Reviews: 009GD
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The Grave of Seven Billion is the name of the new album by the Russian metal band Ram-Page, and it’s a name that would seem to reflect a fairly unkind view of our planet, or at least the swarms of people who crawl upon it (as if you couldn’t tell from the death’s-head globe being clubbed and slashed on the album’s cover). The music isn’t very kind either, as you’re about to discover, but it sure is electrifying.
What we have for you today is the premiere of a song from the album named “The President“, along with streams of two previously released tracks. Those three and seven others make up the album, which is the band’s fourth full-length. It will be released on June 30 by the Belarusian label GrimmDistribution.
“The President” lives up to the band’s name, as well as the album’s unkind title. It is indeed a rampage of brutal, swarming death metal laced with thrashing gallops and brandishing a full arsenal of seething, jabbing, head-clubbing riffs. The fretwork is blazing fast, the drumming goes like an automatic weapon, and the roaring guttural vocals are merciless. There’s also a flickering little guitar measure that surfaces at the beginning and end of the song that screws itself into your head (while the rest of the song is taking your head apart).
http://www.nocleansinging.com/2017/06/09/an-ncs-premiere-ram-page-the-president/
Finally, a “death/thrash” act that actually sounds like thrash!
Yeah, if you didn’t have the vocals here (and a few riffs that say more Pestilence, Suffocation, Carcass or Deicide than Bay Area, Teutonic or Brazilian thrash), you’d be forgiven for just calling Ram-Page a particularly aggressive thrash band of the modern era.
Tag on the very death metal vox (which sound sort of George “Corpsegrinder” Fischerlike, though more in his Monstrosity/Vile era than the more eviscerated tonsils sound of today)* and the forefronted Massacre Second Coming/Suffocation Breeding the Spawn-style bass, and you have something that could be taken as either modern thrash or death metal. What a nice change!
* you could also say Chuck Billy in the “dog faced gods” era.
Yeah, I was good with this. Give ’em a spin, you’ll probably like ’em.
Just don’t get me started on that ridiculous, poorly drawn “band painting”/promo “photo”.
https://thirdeyecinema.wordpress.com/2017/08/15/an-incipient-end-of-summer-roundup/
Russia's Ram=Page have returned with a new recording that continues the blackened mixture of death and thrash metal from previous releases and this is a review of their 2017 album "The Grave Of Seven Billion" which was released by Grimm Distribution.
Acoustic guitar playing starts off the album before going into a very fast musical musical direction that also uses a great amount of blast beats along with the vocals being mostly death metal growls and all of the musical instruments on the recording have a very powerful sound to them.
When guitar solos and leads are utilized they are done in a very melodic fashion while the songs also bring in a great mixture of slow, mid paced and fast parts and the riffs also bring in a decent amount of melody and black metal screams are also used at times and some of the fast riffs also bring in a decent amount of tremolo picking.
Ram-Page creates another recording that remains true to the blackened death/thrash mixture of previous releases, the production sounds very professional while the lyrics cover violent themes.
In my opinion this is another great sounding album from Ram-Page and if you are a fan of blackened death/thrash, you should check out this recording.
http://bringerofdeathzine.blogspot.ru/2017/07/ram-pagethe-grave-of-seven-billiongrimm.html
Challenge for the day people, try finding this band on the internet. Are you aware of how many bands are out there called Rampage? Okay they have the word separated by an hyphen but still, it makes things awfully hard. Now that that’s out of the way, let’s commence with it!
Formed in 2010 in Russia, these fine folks have been doing the rounds for a while now. After all, this album is their fourth release. Ram-Page describe themselves as blackened or brutal thrash/death metal, and that certainly sounds interesting. Right up many’s alley so to speak. The intro track ‘Awakening Of The Ancient’ opens things up nicely with an old school 80s vibe, and then the fun begins with pretty much exactly what the group have described themselves as. Razor sharp guitars, thumping drums and bass, vocals leaning more towards the death metal style than your standard thrash outfit, aggressive enough to keep you listening, catchy enough to get the hair swinging. As if all this wasn’t enough, backup vocals throw in a bit of a more shrill tone at times, just to make sure you are paying attention.
There is no doubting the intent of this band. In your face would be an understatement. Some of the thrashier galloping riff work is exceptional, and as it is mixed in with the other influences, this album is quite the package. One has to wonder how Mother Russia keeps churning these bands out like some sort of military program. Maybe that’s the plan, brutalise the West by sheer force of music alone. Grimm Distribution may well be a front to conquer us all, one artist at a time. Any band that calls a song ‘Can Of Beer‘ will also undoubtedly get one’s full attention. The song’s meaning is unclear, so let us hope it is just about a can of beer. Considering the titles of the rest of the songs which seem to point at something far more sinister, it may well me a metaphor for something.
Many believe that an artist’s first and second tracks should be what suck listeners in, as a lot of bands tend to lose the thread after a while. They will not disappoint, especially if you lean more to the death metal side of things. As for you thrash heads, you can go no further than ‘Blood Money‘. The intro is fierce as all fuck, then the death metal fans get invited back on board. Yes, Ram-Page cater for us all. Very kind of them. TGoSB is a strong album and although I’m highly suspicious of the intentions of Grimm Distribution, I shall for now remain a fan, and so should you.
