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~Guest 1079110
Mallcore Kid

Joined: Mon Mar 29, 2021 5:33 pm
Posts: 4
PostPosted: Sun May 16, 2021 6:14 pm 
 

I got the vinyl of this album at a flea market expecting it to be bad. I was wrong about it. Since I'm one of the 7 people that know about this band, I'll give a completely honest review. Lets start with the instrumentation. The guitar tone is great for thrash metal and the overall guitar work is awesome. However, the riffs are kind of sloppily played and have some accidental notes in there, but that is overshadowed by the fact that Scott does incredible work on this album. The bass has some problems like its almost inaudible unless there is a bass solo. However, the bass work is pretty good (when you can hear it). The bass tone is pretty bland but that's not a bad thing as it blends in pretty well. The drums are the things I have the most problem with. The snare is unlatched, which I wouldn't really have a problem with but it sounds like it was ripped straight out of St. Anger. The drum work isn't really that great either, it doesn't really have that much consistency. The toms don't sound great and barely have any dampening. The vocals are... unique? They are pitch shifted but Ruben isn't death metal growling, he's singing regular thrash metal vocals. I'm not saying the vocals are bad, they are just "different". Ruben's vocals are fine and are pretty good for this album and work pretty well.


The lyrics are pretty good. They are written well and they go from having homicidal urges to zombies. Dark Exodus, Prepare To Die, and Zombie Attack have really good storytelling and hold up great. The songwriting is really weird and isn't that consistent and the riffs switch around a lot. The bass solos work well with the songs and sound sick though. Overall this album is great and I recommend it to any thrash fans.

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TheBurningOfSodom
Metal newbie

Joined: Sat Jun 27, 2015 9:28 am
Posts: 223
Location: Italy
PostPosted: Wed May 19, 2021 2:27 pm 
 

Hey dude, I'd recommend you to refer to the last message I sent to the user before you, since I see kinda similar issues. It reads more like a checklist of topics than a unified writing. I reckon it's a huge problem to overcome since very few of us are natural born writers, but learning to avoid this will surely prevent a lot of rejections in the future since to my eyes it single-handedly renders every review less interesting. Again, I really can't give a better advice than read a lot of reviews and form your idea about it.

Other than that, given that you're talking about a whole album rather than a single track like he was, I'd say that it's a bit more vague for a review. I found the album and, okay, it's a 17-minute long crossover album from the '00s, so by design it likely has few standouts and it has more of a consistent quality, but still, given all the praise you gave it, at least a mention of a song, riff, refrain, section, moment you particularly appreciated and found so memorable that you would recommend to anyone surely wouldn't hurt. As it stands, the musical description is a bit sparse, and being a thrash aficionado myself, I could think of a lot of albums that matched the description you gave. Try getting more in-depth about something, for example following the 'great' guitar tone or the 'awesome' guitar work with some example to back up your claims, and of course making some references to more well-known, similar bands would be appreciated by basically everybody reading, since you would be the first person reviewing the band so far.

Last nitpick: I guess you could skip the 'honest review' sentence, I would expect it as a given :-P
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Gas_Snake
Metal newbie

Joined: Sun Feb 02, 2020 1:07 am
Posts: 132
Location: Russia
PostPosted: Tue May 25, 2021 10:35 am 
 

Hello, everyone. I want to ask for assistance specifically concerning the beginnings of reviews.

For me, the intro is generally the hardest part of the review to actually write. How I usually write is: Get a bunch of ideas for the main portion of the review, then focus primarily on them while simultaneously brainstorming something for the introductory paragraph. However, I can't find a good linking point into the middle portion, so I generally just write a short little thing about who the band is and what they play and how much they kick ass/suck ass, or I build the description around a musical concept and then write a few dozen words on that.

I'm gonna link a few of my reviews to show you what I mean. Here's what I call the bad ones:

https://www.metal-archives.com/reviews/ ... ake/793059
https://www.metal-archives.com/reviews/ ... ake/793059
https://www.metal-archives.com/reviews/ ... ake/793059
https://www.metal-archives.com/reviews/ ... ake/793059
These are ones where I just kinda tried to introduce my opinion on the band and album. I guess it kind of offers context, but still dull.

https://www.metal-archives.com/reviews/ ... ake/793059
This one I did for a very well renowned and one-dimensional album and couldn't think of anything so I literally said "fuck it". Am not proud of that as of right now.

Here are a few that I consider to be vaguely okayish:
https://www.metal-archives.com/reviews/ ... ake/793059
I did sort of have a thing going here with prog and a bunch of shitty things that it eventually devolved into, and it did flow somewhat consistently because of it.

https://www.metal-archives.com/reviews/ ... ake/793059
https://www.metal-archives.com/reviews/ ... ake/793059
These are also not exactly underground, and I did cover some things that are rarely mentioned elsewhere, so that gave me leverage to do a decent opening.

Warning: those three are contrarian and will prompt some sort of negative reaction. I can only vow that I'm not pulling the opinions out of my dick and am not saying you should like the albums less than you do.

https://www.metal-archives.com/reviews/ ... ake/793059
No one knows what this is and neither did I until a year ago. I did try to describe how I came across it and how the sound evolved, but ehh...

There are others that you can read if you're interested. That time I tried to do a series on Coroner was also kind of iffy, the earlier stuff was pretty bad (I might zap or rewrite a couple later, I dunno). I thank you in advance for any insight that you may offer.

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gasmask_colostomy
Metalhead

Joined: Thu May 27, 2010 5:38 am
Posts: 1234
Location: Behind the wall of fire v.2
PostPosted: Thu May 27, 2021 9:34 am 
 

MetalMan68632: In short, you're missing all the fine points that make a review really worth reading. Check out a selection of reviews from this website and you'll find that the majority have much more specificity than the one you've written. For instance, you've not named the genre of music during your review, not compared this group to other bands, and not named any specific songs from the album except where you talk about the lyrics. Think about how you would write a paper for school or a report for work - every point needs to be backed up by adequate evidence and context. That would certainly flesh your review out more and make it more complete.


Gas_Snake: I actually find no special problem with your introductions, they are certainly very serviceable. However, they don't strike me as that interesting. Perhaps you could approach that problem by being a bit looser with your overall structure, like if you have a strong personal connection to the album then start with that, but if you want to discuss genre issues or history or one outstanding detail just go ahead and begin with that instead. In my own writing I've reduced the intro more and more simply because I find I've said a lot of that stuff before and I don't want to waste time before getting to my main points - that's also fine. One other method I could suggest is to write the beginning last, after you know all the other content. What's missing? What lacks context? Put that information in the introduction.
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ChildClownOutlet
Metalhead

Joined: Fri Dec 16, 2011 4:52 pm
Posts: 1212
Location: United States
PostPosted: Sun May 30, 2021 11:40 pm 
 

So I'm thinking about writing another review. The last 5 reviews I wrote were 7 years ahead of my old ones and I still don't think I improved at all. Sure I'm happy they got accepted but I just think "holy shit is this really all I can do?" Maybe I just don't describe the songs well? I think a big issue is comparing the bands I review to other similar bands and go off on tangents. I suppose I think that fits the review I write but I just can't elaborate. Hell I'm starting to write a Falconer review and my mind goes blank from the introduction. I was planning on talking about the bleakness of medieval times and using that as sort of a branching point on Falconer's lyrics and themes but I'm just stuck.

