nejezchleba (gitarr), ner i tempo och hittar variation i takterna med ett p�tagligt groove som f�ljd. Det h�rda, krossande tillslaget i riffen �r kompromissl�st och p�minner en hel del om hur det l�t i slutet av 80- och b�rjan av 90-talet d� bland annat den svenska skolan var v�gledande.
Paul, som flyttat fr�n USA och numera bor i Tjeckien, beh�rskar en s�ng som p� ett n�stan ot�ckt s�tt �r i symbios med det h�rt drivna gitarrspel Alex trakterar. Pauls halv-growl/skriks�ng med bottenl�s vrede ger textrader som den nedan den trov�rdighet och det intryck de f�rtj�nar.
�Light up the sky, quickly reload, watch as they die for the rights of the oil. I say light up the sky smile as you're told / sit back and watch with your remote control� den .
Texterna, som Paul aldrig riktigt f�tt n�gon r�ttm�tig uppskattning f�r, ligger i sin v�lformulerade uppriktighet och brutala �rlighet v�l i paritet med den fullmatade slagserie thrash/death som �The New Elite� erbjuder. MASTER fnyser �t konventioner, spottar efter plattityder och kr�ks p� trendk�nslig, modern metal som kryper f�r kommersiella intressen. MASTER sk�ms inte f�r sig, de v�gar st� f�r b�de den musik likv�l de �sikter som dess verk ger uttryck f�r. De �r ett band med integritet.
Gilla eller ogilla, det �r upp till dig. MASTER kan troligtvis inte bry sig mindre.
8/10
SOURCE:
www.angrymetalguy.com
Master gets no respect. Considering they�ve been knocking around for over twenty years and The New Elite marks their 11th album, the band masterminded by Paul Speckmann has always remained a shadow dweller, eternally hovering on the fringes of the death metal scene�s consciousness. I doubt Mr. Speckmann cares one way or the other though, and he seems quite content to release album after album of speedy, slighty punky, old school American death metal (and I mean OLD school). Personally, I�ve always tended to think of Master as more thrash than death metal, since they play a style leftover from a time when death wasn�t all that different from thrash (1985-88). As with the last few albums (actually ALL their albums), The New Elite is overflowing with fast-paced thrash-death that will remind almost every listener of Death�s Scream Bloody Gore, Possessed�s Seven Churches or the old demos by Massacre. There are no bells, whistles, pomp, circumstance or frills of any sort contained within these eleven songs, just raging, thrashing energy and nasty-ass, deranged vocals. This isn�t Reign in Blood. Hell, it ain�t even �It�s Raining Men,� but it�s raucous, knuckleheaded proto-death with enough testosterone to reboot Arnold Schwarzenegger�s moribund acting career (or political career, whatevs). These old dogs won�t learn new tricks, but will happily maul the bejesus outta you every few years.
Master is a very reviewer-friendly band, since they require only the slightest of descriptions. All eleven tracks consist of fast and furious thrash riffs, pounding (but never blasting) drums and gurgling, vomitous vocals. There�s virtually no change of tempo from track to track and no attempt to �shake it up� or �expand their horizons.� Each song introduces you to a riff and then shoves it up your ass for three to five minutes. Thankfully, most of said riffs are respectable and a few are quite superb. The element that makes Master such a joy are Speckmann�s vocals. He perpetually sounds as if he�s on the cusp of a mighty dry heave and he has a hysterical tendency to trail off words into nonsensical gurgles (sacrificiaeeeerrrggg-BLAH!!). He frequently reminds me of a diet version of Chris Reifert (Autopsy) and that�s high praise indeed. His loony croaks singlehandedly makes the music worthwhile even when it gets overly similar (I�ve been banned from ever using the term �same-y� again by the powers that be).
While all eleven songs are fun and sure to cause an epidemic of thrashery, the standout for me is the ripping �Rise Up and Fight,� which reminds me of Whiplash�s classic scorcher �Warmonger� (it also sounds a bit like the mega-ultra-obscure Piledriver). The quick picking riffs gel perfectly with the authentically rabid vocals and the thing just cooks from start to finish. �Redirect the Evil� has a nifty Cannibal Corpse feel to the riffs and Speckmann provides a little extra venom to the vocals for a satisfying blast of ugliness. The solo is so rough around the edges, you can�t help but love it. There�s a bit of an old Kreator vibe in the riffing during �As Two Worlds Collide� and the band seems extra fired up as they bash you with the musical equivalent of a carburetor attached to a baseball bat. Speckmann does his best to end words with puke sounds during �Guide Yourself� and �Twist of Fate� could have fit right in on Death�s Leprosy.
Though operating as a power-trio, Master has a full, angry sound. Alex �93? is good at churning out hooky riffs to drive the songs along and he�s obviously influenced by the likes of Rick Rozz and King/Hanneman. His solos are unapologetically raw and crude but they fit perfectly. The drumming by Zdenek Pradlovsky is simplistic and follows a traditional, d-beat thrash template but he gets the job done. Again, the main draw for me is Speckmann�s spittle-heavy, frothy roar and he sounds flat-out great here. He isn�t the most extreme, the deepest or loudest roar out there, but he sounds truly berserk and caught up in the manic energy.
Weak points? Well, the utter lack of tempo shifts or diversity of any kind. Eleven tracks of full speed battery is a lot to sit through. There will be some who feel worn out by the fifth or sixth track and long for some type of stylistic break. I�m not asking for a power ballad or a hair metal moment, but a few slower, doomy segments wouldn�t hurt. I can also see this being too primitive, old-timey and one-dimensional for some. Despite its raw energy, this is a far cry from the bone rattling intensity of modern death metal like Blood Mortized or Hate Eternal. I suppose if one didn�t grow up with the classics that influence the Master sound, this may sound quite dated and obsolete.
Master�s music isn�t complex and it certainly isn�t progressive, but they know how to execute this particular style very well. All eleven songs have their hooks and catchy moments and this is a fun throwback album (as are all their albums). If you want some mindless death-thrash with a healthy nostalgia factor, there is no Master beater (HA). Thanks for the memories Speckmann, see you in a few years for another mauling.
3,5/5,0
SOURCE:
www.xtreemmusic.org
No hay novedad en el frente, lo que funcionaba hace 25 a�os sigue funcionando ahora, por lo que a mi respecta. Esta afirmaci�n en apariencia cr�ptica, no lo es para los que como yo tenemos entre 171 y 237 a�os, pero claro, es preciso decir algo para los que no nacieron en el Prec�mbrico.
MASTER pertenecen a ese escas�simo tipo de bandas que suenan a si mismos, ellos son una influencia; no obstante ten presentes los riffs que BLACK SABBATH desarrollo en los 70, la ametralladora pesada que es MOTORHEAD, recuerda el Punk D � Beat de, por ejemplo, DISCHARGE, alguna sombra de SLAYER, ten talento, ten fe en que lo que est�s haciendo es bueno y con mucha suerte obtendr�s una banda de la repercusi�n, originalidad y carisma de MASTER, una formaci�n inicialmente norteamericana, ahora radicada en la Rep�blica Checa, pero siempre liderada por el indestructible Paul Speckmann, siempre fiel al estilo de MASTER.
Sobre su m�sica no hay mucho que comentar, es necesario escucharla y es probable que encuentres que las palabras sobran: riffs implacables, temas consistentes como una fortaleza, sonido crudo y, en definitiva, otra excelente obra de Death Metal Old School, con muchas influencias de buen Thrash.
Si hay inspiraci�n, voluntad y talento las ideas cuanto m�s vetustas y ancianas, mejores resultados ofrecen.
9/10
SOURCE:
www.fobiazine.net
Prizn�m se rovnou a bez mucen�. MASTER jsou moje srdecn� z�le�itost. Pri ocek�v�n� ka�d�ho nov�ho alba se ve mne rozjitr� vzpom�nky na dobu d�vno minulou a te��m se jako pubert�k na prvn� sex. Postupne jsme spolu s Master zest�rli. J� se stal vypelichanou metlou a Master legendou. Paul Speckmann je pro death metal to sam� jako Lemmy pro hard rock a heavy metal. Kdy� jsem ho videl letos na posledn�m koncerte, pri�el mi stejne nezniciteln� a klidne bych veril i tomu, �e je nesmrteln�.
Minul� album The Human Machine jsem tocil ve v�ech mo�n�ch prehr�vac�ch na v�ech mo�n�ch i nemo�n�ch m�stech por�d dokola. Pri objedn�n� nov�ho cd jsem cekal doma napnut�, jak kdybych mel hodne dedit. Por�d jsem chodil kontrolovat po�tovn� schr�nku a nad�val na Ceskou po�tu, jak je pomal� a �e mi mimo let�ku nikdo nep�e. Pak jsem se dockal. Cd jsem koupil pr�mo od Paula. Stacilo poslat pen�ze a j� najednou dr�el v ruce bal�cek z Uhersk�ho Hradi�te.
Obal cd je opet jako minul� album v takov� t� plastov� krabicce, kterou kdy� po�kod�te, tak u� ji nikde nese�enete. Volil jsem klasick� cd, proto�e dopredu tu��m, �e ho zase budu tahat v�ude s sebou. Pro labu�n�ky vych�z� i v 500 kusov� edici jako vinyl. V�e lze objednat na internetov�ch str�nk�ch Master. O dle m�ho n�zoru velice zdarilou grafiku se postaral nemeck� m�g Mark Bridgeman. Jak u� b�v� dobr�m zvykem, nahr�valo se a m�chalo ve studiu Shaark a mus�m opet vyseknout poklonu. Skvel� old school sound! Textove se p�sne zaob�raj� soucasn�mi spolecensk�mi probl�my. A mus�m r�ci, �e pri listov�n� bookletem a proc�t�n� jsem hodnekr�t souhlasne pok�val hlavou.
A prizn�v�m se znovu, �e me album The New Elite rozsekalo. Jeden�ct songu pln�ch ohne. Kde v sobe por�d berou tu energii? Cd zac�n� bez jak�hokoliv intra. ��dn� kudrlinky a podobn� zbytecnosti. The New Elite zn�, jako by Lemmy por�dne pritvrdil a zrychlil. Rise Up And Fight. Pokud u t�to p�sne zust�v�te por�d v klidu, nen� tohle cdcko pro v�s. Masakr prvn�ho stupne. Remove The Knife ve mne probud� vzpom�nky na star� casy, kter� jsem s Master tr�vil jako mlad� klucina. Sypanice od zac�tku do konce. Smile As You�re Told. Tady to Paul tah� nekde z doln� poloviny �aludku.
Sm�k�m se sebou po pokoji a jsem albem tot�lne pohlcen. Redirect The Evil. Lehce pochodov� p�snicka. K�v�m svoj� pror�dlou marenou. Proc dneska nehrajou nekde pobl�? Hned bych vyrazil. Narval bych do sebe pod tlakem nekolik piv a �el bych na to. Out of Control. Jsem u� taky mimo kontrolu. Mo�n� je to tro�ku sme�n�, abych ve sv�m veku por�d takhle blbnul, ale kdy� j� proste nemu�u jinak. Rychl� a destruktivn�. As Two Worlds Collide. Od prvn�ho poslechu cd v�m, �e tohle je pro me nejlep�� p�sen alba. Var� se mi morek v kostech. Mus�m vyzdvihnout i pr�ci obou spolupracovn�ku Paula. Zdenek s bic�mi mus� snad i sp�t. A o Alexovi se snad ani nemus�m zminovat. Douf�m, �e tahle skvadra vydr�� hodne dlouho spolu. Sednou k sobe jak j� k plzensk�mu pivu. New Reforms. Kv�liv� kytara a bic� v ��len�m tempu. Dneska to asi neud�ch�m. Guide Yourself. Dal�� rychloobr�tkov� vec. L�b� se mi, �e Master jdou rovnou na vec. Souls Of Dissuade. Basa a bic� v�s rozlo�� na prvoc�stice. Do toho nezameniteln� Pauluv hrdeln� rev. A kdy� se to zase rozjede, jste opet ztraceni. Twist Of Fate. Z�verecn� masakr. Pripad�m si, jak po t�denn� nonstop pr�ci v kamenolomu. Tahle deska je opravdu nahr�na s nad�en�m a neznicitelnou energi�.