http://www.theindependentvoice.org/2017/10/10/ram-page-the-grave-of-seven-billion/
Avventurieri, bentrovati tra queste righe, trattenete il respiro ed addentratevi in un mondo malato e sanguinoso che ci verrà raccontato da grida spaventose e violente provenienti dalla Federazione Russa; Loro sono i Ram-Page e questo è "The Grave Of Seven Billion" edito dalla Satanath Records. La band già presente da tempo sulla scena metal orientale ci propone un Album interessante, edito in un numero limitato di copie e che, benché sia presentato come un Full-Length, presenta dieci tracce per una durata di circa trenta minuti. Difatti il termine, forse oramai desueto, è da considerarsi non nella mera lunghezza delle tracce presentate bensì nell’intenzione e nel suo significato primordiale di “lavoro fatto e finito”. Non è un assaggio di un argomento o di una tematica ma è un’intera disquisizione che, semplicemente, non necessitava di lunghezze eccessive per essere affrontata e quindi a pieno titolo si può fregiare di tale definizione. Il nome stesso della band è un cartello segnaletico che ben rappresenta l’anima della loro musica (il gioco di parole tra “ram” e “page” con quel violentissimo trattino nel mezzo) ma ancor di più lo è l’Artwork di questo lavoro. Realizzato da Artur Ryabov è una bella tela di carattere decisamente Gore che ricorda molto i lavori di Kentarō Miura. Quella che sembra essere la terra ridotta ad un morto vivente viene lacerata da esseri abominevoli dalle fattezze umanoidi. Il rosso ed il nero sono i soli protagonisti della violenza che avviene sotto gli occhi del logo del gruppo. Ad introdurci il disco una intro di chitarra dal sapore latino: “Awakening Of The Ancient”, si tratta di brevissimi fraseggi di chitarra classico-acustici accompagnati da un semplice ritmo di cimbali e percussioni a mano che accompagnano il pezzo come fossero un lumino. Ma non C’è neanche il tempo di ricordarsi che stiamo per affrontare un viaggio oscuro e sanguinario che subito arriva “Betrayer”. Da subito si mettono le cose in chiaro: il pezzo è ben strutturato e rappresenta un’interessante commistione di Thrash e Death Metal. Ritmiche veloci e fraseggi di chitarra pirotecnici sono ben armonizzati tra loro e questo primo assaggio rispecchia quello che sarà il suono del cd. Il il mixaggio generale degli strumenti, come delle voci, in se e per sé è quello tipico del genere Death e si apprezza sicuramente il non voler esacerbare i toni e le distorsioni delle chitarre. Molto curioso è sentire invece il suono del basso che presenta i toni tipici del genere Thrash, con un corpo molto puntellato. Questa scelta fa sì che si aumenti molto il focus di ogni pezzo e sicuramente per l’ascoltatore non sarà difficile seguire con facilità ogni traccia nelle sue differenti parti. D’altro canto questa scelta rende il suono generale molto secco e, delegando molte delle componenti ritmiche delle chitarre basso alle percussioni, capiterà di voler aumentare il volume dell’impianto utilizzato per l’ascolto. Qui ci si accorgerà che purtroppo la masterizzazione del cd non sembra riuscire a mantenere il suono intatto nelle uscite. È il classico Album che rende molta più giustizia alle sue composizioni nell’ ascolto in cuffia. Di carattere molto simile al primo pezzo è “Can Of Beer”, che come il precedente risulta essere, seppur nella sua componente ibrida, molto classico nelle scelte melodiche e ritmiche. Subito passiamo a “The Revolution”, dove i nostri sembrano prendere l’uscita da un’autostrada che essi stessi hanno creato. E da quell’ autostrada si sceglie di prendere una più colorita strada secondaria che non mancherà di stupire. Difatti sin da subito si intuisce che la voglia di esplorare è molta. Già i duetti di voce tra tecniche di Growl e Black Fry risulteranno essere orchestrate in maniera creativa. Le ritmiche scelte per la composizione tenderanno ad avere delle soluzioni che spaziano e fuoriescono, talvolta, anche dai generi sopra elencati. È piacevole constatare che, sempre più spesso, le nuove uscite discografiche presentino dei lavori sempre più contaminati da teorie musicali colorite e, sicuramente, figlie dell’era digitale. Fa infatti sempre un po’ strano al giorno d’oggi (perlomeno per il sottoscritto) inquadrare totalmente in un genere un gruppo od un artista in particolare; questi ragazzi presentano un lavoro che non fa eccezione. Ed è un bene. Siamo arrivati senza quasi accorgercene al pezzo spartiacque:”The President”. Le carte sono oramai sul tavolo e, sebbene legati alla loro storia musicale, anche qui spazieremo tra alcune soluzioni compositive interessanti. Degna di nota è la capacità compositiva di questo gruppo di inserire tempi spezzati, soluzioni armoniche e ritmiche fulminee, nei punti più impensabili e nascosti così bene da quasi non accorgersene e proseguire per il pezzo come nulla fosse. È questo un album da ascoltare più volte per trovare tutte quei piccoli accorgimenti che lo rendono molto vivace e gradevole. E siamo a “Rampage”. Attenzione, il gioco di parole è dietro l’angolo in questo pezzo. Siamo arrivati alla gemma dell’album, quello che (a giudizio di chi vi scrive) potrebbe a pieno titolo rappresentare un nuovo manifesto per la band. C’è tutto, una storia musicale alle spalle ed un nuovo tragitto da compiere; le scelte operate in questo arrangiamento sono assolutamente moderne ed al contempo classicissime, risultando di conseguenza gradevoli e stimolanti all’ascolto. La scelta compositiva di non voler a tutti i costi utilizzare le soluzioni di genere, anche quando sarebbe stato sicuramente più semplice, è faticosa ma vincente. Passiamo a “Sanctions” dove ogni remora (se mai ce ne siano state) oramai è messa da parte. Ritmi sincopati e voci che seguono una cadenza quasi Doom e Black si risolvono in chiusure ben congeniate. Siamo in discesa ed arriviamo a “Last Defenders”. Questo pezzo gioca con il beat dall’ inizio alla fine. Non ci si è fatto alcun problema a ricorrere a soluzioni molto artefatte pur di rendere alcuni passaggi, tanto che quello che in alcuni lavori risulta essere una stranezza del caso, qua viene proposto volontariamente e con effetto immediato. Siamo quindi giunti alla title track “The Grave Of Seven Billion” che risulta essere un sunto di quello fin ora analizzato e non a caso la si è messa in fondo all’album. Questo è davvero lo stendardo del lavoro: breve, chiara e concisa. La si potrebbe prendere come una lettera diretta all’ascoltatore con su scritto:”Da qui in poi noi faremo così”. Chiudiamo con “Blood Money”. È il pezzo che musicalmente ci fa da outro e si può permettere di mettere il punto. Quasi dispiace che si tratti di un congedo e da principio lo si scambierebbe volentieri con una composizione intera ma è giusto così. L’album che nella sua interezza è ben composto e strutturato avrebbe meritato qualcosa di più in termini produttivi, soprattutto avrebbe tratto giovamento da una fase di master differente. Difatti il suono cambia davvero molto tra l’ascolto “aereo” e quello in cuffia. È un peccato perché chi fruisce dell’ascolto in situazioni differenti potrebbe non apprezzare appieno ciò che qui si è proposto. Si parla di un gruppo che ha appena passato la fase della ricerca sonora ed ora ha una sua identità. Contiamo che in futuro potranno concentrarsi anche sulla ricerca di una più accurata attenzione nelle fasi di post-produzione. Ci hanno volutamente spaventato nella loro presentazione truculenta ma ne usciamo con un sorriso di soddisfazione.