These two reviews for instance are somewhat similar due to me just talking about if the bands they sound similar to are better or worse than they are, etc. It's grating that I can't do more than this.

https://www.metal-archives.com/reviews/ ... let/281437

https://www.metal-archives.com/reviews/ ... let/281437
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sssattyrrr
Mallcore Kid

Joined: Wed Feb 12, 2020 2:17 am
Posts: 1
PostPosted: Thu Jun 03, 2021 2:58 pm 
 

Hi metalheads!
I just made a short review of an Independent release, any suggestion about structure, elaboration, stuff like that, would be much appreciated. Here it is:

"I was very surprised, when scrolling through the bands from Romania, I saw this release, originally right from my hometown!
It is a solo project, and he/she decided to remain nameless, however, according to the fact that in this region, nobody has ever tried to do some black metal, this release is a huge step ahead, so I decided to listen to it more carefully, and of course, to make a short review of it.
From a lot of auditions, it became clear to me that this release has a lot to do with big artists from the beginning of the black metal. I sensed a lot of influences from early Burzum, Mayhem, maybe Bathory, Thorns and even early Enslaved, but still, the musical line remains unclear to me.
There are no huge differences between the tracks.
Mostly in mid-tempo drumming theme, the riffs are well executed, but somehow, they are jumping from here to there incorporating a lot of styles, from raw-black to blackened death, some crust elements, and this is the reason why those theme changes seems to me a little chaotic. I don't know if it is a bad point, probably not.
However, this release has a lot of potential, but the big bad point is the lack of vocals. Ok, I understand, it's an instrumental release, but if I imagine those tracks with the company of a pretty aggressive screaming vocals, it would be a more than decent demo. Without it, it's just an experimental release, full of potential like I said before, but still in need of a better production and development.
Hopefully this review helped, I wish Forest Spirit all the luck and success, on the black metal path!"

Thanks in advance!

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Blackmore Forever
Mallcore Kid

Joined: Sun Jul 24, 2016 1:43 am
Posts: 24
PostPosted: Tue Jun 08, 2021 4:48 am 
 

My review of Another Vivid Detail by 3 Dreams Never Dreamt, rejected by Derigin. It's pretty the same kind of my previous (and first, here on MA) review of the last Labyrinth (ITA) album, which was accepted - by the same Derigin - ... so... I don't get the criteria, indeed.

"I've always wondered if this label has ever released a really good band/record, the ones with at least some personality (no one demand and expect originality, that's nearly impossible since long time), longevity and a sense of general solidity both as a band and musically. On the contrary, not rarely are even tacky and surely not challenging or exciting at all.
I came across in several of its releases along the years, and the above-mentioned question still keep on hitting my mind every time. No wonder if I have re-sold or give away for free nearly each of those albums. By the way, most of them had been won in webzines' contests (especially in the early-mid 2000s, in the label's early years), not purchased.

Usually, label releases are gothic or prog metal or something like that, sometimes a mix of them; even if the label and bands themselves (and some reviewers as well) call certain bands not less than "avant-garde"... which make me laugh indeed. Anyway, the outcome is very often - or always? - a bloodless, handbrake applied version of those styles and of really good bands. Also, sounds and/or mix are poor or quite "weird" for great part of the releases. I know these things could be said for most labels and bands ever existed in my country (Italy), in hard rock/metal field, but it's not an excusatory or comfort at all; and the situation of average mediocrity since ever (talking about just musically, not to mention many other problems also in music scene alone), with very few exceptions in every era, hasn't ever helped anyone and never will (how could?).

And here we are again, another band, the same old rhyme. Since the beginning of the first track, especially when the vocals come in, you can realise that the album is going nowhere. Riffs are all the same generic second rate prog/modern/gothic metal without any personality or whatever, and the same goes for the more atmosferic parts, which are great part of the album. Speed is nearly always the same and only one throughout the album. The singer - and the vocals lines - is really very boring and makes worst what was already quite bad and anonymous; the female vocals here and there are decent but without any peculiarity as well and melodies are still boring. All the songs have almost identical scheme and progression, like the same one repeated eleven times. Production is just decent overall - and guitars sound is not the best of all instruments - but like thousands other.

Apart from the bad quality, style-wise not only this stuff has nothing to do with "prog" or "avant-garde", but nor even with gothic metal: I would call band like this "generic demi-slow-metal" or so, among the most boring ones around.

I can't really understand who should be interested in such music (or even pay something for it), and I can't understand the reason - or maybe I know it well - why this bands are taken into the roster by the labels. Also, the case is again of a band that's not really new, but one formed many many years ago and an album was already released in 2013, even if with just two members and some guests.

So, nothing new from MKM, another "classic" band of theirs."

Derigin, this time, says: "This is a good start with your review, but it needs more substance and content towards describing the music of the album. Your review is more focused on describing the band and/or its general style than it is this specific album. We require that reviews focus primarily on the album being reviewed. Please ensure that your review describes the music of the album more than anything else. If you would like to get feedback from others on how to improve your review, please post your review in this thread and ask for feedback: viewtopic.php?f=4&t=16487".

Apart from the fact that I see many reviews (both total negative - including "0%" rating, sometimes - or total positive ones) of few lines without really speaking neither of the band nor the album or musicians or production etc., but actually I think that for some band/albums even few lines are too much (losing time etc.), because they are so so so so boring that it's a miracle for the band that someone had given at least a shot listening to their shit.

I, instead, apart from the first part were I talk about that label in general and their average bands - and it's perfectly fit anyway - have described the album, the musicians, the production, and so obviously the band itself (it's the same thing indeed, also because I've listened that second and last album only, I don't know the first one, but nothing strange, anyone can review even just an album of a band which have 23345 album in its history), with the words and lines that I think are more than enogh for such poor band/album.

And, yes, in the case you wondering, I like to review here some of the Italian bands/albums of nowadays that others (especially in Italy) consider good or even very good or "masterpiece", and "original" and blabla, because I sincerly think that they are either totally mad, deaf, without any real experience and knowledge (for the age or other reasons) and/or that their reviews are not sincere and indepentent/free at all but just to get the congratulations, quoting on socials and web etc. by the band and musicians reviewed, so to think they are "famous" and great reviewers, or even worse, they are made under payment from band/labels/promoters, so not real reviews but simply promotion.

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kreuztot
Mallcore Kid

Joined: Wed Apr 06, 2005 4:57 pm
Posts: 16
Location: Germany
PostPosted: Mon Jun 14, 2021 3:29 am 
 

Hi everyone,

Review newbie here who got their first review on a virgin release rejected.

The reason for rejection is "The submission did not properly follow the guidelines. Please read the guidelines carefully next time."

I would appreciate if someone could tell me in particular what would need be to improved as I'm a bit lost with this generic response. My rejected review is below.

Thanks for your help.



https://www.metal-archives.com/albums/V ... ove/945685

"Empire of Love" is in first place a political statement. Its über-woke message might not go well with everyone, yet it is easy to see how Violet Cold's woke identity is compelling and authentic given the cultural background of the artist. I would recommend anyone from either side of the political spectrum to have a deeper look into this, if only to understand the risks and restrictions metal artists around the world are still exposed to.

As for the music itself, Violet Cold is a progeny of post-black metal paths which have been made popular by Deafheaven. This means, the music is rooted in Black Metal but diluted with Shoegaze and Post-Rock. In a typical way, it also attempts to polarise on how listeners conceive metal music by breaking traditional metal sounds and patterns. This can be heard by the EDM influences in "We met during the revolution", raps in "Be like magic", the use of banjo as a lead instrument in "Working class", or the pop vocals in "Shegnificant". Sometimes it works out very well. Sometimes, it doesn't, in particular at the end of the album, ultimately preventing me from giving a higher rating for "Empire of Love".

Highlight of the album is certainly "Pride", which sounds like a mash-up of a black gaze anthem with an electro pop song. At first glance, both styles don't seem to fit together, but the result is surprisingly captivating and uplifting, even happy and euphoric at times. Remember, how you occassionally thought that some Post-Black Metal songs sounds pretty "gay"? Here you find an artist who intentationally made the gayest Post-Black Metal song ever, and it is a total banger. This is an achievement to stay.

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Blackmore Forever
Mallcore Kid

Joined: Sun Jul 24, 2016 1:43 am
Posts: 24
PostPosted: Tue Jun 15, 2021 10:44 am 
 

My review already posted above was accepted after some addings, and then, after 2 days or so, rejected again with the same reason: "In hindsight, please fix the spelling/grammar of your review; it is a bit difficult to read and follow. If you're not sure what is wrong with the way your review is written it is recommended that you have another person look over it."

Why at the first reading it was ok? Weird... and why don't you tell the errors and where they are? I think there is no real errors and those above are personal judgement about the easiness or not in reading.