Por�d se nemu�u nov�ho cd The New Elite naba�it. Zase jim to v�echno ver�m a u��v�m si to. Jestli m�te chut na por�dnou porci skvel�ho old school death metalu, jdete do toho! A jestli jste tak� fanou�ci t�to formace, je The New Elite pro v�s povinnost! Come on Master!
SOURCE:
www.battlehelm.com
Holy shit, Speckmann rules man. If you are a fan of old school death / thrash then look no further than the grand meister himself, Paul Speckmann. Man, this guy has been going since �83 and even now aged 48 and quitting Chicago for the Czech Republic, he is still delivering old school almost 30 years on! Best of all, he still has that underground sound and style that bands like Possessed, Death, Venom and Slayer had way back in their day: dirty, driller killer riffs, rumbling pig grunt bass, bestial insane drumming and if anyone can have more gargled vocals then Lemmy, then it�s gotta be Speckmann!! In the world of Master simplicity is brutality but being expertly crafted by him, songs like �As Two Worlds Collide�, �Remove The Knife� and �Out Of Control� are nothing short of epics in that classic old school vein but served fresh outta the vat the only way Speckmann has ever uncompromisingly done � �The New Elite� is a big fuck you to anyone challenging him, now go fuckin� die!!!!
SOURCE:
www.queenofsteel.com
Que MASTER es una garant�a de �xito dentro no es algo que sorprenda a estas alturas. La banda capitaneada por Paul Speckmann lleva desde 1983 creando trabajos tan brillantes como demoledores, gan�ndose el respeto de la cr�tica y del gran p�blico underground con su potente Death Metal cargado de reivindicaciones de diferentes tipos. �The New Elite� es su nuevo compacto y la verdad es que MASTER siguen en plena forma y con ganas de seguir haci�ndote reflexionar por un lado, y disfrutar por otro con sus temas.
�Y qu� nos encontraremos en �The New Elite�? Pues los fans de la banda ya lo sabr�n a ciencia cierta, mientras que los que no conozcan a Paul y compa��a, les ir�a bien escuchar canciones como �Rise Up and Fight�, �Out of Control� o �New Reforms� por ejemplo, ya que resumen las principales caracter�sticas de MASTER a la perfecci�n. Y esos rasgos no son otros que una poderosa base r�tmica con una bater�a que imprime un ritmo endemoniado que sigue por el mismo camino que la gran variedad de riffs que te dejar�n sin aliento alguno. La verdad es que la labor de Alex �93? Nejezchleba a la guitarra es sencillamente bestial y demoledora, acaparando la mayor parte de la atenci�n del oyente en casi todo momento del compacto.
Paul sigue escupiendo letras reivindicativas con una tem�tica que abarca la cr�tica m�s despiadada a las religiones, los pol�ticos, etc., con agresiva voz llena de odio e ira.
La instrumentaci�n es tan brillante como siempre, mientras que la genial producci�n hace que podamos paladear hasta el m�s oculto de los acordes de una obra con un recorrido menor de 45 minutos pero que es capaz de �ejecutar� a nuestros o�dos de principio a fin.
Este �The New Elite� es uno de los discos m�s completos en todos los aspectos de una formaci�n como MASTER (y eso ya es decir), por lo que si eres un amante del Death Metal old school en su vertiente m�s aut�ntica, Paul y compa��a te har�n disfrutar como un ni�o con once nuevas balas insertadas en su cargador.
Pulverised Records (2012)
Puntuaci�n: 8,5/10
Manuel Sevillano
SOURCE:
www.metal-guide.eu
Formed back in 1983, the band that continues to deliver some excellent music extremity with each release, never really had the recognition it deserved amongst fans. This didn't prevent Paul Speckmann and his crew to create 11 albums (this is the eleventh) of pure brutality and musical genius.
First of all lets try to describe the music here, to those that haven't heard a Master album before. Imagine a style that is a breed between Death and Thrash, with each style dominating the other at times, but with both creating a result which is, the lest to say, catchy and amazing. The riffs are plenty and sharp, often reminding the early Thrash days, so is the songwriting at times, something that the devoted Master fan will definitely appreciate. Vocals that sound as pissed and extreme as with their previous works are also present here, and with the addition of a very solid and technical rhythm section, complete this album, which sometimes sounds terribly familiar, but also carefully crafted to the last detail. Right from the first minute, the band assaults our ears with their music, with no weak points, things that sound boring or could have been done in a better way. Guitar solos are also plenty, melodic, distorted and sometimes done in the Possessed way, and this give this band an extra credit for me. Perfectly arranged, with a good production that preserves the energy and the aggression, brutal vocals, a rhythm section as solid as a concrete wall, and plenty of times to bang your head with, this album has all it takes to become another milestone for the band.
Old or new fan, don't miss this out.
9/10
SOURCE:
http://metalsamsara.blogspot.cz
Falar em certas bandas hist�ricas, muitas vezes, chega a p�r o cr�tico em situa��es um pouco constrangedoras, pois muitas vezes, a longa estrada os faz cansar do que fazem e os levam a transitar por outros caminhos, deixando sua identidade de lado. Mas ao mesmo tempo, a felicidade de ver bandas que se mant�m fi�is �s suas ra�zes, sabendo evoluir na medida certa que a criatividade da banda permite � bem grande.
Falar do Master � chover no molhado, j� que na banda est� o baixista/vocalista Paul Speckmann, um dos co-criadores do Death Metal na primeira metade dos anos 80, e o �nico deles ainda na atividade, sem viver de seu passado glorioso, fazendo m�sicas novas sempre mantendo o alto padr�o que sempre soube impor, e no rec�m-lan�ado trabalho da banda, The New Elite (via Pulverised Records), Paul e seus mostram o quanto s�o fi�is �s suas convic��es.
Gravado nos Shaark Studios, na Rep�blica Tcheca (onde Paul mora hoje em dia), onde Root, Fleshless, Goreinhaled e outros j� gravaram seus trabalhos, a produ��o sonora deixou a banda polida o suficiente para que nenhum instrumento fique oculto, mas ao mesmo tempo, soa intensa e r�spida como o estilo da banda pede. A arte, muito bonita, mais uma vez � um trabalho de Mark Bridgeman, que tamb�m fez a capa do The Human Machine, CD anterior da banda. As letras continuam despejando protestos conscientes e irados contra o 'American Way of Life' sem d� ou piedade.
O que o CD musicalmente apresenta � o bom e velho Death Metal Tradicional direto, sem muitos rodeios, com certas doses �motorheadianas� aqui e ali, s� que este � um dos melhores lan�amentos da banda depois da fase considerada cl�ssica (l� pelo in�cio dos anos 90), e h� momentos �timos como em The New Elite, que remete diretamente � fase cl�ssica da banda, em um arrasa-quateir�es com fortes bases de guitarra, bem como na empolgante Rise Up and Fight, com �timo trabalho da bateria, fora os urros de Paul; j� Remove the Knife � um pouco mais cadenciada e focada no peso em seu in�cio, para logo depois virar uma golfada de brutalidade r�pida; a rascante e veloz Smile as You're Told; o peso mamutesco de Redirect the Evil, mais lenta e pesada, com um andamento �timo e grandes guitarras mais uma vez; a esporreira bem feita de Out of Control, sem firulas e bem agressiva, como � costumeiro da banda; e as �timas As Two Worlds Collide e Souls to Dissuade, onde o pogo ocorre e os pesco�os n�o param de agitar.
Ouvir novos trabalhos do Master � sempre um imenso prazer, e a banda mostra que ainda tem muita lenha para queimar nessa estrada.
Hey, Paul, com to Brazil again soon, please!!!
Pulverised Records � Importado
Nota 10
Por Marcos Garcia
SOURCE:
http://www.vampster.com
Zwei Jahre nach "The Human Machine" schlagen MASTER wieder zu. Das Line Up der Band um Paul Speckemann ist inzwischen schon seit dem 2004er-Album "The Spirit Of The West" stabil. Aufgenommen wurde "The New Elite" erneut im tschechischen Shaark-Studio. Nur beim Cover ist man wieder in eine komplett andere Richtung gegangen. Sieht schon cool aus, aber das besser zu den gesellschaftskritischen Lyrics von Paul Speckmann passende Cover des Vorg�ngers war irgendwie treffender. Musikalisch bleiben sich MASTER nat�rlich treu. Hier treffen weiterhin Death und Thrash Metal aufeinander. Ein r�udiger Bastard aus unter anderem VENOM, MOT�RHEAD und einer ordentlichen Portion punkiger Rotzigkeit. Viel Schwei�, Dreck und Rotz, eine Menge Groove und Rock�n�Roll, garniert mit dem r�udigen, pr�gnanten Kr�chzgr�hlen von Meister Speckmann. Alle Songs kommen schnell auf den Punkt, sind gr��tenteils im Up Tempo gehalten, Songs wie der Mid Tempo-Groover "Redirect The Evil" sorgen aber f�r ausreichend Abwechslung.
Wer MASTER bisher nicht kennt, dem sei gesagt, dass das Ganze ein wenig so klingt, als h�tte Lemmy pl�tzlich Lust darauf bekommen, den MOT�RHEAD-Sound um Death und Thrash-Anleihen zu erweitern. Wer auf diesen Sound steht, der bekommt hier elf mal ordentlich die Fresse poliert, MASTER �berzeugen auch mit "The New Elite" auf ganzer Linie. Stumpf kann jeder, so verdammt gut stumpf k�nnen nur wenige.
SOURCE:
www.metal1.info
M�sste ich mich auf eine Band festlegen, die nicht den Rang und Namen hat, der ihr eigentlich geb�hren w�rde, l�ngen die Death-Metal-Vetaranen MASTER wohl nicht schlecht im Rennen. Bereits 1983 gegr�ndet, zehn Alben im Regal und von diversen Genregr��en als Einfluss genannt, ist es eigentlich ein Wunder, dass die Truppe um Szenekoryph�e Paul Speckmann immer noch dem Underground zuzurechnen ist.
Mit �The New Elite� legt die Band nun ihr elftes Album vor, und stellt ihre Klasse ein weiteres Mal unter Beweis. �Old School!� steht auch diesmal auf allen Flaggen, und doch ist �The New Elite� alles andere als langweiliger 08/15-Death-Metal: Coole Riffs, bissiger Sound und nicht zuletzt Speckmanns angepisster Gesang machen �The New Elite� zu einem echten Leckerbissen f�r Szenekenner. Stilistisch ist dieses Mal keine merkliche Weiterentwicklung seit dem ebenfalls sehr zu empfehlenden Vorg�ngerwerk �The Human Machine� festzustellen � im Gegenteil, selbst im Shuffle-Modus zwischen beiden Alben k�nnte man die Songs wohl nur am merklich aggressiveren Gitarrensound des neuen Albums unterscheiden. Die Notwendigkeit zu einem Stilwechsel war hier jedoch auch tats�chlich nicht gegeben, war doch schon �The Human Machine� ein absoluter H�hepunkt in der bisherigen MASTER-Diskographie.