https://www.insane-voices-labirynth.it/satanath-records/recensioni/ram-page/
Podridão. Daquela que até parece que se cheira pelas colunas. Os Ram-Page apresentam o seu quarto álbum (para nós, é como se fosse o primeiro) com uma dose surpreendente de crueza e primitivismo. Surpreendente porque é de tal forma que ao início pensámos que estavamos perante um qualquer ensaio ou versão demo. Não, é mesmo o som de "The Grave Of Seven Billion", o que não deixa de ser uma semi desilusão, porque as músicas mereciam realmente outro tipo de cuidado. E mistura, com a voz a estar perigosamente acima de tudo o resto. Nota positiva pelas composições, negativa pela forma como são apresentadas.
Russian "Ram-Page" are playing a decent mixture of death and thrash metal. Sometimes they add some blackened and even brutal/slamming tunes, which is very nice. In that way they extend variety of their core sound. Production on "The Grave of Seven Billion" is good, as same as the musicianship. Although the band doesn't bring anything extraordinary or innovating to the genre, this refreshing release is a good choice if you like to headbang until you break your neck.
http://ciklonizacija.blogspot.ru/2017/09/kombo-26.html
A heavy and strong band musically is a powerful Thrash / Brutal Death with a touch of death making it deadly! But if you like the Thrash I can recommend this good album!
01. Awakening Of The Ancient (Intro) and 02. Betrayer
A very quiet entrance and later opening an excellent heavy entrance! with a great riff! powerful! Excellent guttural with guitars and blunt drum, fast and coupled!
03. Can Of Beer
Heavy and heavy guitar technique with powerful combination of voice, less marked and accelerated sound, that double bass drum is brutal!
04. The Revolution
I like them these heavy and powerful entries! the guttural does not lose strength and is understandable, rhythm less accelerated but just as raw and strong! That thrasher rhythm gives it great style! almost in the final part.
05. The President
A little less structured and sequenced in times, the riffs give a brutal and more forceful part following the track, rhythm and regular speed
06. Rampage
Excellent song with thrashero style! fast and strong on the whole track! with a style more typical of brutal death!
07. Sanctions
A style with much more thrash! with great brutality! and sounds somewhat different but they give it a good point.
08. Last Defenders
What a brutal and guttural entrance, terrifying! and a crushing blast! Excellent! showing more technique with those powerful riffs!
09. The Grave Of Seven Billion
We entered the song of the same name on the album, with strong and heavy input, with intermediate speed, fast and slow, but aggressive!
10. Blood Money
Closing strong, heavy and fast! with powerful voice without losing strength throughout the album, crushing riffs and ultra heavy voice!
My Recomendation
It is an excellent album, heavy and aggressive! as it should be within this strong and forceful style with an excellent voice that never loses strength and with the guttural at the height of the other musical instruments without lowering or raising in tone, over always comes the voice at all times and breaks between voice and instrument are well coupled without losing any of both, a good Thrash / Brutal Death as such that leaves with more!
http://darkzen0710.wixsite.com/darkzenmetalangels/review-of-the-grave-of-seven-billio
This is a band that I have reviewed on several occasions over the years. And I have always found them highly entertaining. So I have no doubts that they will entertain this time too. So with further ado I’ll take this one on. Musically this is thrash on the harder side. Maybe with a touch of death making this almost deathrash. I don’t know whom to compare them to but for some strange reason Tankard popped up in my head, even though they don’t have too much in common. But if you like your thrash on the harder side I can recommend this to you. Some really cool chuggah chuggah thrash.
http://battlehelm.com/reviews/ram-page-the-grave-of-seven-billion/
‘The Grave Of Seven Billion’ is het vierde album van Ram-Page. Hun vorige CD’tje ’The Depths Of Rage (2013) was helemaal niet onaardig, maar ik moet toegeven dat er niet veel van is blijven hangen bij me. Met hun nieuwste CD daarentegen maakt de Russische groep een betere indruk op mij. Deze CD werd uitgebracht door Grimm Distribution uit Wit Rusland, maar is het makkelijkst verkrijgbaar via hun Russische partners van Satanath Distribution. Neem dus gerust eens een kijkje in hun webshop.
Wat mij betreft is ‘The Grave Of Seven Billion’ een aardige sprong vooruit sinds het vorige album. Heden ten dage speelt Ram-Page muziek die als een moker in je lelijke waffel ramt. Jawel, dit is deathrash metal die zijn weerga niet kent: hard, vies en agressief. Best jammer dat dergelijke bands eigenlijk nooit in West Europa te vinden zijn, want ik weet zeker dat deze heren garant staan voor een thrash orgie van jewelste. Thrashers, doe eens een goede daad en voeg ‘The Grave Of Seven Billion’ rapido aan je collectie toe!
http://www.lordsofmetal.nl/nl/reviews/view/id/36194
Из малоизвестных фактов. «Термиты точат дерево в два раза быстрее под тяжелый рок». Под эту музыку дерево сточит термитов еще быстрее.
«Потрясающий основы брутал дэт треш металл, сокрушительный, как один из ангелов апокалипсиса».
Номер 9 в колонке выпущенных дисков у GrimmDistribution - это подмосковная ультра дэс треш формация RAM?-PAGE. Со своим альбомом под намекающим названием The Grave Of Seven Billion. Надо сказать, что это четвертый полноформат команды. Ибо начали рубиться они еще в 2010-ом году. Дело в том, что 2010 год был отмечен целым рядом стихийных бедствий, начиная с извержения вулкана в Исландии с хпойми-каким названием, до адских пожаров в России, и смога в Москве. Среди этих поистине планетарных событий небольшим дэто-трешевым штормом произошло рождение группы RAM?-PAGE. И тут началось - полноформаты — 11, 12, 13 года. Три года урагана. Потом природа взяла свое и группа затихарилась, многие подумали плохое и возмечтали о тишине. Ан нет.