"I've always wondered if this label has ever released a really good band/record, the ones with at least some personality (no one demand and expect originality, that's nearly impossible since long time), longevity and a sense of general solidity both as a band and musically. On the contrary, not rarely are even tacky and surely not challenging or exciting at all.
I came across in several of its releases along the years, and the above-mentioned question still keep on hitting my mind every time. No wonder if I have re-sold or give away for free nearly each of those albums. By the way, most of them had been won in webzines' contests (especially in the early-mid 2000s, in the label's early years), not purchased.

Usually, label releases are gothic or prog metal or something like that, sometimes a mix of them; even if the label and bands themselves (and some reviewers as well) call certain bands not less than "avant-garde"... which make me laugh indeed. Anyway, the outcome is very often - or always? - a bloodless, handbrake applied version of those styles and of really good bands. Also, sounds and/or mix are poor or quite "weird" for great part of the releases. I know these things could be said for most labels and bands ever existed in my country (Italy), in hard rock/metal field, but it's not an excusatory or comfort at all; and the situation of average mediocrity since ever (talking about just musically, not to mention many other problems also in music scene alone), with very few exceptions in every era, hasn't ever helped anyone and never will (how could?).

And here we are again, another band, the same old rhyme. Since the beginning of the first track, especially when the vocals come in, you can realise that the album is going nowhere. Riffs are all the same generic "metal" without any personality or whatever, and the same goes for the soft parts, which are great part of the album. Speed is nearly always the same and only one throughout. The singer - and the vocals lines - is really very boring and makes worst what was already quite bad and anonymous; the female vocals placed here and there are decent but without any peculiarity as well, and melodies are still boring. All the songs have almost identical scheme and progression, like the same one repeated eleven times. Production is just decent overall - and guitars sound is not the best of all instruments - but like thousands other.

What else could I say? It's really hard to listen entire albums like this; I've just done it to make a honest review, but I wanted to stop after the first or second track, even more than for other releases of the label that I listened in the past, and pushed by the fact that I've read some other reviews on the web (or at least in Italian webzine/magazines), where the rating was very high and words like "avant-garde", "originality", "high-quality" or simply "promising" (as they were a band of young kids at first demo...) were used. While I was listening I thought that maybe, before the album's end, at least one really great song was there, but none I've found, not even a good one: just the same boredom, the same bad and useless song repeated until the end, the same anonymous performance by the singer and the other musicians.

There is nothing interesting here: no particular riffs or structures, no good or surprising time-change, no good vocal melodies or refrain, really nothing at all. Both the more "metal" and the "atmospheric"/soft parts are totally generic and second-rate (to say the least).

Apart from the bad quality, style-wise not only this stuff has nothing to do with "prog" or "avant-garde", but nor even with gothic metal: I would call band/albums like this, "generic demi-slow-metal" or so, among the most boring ones around.

I can't really understand who should be interested in such music (or even pay something for it), and I can't understand the reason - or maybe I know it well - why this bands are taken into the roster by the labels. Also, the case is again of a band that's not really new, but one formed many many years ago and an album was already released in 2013 (I've never listened it), even if with just two members and some guests; also, musicians, singer above all, have played not only with this band, but with several others too.

So, nothing new from MKM, another "classic" band of theirs."

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Blackmore Forever
Mallcore Kid

Joined: Sun Jul 24, 2016 1:43 am
Posts: 24
PostPosted: Tue Jun 15, 2021 10:45 am 
 

"...rejected again with THIS reason..." I meant in the first line of my previous post, not "...the same reason...".

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Masterschiief
Mallcore Kid

Joined: Thu Jun 17, 2021 5:15 am
Posts: 4
Location: Germany
PostPosted: Thu Jun 17, 2021 10:26 am 
 

Hey all! I wrote my first review for the site today, but it got rejected for formatting. I read over it again and changed one or two paragraph lines, but I'm unsure how to proceed as it didn't feel like a big change. I have proofread it many times and utilized an online spell checker tool. I would love it if someone gave me some pointers on what to improve. Thanks in advance!

+Review Start+

Akreas first album Lebenslinie hits just the right spot for my taste in the genre.

The mixing is excellent, every part of the instrumentation can be heard and is emphasized at the according times. The drums don't distract from the vocals or guitars. The bass can be drowned out sometimes on lesser quality speakers (earphones) but this can be explained by it usually just doubling the guitars, which works well. In this very melodic record there is little space for straying far from the path the guitars predetermine.

The instrumentation sticks to the classics. There is a bit of piano/keyboard playing in intro and outro (Aufbruch and Verlust, very good framing songs in my opinion), but otherwise all you hear are two guitars, drums, bass and vocals. There are no clean vocals, but sometimes Sebi Panzer uses whispers to emphasize a build-up.

Akrea certainly know how to use their instruments for the genre: There's blast beats (Trugbild and Tribock utilize these very well), fast double bass drumming, tremolo picking, rhythmically grooving riffs (check out Dieser Klang for that especially), tapping and some passionate growls and screams (sometimes both at once). Each band member gets their moment to shine, be it Jonas Nelhiebels excellently diverse drumming, Fabi Panzers and Schaffers awesome riffs and solos or Chris Simmerls rock solid bass performance. And of course Sebi Panzers vocals, which are surprisingly varied. He changes freely between screams, medium and low growls and pronounces the lyrics usually pretty clearly which I like. I'd recommend Sigmea for a good listen at how he utilizes his vocals.

This diversity is also the main reason I keep coming back to this album. There are always parts and bits to a song which breathe new life into the old verse, chorus, bridge formula (which is very present still). Akrea do what they want, what they feel is fun, and you can hear it. Whenever Sebi isn't vocalizing, there is some kind of exciting riffing or soloing going on. No part ever feels unnecessary or stretched out. Sometimes there are short atmospheric parts where guitars, bass and drums go silent, brooding, to set up the next explosion of death metal. Every song has at least one fast, enjoyable solo that sticks ideally to the identity of the song and usually utilizes sweeps, tapping and other finesse techniques. Check out Ein Leben lang, which rocks two really fun solos.

Rarely do Akrea go into atonal or experimental musical territory (mostly just in the outro, Verlust). The melodies and harmonies are usually melancholic, righteously angry and humane - melodic, as the genre name suggests. Sometimes there are chromatic movements, but the musicians never stray from easily enjoyable paths. Which is not to say they are boring or lacking in diversity, rather they incorporate a broad spectrum of possibilities. Akrea ultimately sound aggressive, but nice (especially on this record) - which might or might not be your cup of beverage. But: they are relentless, energetic, and never really stop hitting you in the face with their music, effortlessly stringing together songs, parts, riffs, screams. The album never takes a real break, only stopping for a song intro or two.

The whole thing is over in about 50 minutes (11 tracks), a good time for me to enjoy the whole album in one sitting. You might've guessed that I really like it, and I hope my review conveyed adequately why. If you want to check out one or two songs to get an impression, I recommend Tribock and Schwarzer Kern.

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Film
Mallcore Kid

Joined: Sat Nov 23, 2019 6:09 pm
Posts: 4
Location: Norway
PostPosted: Tue Jun 22, 2021 8:54 am 
 

kreuztot wrote:
Hi everyone,

Review newbie here who got their first review on a virgin release rejected.

The reason for rejection is "The submission did not properly follow the guidelines. Please read the guidelines carefully next time."

I would appreciate if someone could tell me in particular what would need be to improved as I'm a bit lost with this generic response. My rejected review is below.

Thanks for your help.



https://www.metal-archives.com/albums/V ... ove/945685

"Empire of Love" is in first place a political statement. Its über-woke message might not go well with everyone, yet it is easy to see how Violet Cold's woke identity is compelling and authentic given the cultural background of the artist. I would recommend anyone from either side of the political spectrum to have a deeper look into this, if only to understand the risks and restrictions metal artists around the world are still exposed to.

As for the music itself, Violet Cold is a progeny of post-black metal paths which have been made popular by Deafheaven. This means, the music is rooted in Black Metal but diluted with Shoegaze and Post-Rock. In a typical way, it also attempts to polarise on how listeners conceive metal music by breaking traditional metal sounds and patterns. This can be heard by the EDM influences in "We met during the revolution", raps in "Be like magic", the use of banjo as a lead instrument in "Working class", or the pop vocals in "Shegnificant". Sometimes it works out very well. Sometimes, it doesn't, in particular at the end of the album, ultimately preventing me from giving a higher rating for "Empire of Love".