Gleich der Beginn mit dem Titeltrack und dem nicht minder furiosen �Rise Up And Fight� geht in recht flottem Tempo gleich voll auf die Zw�lf... und was in der restlichen, gebotenen Dreiviertelstunde folgt, steht dem in nichts nach. Dass dabei �ber die Zeit eine gewisse Erm�dung am doch recht charakteristischen Sound der Band einsetzt, ist nicht von der Hand zu weisen � vergleicht man �The New Elite� aber beispielsweise mit dem aktuellen Asphyx-Album oder anderen Werken aus der Sparte, f�hrt man mit �The New Elite� auch diesbez�glich noch wirklich gut.
Mit ihrem mittlerweile elften Album beweisen MASTER ein weiteres Mal, dass sie eigentlich zu mehr als dem ewigen Underground-Tipp taugen w�rden... braucht sich �The New Elite� doch qualitativ weder hinsichtlich des Songmaterials, noch im Bezug auf die Umsetzung vor irgend einem Death-Metal-Album der letzten Jahre verstecken. An der Musik jedenfalls hapert es nicht � eher wohl daran, dass MASTER ihre Alben nie angemessen live promoten.
Bewertung: 8.5/10
Redakteur: Moritz Gr�tz
SOURCE:
www.heavymetal.about.com
Paul Speckmann�s old school death metal beast Master, an important band in the foundations of early death metal, returns with The New Elite, yet another slab of, you guessed it, old school death metal. Not much changes from album to album with Master, as Speckmann and company stick to their tried and true formula of mid-paced gallops, riffs piled upon riffs, a bottom heavy, rough production, and Speckmann�s nasally inflected growl.
Probably incapable of producing a bad album whilst employing this formula, Master occasionally rise above better than average death metal with taut songwriting and musicianship, as was displayed on 2010�s The Human Machine, and Master largely continue in that vein with The New Elite. Both albums are pretty similar with, more or less, interchangeable songs, but The New Elite has a slightly rawer sound to the production and a heavier reliance on near d-beat pacing than that of The Human Machine.
The New Elite rarely varies in songwriting and delivery, however, and, in lesser hands, the approach would be rather boring, but Master lay on the crushing heaviness with enough catchy riffs to carry the day and produce yet another solid album of straightforward death metal. In short, there are no surprises with The New Elite.
SOURCE:
www.voicesfromthedarkside.de
(Picking myself from the floor...)
Uffff... now this was some mad thrashing session alright! Let me take a breather here... two years after the menacingly dark "The Human Machine", MASTER shows no intention of slowing things down and comes at you with the fiercely slashing "The New Elite". Paul Speckmann & Co. still possess all the rage and fire to deliver a bullshit free scorcher! It kicks you in the nuts right from the get go and continues to do so throughout the whole album! I know, it's a kinda lame and lazy comparison, but one I always wanted to make - MASTER is like MOT�RHEAD of Death Metal, period!
Most casual fans know of their first two classic albums and kinda overlook the new era of MASTER which started since Paul Speckmann moved to Czech and recreated the band again. With this new lease of life they're getting stronger and stronger as "The New Elite" proves again just like the previous 3 albums, starting from "Four More Years of Terror", did! Simple but sharp as a shark's teeth riffs accompanied by a solid and strong rhythm foundation, bowel moving bass and raspy, snarling vocals suck you into a vicious maelstrom of crusty Death Metal with slight Thrash overtones bringing some resemblance to ABOMINATION. The production is raw yet very clear and distinguishable, very bass heavy which is a bit different from "The Human Machine" where it was more straightforward and dark. It cuts straight to the point and reminds me of VENOM's "Fallen Angels" somehow.
The title track, the following 'Rise Up And Fight', 'Smile As You're Told', 'As Two Worlds Collide' and the closing 'Twist Of Fate' are among my favourites here, all bearing trademark MASTER stamps. If anything, this album is even more angry and aggresive than the previous ones. The band sounds fucking tight here and Paul Speckmann without any doubt whatsoever is one of the best Death Metal vocalists in the world - the accentuation of words, the delivery and that venomous snarl blows out of the water all the pretenders... and to think he has started the genre and been doing this for nearly 30 years - that is damn impressive! If you've been up to date with MASTER's work, then "The New Elite" won't surprise you that much, they are not pulling MORBID ANGEL tricks on you, so rest assured - the quality, delivery and raging aggression and anger is still there in a pure undiluted MASTER way! So, to sum it up and make things clear - buy the CD or the vinyl, because this is undoubtedly one of the best classic Death Metal albums of the year 2012 and a freely downloaded file is just a big no-go. You must support MASTER if you call yourself a Death Metal fan! Not out of the obligation or any other bullshit reason, but because "The New Elite" kills, then picks you up and kills again!
And Paul Speckmann should finally write his book too!
SOURCE:
deadvoiddream.blogspot.cz
Apparently for Paul Speckmann the home is where the disease is the and the current hard times have seemingly re-fuelled his vitriolic rage to epic proportions, which is only good for the listener. 'The New Elite' is here to kick your ass and then some, spitting bile and pointing fingers in an extremely intense fashion - a raging combination of blistering riffs and solos, hyper-kinetic drumming and Paul's patented snarls and bass lines. 45 minutes do fly in a heart beat, the eleven songs wouldn't let you catch your breath and those lame neck muscles would be screaming in vain for mercy and a nice spa treating. This is a textbook example of doing things right and Master most certainly know the secret recipe of mixing old school death metal and punk/hardcore energy along with some thrash and modern day death spices to give the listener value for their money. 'The New Elite' has once again reassured the faith that this band's fire is far from extinguishing and that's amazing news in a scene spawning bands with little to no integrity and bite. Couple of attributes Paul has proven over the years he's got in abundance and could put to good use.
8,5
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Reviews:
Slaves of Society |
thelefthandpath.com
SPECKMANN!!! The master, unsung, living abroad and
back on stage touring, writing, releasing music still
potent as the politics at home grow more absurd. Or
just more absurdly tolerated. Twenty years on with
two albums seemingly impossible to Live down, Master's
scathing 10th album sees the band at its strongest
in years. Their state of mind spelled out immediately
in the album's cover, the meaning no deeper than that
metalized rendering of citizen qua cum-receptacle
at the feet of our Great Architects of Change. The
disc's eleven tracks regain a certain focus and clarity
to heighten that aggression as Speckmann, guitarist
Ales Nejezchleba and hammersmith Zdenel Pradlovsky
continually pound out speed metal timed with machine
gun rhythms backing bass guitar purring like a jet-black
dragster and lyrics voiced raw and dripping, at each
turn demonstrating that not all the old lions age
so poorly. With songs battling an imbalance of recognition,
hype and influence, the moniker answers peers and
offspring together in signature twists delving briefly
into pinch-groove riffs ("The Last Chapter"),
accents of modern Death Metal ("The Room With
Views") and straight-forward thrash scored with
blood and sand on the backs of the masses and those
chosen to represent them. On these formulas they improve
with proven simplicity, the production thinner than
what's demanded by many of the genre's younger following,
but with nothing softened in the deLivery and paired
together with the recent re-release of their first
two LPs on CD, may at last see Master regain throne.
[Todd
DePalma] |
| |
kvltsite.com
Master - Slaves to Society
By Sriram Bharadwaj
Saturday, 10 November 2007
Master
will go down in death metal annals, along with Monstrosity
and Deceased as perhaps the band that was most undeservedly
underappreciated by the hordes subscribing to said
form of music. Speckmann's influence on the death
metal of the late '80s was quite possibly as profound
as any allegiance that has been sworn to Possessed,
Slayer and early Death. Abomination, Death Strike,
Funeral Bitch and consequently, Master have played
no small part in forging death metal, then in its
tumultuous adolescence, into the malignant force
that it became in the early '90s. Grudgingly, I
will concede that Speckmann too had his troughs,
the mid '90s yielding a couple of nondescript slabs
of plastic that bafflingly had the Master logo slapped
onto them. However, Speckmann was far from out.
A couple of line-up changes were made, the early
'80s Discharge discography was pushed back into
the tape recorder and a few more feet of beard added.
The end result of a revitalized Master was 2005's
"almost there" effort Four More Years
Of Terror. The past 2 years seem to have been spent
by Paul Speckmann (bass/vocals), Alex Nejezchleba
(guitars) and Zdenek Pradlovsky in honing the portentous
potential of Four More Years of Terror into a brutally
precise and effective murder weapon.
Slaves
To Society is easily Master's best album since 1991's
On the Seventh Day God Created...Master. Everything
that constituted classic Master is back on Slaves
To Society, from the dizzying velocity of the riffs
hewn from the ripest orchards of the hardcore/crossover
movement of the '80s (primarily Discharge and the
Cro-Mags), to Speckmann's razor edged, bile-spewing
vocal deLivery and cantakerous, socio-politically
charged lyrical work. No time is wasted in iterating
the course of action on this album, with The Final
Skull's opening riff straightaway summoning the
corpses of the '80s crossover giants to do their
hyperspeed bidding. It's a declaration, both of
intent and of return, by Speckmann and Co. The rest
of the album follows through magnificently, pushing
already insane levels of adrenaline soaked metal
mania into overdrive. The title track (with a slight
modern touch ala gratuitous use of the bane of Unique
Leader-era death metal, the pinch harmonic, on the
main riff), signals the start of the middle of the
album and pushes it immediately into mosh territory.
The solos are much better thought out and played
out than any other Master album I can remember,
including the S/T. The production on this album
is brilliant, with fat guitar tones, THE best bass
sound in any Master album ever (alas, Speckmann
has confirmed what we always knew but only spoke
of only in hushed tones.And that ofcourse is that,
in Speckmann's own words "Burns was a homo
when it came to bass") and a delectably organic
drum tone. The songs get a bit longer towards the
end of the album and exhibit the more distinct death
metal face of Master's music, as compared to the
snarling hardcore overtones of the preceeding material
in the album. Remnants of Hate, The Last Chapter
and World Police (the last being the longest track
on the album at 6:04) all display the kind of misanthropic,
blasting, Venom and Slayer born thrash-taken-to-the-next-level
riffing that was prevelant on Unreleased 1985 Album
era Master, and that made Master the force-du-jour
among discerning death metal fans of the late '80s.
In essence, this is a return of unprecedentedly
ass owning proportions from Master. And while Speckmann
may never attain the stature of a Chuck Schuldiner
or the notoreity of a Dave Vincent, he will continue
to reign supreme in the memoirs of true death metal
connoissuers as one of the most enduring legends
of the genre. A must have!!
4/5
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diabolicalconquest.com
Master - Slaves To Society
Paul
Speckmann - Bass/Vocals
Ales Nejezchleba - Guitars
Zdenek "Zdenal" Pradlovsky - Drums
Always
outspoken and disarmingly candid, Paul Speckmann's
belligerence and boisterousness has not attenuated
with the passage of time. On Master's umpteenth
outing, Slaves To Society, this bellicose brazenness
manifests itself in gratuitously explicit form-
an act of fellatio clumsily censored by a superimposed
“banned by society” bar. The none-too-subtle
and clumsily-positioned tag, which utterly fails
to obscure the bawdy imagery, is a concise and damning
indictment of current policing and censorial procedures-
the truth is in plain view, why bother tucking it
(sloppily) under the rug? Master have always been
a singularly unique proposition, an unabashedly
political band that dodges the perilous pitfalls
of sermonizing CNN Metal and total anarchic nihilism.