В 17-ом году группировка вышла с новым полноформатом на GrimmDistribution. Контора, которая недавно только заявила о себе как издающем лейбле, сейчас запускает перспективные и мощные команды, и главное полные первобытной энергии, той, которая распыляет на атомы противостоящее вещество. Да-да, вы правильно поняли, это подобно небольшому контролируемому атомному взрыву. Такое современное высокоточное оружие, компактное настолько, что вполне умещается в коробку для компакт-диска. С этого места поподробнее.
Ув. господа (и дамы), я уверен, что вы послушали немало музыки, как стилистически чистой, как и миксованной, меж стилями - дэт блэк, дум дэт, блэк треш и треш дэт. Так что внове будто бы ничего для нас быть не может. Однако так приятно ошибиться и внимать миксу - ужасающему коктейлю меж стилями, который так вжаривает меж половинок мозга, как будто танк проезжает, ласково проходя своими траками по извилинам, обходительно постреливая из пушки, и благодетельно шпаря из пулемета. Весь это делириум тременс (белый, белый, совсем горячий) обрушится на вас, как только вы вытащите вожделенный диск и разместите его в приемном устройстве. Тут заминки практически никакой нет.
Ну там интро, под софт-рок разработку, - не считается. Обманчивое и знойное. Типа, забудьте про земное, на вас надвигается торнадо!
Бронебойная ритм-секция, терроризирующий навал струнных, апологетика звериного грим-харшевого вокала. Все эти прелести большими вагонами сгружаются с ваших колонок и несутся по стальным рельсам сквозь вас и стены комнаты. Это крайний ец, уматный и бомбический. Тут же надо сразу сказать про звучание, ибо тот кто будет слушать с богомерзких мпз, тот вообще потеряется в сомнениях. Дело в том, что ребята специально остановились на резком и жестком звуке, сдвинувшись в среднечастотный и высокочастотный диапазон. Такая тема обозначила прямо-таки допотопный брутализм, какую-то неистовую троглодитскую ненависть.
Ритм-секция немало труда положила для создания такого впечатления. Ее синергия доставляет неимоверно, - прямо таки бычьим напором. Округлость басов здесь утрамбована в большие железные коробки, расставленные в строжайшем порядке хоррора. Из них вьется слабый дымок бикфордова шнура, что означает - сейчас ...нет. И так множественное число раз подряд на протяжении всего диска.
А уж гитарист здесь представил шикарные риффовые наработки, несущиеся вдаль, как сорвавшийся с цепи бульдог, так и соляки - нервные и быстрые по змеиному, и по трешевому солидные, олдовые. В целом, конечно, именно гитарист осуществил основную межстилевую сварку дэта и треша, и удалось ему это: во-первых инновативно, во-вторых органично, за что ему респект и уважуха.
Я вначале еще подумал, а сколько же здесь вокалистов, ибо горловой напор обозначен будто не в одну глотку, а в две - три. Отметим, что немалая доля как раз ХОРРОРА обозначена здесь камрадами с микрофонами. Это медвежий вокал перемноженный на россомаший скриминговый вопль. Иногда эти звериные ипостаси выступают поодиночке, демонстрируя будто бы диалог меж двух клеток.
Потрясающий основы брутал дэт треш метал, сокрушающий, как один из ангелов апокалипсиса.
https://vk.com/wall216331265_2974
Вам на мейл тоже приходит рассылка от Яндекс-Музыки с обновлениями и советами к прослушиванию? Иногда в их отправлениях попадаются настоящие перлы навроде “лучшие песни от Destruction” (интересно, сами менеджеры ЯМ поют эти “песни” на семейных торжествах и застольях?). Как бы там ни было, хорошая песенная структура на самом деле актуальна даже для таких бескомпромиссных направлений, как блэк, дэт и трэш, и в этом мы с вами сейчас убедимся.
Эта группа из Ногинска с совершенно не оригинальным названием (помнится, на метал-сцене было около трёх рэмпейджей, правда без дефиса и не очень известных) очень многообещающе стартовала в 2010 году, выпустил три неплохих альбома, а затем потеряла своего оригинального вокалиста. Унывать ребята не стали, пригласили в свои ряды нового фронтмена и снова бросились в бой, озаглавив свой новейший релиз очень страшно, масштабно и многообещающе.
Их стиль называют приблэкованным трэш-дэтом, и это на самом деле так. Новейшая пластинка следует именно в таком олдскульном ключе, недвусмысленно делая ставку на качёвый риффинг и мощный гроул с эпизодическими вставками скрима. Как когда-то “Ride The Lightning”, диск только в самом начале имеет акустический проигрыш, и отнюдь не собирается впадать в лирический маразм, очень быстро срываясь в оголтелый чёс бронебойных танковых аккордов.
Уже первый (интро не считаем) трек “Betrayer” пустится в жаркую огненную свистопляску, и гитары будут искрить синим пламенем, шустро пробегаясь по ладам и действительно напоминая классику и “лучшие песни” ребят из Destruction. Когда-то Шмер и его товарищи славились как раз благодаря умению вот так умело, красиво и со вкусом закрутить неистовый металлический ураган, в котором техника, скорость, ярость и простота были гранями одного стакана.
“Thrash till’ death” – от трэша до дэта – так описывали своё творческое кредо немецкие разрушители, а Ram-Page лишь незначительно поправляют их, добавляя щепотку чёрного металла, чуть углубляя вокальные зверства и внося заметную песенную изюминку в сумасшедший ад техничного хтонического дэта. Диск длится всего ничего – 30 минут, но его совсем не стоит считать безобидным и скорострельным. Этих 30 минут хватит, чтобы “упороться” под завязку.
Но хватит в том случае, если вы поставить его на “repeat”, откроете боттл с чем-нибудь горячительно-мотивирующим и позволите музыке проделать с вашей головой то же самое, что и некие сумрачные личности творят на обложке компакта. “Полчаса на то, чтобы быть вдвоём, чтобы позабыть, что такое сон…” – пели грустные меланхолики из Технологии, но вряд ли они подозревали о том, как будут проводить те же самые заветные полчаса слушатели Ram-Page.
“In my hand В моей руке
Can of beer банка пива.
Wonderful Чудесно.