Highlight of the album is certainly "Pride", which sounds like a mash-up of a black gaze anthem with an electro pop song. At first glance, both styles don't seem to fit together, but the result is surprisingly captivating and uplifting, even happy and euphoric at times. Remember, how you occassionally thought that some Post-Black Metal songs sounds pretty "gay"? Here you find an artist who intentationally made the gayest Post-Black Metal song ever, and it is a total banger. This is an achievement to stay.


Hi! I would say that the introduction is somewhat abrupt. You could introduce the review with something like: What kind of music is this? How does the album fit in the artist's discography, was it their debut or were they already a seasoned act? Is the release ambitious or more throwaway?

Don't delete the first paragraph though, as it could fit as the closing paragraph.

Some sentence fragments could be easier to understand. What does "progeny of post-black metal paths" mean? "In a typical way, it also attempts" - typical of what?

Also, genre names should not be capitalised. It says so above the box where you write reviews.

I personally like to comment the cover art as well, but it's not a requirement. Production value is another interesting thing to comment on.

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kreuztot
Mallcore Kid

Joined: Wed Apr 06, 2005 4:57 pm
Posts: 16
Location: Germany
PostPosted: Sun Jun 27, 2021 12:36 pm 
 

Thanks Film for your input. Much appreciated

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gasmask_colostomy
Metalhead

Joined: Thu May 27, 2010 5:38 am
Posts: 1234
Location: Behind the wall of fire v.2
PostPosted: Tue Jun 29, 2021 7:36 pm 
 

Blackmore Forever wrote:
My review already posted above was accepted after some addings, and then, after 2 days or so, rejected again with the same reason: "In hindsight, please fix the spelling/grammar of your review; it is a bit difficult to read and follow. If you're not sure what is wrong with the way your review is written it is recommended that you have another person look over it."

Why at the first reading it was ok? Weird... and why don't you tell the errors and where they are? I think there is no real errors and those above are personal judgement about the easiness or not in reading.

"And here we are again, another band, the same old rhyme. Since the beginning of the first track, especially when the vocals come in, you can realise that the album is going nowhere. Riffs are all the same generic "metal" without any personality or whatever, and the same goes for the soft parts, which are great part of the album. Speed is nearly always the same and only one throughout. The singer - and the vocals lines - is really very boring and makes worst what was already quite bad and anonymous; the female vocals placed here and there are decent but without any peculiarity as well, and melodies are still boring. All the songs have almost identical scheme and progression, like the same one repeated eleven times. Production is just decent overall - and guitars sound is not the best of all instruments - but like thousands other.”

Hi Blackmore Forever, your review could indeed use some improvements, and I think both of Derigin’s messages show the necessary points.

Firstly, there are problems with grammar and sometimes with word choice. Of course, some errors are acceptable since we are not all native English speakers, but the frequency is too high to read comfortably. Most often these errors appear in verbs (tense: past perfect and imperfect especially, also ‘+s’ for ‘he/she/it’) and some of the word choices seem the result of translation errors (“another band, the same old rhyme” reminds me of some English phrases but isn’t one).

Actually, the best advice I can give to make your review more readable is to write shorter sentences. Looking at the first sentence of the review, it has too much information and is confusing because of the brackets (which appear often) and new parts that keep appearing. Until your grammar is very strong, keep the sentences brief.

Secondly, I can see why the review content is not totally satisfactory. Your analysis is mostly too broad to state many exact reasons for this album’s poor quality, since you spend a long time discussing the label and common flaws of its releases. You need to make more specific examples of this album’s problems, such as telling the reader a core style or influences, some notable features (good or poor), perhaps something about the performance on different instruments, and a few details about some songs.

The balance of your review content should focus on this band and this album in particular. Your introduction about the label is useful, but probably too long. The paragraph I have quoted above is the main part where you do talk about the music of this album, and that should be the basis of most of the review. By itself, it’s not enough; within all the other information, it seems even more small and insignificant. Besides that, maybe using names (of the band, the album, the members) would help to direct the reader to the focus more easily.
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AJManiac666
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Joined: Wed Jun 05, 2019 9:18 pm
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Location: Costa Rica
PostPosted: Sun Aug 01, 2021 3:23 am 
 

Need help for my Accept Review

Accept - I'm a Rebel 35%

Accept has been one of my favorite metal bands when i listened to their famous song Balls to the Wall but this one I'm a Rebel kinda ruins it's predecessor. Although nothing sounds like the first album at all. Here we get influences with normal rock and roll and some songs that just sound like it's disco gayness. But hey there are some good songs that are pretty heavy and sad ballads.

Anyway let's start with the first track "I'm a Rebel" has a catchy tune such as the part when they shout I'm a rebel in a cheesy way. Then there's the second track "Save Us" which has a strange rhythm collision of funky bass lines trying to make it danceable. "No Time to Lose" is a good ballad telling about the story of the rebel's girlfriend to not be in a hurry or something like that. "Thunder and Lightning" probably should be the heaviest track in this album with Udo's grittier vocals in the music. The next track "China Lady" is just like "I'm a Rebel" along with catchy rhythms once again. The drums at the beginning that just sound like disco is "I Wanna Be No Hero" sounding just like "Save Us" with funky bass lines again okay stop with the disco now accept! We go next with "The King" as i feel this song should be dedicated to Pablo Escobar or any crime lord who has gone through the dark side becoming an evil crime lord but hey this song is also a sweet ballad. Finally the last track "Do it" talks about a pretty lady who wants to be a best friend of your life and just to cum at her body.

So after all i do like the ballads on this album it's just that most of the songs are quirky especially i don't get it what were they thinking to combine disco and metal or some songs sounding like cheesy rockin rhythms. However i would recommend to you just go with Breaker, Restless and Wild or Balls to the Wall which those are their real metal successors!

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TheBurningOfSodom
Metal newbie

Joined: Sat Jun 27, 2015 9:28 am
Posts: 223
Location: Italy
PostPosted: Mon Aug 02, 2021 6:07 am 
 

Hey man, unfortunately at the moment I see a lot of things to work on. There are a lot of typos, the punctuation is messed up (one single comma [,] in the whole review is definitely something to improve), and in some sentences I just can't get what you're trying to write, most notably:

Quote:
The drums at the beginning that just sound like disco is "I Wanna Be No Hero" sounding just like "Save Us" with funky bass lines again okay stop with the disco now accept!

I'd recommend reading a lot more reviews here to grasp a better idea about how to convey your thoughts about music in English, other than using a better translator and just improving your knowledge of the language. It's probably not gonna be easy nor short, but even correcting all these problems, the review at the present state is just way too short for a full-length album, especially by a well-known band like Accept, and track-by-track reviews are usually discouraged since they don't flow naturally to the reader, and just feel tiring.

One final note: I'd also recommend avoiding using 'gay' and derivatives in a music review, especially with negative connotations. It's probably something you can find on very old reviews here, but I'm pretty sure it isn't acceptable by today's standards.

I'm aware there's a long road in front of you, but unfortunately, for non-English speakers it's always difficult. I was in your situation many years ago, so don't stop trying and learning. English will definitely be useful in your life even outside of this site. :)
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AJManiac666
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Joined: Wed Jun 05, 2019 9:18 pm
Posts: 29
Location: Costa Rica
PostPosted: Tue Aug 03, 2021 3:48 pm 
 

TheBurningOfSodom wrote:
Hey man, unfortunately at the moment I see a lot of things to work on. There are a lot of typos, the punctuation is messed up (one single comma [,] in the whole review is definitely something to improve), and in some sentences I just can't get what you're trying to write, most notably:

Quote:
The drums at the beginning that just sound like disco is "I Wanna Be No Hero" sounding just like "Save Us" with funky bass lines again okay stop with the disco now accept!