A salvo against complacency, lassitude and hypocrisy,
Master are first and foremost a commitment, a call-to-arms,
an incitement. It also helps that they've regurgitated
forth some of the most impassioned, incendiary death/thrash
ever.
After
having lost their way somewhat in the Let's Start
A War/Faith Is In Season years, Speck unveiled a
frighteningly immediate and awesomely spirited outing
with last year's Four More Years Of Terror (as with
all his pronouncements, Speck is not shy with his
intentions). This record surpasses even that monument
of malevolence, a breakneck exultation of all that
is Master, Funeral Bitch and Death Strike. Unreservedly
Speckmann from first note to last, this somehow
manages to infuse new vitality into a formula that
seemed to be wearing threadbare in Master's years
in oblivion. If Four More Years Of Terror didn't
completely dispel any of your reservations, Slaves
To Society assuredly will. Speck has returned from
his songwriting nebula, and this is surely the BEST
Master album since On The Seventh Day ..., and each
subsequent spin suggests that this one even eclipses
said masterwork to rank alongside Master.
If
this is your virgin experience with the band, enjoy
the initiation, it is a baptism into a long and
fulfilling relationship. All the requisite accoutrements
of a Master record are accounted for- the doggedly
single-minded beats, the non-stop, primal Discharge-flavored
riffs, the gravel-throated, strained and severe
vocals, the unashamedly caustic lyrical matter,
the infectious holler-along hooks, the neck-snagging
rhythms and deliberate, pronounced pacing. Speck
has developed a style that remains affirmatively
first-wave in approach, wielding the simplistic
and frank formula to songcraft that has been his
muse from his earliest days, but he welds this sensibility
with a more contemporary feel for rhythmic phrasing
and breaks that, to my mind at least, should assure
considerable crossover appeal with a younger demographic.
Take
the opening barrage of “The Final Skull”,
for instance, which couples a mind-melting Discharge-esque
main riff with throbbing, pounding kick drums and
a devastating break, or the title cut (which is
even accented with pinch harmonics, the soup-du-jour
of all young rapscallions), a perfect synthesis
of sinewy hardcore and vintage Master moves, the
likes of which can be identified in everything from
Terrorizer to Nasum. Consolidating this transition
into greater accessibility is a heightened sense
of melody- the solos that punctuate the record are
succinct and tuneful, while “Cheater”
even features hyperspeed harmony sections. Make
no mistake, Master are still one of the most unforgiving
propositions in death metal, but this time around
the martial severity is expressed in (slightly)
more approachable form. All of this, of course,
crystallizes into what is surely the best death
metal album of 2007 thus far, and a landmark in
one of the most storied careers in heavy music.
nin chan, 9,3/10
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Unholycult.com
Master - Slaves To Society
(Album of the Week 8-3-10-7)
A large grin crossed my face when Young, a 37 year
old Christian Republican family man, that had given
up listening to Metal said, “What band are we
listening to… Its heavy and modern, but has
an Old School feel.
Smirking I replied, “This is the new Master
album called ‘Slaves To Society.”
“Yeah,” he replied. “This music
reminds me of 84 when I first heard “Chemical
Warfare” cause it’s fucking raw and mean.
Master huh; leave it to Speckmann to still be killing
us all after something like 25 years… FUCKING
MADMAN!”
Truer words could not have been stated, but before
I get to the meat of this critique I am compelled
to emphasize that ‘Slaves To Society’
is essential.
Right
when “The Final Skull” blasts into gear
your ears are riding a sonic rocket of nihilism
on CD. Paul Speckmann’s fingers rumbling across
that buzzing distorted monster bass is amazing.
Whether playing fast, technical, or jamming during
chromatic interludes, the lower frequencies are
a rolling mesmerizing signature balanced perfectly
with the other instruments. It’s like hearing
Steve Harris on steroids. The drumming on ‘Slaves
To Society’ is sensational, but what makes
this fact is how Zdenek Pradlovsky does NOT simply
mash-n-bash blast beats for speed/filler. Instead,
ears are treated to amazingly controlled footwork,
unique tight fills, super human rolls, and a precision
that is stellar. He sounds like a 1000 horses stampeding
in harmony over a stadium full of politicians…
Fuck, if I was learning to play drums, Pradlovsky
would be my hero. Guitar solos rip-n-careen from
all directions in squealing carpal tunnel inducing
rage. Riff after violent riff tumbles out of Alex
Nejezchleba’s guitar like cars spilling off
a crumbling Minneapolis bridge. And each riff gets
stuck in your head cause they’re instantaneously
catchy and righteously pulsating.
I
don’t usually discuss lyrics in critiques
cause they are mostly redundant fodder about rape,
gore, and homicide with a bit of Odin thrown in
for pseudo creativity. On ‘Slaves To Society,’
Speckmann again proves topics about pernicious politics
and automatons is starkly more relevant and brOOOtal
than odes to Satan. Enhancing this fact are Speckmann’s
vocals, which are utterly spiteful in a tone and
growl as captivating now, as it was in 1985. When
he bellows through his gravel throat “Society’s
already dead” it comes across contemptuously
truthful. Surely ‘Slaves To Society’
is what an anarchist plays while constructing a
bomb.
Youth
is raw rage with a naivety about life and politics
molded into a sense of ageless indestructibility.
Few are able to channel that passion into a meaningful
artistic career, for too often integrity is bartered
for bong hits and a sofa, an unemployment check,
a mortgage, social status, and a trophy wife. Everyone
sells out in a capitalist world, but few keep their
integrity, which is why Master is an essential paradigm
for what is right about Metal music and life. ‘Slaves
To Society’ is gritty, brilliant, and profound.
This is SpeckMetal! This is Master, and you will
succumb to its sublime irreverence!!!!
By
Mike Lidia
|
| |
Legacy
Magazine
MASTER „Slaves To Society“
(Twilight)
Ich habe schon fast das Gefühl, dass meine vielen
guten Bewertungen zur Farce werden, aber der diesmonatige
Soundcheck ist derart stark besetzt, dass daran gar
kein Weg vorbei führt. Und auch das Death Metal-Urgestein
MASTER macht da keine Ausnahme. Kaum zu fassen, wie
unbeirrt Paul Speckmann trotz zahlreicher Rückschläge
seinen Weg geht. Dabei spielt es für ihn keine
Rolle, ob er in Chicago oder wie seit einigen Jahren
in Tschechien stationiert ist. Auch "Slaves To
Society" strotzt wieder vor simplen Death-/Thrash-Krachern,
die völlig schnörkellos auf den Punkt kommen
und absolut keine Gefangenen machen. ´Langsam´
ist dabei fast völlige Fehlanzeige, MASTER hauen
auf die Fresse, und das nur mit wenigen Unterbrechungen.
´Back To The Primitive´ im positivsten
Sinn! Viel mehr gibt es auch gar nicht zu sagen, MASTER
sind MASTER, und das ist auch gut so. Es gibt zwar
immer wieder Leute, die behaupten, früher wäre
alles besser gewesen, aber das ist zumindest in Bezug
auf "Slaves To Society" völliger Unsinn.
Die Scheibe knallt von vorne bis hinten, die Songs
sind eingängig, und der olle Paul präsentiert
sich gesanglich in bester Form. Fett!
(MAW) 12/15 Punkte
|
| |
visions-underground.com
Master "Slaves To Society" 12.6.2007
Man könnte ja meinen, es würde irgendwann
mal langweilig werden, wenn eine Band über zwanzig
Jahre lang Album um Album veröffentlicht und
sich dabei entwicklungstechnisch gesehen kaum vom
Fleck bewegt...Es wird aber einfach nicht langweilig
– jedenfalls nicht bei Master! Deren neues Album
„Slaves To Society“ ist einfach genauso
alte Schule wie es sich für ein Death-Metal-Urgestein
gehört!
Mit “The Final Skull”als Opener marschiert
ein alles einstampfender und brutaler Song voran,
der wieder auf ein gutes Album hoffen lässt –
was mit „In Control“ direkt bestätigt
wird, denn hierbei donnert es einem noch brachialer
um die Ohren, als man erwartet hatte! In einem bösen
Stakkato-Gewitter wettert Paul Speckmann mit den treibenden
Instrumenten um die Wette, dass es eine Freude für
jeden Nacken ist, und dem auch der darauffolgende
Song „Beaten For The Possibility“ in nichts
nachsteht. Diese drei Songs bilden einen klasse Einstieg
in das Album durch die Master-typische Formel, die
neben sehr variablen Ideen für ihre Songs immer
fantastische Melodien mit rhythmischer Raserei verbinden
– und das klappt bei ihnen einfach immer, wie
man auf „Slaves To Society“ und natürlich
den ganzen Vorgängern dieses Albums anhören
kann. Aber zurück zu den neuen Songs! Beim Titelstück
„Slaves To Society“ fühlt man sich
dann endlich wie zu Hause angekommen – mehr
nach Master können Master nicht klingen! Dagegen
wird man von den Nachfolgern „Cheater“
und „The Darkest Age“ sehr überrascht.
Ersteres fällt vor allem im Refrain eher in die
Rock´n´Roll-Schiene und erinnert mich
durch Speckmanns super gerotzten Gesang doch etwas
an Motörhead´s Lemmy, was auch nochmals
bei „Remnants Of Hate“ der Fall ist –
und super in die Songs reinpasst, denn es verleiht
ihnen noch einen Tick mehr Dynamik und fügt sich
gut in die Melodien ein. Von „The Darkest Age“
wird man eher insofern überrumpelt, als dass
es einen eben nicht erst überrumpelt –
hä? Ja! Denn es beginnt zunächst schleppend
und mit brüchigerem Gesang, gefolgt von interessanten
Breaks im Tempo – finster und genial! Ebenfalls
absolut hörenswerte Songs sind sowohl „The
Room with Views“, der sehr rhythmisch durchläuft
und für den ich eine Bang-Prognose von 100 Punkten
vergebe, weil er so rumpelt, als auch das Presswerk
„Remnants Of Hate“, das einem nicht mehr
aus dem Ohr gehen kann durch seine böse hämmernden
Riffs. Beängstigend gut ist hier auch das Gitarrensolo,
das sich durch dunkle Rhythmuswolken schneidet, wie
eine Sirene! „The Last Chapter“ beginnt
hingegen mit etwas völlig neuem, nämlich
ungewöhnlich nach Südstaaten-Metal klingenden
Gitarrenparts, die einen interessanten, sich wiederholenden
Bruch innerhalb des Songs abgeben. Schön schmutzig!
Der Abschlusssong „World Police“ verbreitet
nicht nur textlich, sondern in erster Linie klanglich
eine apokalyptisch anmutende Stimmung, die einen etwas
verstört alleine lässt, sobald das Album
durchgelaufen ist...Aber dagegen hilft nur eins: Macht
das Album wieder von vorne an! Master sind sich treu
geblieben und verdienen für ihr neues Album (wieder
mal) allerhöchsten Respekt! „Slaves To
Society“ wird für alle Death Metal-Fans
eine lohnende Investition sein!