My problems Мои проблемы
Disappear исчезают,
Lost in time теряются во времени”
(c) “Can Of Beer”
Простота текстов – кажущаяся. За этими незатейливыми рифмами стоят серьёзные проблемы, которые музыканты подают легко, весело и с огоньком. Хороший 8-страничный буклет, стилизованный рисунок участников группы – всё неплохо, жаль только, что в целом арт какой-то темноватый, но это мелочи. Простота и прямолинейность не вызывают отторжения, а граничат с древним как мир “всё гениальное просто” и напоминают классику всем известных групп.
Для любителей похрустеть чипсами и послушать хруст костей из динамиков такой диск будет очень кстати, а я успел его почти полюбить за неделю активного юзания под Holsten. Почему “почти”? Лично для меня не хватило какой-то глубины и истерического выворачивания наизнанку, как, скажем, у Atheist, благодаря которым все по-настоящему культовые группы становились культовыми, но это исключительно мои ощущения, и если не забивать себе голову ненужными усложнениями, CD вполне может стать для вас манной небесной. “Пщщщии”. Что это? А, это вы уже открыли банку пива. В таком случае не смею вас отвлекать и оставляю наедине с музыкой.
http://astartaview.ru/ram-page-the-grave-of-seven-billion/
Il disco che andrò a recensire sarà ''The Grave Of Seven Billion'' dei Ram-Page, gruppo formatosi a metà 2010 a Noginsk, in Russia.
Uscito nel 2017 sotto la Metal Scrap Records, i Ram-Page tirano fuori un album death/thrash tanto veloce quanto brutale di appena 30 minuti, composto da dieci tracce, compresa l'intro, con una media di tre minuti l'una.
Line-up particolare visto che troviamo ben tre vocals: Dmitriy Dolgov, Sergey Privalov e Stanislav Shtrikh, che sono rispettivamente bass/vocals, guitars/vocals e vocals principale; rimane solo Kirill Kasatkin, il batterista del gruppo.
Il disco si apre con “Awakening Of The Ancient”, un'intro di chitarre classiche dall'andamento molto lento e rilassante, quasi a invogliare l'ascoltatore al ''ballo''.
Cosa molto insolita visto che appena parte “Betrayer” parte l'headbanging violento. Proseguendo con l'ascolto troviamo tracce del calibro di “The Revolution”, “The President”, “Rampage” e la title track, “The Grave Of Seven Billion” che sono autentici macigni direttamente in faccia.
Anche se è difficile scegliere le tracce migliori, visto che tutto l'album si attesta su alti livelli, in pratica ogni traccia è una mazzata dritta nei denti dell'ascoltatore.
Menzione particolare per la copertina, dove si nota una massiccia presenza del rosso a simboleggiare l'atrocità dei testi, con i cadaveri che rendono il tutto più raccapricciante e morbosamente funereo.
L'artwork è creato da Artur Ryabov, in arte Dominator Doloris, attivo nella band Septicopyemia, autore di artwork di molteplici altre band.
Un lavoro che nella sua semplicità è allo stesso tempo stupendo, capace di accontentare sia deathsters che thrashers. Consigliato a qualsiasi persona amante dell'estremo.
https://heavyreviewsit-recensioni.blogspot.ru/2018/01/recensione-ram-page-grave-of-seven.html
Aleksey Koryolov of Satanath Records sent to me 3 mega-pack of releases so far...and I have been still listening to the albums of the first mega-pack (Ram-page included)! Soon or later, I think to summarize in few words 2 or more of these releases in a single article to put in the new "mini-reviews" section, so to make more ready and faster the reviews. Meanwhile, today it's the turn of Ram-page, a Russian quartet that is so prolific that this "The Grave of Seven Billion" (released by GrimmDistribution, another parent label of Satanath Rec) is their 4th album within 8 years of existence!
After the acoustic intro "Awakening of the Ancient", the first song "Betrayer" starts to annihilate the ears of the listeners without any compromises. In fact, Ram-page is one of those bands that I like a lot because they basically play a fast and furious death/thrashing attack! A lot of blast-beats with some headbanging thrash parts, deep growls accompanied by some lacerating screams, ripping guitar solos and songs built around neurotic schemes with many tempo changes and some chaotic and noisy vibes (like the guitar feedback in "Sanctions"): this is the music of these 4 angry guys from Noginsk, in the Moscow region! The ultra-violent "Betrayer" and the following "Can of Beer" (ful of groovy parts in a scrapping thrash-style) are excellent starters for an album that promises a bunch of impressive things.
Reading some articles about this album, I realized that the reviewers put mainly the accent to the levels of brutality and aggression by Ram-page. But, to say the truth, they crafted also more mid-tempo oriented songs ("The Revolution") and show even a little will to experiment curious ideas. Examples of this are given by "Sanctions" (where there is a totally abrupt change of mood through a more atmospheric riffing enough close to black metal) and the following "Last Defenders" (where, in its first seconds, there is a completely crazy riff with...funky influences!), without forgetting the unpredictable final guitar solo with strange melodies of the closing track "Blood Money".
This band pic if fukken Amazing, don't you think?
But the problem is that the album promises a lot but, at the end, the memorable songs are only "Betrayer" and "Can of Beer" along maybe with "Blood Money" for its spectacular end. In fact, some of the numbers lacks paradoxically of the right intensity ("The Revolution", that haven't got any guitar solos, that, instead, could be useful during the fast parts) while some mood changes are really too abrupt and useless for the purposes of the musical discourse ("Sanctions"). In addition, you have to consider also that, especially in the second side of the album, the band loves to play with a notable frequency some slamming brutal death metal parts that I consider too generic to attract my attention. Finally, there is a particular noise that ends (almost) every number but it becomes a bit invasive in "Last Defenders" because repeated some times into the breaks of this song (it is up to you to discover this "particular noise", right?).