I'd recommend reading a lot more reviews here to grasp a better idea about how to convey your thoughts about music in English, other than using a better translator and just improving your knowledge of the language. It's probably not gonna be easy nor short, but even correcting all these problems, the review at the present state is just way too short for a full-length album, especially by a well-known band like Accept, and track-by-track reviews are usually discouraged since they don't flow naturally to the reader, and just feel tiring.

One final note: I'd also recommend avoiding using 'gay' and derivatives in a music review, especially with negative connotations. It's probably something you can find on very old reviews here, but I'm pretty sure it isn't acceptable by today's standards.

I'm aware there's a long road in front of you, but unfortunately, for non-English speakers it's always difficult. I was in your situation many years ago, so don't stop trying and learning. English will definitely be useful in your life even outside of this site. :)


Hey there thanks for the suggestions but however I'm from San Francisco, Ca, USA and I'm a native English speaker and I usually don't speak Spanish all the time.

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TheBurningOfSodom
Metal newbie

Joined: Sat Jun 27, 2015 9:28 am
Posts: 223
Location: Italy
PostPosted: Tue Aug 03, 2021 5:05 pm 
 

My bad, I read your location and went along with it. But yeah, it will be a less long road, but still long :lol:
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C3n0t5
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Joined: Tue Jul 20, 2021 8:26 am
Posts: 1
Location: Canada
PostPosted: Tue Aug 10, 2021 8:20 am 
 

Hi there,

Any advice/input for my review?

Saidan presents us the first full length, "Jigoku: Spiraling Chasms of the Blackest Hell". It's to be noted since the first demo, Saidan has gained Shadosai, an exceptional drummer, really adding to the overall work of this band.

This album maintains a similar feel to the previous releases, but also one up's them all. The theme for this album, deals with "Tominos Hell", a poem in japanese folklore, that supposedly will curse and kill those who read it. While I dare not to curse myself by reading the actual poem, I do enjoy the japanese horror influence, along with Saidan's musical influences of J-Rock (think anime opening themes), punk, and emo . . all combined into a form of black metal I have yet to hear elsewhere.

With the addition of Shadosai, I truly feel like this is one of the greatest releases from Saidan. Not to say the drumming from the demo wasn't good, it does seem like they were quite lackluster, compared to this. The heavy use of alternating the open hi-hats, to the ride cymbal is quite enjoyable, and even though it's something used a lot in black metal, it really works with Saidans riffs, and even presents us with guitar solos (again, something not so common in black metal).

You can really feel the pain and emotion throughout this record, the riffs combined with the drum work, the shrills, and overall song structure are absolutely incredible. As for the lyrical content, they are quite good too. This is not your traditional black metal by ANY means, however . . It is quite refreshing to hear something new for once. It may not be "trve kvlt" to you, but Saidan has DEFINITELY created something new, and molded it into their own direction, without a doubt.

My personal favorites on this album are ; Shes Burred Under The Cherry Blossoms, Your Fading Spirit, Kanashimi, and Shrine Of The Black Sword

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gasmask_colostomy
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Joined: Thu May 27, 2010 5:38 am
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Location: Behind the wall of fire v.2
PostPosted: Wed Aug 11, 2021 9:04 am 
 

Masterschiief wrote:
Hey all! I wrote my first review for the site today, but it got rejected for formatting. I read over it again and changed one or two paragraph lines, but I'm unsure how to proceed as it didn't feel like a big change. I have proofread it many times and utilized an online spell checker tool. I would love it if someone gave me some pointers on what to improve. Thanks in advance!

Sorry, hope you're still around after a long wait! The review isn't too bad, but it may not totally be formatting that's holding it back.

One big problem that I faced was that you keep mentioning "the genre", but it isn't until the 5th paragraph that I learn it's death metal, and then in the 6th you hint (not that clearly) that it's actually melodic death. For a review that makes a big point of talking about genre conventions, please tell the reader which genre you mean!

Another point that I'd like to see is better comparisons. You don't really need to talk about each instrument individually at the start of the review, and indeed it seems odd to begin by talking about the mixing, rather than the overall style or the band's unique features. The second half of your review focuses much better on how the album really sounds and adds more specific details too, which would improve the writing generally. Otherwise, this could be any album "in the genre".

Finally, there are some points of formatting that can be improved. In the first sentence, write "Akrea's first album" to show it belongs to them: the same for the musicians in the 4th paragraph. It would be easier to tell names, song titles, album titles, and band names apart if you used some kind of formatting: for me, I would say, "the intro 'Aufbruch' opens Lebenslinie by Akrea." I've seen a couple of minor grammar mistakes, but nothing serious, mostly just singular/plural confusion.


AJManiac666 wrote:
Need help for my Accept Review

Most of the major points were covered by TheBurningOfSodom, but generally speaking I'd suggest to stop writing like you talk. These reviews aren't formal, but at least they need to have proper punctuation and tone. I'd also recommend you read some other reviews while you figure out how to make yours work.


C3n0t5 wrote:
Hi there,

Any advice/input for my Saidan review?

First suggestion would be that your review currently feels quite abrupt. You make points very suddenly without linking much from one to the next. As a result, it's pretty short too. You can improve this by talking about the things you imply in your writing. For example, you write, "This album maintains a similar feel to the previous releases, but also one up's one-ups them all." This is where I expect a sentence or two telling what the last releases sounded like, but instead you move to the theme. Also, you mention the new drummer in the first paragraph and then return to the topic in the third paragraph. It would be better to link these parts with the same topic rather than separating them.

If you sort out the structure and add detail where necessary, you would therefore have a decent review. Try to explain each major point you mention, which for me would include: bands that are influences on Saidan (not just broad genres), why there is pain and emotion and how Saidan communicate that, what specifically makes this a new sound. Finally, avoid listing your favourite songs at the end, but instead use them as examples of more detailed points during the main review.
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ChildClownOutlet
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Joined: Fri Dec 16, 2011 4:52 pm
Posts: 1212
Location: United States
PostPosted: Thu Sep 02, 2021 11:02 am 
 

So I got my vader review rejected, for the EP Thy Messenger, I guess maybe I need to be a little bit more descriptive?

If it ain't broke, don't fix it. Vader is keeping up the tradition of releasing EP's that are absolutely incredible with "Thy Messenger." I mean, what more can you say? It's "The Art of War" part two; crushing, hammering, and catchy as fuck Death Metal all packed in a neat little box

5 songs that total for a combined 13 minutes, so don't expect anything complicated. This is a straight up riff fest. The single from the album "Grand Deceiver" is crushing. Peter's vocals have aged like fine wine. His decipherable growls and screams(he's been using the screams for quite some time compared to the older work such as De Profundis or Litany) are still going strong. I honestly think his vocal work is some of the best in Death Metal due to the sheer difference it is compared to other vocalists. The reworked version of "Litany" from the self titled album is more aggressive than its predecessor. "Emptiness" is the standout track and one of my favorite Vader songs period. There's no introduction, no drum fill; it rips and tears from the start with a catchy solo and turns into a headbanging steady rhythm that should be a live staple. It gives off that 80's heavy metal feeling albeit with a much darker tone.

There really isn't much to say. James Stewart is a worthy replacement for Doc and his drumming is pounding and calculated. The cover for Judas Priest's "Steeler" is a fun romp of a song and in all honesty just a better song compared to the original. Vader really doesn't need to change. Everyone knows what to expect. Killer death metal from the Polish greats.
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TheBurningOfSodom
Metal newbie

Joined: Sat Jun 27, 2015 9:28 am
Posts: 223
Location: Italy
PostPosted: Sat Sep 04, 2021 5:40 am 
 

I guess it's partly true, but for such a short release, short and track-by-track reviews are usually more tolerated - look at Ezra's review already present for a good example of a concise writing.

I'd say, apart from some details (fix some punctuation like the dot missing at the end of the first paragraph, or no space before the parenthesis in the second; "death metal" should not be capitalized; "...the sheer difference it is..." etc.), you can probably expand and/or mix some sentences a bit further instead of having them read like a full-on track-by-track list separated by dots, as it is now. Other than that, I really don't see much wrong here.
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gasmask_colostomy
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Joined: Thu May 27, 2010 5:38 am
Posts: 1234
Location: Behind the wall of fire v.2
PostPosted: Sat Sep 04, 2021 6:38 am 
 

ChildClownOutlet wrote:
So I got my vader review rejected, for the EP Thy Messenger, I guess maybe I need to be a little bit more descriptive?

