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War From A Harlots Mouth - Transmetropolitan (2/10) - Germany - 2007

Genre: Mathcore / Death'N'Roll
Label: Lifeforce Records
Playing time: 39:55
Band homepage: War From A Harlots Mouth


  1. How To Disconnect From Your Social Surrounding In Half An Hour
  2. Heeeey...Lets Start A Band
  3. The District Attorneys Are Selling Your Blood
  4. Trife Life
  5. Fighting Wars With Keyboards
  6. Mulder
  7. Thousand Complaints, One Answer
  8. If You Want To Blame Us For Something Wrong, Please Abuse This Song!
  9. Riding Dead Horses Is A Fucking Curse
  10. Transmetropolitan
  11. And In The Right To Make Mistakes, We May Lose And Start Again
War From A Harlots Mouth - Transmetropolitan

I want a moratorium on bands that believe song structures are of no importance, that any sequence of riffs should be labeled a song and then recorded. There’s too many of them out there right now, and their attempts in mixing in 20 ideas into a song in order to show a sense of musical diversity ironically makes the entire album sound monotonous and have no distinction between any of the songs.


I’m not frowning on bands that modify, or even abandon, the song structure template that is often used in Rock & Metal, but what is lacking is any sense of cohesion or forethought in the songs. It’s alright to try and mix various sub-genres of Metal into one song, but what should also be kept in mind is that the transition between sections should be smooth, or at least make some sort of sense. Don’t hide under the guise of being “progressive” or “technical” by playing a bunch of complicated riffs full of pointless sweeps and tapping, nor should you employ those “bree bree” chords as a crutch. Employing artificial harmonics should be used to highlight a certain note in a riff, not be held for (what seems to be) an eternity. And you know what? If you’re going to go to a Jazz interlude, make the transition make some sense.


AND FUCK YOUR USE OF THE SAME MONOTONOUS CHUGGING PATTERN AND WRITE SOME FUCKING HEAVY RIFFS!!!!! I swear, I decided some random songs back to back, and they used the same chugging pattern in both. These types breakdowns are predictable, boring, nauseating, and are nothing but a cheap way to extend the song length without adding any content. Any band that makes use of the mindless chugging pattern with the drums are playing in half-time while their vocalist decides to scream about something will automatically go on my shit list.


“Transmetropolitan” isn’t an album. It’s a collage of riffs played by a group that worships DILLINGER ESCAPE PLAN and BETWEEN THE BURIED AND ME, but hasn’t grasped WHY those bands have made names for themselves. Instead, it felt like “dude, DEP uses this chord a lot, let’s use it!” and “tap really fast on your fret board and lets call it a verse!” and “chug the low E string, it’s fucking  heavy!!!!”….It almost feels like the songs were written in the amount of time it took to play them. No thinking about on riff quality, song structure, melodic content, rhythm, etc.


I also propose a moratorium on bands that:

a) excessively use breakdowns

b) make extensive use of that “bree bree” chord

c) use tapping or sweeping in riffs just to show off and throw listeners off


in mindless ways. It will weed out thousands upon thousands of shitty bands, which would result in a great day for heavy music.

(Online October 7, 2007)

Armen Janjanian

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