This album, enriched with the contributions of the lead guitar player Pavel Zhdanovich (known for his prog metal project with the same name) is a bit strange. Firstly, I like a lot the kind of wild and chaotic assault perpetrated by Ram-page, and the same goes to the abrasive production of "The Grave of Seven Billion". But, secondly, the album isn't so impressive throughout its entirety, and it's a shame that it shows its best things mostly with the first songs "Betrayer" and "Can of Beer". I think that if the album was in the same ultra-violent and scrapping vein of these numbers without the experimental ideas and the slamming brutal parts, it could be better than now but that's it. Now, did you read some songtitles like "Can of Beer" or "Sanctions"? Aren't they fukken strange? And, searching by Metal-Archives, I realized also that the previous albums of Ram-page have got songtitles with a single word like "Show", "Way", "Night", "Wind" and blah blah blah! But what is the meaning behind these incredibly strange titles?
http://timpaniallospiedo.blogspot.ru/2018/03/ram-page-grave-of-seven-billion.html
Tak tohle album by mohlo být hodně dobrej kykyryký budíček pro všechny čerchmanty lenivý, hovící si na Luciferově pupku. Prostě, když se do toho správně třískne, tak je v pokladničce na milodary vymalováno. No a RAM-PAGE tomu teda dávaj zabrat co proto. Aby ne, vždyť čerpají z pradávné studnice klasiky, jenž nikdy nemá nárok na chcípnoutí. Zvláště když se drží hesla psaným čertovým kopytem, čím rychlejc, tím lepšejc. Dneska se tomu jaksi říká blackened thrash metal, ale stařešinové stejně budou neproklínat kouzelně rouhavou formuli thrash black metal jako za starých dob. RAM-PAGE tedy hrají rychle, vražedně, temně a s pekelným nasazením. A hraje jim to teda fakt krutě dobře. Rychlé, extrémní šmrdlání střídá hnusné strouhání i decentní bolestivé zařezávání. Ono teda podobnejch kapel je těhotnej mrak, ale RAM-PAGE začínám řadit do elity děsivé hustoty. Jenže tihle ruští ogaři mi ještě navíc přijdou trochu jinačí než spousta stejnejch vyvrhelů. Začnu třeba u zvuku, kterej má svý mouchy a ne že ne. Zejména zpěv, lazený k démonickému death metalu, je trochu možná moc nahlas a u bicích působí občas činely jako rušivý element. Ale řekněme prostě sprostě, že RAM-PAGE hrají styl muziky, u které zase nijak zvlášť některé zvukové neduhy neřeším. Ono kolikrát to zní s těmi chybami mnohem autentičtěji a leštěnka určitě není ve slovníku téhle kapely. Když se ovšem podívám na zvuk kytar, tak ten není zbytečně taženej do hrubých vod basových, jako u mnohých hovadských kapel stejného žánru. Je posazen do spíše středních poloh, kde v řezavých pasážích nádherně vyniká zvonivé brumlání baskytary. No a v některých pasážích mě to nebezpečně napíná mozkové závity na skřipec, proč se mi zdají RAM-PAGE trochu odlišnější od svých souputníků, čerpajících ze stejné staré školy rouhání. Nápověda ke mně přišla v akustické pasáži osmé skladby „Last Defenders“, která mi zní skutečně jako funky. Nevím, jestli to byl záměr kapely, či je to pouze mé náhodné zdání, ale některé moshingové pasáže skutečně mají funky odstín a to zejména díky oné zvonivé baskytaře. Ale pokud by chtěl někdo nabýt dojmu, že kapela má sklony k nějaké progresi, tak ať na to zapomene, protože tohle je stará rezavá vrzající brána na popraviště bez omluv. Jenom se prostě do smrští alá Vulcano, Iron Angel, Buldozer a podobných občas vloudí zdání Mordred. Zdání nezdání, jedna věc je nadevše důležitá a tou je, že je album „The Grave Of Seven Billion“, ruských natěračů na černo RAM-PAGE, hodně povedenou záležitostí. No a když bych měl skutečně vytáhnout nějakou skladbu jako krutě nejreprezentativnější, tak to bude zaručeně hned po intru úvodní „Betrayer“, kde melodické vychytralé vyhrávky jsou nebezpečně blasfémické a působí jako rychlé sjezdy dolů, těch, co chtějí na horu šplhat po namaštěné tyči.
https://hardmusicbase.cz/index.php?stranka=recenze_vypis&id=60242&m=1
Da gusto escuchar un disco que saca a relucir lo más agresivo y pesado del death/thrash metal, en el cual los agudos vocales son gritos y no ejercicios de escalas altas. Con los guitarristas que no se masturben en un sin fin de pases por el mástil. Que la base suene poderosa, casi al frente. Una batería que podemos percibir ametrallante pero si se la escucha con atención, notamos cambios asombrosos sin que baje la velocidad, prescindiendo de los parates sin sentido y florituras estúpidas.
Es un placer escuchar a una banda que llega a los climas mediante la furia, el poder y la contundencia. Que ofrece variantes propias a lo que la canción necesita, sin abandonar la premisa general del sonido.
Ram-Page propone todo lo que conocemos del sonido clásico del death/thrash europeo, y los invito a que escuchen este disco y digan quién influyó a esta banda. Pero a veces la originalidad no está en encontrar el nuevo sonido con la guitarra recién salida de una estación espacial, más bien, como creo que es este caso, los músicos se ocuparon de explorar las estructuras de lo conocido y ordenarlas de manera coherente.
http://rockarollazine.blogspot.com/2018/03/ram-page-grave-of-seven-billion-2017.html
Giunti al quarto album, i Ram-Page si saranno forse accorti che qualcosa non andava? La formazione russa è passata su queste pagine già due volte con le uscite precedenti, prima "Blooming Rust", poi "The Depths Of Rage", un terzo album che per antonomasia è tappa della maturità, ma che al contrario ne era totalmente privo. Adesso tornano a farci visita con "The Grave Of Seven Billion".
Si nota da subito che c'è stato un cambio di rotta, il thrash metal rimane la spinta di base, tuttavia il suono ha assunto connotati più estremi e vicini all'ambito death metal di area floridiana, producendo quantomeno uno smottamento nell'animo. Dal piattume assoluto riscontrabile nelle evitabilissime opere antecedenti si è passati a pezzi che non fanno urlare al miracolo ma che si fanno ascoltare, come "Can Of Beer", "The Revolution" e "Blood Money".
Pur cadendo nella trappola della prevedibilità e della ripetizione di alcune soluzioni ritmiche, "The Grave Of Seven Billion" è una prova dignitosa, che non ti fa bestemmiare nella speranza che finisca il prima possibile; tenete conto che i ragazzi, almeno per quanto concerne le durate, si sono sempre — e fortunatamente — contenuti, quindi provate a immaginare la qualità delle uscite precedenti... Sul fronte delle singole componenti, si registra l'apporto positivo offerto in chiave solistica dal chitarrista Sergey Privalov, mentre il cantato growl del nuovo cantante Stanislav Shtrikh è sicuramente più centrato e in linea con l'andamento dei pezzi.