To add to what BoS said, you also need to make the description more specific. As someone who doesn't know Vader very well, this doesn't help me know much more about how Vader sound.
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Masterschiief
Mallcore Kid

Joined: Thu Jun 17, 2021 5:15 am
Posts: 4
Location: Germany
PostPosted: Mon Oct 04, 2021 7:05 pm 
 

gasmask_colostomy wrote:
Masterschiief wrote:
Hey all! I wrote my first review for the site today, but it got rejected for formatting. I read over it again and changed one or two paragraph lines, but I'm unsure how to proceed as it didn't feel like a big change. I have proofread it many times and utilized an online spell checker tool. I would love it if someone gave me some pointers on what to improve. Thanks in advance!

Sorry, hope you're still around after a long wait! The review isn't too bad, but it may not totally be formatting that's holding it back.

One big problem that I faced was that you keep mentioning "the genre", but it isn't until the 5th paragraph that I learn it's death metal, and then in the 6th you hint (not that clearly) that it's actually melodic death. For a review that makes a big point of talking about genre conventions, please tell the reader which genre you mean!

(...more helpful review talk...)


Thank you! I will consider the reason for rejection to be less of a formatting and more of a formulation/cringy reading problem. I will rewrite it at some point in the future. I am very grateful for your time.

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Demon Fang
Metal newbie

Joined: Tue Mar 12, 2019 9:42 am
Posts: 240
PostPosted: Wed Oct 20, 2021 1:38 am 
 

Having a bit of trouble coming up with a conclusion beyond the concluding remarks here, so I'm just wondering if this is on the up and up:

---
The moment you hear that opening riff in “Holy Wars… The Punishment Due”, you know exactly what you’re in for. In short, Rust in Peace is a veritable assault of razor-sharp cyclonic riffing, soloing and just general shredding courtesy of the Dave Mustaine/Marty Friedman tag-team. A legendary tag-team that soar higher than a hippy commune with the kind of guitar acrobatics that are still unmatched to this day. “Hangar 18” sees them trading blows with all kinds of insane soloing and leadwork, while “Rust in Peace… Polaris” busts out the hard-hitting riffs amidst a bopping composition. Of course, there’s the zero bullshit thrasher, “Take No Prisoners” that positively takes no shit with its mad thrashing riffs. “Tornado of Souls” is more like a tornado of riffs while “Poison was the Cure” is nothing short of speed metal insanity – and then there’s “Lucretia” contrasting that finely with a crunchier, more mid-paced riffset that’s just so goddamn catchy, it ought to be illegal. There’s just so much going on with just the riffs alone, that it becomes positively captivating just seeing where this Cirque de Soleil act will go next.

But there is more to Rust in Peace than that. Part of it is old mate Nick Menza’s percussion, particularly with the thumping beginning of “Rust in Peace”. But even just throughout the album, he has this consistently upbeat, energetic thing going on – which is true of most metal drummers, but to match the aforementioned guitar work and pump it up like that is definitely impressive. Another part is through Dave Ellefson’s bass galloping throughout. That frenzied picking in “Take No Prisoners”, the more downtrodden riff at the beginning of “Five Magics” and that ominous riff expertly kicking off the insanity that is “Poison was the Cure” definitely spring to mind in terms of adding that extra bit of spice to the album.

Not that any of that would matter, if not for the final thing – how it is all arranged. I mentioned “Lucretia” having a crunchier and catchier riffset, and it’s mainly through how they all come together to create this eminently memorable composition. But this applies across every song. Every single riff slots together ever so nicely to create a heavily melodic soundscape, creating these smooth grooves amidst highly technical riffing, all juxtaposed by a theatrical onslaught of solos. There’s just a certain magic to Rust in Peace to where everything comes together ever so tightly. Going from the opening number’s defiance of conventional time signatures, to the groovier thrash riff and duelling solo motif present in “Hangar 18”, to the moodier soundscape of “Five Magics”, to the one-two punch of “Take No Prisoners” and “Poison was the Cure”, to the infectious riff machines that are “Tornado of Souls” and “Rust in Peace”. Hell, “Dawn Patrol” – the fucking <i>interlude</i> song – is an absolute treat with Ellefson’s bass leading into a smooth bridge between “Tornado of Souls” and “Rust in Peace”! One could maybe argue that “Five Magics” and “Poison was the Cure” both take like ten years to get started, but the former retains a darker mood in its more down-tempo riffing and the latter’s simply easing you into the speed metal mayhem. From a compositional standpoint, everything comes together ever so fluidly, and with the variety on offer, each song makes a strong impact in all sorts of different ways.

This is still thrash metal at its core – amidst the showmanship and overall techniques at display, there’s still that marriage of hardcore punk and the NWOBHM in the average riffs being played and how the songs are put together at the basic level. But by 1990, straight up thrash metal felt played out and everybody wanted to play music that was either heavier or more technical – and then there’s the matter of And Justice for All the year prior just showing how high this formula could soar with a bigger, more progressive composition. Megadeth took this to mean that they should double down on what worked on Peace Sells and do And Justice for All in their own way, which has resulted in Rust in Peace being upon the higher echelon of metal albums ever made.

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WR95
Metal newbie

Joined: Mon Feb 27, 2012 5:00 pm
Posts: 38
Location: Paraguay
PostPosted: Wed Oct 20, 2021 3:12 am 
 

I remember when I had problems with my Engrish 5 years ago. I still have it currently, but I hope I can help this time. There are things that can be simplified. You may use quotation marks in tracks when you're going to talk in depth, but if you gonna mention them later you don't need to use it again. This is your review fixed my way (I may have errors).

When you hear that opening riff in “Holy Wars… The Punishment Due”, you exactly know what you’re in for. In short, Rust in Peace is a veritable assault of razor-sharp cyclonic riffing, soloing and just general shredding courtesy of Mustaine/Friedman tag-team, a legendary one that soar higher than a hippy commune with the kind of acrobatic guitars still unmatched to this day. “Hangar 18” trades blows with all kinds of insane soloing and leadwork, while “Rust in Peace… Polaris” busts out the hard-hitting riffs amidst a bopping composition. Of course, there’s the zero bullshit thrasher, “Take No Prisoners” that positively takes no shit with its mad thrashing riffs. “Tornado of Souls” is more like a tornado of riffs while “Poison was the Cure” is nothing short of speed metal insanity, and then “Lucretia” contrastes it finely with a crunchier, more mid-paced riffset that is so goddamn catchy, it ought to be illegal as there’s so much going on with the riffs alone as it becomes positively captivating until seeing where this Cirque de Soleil act will go next.

But there is more to show on Rust in Peace than that. Part of it is old mate Nick Menza’s percussion, particularly the thumping beginning in “Rust in Peace”. Even throughout the album, he has this consistently upbeat, energetic thing going on –something true of most metal drummers– but to match the aforementioned guitar work and pump it up like that is impressive definitely. Another part is through Dave Ellefson’s bass galloping throughout, like the frenzied picking in “Take No Prisoners”, the more downtrodden riff at the beginning of “Five Magics” and that ominous riff kicking off the insanity in “Poison was the Cure” in an expert way. All of them definitely spring to mind in terms of adding that extra bit of spice to the album.