Rebecca Rey/V.U., 10/10 |
| |
schwermetall.ch
Master - Slaves To Society (2007)
Was hat der gute Paul Speckmann in seiner musikalischen
Laufbahn nicht schon alles erlebt? In zahllosen Bands
aktiv sah er Musiker kommen und gehen, Plattenfirmen
kommen und gehen, Erfolge und Misserfolge kommen und
gehen - und so weiter und so fort. Noch nicht gegangen
ist er selbst - seit weit über zwanzig Jahren
ist er inzwischen im Geschäft - mal besser, mal
schlechter, mal hier, mal da. Zu einem echten Durchbruch
hat es aber bislang nicht gereicht - auch nicht mit
seinem Kronjuwel, Master. Zur ewigen Untergrundikone
verdammt tingelt man also durch die Lande und unterhält
das geschmackvolle Publikum mit Auszügen aus
seiner beachtlichen Diskographie. Und um diesbezüglich
für stetigen Nachschub zu sorgen, wirft man mit
"Slaves To Society" dieser Tage den fünften
regulären Langspieler des neuen Jahrtausends
auf den Plattenmarkt.
Und wieder besinnt man sich auf seine Stärke,
die darin liegt, simple Riffs geschickt aufzubereiten
und eingängige Klanghaken daraus zu schmieden,
die so leicht nicht aus den Gehörgängen
zu putzen sind. Vom ersten Ton an überfordert
man den Hörer kompositorisch nicht mit komplexen
Komplexen, sondern fädelt homogene Klangelemente
auf den roten Faden, wie die Perlen einer Kette. Im
eigenen Interesse hält man seine Stücke
nachvollziehbar und ordentlich thrashig lässt
man die Todeswalze mal gemächlich, mal schwungvoll
vorwärts rollen. Was man selbstverständlich
vergebens sucht, ist Hochglanz. Es hätte auch
verwundert, wenn der Meister seine wunderbar schmutzige
Kunst des Musizierens beiseite gelegt und auf dem
schwermetallischen Luxusliner angeheuert hätte.
So rutschen hier und da sogar leichte Anleihen aus
dem Crossover durch das geordnete Chaos von Speckmann's
Truppe, die sich um Konventionen bekanntermassen ja
nur wenig Gedanken macht. Als einziges schwererwiegendes
Manko fällt auf, das aus den elf kleinen Glanzlichtern
trotz vorhandenen Potentials kein wirkliches Meisterwerk
hervorstechen mag und man sich scheinbar etwas in
Zurückhaltung übt - vielleicht bündelt
man seine Kräfte ja bereits jetzt für das
nächste Album? Angesichts der durchweg im weit
überdurchschnittlichen Bereich angesiedelten
Stücke kann aber auch das den positiven Eindruck
nicht zerstören und "Slaves To Society"
allzu weit abrutschen lassen.
Lange Rede, kurzer Sinn: Master bleiben ein Eckpfeiler
des schwermetallischen Untergrundes und haben mit
"Slaves To Society" ein volles Pfund am
Start.
Bluttaufe, 11/13 |
| |
metalmessage.de
MASTER
„Slaves To Society“
Es
ist schlicht und ergreifend als purer Wahnsinn zu
titulieren, was der gute alte Paul Speckmann für
dieses neue Hammeralbum auf elf starke Song-Beine
gestellt hat. Der Master-Tieftoner und -Grummelsänger
gilt mittlerweile als Genre-Urgestein. Und während
andere Death Metal-Kapellen mit den Jahren immer mehr
Zähne verlieren, beißen Master mit „Slaves
To Society“ kraftvoller als je zuvor zu. Das
tschechische Treiber-Trio um den langbärtigen
Todesblei-Obermeister legt auf diesem neuen Werk die
unbändigste Spielfreude vor, die man sich in
diesem Genre überhaupt heutzutage noch vorstellen
kann. Und Paule gab alles. Dickes Lob steht jedoch
auch Gitarrist Ales Nejezchleba zu, denn der Mann
lässt die Finger wie rotierende Zentrifugen über
die sechs Saiten fliegen. Hat wohl Amphetamine vom
Fass verabreicht bekommen, der Kerl. Herrlich zügellose
Thrash-Schlagseiten zieht auch der irre taktgenau
draufhauende Trommler Zdenek „Zdenal”
Pradlovsky auf. Master in Reinkultur eben –
nein, mehr noch, eine besessene Knüppeltruppe,
die hierfür glatt über sich selbst hinausgewachsen
ist. Sozial- und gesellschaftskritisch wie eh und
je sind die Lyriken auf „Slaves To Society“
ausgefallen – worüber alleine schon Liedertitel
wie beispielsweise „The Darkest Age”,
der Titelsong, „World Police”, „In
Control” oder auch „Beaten For the Possibility”
adäquat Auskunft geben.
Markus Eck, 8/10 |
| |
graveconcernsezine.com
(english) |
| |
| Reviews:
Four More Years Of Terror |
metal-observer.com
MASTER
Four More Years Of Terror
MASTER is a veteran act in the Extreme Metal scene,
releasing albums since 1990 ensure them that status.
The main man behind MASTER is an individual named
Paul Speckmann. Sometime ago Paul Speckmann packed
his stuff and moved from the US to The Czech Republic.
If you read the lyrics of “Four More Years of
Terror” it doesn’t seem likely that he’ll
be moving back home anytime soon. The whole record
reeks of distrust against the US and their role as
world police. I don’t know if it’s right
to say that he hates the US but at least he has some
serious issues with his former country, I reckon this
record could be a hit in Iran.
Now
that you know what the lyrics are all about, let’s
move onto the music. The music on “Four More
Years Of Terror” is a mixture of Old School
Death Metal and Thrash, no blast beats here. As much
as I like blast beats, a record can be as satisfying
without the use of that beat, “Four More Years
of Terror” is an example of such a record. I
have to admit that I haven’t been following
the career of MASTER at all. I have noticed them through
the years, read some Interviews and that kind of stuff,
but I’ve never given any of their albums a proper
listen, until now that is. Since I’m not familiar
with MASTER’s music I have to rely on other
reviewers when it is said that MASTER still plays
the music they started out with, only better this
time around.
Blast free it is but “Four More Years Of Terror”
is still an upbeat record. The bass drums are pummelling
forth most of the time, giving the music some serious
drive. The overall drum playing might be considered
straight forward for those who hold a band such as
CRYPTOPSY as their favourite Death Metal act. I think
it fits the music bloody well. One good reason for
that is the excellent mix which lets every instrument
take part. Since Mr. Speckmann is both main man and
bass guitarist we are even let to hear how a bass
guitar sounds like. I guess it’s a bit easier
to get an audible bass in this kind of Death Metal
than in the one that relies on speed. The vocals of
Mr. Speckmann has as much in common with Thrash Metal
as it has with Death Metal, one could argue that it
sound more Black than Death Metal too. In other words
we are not treated with Chris Barnes type of growling
here. Let’s just call it extreme vocals.
I read in some review that MASTER’s music was
reminiscent of HELLHAMMER, the band you’ve heard
about but not actually listened to. That is the case
for me at least. The bottom line is, however, that
MASTER doesn’t play what one would call modern
Metal, other than the production values that is. Another
sign of quality is that the lengthy playing time doesn’t
work against the record; it’s been quite a while
since I heard a record of this length that didn’t
bore the hell out of me. It’s kind of strange
actually since most of the songs are quite similar.
I guess that cleverly placed solos, good riffs and
ditto song writing is the reason for that.
I’ve listened to the record several times, I
mean like ten times plus. At first I didn’t
find anything special but repeated listens opened
the record up for me. It may be that I’m a bit
slow here since the music can’t be said to be
overly complex. As I mentioned previously most of
the songs are carved out from the same well of inspiration.
Even tough “Four More Years of Terror”
must be considered being really consistent I have
managed to come up with some songs that I like more
than the rest. These songs are; “All We’ve
Become”, “Does One Feel Pain” and
“Hell Probably Win”. “All We’ve
Become” is my favourite simply because it has
that little extra; it sounds like MOTORHEAD doing
Death Metal. “Does One Feel Pain” is another
favourite because it contains some really good Death
Metal riffs. What I’m thinking about here is
the breakdown from pummelling Thrash riffs to good
old Death Metal riffs; it really stands out when played
in this context. “Hell Probably Win” is
my last favourite simply because it has a tremendous
drive, head banger friendly to the core.
Fans of Old School Death Metal should take notice
and invest in “Four More Years of Terror”.
If that’s the kind of music you’re after
I can’t see you going anywhere wrong with this
release. Be sure to check out the link for “Betrayal”,
it’s the least you can do; recommended then.
ARVE,
8/10 |
| |
BW&BK
Magazine [Can]
MASTER
Four
More Years Of Terror (Twilight)
Semi-notorious
death metal underdog Paul Speckmann is back with his
latest incarnation of Master, a band most known for
early '90s Nuclear Blast output. Thing with Master
is they've always been more about the poverty-line
drunken death metal; there's more of a Motorhead vibe
here than there is, say, Internal Bleeding. And although
this album drags on way too long, there's tons of
wildly frantic drumming, solid death metal riffs and
hilariously caveman-esque vocal grunts to keep ya
entertained. The lyrical content is
resolutely and explicitly (this ain't poetry) anti-USA,
a given considering Speckmann has packed his bags
and now calls the Czech Republic home, where he found
his two new back-up guys for this round of Master.
And no doubt this guy is for real: he's got the Master
logo tattooed on the top of his right hand!
Greg
Pratt [7/10] |
| |
S.O.D.
Magazine [USA]
MASTER
Four More Years of Terror
Twilight-Vertrieb
Taking its name from the Black Sabbath album "Master
of Reality," Master kicks the door down with
its latest epic, Four More Years of Terror. Master
plays a combination of dirty, gritty Thrash and Death
Metal. The band's roots are in NWOBHM (mastermind
Speckmann once fronted War Cry), and on this latest
release its roots stand proud and drive the music
well. There's a bit of Motorhead chugga-chugga going
on here, with vocalist/bassist Paul Speckmann out
front with a set of gravel-laden pipes
and a thumpa-thumpa bass. Churning out some solid
hooks and riffs is guitarist Alex "93" Nejezchieba.
Rounding out the cast is drummer Zdenek Pradiovsky,
whose Thrash-driven style complements the guitar chops
and the gritty vocals. Songs are tight and brisk and
the production is solid. The recording is clear, giving
each instrument enough room to spread its acute stench
quite nicely. Lyrically, Speckmann gets downright
political. The CD title refers to President Bush's
present reign on the "War on Terror." Tracks
spew out views about political indoctrination ("Shoot
to Kill"), the United States ("Can the US
be so Great?"), and George Bush himself ("Line
to Kill").
Conservative fucks need not listen. It's very hard
nowadays to find a solid Thrash/Death Metal hybrid
that plays old school - we're talking before the advent
of pristine Death Metal in the mid-1980s. If you crave
that rough-and-tumble sound, then Master's Four More
Years of Terror makes for essential listening.