I Ram-Page hanno iniziato a risalire la china ed era anche arrivata l'ora che lo facessero. Finalmente sembrano una band con idee e un progetto da perseguire. Certamente "The Grave Of Seven Billion" non renderà più bella né muterà la vita di nessuno, ma potrà almeno aspirare a rubacchiare un po' del vostro tempo. Si vede una luce in fondo al tunnel!
http://www.aristocraziawebzine.com/recensioni/9047-ram-page-the-grave-of-seven-billion
Наверное, данный альбом записывался музыкантами для того, чтобы услышали те, кого в наше время еще можно впечатлить мастерством круто играть олдскульный дэт. Причем с элементами того же дэт-метала, только позднего, из периода его расцвета – но будто бы о них никто никогда вообще не слышал. Вообще интересно получается – на дворе XXI век, а кто-то все еще пытается кого-то впечатлить тем, что и так давно известно. Вот интересно, а гитаристы Ram-Page на концертах бегают из одного конца сцены в другой или делают картинные стойки или синхронные движения? Как-то так вышло, что "The Grave Of Seven Billion" демонстрирует настолько высокий градус олдскула, что того и гляди, как на его звуки слетятся какие-то солидного возраста лысеющие граждане и начнут обвинять, что это я украл их кассеты с Cannibal Corpse, заботливо переписанные еще до первого приезда коллектива в Россию. Да и качество записи такое же – слушабельно, но как будто то ли с хорошо сохранившейся кассеты цифровали, то ли писались настолько аналогово-лампово, что вдохнули ретро-саунд и в технологически свежий носитель. В остальном – снимаю шляпу, пусть даже иллюзорную (потому что не ношу). С таким рвением и энергией предлагать массам сегодня подобные самородки могут либо по-настоящему смелые люди, либо на всю катушку безбашенные. Сабж как будто бы был записан в середине 90-х, и на волне нынешних переизданий лютейших раритетов опус Ram-Page мог бы сойти за один из них – по среднему арифметическому уровня композиторского мышления и саунда, а также их невероятно гармоничному сочетанию. Зато по уровню игры я мог бы сказать, что «тогда» Ram-Page не было бы равных. Потому что притом, что это лютый олдскул, это очень годный олдскул. Раньше подобную смесь трэша и дэта играли и Necrocannibal, и Bestial Deform, и Death Vomit, и многие другие, но вот чтобы было настолько ураганно и динамично – я что-то не припомню. Как говорится, хорошо играют, громко. Больше даже вспоминаются всякие там Cannibal Corpse, Suffocation, Vader и прочие адепты смертоносного металла того времени. В любом случае, релиз оставляет приятное впечатление и должен – в этом я не сомневаюсь – понравиться всем любителям долбы и молотилова из 90-х и даже 80-х, когда дэт-метал еще только начал выделяться в отдельный жанр из «чрезмерного» трэша. Хотя и хотелось бы в будущем какого-то более современного саунда – может, это будет бомба, кто знает? В любом случае, архиприятного прослушивания.
http://headbanger.ru/reviews/album-4396
Musically, The Grave of Seven Billion sounds very much like Deicide's Legion era but with a trashier and more experimental feel to it. Even Dmitriy Dolgov on bass and vocals sounds amazingly much like Mr. Benton himself. Perhaps Dmitriy is Glen's Russian cousin or something?
I must admit that this slab sounds pretty cool in every sense, but at the same time, some moments on the record can tend to irritate for lack of a proper direction. It's a bit too directionless for my picky tastes. Or perhaps I just don't understand everything that comes my way (that's the case most likely to me).
The Grave of Seven Billion does have a few moments of killer momentum here and there, especially whenever funk-ish bass, Primus-like spots of sound rush to the surface for a short moment (love that sound), plus heavy, chunky riff work appeals to me greatly.
This is overall kind of a funny disc to listen to, but perhaps a bit too much an exaggerated mishmash of too many different parts glued together for its own good.
https://www.metalcrypt.com/pages/review.php?revid=10529
Formed in 2010, it was less than a year before Russian metallers Ram-Page found themselves in the studio with enough money and support to record their debut album. The resultant LP, ‘The Keeper of Time’ gained enough attention for the band to actually shoot a couple of promotional videos before heading back into the studio to record a second album, eventually released in April 2012. With a similar whirlwind approach, a third release appeared the following year. In metal terms, it seemed these guys were following a similar breakneck approach to working as their 80s thrash and NWOBHM heroes.
‘The Grave of Seven Billion’, Ram-Page’s fourth album, recorded in 2015 and eventually released in 2017, showcases a well crafted thrash/death crossover sound, which is spot on when it comes to the style of playing, even if it’s a little lacking in production budget. Following an intro, ‘Betrayer’ wastes absolutely no time in reaching for the heavy, with speedy downstrokes that lay the foundations of a superb death-thrash crossover, inspired by many great works from 1988-91. The riffs come fast…and then faster still once the drums power through with a dominant bass pedal and abused snare. Hearing the band cranking their wares at full pelt is entertaining enough, but it’s when slowing down and throwing the more accessible elements of ‘Arise’ styled Sepultura and a few mid paced Slayer-isms into their pot when these Russians really excel. The middle part of this opener could be from any number of classic albums from decades gone by…and providing you’re able to treat frontman Stanislav’s collection of death grunts as extra instrumentation, chances are you’ll love this.