Any of that would matter, if not for a final thing: how it's all arranged. I said “Lucretia” has a crunchier and catchier riffset, and the band actually manage to create this eminently memorable composition. But this statement applies across every song. Every single riff slots together so nicely in order to create a heavily melodic soundscape, as well as creating these smooth grooves amidst a highly technical riffing, all them juxtaposed by a theatrical onslaught of solos. There’s a certain magic on this album where everything comes together so tightly. Going through the opening number’s defiance of conventional time signatures, to the groovier thrash riff and dueling solo motif presented in “Hangar 18”, to the moodier soundscape of “Five Magics”, to the one-two punch of “Take No Prisoners” and “Poison was the Cure”, and the infectious riff machines in cuts like “Tornado of Souls” and “Rust in Peace”. Hell, “Dawn Patrol” –the fucking interlude song– is an absolute treat with Ellefson’s bass leading into a smooth bridge between Tornado of Souls and Rust in Peace! One may argue that both “Five Magics” and “Poison was the Cure” take about ten years to get started, but the first retains a darker mood in its more down-tempo riffing while the second simply eases you into the speed metal mayhem. From a compositional standpoint, everything comes together fluidly as each song makes a strong impact in all sorts of ways for the varied offer we find on here.

This is still thrash metal at its core: amidst the showmanship and overall techniques at display, there’s still that marriage of hardcore punk and NWOBHM in the average riffs being played and how the songs are put together at the basic level. But by 1990, straight-up thrash metal felt played out and everybody wanted to play music, be it heavier, be it more technical, as we saw in And Justice for All that proves how high this formula could soar with a bigger, more progressive composition. Megadeth took this to mean that they should double down on what worked on Peace Sells, so they got down to work to create And Justice for All in their own way and as a result, being Rust in Peace upon the higher echelon of metal albums ever made.

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gasmask_colostomy
Metalhead

Joined: Thu May 27, 2010 5:38 am
Posts: 1234
Location: Behind the wall of fire v.2
PostPosted: Wed Oct 20, 2021 3:34 am 
 

Demon Fang wrote:
Having a bit of trouble coming up with a conclusion beyond the concluding remarks here, so I'm just wondering if this is on the up and up:

Spoiler: show
---
The moment you hear that opening riff in “Holy Wars… The Punishment Due”, you know exactly what you’re in for. In short, Rust in Peace is a veritable assault of razor-sharp cyclonic riffing, soloing and just general shredding courtesy of the Dave Mustaine/Marty Friedman tag-team. A legendary tag-team that soar higher than a hippy commune with the kind of guitar acrobatics that are still unmatched to this day. “Hangar 18” sees them trading blows with all kinds of insane soloing and leadwork, while “Rust in Peace… Polaris” busts out the hard-hitting riffs amidst a bopping composition. Of course, there’s the zero bullshit thrasher, “Take No Prisoners” that positively takes no shit with its mad thrashing riffs. “Tornado of Souls” is more like a tornado of riffs while “Poison was the Cure” is nothing short of speed metal insanity – and then there’s “Lucretia” contrasting that finely with a crunchier, more mid-paced riffset that’s just so goddamn catchy, it ought to be illegal. There’s just so much going on with just the riffs alone, that it becomes positively captivating just seeing where this Cirque de Soleil act will go next.

But there is more to Rust in Peace than that. Part of it is old mate Nick Menza’s percussion, particularly with the thumping beginning of “Rust in Peace”. But even just throughout the album, he has this consistently upbeat, energetic thing going on – which is true of most metal drummers, but to match the aforementioned guitar work and pump it up like that is definitely impressive. Another part is through Dave Ellefson’s bass galloping throughout. That frenzied picking in “Take No Prisoners”, the more downtrodden riff at the beginning of “Five Magics” and that ominous riff expertly kicking off the insanity that is “Poison was the Cure” definitely spring to mind in terms of adding that extra bit of spice to the album.

Not that any of that would matter, if not for the final thing – how it is all arranged. I mentioned “Lucretia” having a crunchier and catchier riffset, and it’s mainly through how they all come together to create this eminently memorable composition. But this applies across every song. Every single riff slots together ever so nicely to create a heavily melodic soundscape, creating these smooth grooves amidst highly technical riffing, all juxtaposed by a theatrical onslaught of solos. There’s just a certain magic to Rust in Peace to where everything comes together ever so tightly. Going from the opening number’s defiance of conventional time signatures, to the groovier thrash riff and duelling solo motif present in “Hangar 18”, to the moodier soundscape of “Five Magics”, to the one-two punch of “Take No Prisoners” and “Poison was the Cure”, to the infectious riff machines that are “Tornado of Souls” and “Rust in Peace”. Hell, “Dawn Patrol” – the fucking <i>interlude</i> song – is an absolute treat with Ellefson’s bass leading into a smooth bridge between “Tornado of Souls” and “Rust in Peace”! One could maybe argue that “Five Magics” and “Poison was the Cure” both take like ten years to get started, but the former retains a darker mood in its more down-tempo riffing and the latter’s simply easing you into the speed metal mayhem. From a compositional standpoint, everything comes together ever so fluidly, and with the variety on offer, each song makes a strong impact in all sorts of different ways.

This is still thrash metal at its core – amidst the showmanship and overall techniques at display, there’s still that marriage of hardcore punk and the NWOBHM in the average riffs being played and how the songs are put together at the basic level. But by 1990, straight up thrash metal felt played out and everybody wanted to play music that was either heavier or more technical – and then there’s the matter of And Justice for All the year prior just showing how high this formula could soar with a bigger, more progressive composition. Megadeth took this to mean that they should double down on what worked on Peace Sells and do And Justice for All in their own way, which has resulted in Rust in Peace being upon the higher echelon of metal albums ever made.

Yeah, it looks mostly finished and not much to edit either. In terms of closing remarks, it's begging for a sentence that states exactly what the album is, rather than still comparing to Megadeth's and Metallica's other works. A short sentence with personal content would be very suitable.

Tiny things to fix at the end: "in the highest echelon", and wasn't ...And Justice for All a 1988 release, making it 2 years earlier?

WR95 wrote:
I remember when I had problems with my Engrish 5 years ago. I still have it currently, but I hope I can help this time. There are things that can be simplified. You may use quotation marks in tracks when you're going to talk in depth, but if you gonna mention them later you don't need to use it again. This is your review fixed my way (I may have errors).

Dude, it's nice to know you've improved, but I don't think our friend Demon Fang wanted that kind of help. There's more errors in your version than his :-P
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TheBurningOfSodom
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Joined: Sat Jun 27, 2015 9:28 am
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PostPosted: Wed Oct 20, 2021 6:43 am 
 

gasmask_colostomy wrote:
...but I don't think our friend Demon Fang wanted that kind of help

Lol yeah, didn't expect to see DF's name here, but I guess even the best have some writer's block sometimes :lol:
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Demon Fang
Metal newbie

Joined: Tue Mar 12, 2019 9:42 am
Posts: 240
PostPosted: Thu Oct 21, 2021 2:06 am 
 

Yo, thanks for the suggestions, everyone! Got it sorted and in the queue. Good catch Gasmask - I originally had down a bunch of albums from 1989 alongside AJFA, and just went with it. TheBurningOfSodom, haha yeah it be like that sometimes.

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thePowermetalLynx
Metal newbie

Joined: Thu Mar 19, 2020 7:57 am
Posts: 57
Location: Taragon
PostPosted: Fri Nov 05, 2021 11:17 am 
 

This is a review I’d written for “Marius Danielsen’s Legend of Valley Doom Pt.3”. I should like some suggestions to perfect it before submitting.
I’m new to reviewing so attack me all you like. And do tell me if I’m saying too little about the music content. English is not my mother tongue yet I do not really feel natural talking about metal in Chinese, so now I’m just set on building my vocabulary and trying to put what I hear and feel into words

—————————————————————————————————————————————————————————————
The Danielsen’s done it again! With the release of part three of his Valley Doom Trilogy, Marius Danielsen & Co. surely just presented us with another timeless gem that would shine forevermore in the treasure chest that is power metal. Forgive my weird metaphor, but hell, this is an album after my power metal heart.

None of that modern, syth-driven, keyboard-based power metal sound bands like Beast in Black are trying to feed us these days. Having thrown off the Manowar influence he had for his first two albums,this is more in the line of old school power metal with bright speedy guitar, steadfast drums and bass, and an underlying orchestra to add to the tinge of epicness. Besides, Marius sure writes some dynamic and catchy chorus. Tell me your don’t want to sing along “For our king and for our land we will die with sword in hand”, you probably need a hearing check . Solos in songs like <i> Journey to the North</i> and <i>Battle for Eloroth</i> are impressive as well.