(OR) 8/10 Skulls |
| |
RockHard
Magazine
MASTER
Four More Years Of Terror
(Twilight)
(61:09)
Schon die beiden neuen Tracks auf der kürzlich
erschienenen "Masterpieces"-Compilation
zeigten, dass Paul Speckmann nach 25 Jahren Karriere
noch mal klarmachen will, wo der wahre Old-Old-School-Death-Metal-Hammer
hängt. Und das klappt exzellent. "Four More
Years Of Terror" spielt im Titel wohl auf die
zweite Amtsperiode derBush-Administration an und enthält
vordergründig stumpfe (die Zahl der Breaks kann
man generell an einer Hand abzählen), aber genau
auf den Punkt hämmernde Death-Thrash-Attacken
mit der üblichen Motörhead-Kante. Das Tempo
ist mit herrlicher Penetranz fast durchgehend im klassischen
Achtziger-Jahre-Rübenschwenker-Thrash-Beat, es
gibt Doublebass satt, und Paule elcht herrlich asozial
durch die Gegend. Last but not least schleudert sich
der im tschechischen Exil lebende Ami mit seinen Kollegen
einige der geilsten Simpel-Riffs seit Jahren aus den
miefigen Ärmeln (wer bei ´Line To Kill´
nicht vor Freude seine Bude zerlegt, muss komplett
taub sein). Die kleine, aber feine Zielgruppe kann
sich schon mal den Staub von der Kutte klopfen.
Jan Jaedike
8,5/10 |
| |
Legacy
Magazine
„ ... zusammen mit der neuen Bolt Thrower läutet
„Four More Years Of Terror“ endlich mal
wieder eine gute Zeit für alle Todesblei-Fetischisten
ein. Ultratight, musikalisch über alle Zweifel
erhaben ... „
„… along with the new Bolt Thrower „Four
more years of terror“, there will finally be
a good time for all Death lead-Fetishists. Super tight,
musically untouchable…“
15/15 |
| |
*M
E T A L A G E M A G A Z I N E*
MASTER
„FOUR MORE YEARS OF TERROR“
TWILIGHT
Dieser Paul Speckmann ist schon eine coole Backe:
Bringt ein old school Brett nach dem anderem raus
und hat sich seit gut 20 Jahren keinen Millimeter
verbogen, wenn es um die musikalische Ausrichtung
seiner diversen Projekte und Bands geht. MASTER ist
natürlich nach wie vor die Hauptband und mit
vorliegendem neuem Studioalbum „4 More Years
of Terror“ legt der Vollbärtige Exil Ami
mal wieder ein Brett vor, daß sicher 99% der
Leser begeistern wird. Das Zauberwort heißt
natürlich auch hier (wie immer) OLD SCHOOL, sämtliche
13 Stücke auf dem Album hätten auch Mitte/Ende
der 80er veröffentlicht werden können! Diesmal
erinnern einige Songs („Race to Extinction“,
„Shoot to Kill“, „Betrayal“)
gar an die Frühwerke von SEPULTURA („Shizophrenia“)
und SACRIFICE („Torment in Fire“), wenngleich
man natürlich alleine aufgrund von Speckmanns
Organ immer weiß, welche Truppe hier am aufspielen
ist. Alles also wie gehabt? Nicht ganz, denn diesmal
hat die
Scheibe wohl zum erstem mal in der Karriere von MASTER
einen absolut tödlichen und druckvollen Sound,
will heißen: Die Produktion ist Heavy as Hell
und macht so Mörder-Geschosse wie „Hell
Probably Win“ oder „To Fight and Die“
zu gnadenlosen Schädelspaltern. Wer generell
auf die 80er steht und sich an old schooligem Deathrash
nicht satt hören kann, ist mit dieser Scheibe
definitiv gut bedient!
NOTE: 2,0*** |
| |
aberration-online.de
Master
"Four more years of terror"
(Twilight)
ET: 21.11.2005
Good old Paule Specky ist wieder auf den Beinen. Paul
Speckmann hat Master einmal mehr aktiviert und endlich
auch mal ein akzeptables Album in der Pipeline. Bisher
war da eher gähnende Langeweile. Anno 2005 aber
will es Paule nochmal wissen und knallt uns 13 old
scool deather um die Ohrwasch`l, das es jedem alten
Fan der Anfangstage nur feucht um die "Gucker`l"
werden kann. Da Ami-Paule wohl in Tschechien zu Hause
ist, hat er auch seine Mannschaft daher, die übrigens
echt fit ist - klasse Jungs - klassische 3er Besetzung,
nun bereits das 8.Album und ein gelungenes dazu, dürfte
in erster Linie den Chef zufrieden stellen. Aber ich
glaube, das werden deutlich mehr Freunde werden! (Tino)
***** (5 von 5) |
| |
metal-observer.com
(english)
metal-observer.com (german)
burningmisery.com (english)
chokingonbile.com
(dutsch)
metal.de
(german)
Metalius.de
(german)
eternitymagazin.de
(german)
nocturnalhall.com
(dutsch)
nocturnalhall.com
(english)
metal-inside.de
(german)
blooddawn.de
(german)
powermetal.de
(german)
vampire-magazine.com
(english)
metalspheres.de
(german)
schwermetall.ch
(german)
bruview.de
(german)
deadfall.org
(german)
ancientspirit.de
(german)
heavyworldonline.de
(german)
soulburner.de
(german)
isk.int.ba
(bosnian) |
| |
| Reviews:
Masterpieces |
| |
RockHard
Magazine
PAUL SPECKMANN
Masterpieces
(Twilight)
(55:40)
Paul Speckmann ist seit fast 25 Jahren für manche
Strategen der Godfather des Death Metal, für
´ne Menge andere Leute hingegen eine an Selbstüberschätzung
leidende Nervensäge. Objektiv gesehen hat der
Kerl seit 1981 eine Menge Spuren in der Szene hinterlassen,
sich jedoch in endlos vielen Projekten verzettelt.
Das mit typischem Speckmann-Understatement betitelte
Masterpieces fasst 16 Tracks aus beinahe all seinen
Karriere-Stationen (u.a. Master, Deathstrike, Abomination,
Solutions und Martyr) in remasterten Versionen zusammen.
Eine gute Idee, die auch diversen Bootleggern etwas
Wind aus den Segeln nehmen sollte, die in den letzten
Jahren immer wieder halbgare Releases des Amis veröffentlichten.
Zudem gibt es zwei neue, erstklassige Master-Granaten.
Da die Speckmann-Truppen eh fast alle gleich klingen,
ist es nicht weiter schlimm, dass im Booklet der CD
nicht mal vermerkt wurde, welcher Song von welcher
Band stammt. Roher Old-School-Death-Thrash für
alle Zeitgeist-Ignoranten.
Jan Jaedike |
| |
deadfall.org
(german)
lordsofmetal.nl
(english)
lordsofmetal.nl
(dutch)
metal.de
(german)
nocturnalhall.com
(english)
nocturnalhall.com
(german)
metal-inside.de
(german)
metal-dungeon.de
(german)
powermetal.de
(german)
behind
the veil
(english) |
| |
| Reviews:
The Spirit Of The West |
| |
| www.powermetal.de/
www.metal.de
www.metalglory.de
www.planetheavymetal.de
www.adnoctum.de
www.vampire-magazine.com
www.metal-Reviews.de
www.vampster.com
www.amboss-mag.de
www.earshot.at |
| |
| Reviews:
Lets Start A War |
| |
| http://www.powermetal.de/
http://www.vampire-magazine.com/
http://www.lordsofmetal.nl/
(english)
http://www.lordsofmetal.nl/
(dutch)
http://www.deadfall.org/
http://metal-Reviews.de/
http://www.amboss-mag.de/ |
| |
| Reviews:
Unreleased 1985 Album |
| |
voicesfromthedarkside.de
MASTER
Unreleased 1985 Album
(From Beyond Productions)
32:23min
I honestly never thought that this so much traded
recording over the years which has incontestably influenced
a bunch of
Thrash / Death acts on this planet back at thattime
would finally surface officially, but From Beyond
Records has done it.
Al lbloody fuckin' power to them for such a miracle!
If you are familiar with early MASTER, then you already
know this recording and you do know how deathly it
is over the course of the seven tracks, yes deathly
heavy to the bone, a barrage of relentless, ripping
riffs and leads courtesy of Mittelbrun, a rhythm section
which leaves you breathless from the first seconds
with Bill Nychau "Schmidt" pounding his
drums like crazy (after all he created a somewhat
unique style used by many later - the famous MASTER
beat) and Speckman torturing his bass, the whole thing
being surrounded by ultra venomous vocals from the
same Speckman. Seven classic tunes non stop with 'Master'
and 'Mangled Dehumanisation' (a DEATH STRIKE tune
re-recorded) being my all time faves, two deathly
monsters! Their material could be described more or
less a mixture of early SODOM, early DEATH, early
VENOM and POSSESSED. For those who know MASTER only
through their self titled album from '90, well it's
quite close sounding as it was the same line up but
the '85 recording is undoubtely more raw, crude and
savage. As for the others being only familiar with
their later recordings, it's simply not the same MASTER
as Paul Speckman never managed to recapture that unique
style of songwrting despite its numerous attemps through
a nearly 20 years career. As a bonus, four tracks
taken from '91 and '93 demos have been added but while
they can sound enjoyable to a person who doesn't look
for something ass kicking, to me they sound boring
and utterly forgettable but I don't care, all which
counts is the '85 recording. Get this album at any
price because that '85 album deserves the cult tag
and a place in the pantheon of Thrash / Death Metal
for sure. It also exists on vinyl for the collectors.
Essential!
Laurent Ramadier |
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http://www.metal-observer.com
http://www.diabolicalconquest.com |
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| Reviews:
On The Seventh Day God Created... Master |
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MASTER
On The Seventh Day God Created... Master
(Nuclear Blast 1991)
Mnogo "die hard" ljubitelji i fanovi Death
Metala ne znaju ko je Master, a kamoli ko je Paul
Speckmann, iako je to èovjek/bend koji veæ
24 godine radi, operira i djeluje u undergroundu.
Prvi put sam èuo za Master preslušavajuæi
jednu staru Death Metal kompilaciju, nekima poznata
pod imenim "Death...is just the beginning".
Ta kompilacija je sadržila Master i Black Sabbath
obradu "Children of the Grave". Ova kompilacija
i zastupljeni bendovi - Defecation, Benediction, Pungent
Stench, Disharmonic Orchestra i mnogi drugi, najbolje
pokazuju kvalitet tadašnje Death Metal muzike.
A Master predstavlja krunu svega toga.
Prvo
što me je zapanjilo na ovom izdanju, je dupla
papa bubnja, pa i cijeli bubanj. Bubnjarski rad na
On The Seventh Day God Created... Master predstavlja
cjelokupnu srž benda Mastera - agresija, žestina,
brzina i totalno rasulo. Rad duple pape se može
samo opisati kao rad M-60-ke i Sijaèa smrti;
jednostavno ne prestaje ta nevjerovatna brzina, konstantna
je i manijakalna. Sav bubnjarski rad je odraðen
maksimalno dobro, precizno i smišljeno. Predstavlja
jedan napredan vid sviranja bubnjeva za to vrijeme,
iako su Mike Smith i Pete Sandoval veæ tada
nadmašili sve granice u sviranju bubnjeva. Ipak,
Aaron Nickeas je uradio nešto što samo mogu
opisati kao savršen i iznad svega imponirajuæi
rad.
Kad
èujete gitare, to æe vas podsjetit malo
na Obituary i Death, ali to možda i zato što
su John Tardy (Obituary) i Paul Masvidal (Cynic/Death)
gostovali na ovom albumu. Ali jasno je kada èujete
te slave riffova i duple pape da je ovo nešto
najbolje iz tog vremena, uz neke "poznatije"
bendove. Genijalna je pjesma broj 8 - "America
the Pitiful"; riffovi ugledani na amerièku
himnu, i tekst koji s pravom ismijava i kritizira
tadašnje amerièko društvo i politiku.