Recorded live, ‘Can of Beer’ begins with a superb Testament inspired riff – heavy but melodic, like Metallica on steroids – before lurching into some speedy technical death metal. Sergey Privalov’s guitar sound is hefty, but never quite as dominant as Dmitry Dolgov’s bass, which is both angry and lightning fast. On the occasions where the main guitar riff drops out for him to take the lead, the bottom end rattle is immense. Combining classic thrash, melodic death and the kind of lyric that harkens back to Biermacht and Tankard – not that you’d tell without a lyric sheet – this album highlight is a superb tribute to the past and further proof that retro death metal roots will never rot. ‘The President’, meanwhile, opens with a barrage of tightly-wound noise that fuses extreme thrash with a tension that absolutely slays. Even by the time some of the finely tuned jagged edges are crushed by a heavyweight vocal, it’s still possible to enjoy various thrash breakdowns and a solo delivered at speed. In terms of hooks, this is one of the album’s best tracks, since a shouty refrain just about pushes the death aspects towards extreme hardcore. In under three minutes, Ram-Page have truly vented, before he band’s title song kicks off like the ultimate tribute to Slayer, before Stanislav and Dmitry indulge in call and response death growls that give a classic sound a new dimension. By the middle of this track, the drums are absolutely furious and it’s a number that starts heavy and gets heavier still, but in terms of tightness, these guys are brilliant. Better yet, ‘Sanctions’ mixes thrash with a little Pantera-esque hardcore and a surprising drop into something gothy, all without losing the death metal core sound. It sounds like it should be a mess, but the band’s overall abilities ensure the quirks genuinely work. Factor in a couple of chugging and jagged riffs that come on loan from Machine Head and this has just enough of everything to please – provided you’re not hung up on wanting a clean vocal.
If ‘Sanctions’ appeared to push boundaries in a death metal melting pot, then the tiny funk interlude during ‘Last Defenders’ truly comes truly from left field. However, this addition never quite works and as a result, the second half of this number is far deeper rooted in classic death metal, but as proven before, it’s a style with which Ram-Page seem truly at ease. The closing pair of the title cut and ‘Blood Money’ rarely make an effort to add any more extra layers, but when death metal is played this well, there’s little point in tampering with the formula. The closing bars of ‘Blood Money’, especially, are a highlight, with a tough riff that sounds like the closing seconds of Slayer’s ‘Necrophobic’ replayed by a European hardcore punk band. Pure riffery…and no messing!
With ten songs and almost exactly half an hour’s playing time, there’s no room for flab or filler here. The budget is middling which means the end sound isn’t as broad as it could be, but looking past that, Ram-Page are aggressive players whom manage to tap into the vein of both ‘Human’ era Death and ‘Schitzophrenia’ era Sepultura extremely well indeed. For those who still love albums with a strong bias of classic sounding death metal – with a couple of welcome deviations – ‘The Grave of Seven Billion’ comes hugely recommended.
http://www.realgonerocks.com/2018/06/ram-page-the-grave-of-seven-billion/
Il disco che andrò a recensire sarà ''The Grave Of Seven Billion'' dei Ram-Page, gruppo formatosi a metà 2010 a Noginsk, in Russia.
Uscito nel 2017 sotto la Metal Scrap Records, i Ram-Page tirano fuori un album death/thrash tanto veloce quanto brutale di appena 30 minuti, composto da dieci tracce, compresa l'intro, con una media di tre minuti l'una.
Line-up particolare visto che troviamo ben tre vocals: Dmitriy Dolgov, Sergey Privalov e Stanislav Shtrikh, che sono rispettivamente bass/vocals, guitars/vocals e vocals principale; rimane solo Kirill Kasatkin, il batterista del gruppo.
Il disco si apre con “Awakening Of The Ancient”, un'intro di chitarre classiche dall'andamento molto lento e rilassante, quasi a invogliare l'ascoltatore al ''ballo''.
Cosa molto insolita visto che appena parte “Betrayer” parte l'headbanging violento. Proseguendo con l'ascolto troviamo tracce del calibro di “The Revolution”, “The President”, “Rampage” e la title track, “The Grave Of Seven Billion” che sono autentici macigni direttamente in faccia.
Anche se è difficile scegliere le tracce migliori, visto che tutto l'album si attesta su alti livelli, in pratica ogni traccia è una mazzata dritta nei denti dell'ascoltatore.
Menzione particolare per la copertina, dove si nota una massiccia presenza del rosso a simboleggiare l'atrocità dei testi, con i cadaveri che rendono il tutto più raccapricciante e morbosamente funereo.
L'artwork è creato da Artur Ryabov, in arte Dominator Doloris, attivo nella band Septicopyemia, autore di artwork di molteplici altre band.
Un lavoro che nella sua semplicità è allo stesso tempo stupendo, capace di accontentare sia deathsters che thrashers. Consigliato a qualsiasi persona amante dell'estremo.
https://heavyreviewsit-recensioni.blogspot.ru/2018/01/recensione-ram-page-grave-of-seven.html
Os russos do Ram-Page lançaram em junho de 2017 o álbum "The Grave Of Seven Billion", um registro legal e que mostra as suas qualidades em meio ao Death/Thrash Metal, tendo versatilidade e técnica.
Sua produção é muito boa e condizente com a proposta da vertente, evidenciando bons riffs e dinâmica interessante.
Apesar do pouco tempo de duração, suas 10 faixas entregam uma boa sequência e que atende aos fãs do Metal extremo, além dos mais casuais.
Confira sem medo.
https://rockvibrationsofficial.blogspot.com/2020/08/ram-page-grave-of-seven-billions-review.html
Fourth album in discography of Moscow based metalllers is like homage for Deicide for a few reasons. The sound is very close to Scars Of The Crucifix and guitar wise, their death metal just unleashes the hell and awakes some demons like when you listen to albums of Americans. Ram-Page put vocals similar to Glen Benton`s growls and demonic screams but I do not think it`s done on purpose. I even do not think that any of this is done to sound just like Deicide, it just happens that both bands are kind of keen to the way they express their death metal. On the other hand, Ram-Page varies from Deicide very much. Their music strikes with old school thrash metal riffs much more. It reminds me Possessed in song called Betrayer but it`s my very free interpretation of the song. Eight track was totally surprise for me when some jazzy –progressive guitars just came out of the blue. Other than that, this album is riffs-stronger that overall impression of songs is.
The Russians are very good with their instruments, they go technical from time to time if they want to, but at the same time the song structures are easy to follow, thanks to clear and decent production of the album.
Deicide influences pops up throughout the album but I do not find it good or bad, it`s just what happens in between, when they play their own stuff, though. It`s hard to describe their music by one word so I give you some more. What about brutal death metal, blackened thrash metal? Sounds good to me...
http://monarchmagazine.weebly.com/ram-page-the-grave-of-seven-billion-grimmdistribution.html