A toga se i tièu tekstovi Mastera - smrt, religija
i politika. Master služi kao kritika i ogledalo
suverenom amerièkom, ali i svjetskom društvu.
Bend
je najbolji primjer zašto toliko bendova je tada
kopiralo Master (iako su bili uvijek underground),
i zašto mnogi i dan danas kopiraju Old School
Death Metal, pa tako i Master. Ako još uvijek
nemate predstavu kako zvuèi Master, onda jednostavno
preslušajte jedan od gore navedenih bendova,
ali zašto se zadovoljiti time, kada jer original
mnogo bolji?
Grind Bastard |
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| Reviews:
Speckmann Project - Speckmann Project |
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Speckmann Project - Speckmann Project
(Nuclear Blast 1992)
The tale behind this rather obscure album’s
release is a convoluted morass of record label drama,
groundbreaking music, and an unwillingness to compromise.
It’s called “Speckmann Project”
because it contains rerecorded songs from Chicago
death metal master Paul Speckmann’s (bassist
and vocalist on this album) bands Master, Funeral
Bitch, and Deathstrike, and it was intended to be
Master’s debut ‘90 full-length after seven
years of existence in one form or another. Unfortunately,
Markus Staiger, the boss of German record label Nuclear
Blast, didn’t like the album’s sound,
so a quite weaker-sounding collection of songs was
released instead. Thus, the album that was to be “Speckmann
Project” languished in the vaults for two years,
before it was officially released by Nuclear Blast
in ‘92 under the Speckmann Project moniker.
Many
of the songs on this forty-two minute outing date
back to 1983, making Master/Speckmann Project/Funeral
Bitch/Deathstrike (name-change mania!) officially
the oldest death metal band in existence. One would
naturally expect a huge punk/thrash influence given
the date at which these songs were written, and indeed
Speckmann Project owe a substantial debt to crossover
thrash bands like Discharge and D.R.I. The riff work
here manages to be very visceral and violent while
maintaining a strangely ambient feel; this is accomplished
through use of what I like to call “orbiting
riffs”, where guitar parts are composed by literally
orbiting around a chord (i.e. moving away from a tonal
center to nearby notes and moving back to the center
again; this approach was pioneered by U.K. thrashers
Discharge on their “Why” EP and taken
to the next level by bands like Master). These oscillating
sections are linked by violent chromatic bashing and
swiftly burning jagged fragments of guitar solos and
drum fills. Master (or Speckmann Project, if you prefer)
put together these admittedly simple components into
epic and lengthy compositions. While a standard verse/chorus/verse
structure is utilized, the space in between the predictable
sections is rife with experimentation and chaos.
Paul
Speckmann’s vocal performance is deserving of
a special mention: he viciously snarls his way through
surprisingly lucid socially-conscious lyrics. Through
anti-political diatribes and gore-filled mediations
on mortality and decay, a highly-developed philosophy
of cynicism, youthful idealism, and extreme realism
emerges, pledging its allegiance neither to the liberal
or conservative sides of the political spectrum. Through
this intelligent lyrical approach, the Speckmann Project
manages to avoid coming off as mindless gore-hounds
or angsty whiners.
Through
determination, musicianship, and sheer force of will,
Chicago residents vocalist/bassist/songwriter Paul
Speckmann, drummer Aaron Nickeas, and guitarist Jim
Martinelli managed to craft a high-speed thrashing
death metal masterwork that serves as an ideal introduction
to the diverse catalog of Paul Speckmann’s musical
projects and underground death metal in general. I
obtained a mint-condition copy of this album for two
U.S. dollars (something like .5 Euros, I think) through
an online used-record dealership, but you may have
to work a bit harder to get yourself a copy. Trust
me, it’s well worth the effort; there’s
only a handful of death/thrash albums better than
this forgotten tome of acrimony.
9,5/10 Review by Seker |
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| Reviews:
general |
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thrashmageddon.com
Master, when you look in the Webster's dictionary
for the word underrated, you might as well change
the meaning to Master. Well, you might be asking why
underrated? I'll tell you why, look up people's top
50 DM albums and you would hardly see a Master album
in sight. Even our beloved "KILLERZ OF DEATH
TOURNAMENT" does not have it. [Yes, kulty, I
know the reason why?. They are going to be outclassed
by the other heavy hitters on that list]. I am not
writing this review as a Master campaign, it's too
late for that. These are just observations that I
see/read when it comes to Speckmann and his work.
One article I read had Master playing a gig in the
middle of winter, 10 people, might be 20 the most
showed up [need to dig that article to verify], you
would expect the band to just pack it up. But no,
Speckmann and his merry men played it like there were
1,000 in the audience. This is one thing I have always
liked/admired about Speckmann, "determination".
They will play their best, 10 or 1,000 people in front
of them. Ok enough of the ramblings/bitchin and on
to the review.
First I will discuss the production on this album.
If you like you're Death Metal sounding like it came
from the late 80's early 90's, then you are in luck.
Speckmann bass sound is one of the best compared to
previous Master albums. Nice "chunky" bass
sound, "fat" guitar tone. I'm talking about
the sound, I do not want the "Obese Society"
to go after me when describing the production on this
album. Drum sound compliments the rest. It's not to
overpowering compared to the latest DM releases out
there. It has that old school feel/sound to it. Riffs
are heavy, solos are right on the money. You will
not hear guitar wankery for the sake of being "technical".
The guitar player is no Masvidal, but you hear influnces
going back to "Seventh Day" album. Speckmann's
bass playing really shines out on this one. He's no
bass extraordinaire like a DiGiorgio, but he can hold
his own weight.
Listen to track 8 "The Room With Views",
I guess you will feel the same if you have been ignored/underrated
all this years. If you like your Death Metal in your
face, no bull none sense, this album is for you. If
you are in North America the chances of you seeing
them Live is slim. Mr. Speckmann has been hibernating
in Europe for the last few years. Come on Paul,do
a North American tour. As my buddy "TC"
said "many of us (yes, old narrow-minded metalheads)"
likes our Death Metal the old school way.
Bustdace, Rating:
8 / 10
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Nihilistic
Holocaust
MASTER (Usa) Master Lp’90 Nuclear Blast.
MASTER=Paul Speckmann. It is just a useful reminder
for the ones who would have forgotten. And if I ask
you what bands like X-ECUTIONNER (pre OBITUARY), PESTILENCE,
and generally the majority of the death metal bands
born in the end of the 80´s have in common,
what is the answer?...... Yes, they all have taken
the MASTER demos as a big inspiration, as well as
the stuff of SLAUGHTER, POSSESSED and DEATH. As a
matter of fact Paul Speckmann already released 2 demos
under the moniker MASTER in 1983, and was himself
strongly influenced by.... yes you get it: MOTÖRHEAD.
So, I ant to say to every little motherfucker around
who pretends that MASTER never was really a major
influence in the creation of death metal to fuck off
deeply (Yeah, I´ve heard such ignorant persons...).
But come back to the music. As a matter of fact, Paul
Speckmann was occupied with his other bands ABOMINATION
and DEATHSTRIKE and remained in the underground when
he finally got a deal with Nuclear Blast in the end
of the 80´s. Then he was able to release his
first album under the cult name MASTER, and what an
album! Argh! If you like it strong, straight in your
face, with sound that only Paul Speckmann knows to
produce and a drums that’s almost crust, then
why the hell haven’t you already got this album
in your collection? The highlights of this cult piece
of vinyl are songs like "Pledge of allegiance"
where Paul is mocking on his country, the USA, really
fun to read these lyrics nowadays with the actual
situation in Iraq... Songs like "Funeral bitch"
or "Mangled dehumanization" will stick in
your mind until you blow your head off with a gun!
ha! Personally, I enjoy more the "Funeral bitch"
version on the solo album of Paul called SPECKMANN
PROJECT, in all humility! Ha! Otherwise, after a not
so needed bass solo, Paul plays one of the best BLACK
SABBATH covers I have ever heard: "Children of
the grave"... Fuck, it’s totally "materized",
and it fucking rule. Once you hear this cover you
immediately feel how much BLACK SABBATH was and remains
extreme. After this cult piece of vinyl, Paul continued
with MASTER, and released several albums, whose "On
the seventh day... God created MASTER" is maybe
the best (and features Paul Masvidal on guitar-ex
DEATH, CYNIC). He keeps on releasing albums nowadays
that aren’t so godly nor so thrilling than this
one. But the guy deserves an immense respect for what
he has done for the scene, and for always having sticked
to his roots, and also for being the "Lemmy"
of Death Metal. Brutal, primitive, efficient and true
to the bone.
Nathaniel.
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amazon.com
Death Strike - Fucking Death
One of those rare underground metal releases
that might please quite a few metal fans today,
Ah,
Paul Speckmann. The unheralded king of Chicago thrash
metal in the mid-80s. Then his journey into the unheralded
Death Metal arena in the early 90s didn't win him
any favors within "mainstream" Death Metal
circles. Maybe it was Speckmann's inability to play
record company politics that forced his bands (Abomination,
Master, Death Strike, and a few others) further into
the trenches of the underground. In 1985 Speckmann's
"Master" signed a record deal with the Thrash
friendly Combat records and even recorded an album
only to have it never released by Combat. Luckily
Germany's Nuclear Blast Records took pity on Speckmann
and not only released a few Master releases in the
early 90s but also released (re-released?) this 1985
effort.
Speckmann
(bass/vocals), Chris Mittlebrun (guitar), Kirk Miller
(guitar), John Leprich (drums) comprise the entire
Death Strike group. The lyrics are huge departure
from the mid-80s norm of trying to have cartoonishly
sounding Satanic lyrics or lyrics focused on flames
and abstract death. The lyrics instead deal more with
social/political issues and have a paranoid fascination
with nuclear war (just like most people in 1980s and
some bands like Nuclear Assault). The Death Strike
sound is best explained as a cross between Venom,
Motorhead, early-Slayer, Dark Angel, Celtic Frost,
and some more punk influences. The album indeed almost
has a Crossover aspect to it. So the sound crosses
the sounds of the N.W.O.B.H.M., Thrash, Crossover,
Doom and proto-Grind sub-genres. Muddied chugging
guitars, super low bass guitar, and hammering mid-tempo
double bass with the most dramatic drum strokes characterize
this hilariously titled album.
The
album has a very muddied production but is suprisingly
crisp when it comes to the drums and the vocals. The
drum intro to "Pervert" just proves this
even more. Indeed the overall production might be
this albums most interesting about it because it draws
a valid comparison between Death Strike and another
band from their neck-of-the-woods that has started
to re-gain some recognition recently: Repulsion. It
is short but certainly worth a listen because of its
significant contrasts to the conventional Thrash metal
sound of the day.
By
Zander Haberstaft (Miami, Florida)
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| Live
Reviews: |
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Konzert:
Master, Bitterness @ Crash, Freiburg
Band(s): Master, Bitterness, Deaf Aid
Datum: 08.02.2008 Stadt: Freiburg
MASTER
Nun war es an der Zeit, den speckigen Bass auszupacken
und sich den mittlerweile ewig langen Rauschebart
aufzudröseln [vergesst den Weihnachtsmann!],
denn jetzt lautete die Devise „Speckmetal
pur“. Etwas mehr als eine Stunde folgte eine
kleine Geschichtsstunde in Sachen Old School Death
Metal, da Paule bei der Geburt dieser Musikrichtung
quasi Pate stand. Gewohnt schnörkellos, geradlinig
und direkt ging es daher auch bei den Songs von
MASTER zu, bei denen Speckmann ganz klar im Vordergrund
stand, während seine zwei Mitstreiter Alex
und Zdenek an Gitarre und Schlagzeug zwar eine überaus
solide Leistung ablieferten, aber definitiv nicht
im Rampenlicht standen. In selbigem befand sich
wortwörtlich Paul, der immer wieder durch witzige
und ironische Ansagen sich selbst und andere auf
die Schippe nahm, aber aufgrund seines brummeligen
Genuschels wohl nur von den wenigsten Zuschauern
überhaupt verstanden wurde. Zu den Adressierten
gehörte auch der Mischer, der sich zwar Mühe
gab, aber den Sound auch bei MASTER nicht wirklich
retten konnte, sodass der Gesang viel zu leise war
und auch Paul seinen Gitarristen auf den Monitorboxen
nicht gut zu hören schien. Egal, mit „Slaves
To Society“ und „The Final Skull“
gab es die Vollbedienung und gleichzeitig besten
Songs des aktuellen Albums, während auch einige
Uralt-Kompositionen wie „Funeral Bitch“
vom Debüt abgefackelt wurden, das für
einige Bewegung im Publikum sorgte. Wer modernen,
innovativen und ausgeklügelten Death Metal
suchte, war definitiv fehl am Platz, denn hier regierte
schlicht und einfach die Knüppel-aus-dem-Sack-Taktik
in ganz großem Maße, was ja auch nicht
verkehrt ist, da man – wie auch bei den Kollegen
von BOLT THROWER – einfach weiß, was
einen erwartet. Zum Schluss gab es eine ganze Menge
Applaus, sodass sich Paul mit seinem ergrauten Haupthaar
artig bedankte und der Auftritt von MASTER in Freiburg
ein würdiges Ende fand.
Enttäuscht war sicherlich niemand von MASTER
und von diesem Abend, aber irgendwie war dieser
Gig auch wieder einmal die Bestätigung dafür,
dass zwar fast jeder, der sich mit dieser Musikrichtung
beschäftigt, Paul Speckmann und MASTER kennt,
aber nicht viele die Alben tatsächlich im Schrank
stehen haben. Schade eigentlich, denn nach einem
Vierteljahrhundert extremer Musik ist es schon merkwürdig,
dass MASTER immer noch lediglich Underground-Status
haben und ihre liebe Müh und Not haben, selbst
einen kleinen Club bis zum Anschlag zu füllen,
während etliche andere und jüngere Bands
viel schneller deutlich bekannter wurden. Das scheint
Paul allerdings nicht die Bohne zu stören,
sodass dies sicherlich nicht der letzte Auftritt
seiner Band in unseren Breitengraden gewesen sein
dürfte.
soulsatzero
Autor: Alexander Eitner [soulsatzero] | 09.02.2008
| 12:48 Uhr
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Master,
Nebukadnezza, some other bands, 2008-02-04
17/03/08 || MaxVonLaibach
Where and when: Camden Underworld, London, England,
2008-02-04.
As I tend to drink heavily during most of the concerts
I go to, I’ve decided to stay sober on this
one. The reasons for this were manifold: I wanted
to save some money for merchandise, prove to myself
that I can still have fun without beer and, most
importantly, I have just recovered from a terrible
hangover.
I’ve missed the first band completely, as
I decided it was a better idea to stay and chat
with a few people outside. But i’ve managed
to get in for the second band, which was called
Hebrew Slaughter, or Sarmatian Holocaust or something
like that. It might not have been bad, but the guy
at the knobs seemed like he had no idea whatsoever
about what he was doing, thus spoiling any serious
attempt ar reviewing the gig. The whole thing sounded
like a guy being killed by a chainsaw, with the
occasional drumkick heard in the background. Far
from impressed, I went out for a cigarette.
Next band on schedule was Nebukadnezza, which sounds
awfully trve and unfriendly, at least to me. Luckily,
they turned out to be an oldschool thrashing threesome,
and quite a good one as well, from what I could
gather from directly under the stage. It was the
simple, heavily hardcore influenced kinda thrash.
As I joined the moshing I suddenly bumped into something
soft. I looked around and realized that about half
the people in the pit were chicks. Now, there’s
few things better than a moshpit during a thrash
gig, and one of them is definitely bumping into
some nice tits while moshing in a thrash gig. All
in all, the guys deserve a solid 7 outta 10 for
their concert.
Finally, the moment we all have been waiting for.
Mr Speckmann appeared with his bass and awesome
beard and announced that they’ll be starting
soon. A few minutes after that, all hell broke loose.
The band played a good mixture of old and new stuff,
all sounding the way death metal is supposed to
sound- fast and heavy. No wankery, simple riffs
backed with pounding drums and supplemented with
the “Lemmy’s growl” brought out
from the bottom of Speckmaster’s bowels. Again,
the pit started almost instantly as the audience
responded to the power of the music. Best thing
of all, these guys are very down to earth. No “Trver
than thou” bullshit, no growling in between
the songs, they let the music speak for itself.
Specklord lead the fray with his fantastic beard
and the jokes he would occasionally tell the public,
before jumping again into the fast-fingered bass
lines and the trademark grunts that screamed MASTER!
to us all. While Master on record is simply a good,
original band, onstage they become really fucken
incredible. They blew me away. They thrashed my
ass to pieces. They truly dominated that night.
9/10
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metal-rules.com
Headbangers Open Air Vol 9 - 14-15 th July 2006
The last band in warmup was the legendary Master
from Chicago (or from Czech rep.) Anyway, Paul Speckmann
and the rest of Master played one hour of their
death metal and the did not disappoint me. Maybe
too much of new songs which I did not recognise
but even those new songs were easily recognised
as classic Master styled death metal. Simple and
crushing songs. And Speckmanns voice is still brutal,
one of the best in death metal!
Oh yes, Paul Speckman is Master! The drummer and
the guitar player did their jobs well but it wasn't
a surprise, but instead it was that people were
watching the whole hour. A very brutal outfit if
you compare them to the other bands here but the
deadly art this legend showed was something you're
not seeing every year. They played many new songs
and a few legendary classics and everything was
perfect. Probably even the highlight of the whole
festival for me. There were two (or was it even
three) mike stands on stage and when one of them
wasn't acting loud enough, Paul automatically changed
to the other one with some funny words to get everything
coming out with the full force. Speeches he made
were very furious and some targets were old record
company officers. Before the show Paul was busy
in his merchandise desk while trying to eat his
steak: everywhere there were fans taking pics with
them with the Master, some buing records and the
rest asking autographs. I hope mr. Speckman was
able to eat his meal while it was still warm.
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| Interviews |
Knac.com's " Subversive Radio At It's Finest Manic Metal " with Special Guest Paul Speckmann of MASTER
http://ironroom666.podomatic.com |
Terrorizer UK 2009
Freshly
signed to Pulverised, a label with a proud pedigree
of extreme metal releases packaged and promoted
with pride, death metal original MASTER are working
on their tenth full-length. If Chuck Schuldiner
was the godfather of death metal, vocalist/bassist
PAUL SPECKMAN was the biological father overlooked
in a messy divorce. The man himself took Terrorizer's
questions as he preps his latest orthodox offering.
You've
been more active with Master this decade than perhaps
you have the previous two put together, are you
feeling more inspired?
“I
always find inspiration in the crazy world around
us. But, yes things have picked up ever since I
moved to Europe back in 2000. It has always seemed
to me that Europeans have always been staunch supporters
of metal in general and of course Master fall into
the category.”
How has moving to the Czech Republic helped?
Was it good to step outside of the scene you'd come
up through?
“Well,
when I left the USA to join Krabathor, the scene
in the US had become stagnant at least for Master.
I mean even in the early days, there wasn't much
support for the group. People have always been more
interested in the copycats. Stepping out of the
American scene was the best move I could have ever
have made. Because of this I tour Europe, America
and other countries repeatedly year after year.”
How are things working out with Pulverised?
“It's
a bit early in the game to tell, but so far, so
good, so what! The label are doing all they can
at the moment. Things will pick up of course after
the album is recorded and released. I have complete
faith in Pulverised. I can certainly see that they
are a workhorse to be reckoned with. The label are
continually growing and I am glad to get the chance
to be a part of it.”
What stage are you at with the album?
“The
artist Eliran Kantor has just finished the cover
for the new CD called 'The Human Machine'. It is
definitely a killer piece of artwork. Mr Kantor
is currently working on the completion of the back
cover as well as the entire layout. I look forward
to see its completion very soon. As for the recording,
this will happen sometime later in the year. This
is why I was a bit surprised to hear from the mighty
Terrorizer. You realise I am sure, that this title
for your magazine comes from a track of the same
name on the first Master demo, which also went on
to inspire Terrorizer, the band featuring Jesse
Pintado, RIP brother.
“I
have written about ten tracks and guitarist Aleš
Nejezchleba has about six tracks to offer me at
the moment for the new CD. We will get together
after the next tours of Mexico and South America
with the drummer Pradlovsky and begin the arrangements
for the CD. This is really the first time where
we are taking our time on an album. But expect a
killer production on this one of course.”
How's it going to sound? Do you have any surprises
lined up for us?
“It
will sound like Master always do: killer and aggressive.
I suppose you'll have to wait and see. It will definitely
be an original Master album. We never change for
the trends as most of the successful scene does.
Master still play the same original style we always
has since the incarnation of the band in 1983. It
certainly surprises me that many of the bands today
jump on the current trends, and have success with
this. For me there is nothing like the original
bands.”
Any details you can share?
“The
CD will be called 'The Human Machine' as I said
earlier on in the interview. People have become
slaves to the greater machine called the government
in every city of the world and it's a real pity
to see this bullshit. Big brother gets stronger
with every waking moment and soon freedom for the
masses will be a thing of the past as George Orwell
predicted in 1984. Soon the masses will have a rebellion
or it's finished.”
When are you going to make it back over to the
UK?
“Funny
you should mention that. We played the UK this year
in the spring to small crowds. The best show was
in Aberdeen and it was quite clear that for the
London show and Leeds, the promotion was at the
bare minimum. I cannot understand why anyone puts
on a show and refuses to promote it. It seems like
a waste of energy to me, but this is the metal business
around the world. Many promoters are lazy pigs and
the bands suffer unless you're a big name. Master
are certainly an underground original band and sometimes
this has its pitfalls."
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http://www.sourcewebzine.com.br
http://www.leviatan-magazine.com
http://www.diabolicalconquest.com
http://www.statikmajik.com
http://www.metalglory.de
http://www.deadfall.org
http://www.metal.de
http://www.tartareandesire.com
http://brutalism.wingsofdeath.nu
http://www.legacy.de
http://www.unchain.com
http://www.ancientspirit.de
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| Downloads |
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Free mp3 from the album "Slaves of Society"
In control
- Free mp3 from the album "Four more years of terror"
Betrayal
- Wallpaper "Four More Years of Terror" Download |
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| Downloads |
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Promofotos Paul 2007.zip [1,5 MB]
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Promofotos Master_fotos.zip [900 KB]
- new Master Logo new
Master logo.tif [2 MB]
- old Master Logo old
Master logo.jpg [150 KB]
- Cover Master - Four more years of Terror master_four
more years.jpg [230 KB]
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Cover Paul Speckmann - Masterpieces paul
speckmann_masterpieces.jpg [160 KB] |
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