I did say this was the part three of the trilogy, did I? In this album our heroes set out to collect the “seven Ancient Artefacts”,as song title would suggest, to defeat the Dark Lord, returning peace to ''the Valley of Doom ''. So here you get the typical storyline for this kind of concept album, slightly LotR influenced. But the way Marius structured the whole thing made it far more enjoyable. Take <i> The Sarlinian Bow</i> for example. Musically speaking not the strongest, but the operatic cooperation between the vocals is by far the best on the album. You have to hear the Warrior King announcing himself ''feared and loved by many '' only to be refused by the Tree of Life because '' Your heart is cold, your soul is too '' and Lariana granted the Bow instead for stopping the Warrior King cutting the tree down to really feel the drama. Also, yes, you’re hearing the chorus of <i> The Battle of Bargor-Zun </i> in the grand finale of <i> For Our King and for Our Land </i>. Sort of invokes memories and makes one emotional.

In fact, Marius's choice of words and the way he conveys the mood has improved considerably. Be it the chilling and melancholic '' arriving at his island, we're met with a gruesome sight '' (<i> The Ballad of Arnoth the Wild </i>), or the proud and glorious “United for this final battle, dwarves and elves and men”(<i> For Our King and for Our Land </i>), I can always feel my mood shifting as certain phrases caught my ears.

But most of my credits for this album definitely went to the vocals. Marius do have the knack of inviting some of my favorite vocalists in the genre to the party and form arrangements that blend them into an organic whole yet also enhancing some of their individuality. Elisa really took me back to her Dark Moor days with powerfully delivered vocals on <i> Journey to the North</i>. Herbie's slightly nasally and rough voice builds up the tension perfectly in <i> Deep in the Mountain</i>. And Daniel Herman. Daniel’ s high notes have impressed me since Lost Horizon and his work in <i>Stars Will Light the Way</i> is still as phenomenal as ever. I do feel surprised with Ralph Sheepers here. Since his voice is more Rob Hanford influenced, I hadn’t expected him to harmonize so well with this sort of cheesy EUPM sound.

Anyways, if you’re a power metal fan that has been enjoying the genre since the 90s and dig the sound of Rhapsody, early <i>Theater of Salvation </i> era Edguy, Freedom Call and all those old school masters, this is definitely a remarkable album you wouldn’t afford to miss.

<i>Highlights:
Journey to the North
The Sarlinian Bow
Deep in the Mountain
Stars Will Light the Way
For Our King and for Our Land </i>
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TheBurningOfSodom
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Joined: Sat Jun 27, 2015 9:28 am
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PostPosted: Sat Nov 06, 2021 1:31 pm 
 

The review is a bit on the short side but it's not necessarily a bad thing, I'd say there's surely enough musical description to be safe. Good job on that and also for the attention to the lyrics, some excerpts can make a nice addition to a review imo. I'd say you've touched upon everything except maybe the production or some more emphasis on the guitars, but I assume it's definitely a vocal-centered album (don't know the band) so it's probably fine as it is.

As for the language, the sentencing is also not bad, you just make some avoidable slips regarding syntax:

- another timeless gem that will shine forevermore...
- this is an album after my power metal heart(?)
- Tell me you don’t want to sing along
- Marius does have (or just has) the knack of inviting some of my favorite vocalists in the genre to the party and forming arrangements that blend them (maybe better their voices? Sounds bad lol) into an organic whole[,] yet also enhance some of their individualities.

Besides, some sentences would benefit from a verb, or some more words:

- Rest assured that this is none of that modern, synth-driven, keyboard-based power metal sound bands like Beast in Black are trying to feed us these days.
- Take The Sarlinian Bow for example. Musically speaking it's not the strongest, but the operatic cooperation between the vocals is by far the best on the album.

Some other stuff I think could be better:

- Marius has (finally?) discarded the obvious Manowar influence he had for his first two albums, as this is more in the line of old school power metal...
- You just have to feel the drama when the Warrior King announces himself as ''feared and loved by many'', only to be refused by the Tree of Life because ''Your heart is cold, your soul is too'', and Lariana granted the Bow instead of stopping the King cutting the tree down (I just don't understand the lore so I don't know what to make of this part lol).

Final note: take your time to double-check people's names - Rob Halford, Ralf Scheepers, Daniel Heiman and so forth. Also, you mention Herbie Langhans and Elisa Martin only once but still omit their surnames, might want to correct that too (and in case you need to mention them again, it's usually best to use only the surname instead of only their first name, but maybe that's just me).

Good luck for the approval!
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Last edited by TheBurningOfSodom on Sun Nov 07, 2021 2:38 pm, edited 1 time in total.
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thePowermetalLynx
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Joined: Thu Mar 19, 2020 7:57 am
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PostPosted: Sun Nov 07, 2021 4:07 am 
 

Thanks :) I have autocorrect to blame for names xD... I’ll double check them next time

I just feel really lost when it comes to describing the instruments... I’ve no serious music education so I can’t break them down and talk about them in a professional way. Generally I just rely on my feelings for certain parts that I really like because of a unique melody or a hard banging riff or something... so actually I was afraid my description were a bit empty and vague
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TheBurningOfSodom
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Joined: Sat Jun 27, 2015 9:28 am
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PostPosted: Sun Nov 07, 2021 2:52 pm 
 

For the review in question, I'd say (again) you're covered, but I can understand that, I know exactly zero about music from a 'technical' point of view and the most advanced things I usually speak about are tremolo and double bass :lol: yet it isn't necessarily a limitation, methinks. You can tell when a reviewer speaks from the point of view of an instrumentalist and he can add something useful in that regard, still, my favourite writers are those who can make me understand how an album sounds like without indulging in which techniques the bassist is using in the 7th song. It can be interesting to read for sure, but I'd say that all of us 'uneducated' folks tend to prefer those who speak their tongue.

In your case, that's surely something you can work on, but that will come with time (and like I always said, by reading a lot of reviews by others, to get ideas). Some comparisons to other bands are welcomed in this regard, and you thought about those as well, so it's definitely a good starting point.

In any case, feel free to ask again here for doubts if needed :wink:
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thePowermetalLynx
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PostPosted: Mon Nov 08, 2021 8:49 am 
 

Well that’s true. What I’m trying to do now is keep a quick note on what I’d heard or felt when I listen to the older and more classic albums and then read what others had written on them and see if they’d cover some points that I’d missed or describe things better than I did. I hope that would help. And I tread carefully not to fall into plagiarism :)
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LuckyLuke
Mallcore Kid

Joined: Mon Feb 08, 2021 2:01 am
Posts: 2
Location: Austria
PostPosted: Sun Nov 21, 2021 2:40 pm 
 

I decided to give review writing another shot, but I'm not completely happy with my work so far. So if anyone has some general advice or feedback, I'd be very grateful.

My MA-Page with all my reviews:
https://www.metal-archives.com/users/LuckyLuke

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KrigareTjovane
Metalhead

Joined: Mon Mar 18, 2013 2:06 am
Posts: 450
Location: United States
PostPosted: Tue Nov 30, 2021 10:22 pm 
 

Hi I just started writing reviews for the first time in 10+ years and I really have no idea how well I'm doing lol. Both reviews I wrote for the review challenge were accepted, my first one getting 5 points and my second one getting 3. I'm not hung up on the points or anything, that's all whatever, and I do concede that my second review had less effort put into it. It's shorter, and looking at it now, it ends pretty abruptly.

But, I'm sure there are more issues than effort, length, and ending, and it'd be great if some more experienced reviewers could maybe take a gander and explain how I could write these better, as that's all I really want to do; improve. I feel like I'm an okay writer in a lot of ways, especially aside from reviews, but I am not where I want to be as a writer at this point in my life. I've been writing all kinds of things consistently for the last decade and improvement never seems to come quickly enough.

Second review:
https://www.metal-archives.com/reviews/ ... ane/311390

First review for comparison:
https://www.metal-archives.com/reviews/ ... ane/311390

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TheBurningOfSodom
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PostPosted: Thu Dec 02, 2021 11:32 am 
 

Here are my two cents for both of you, hope to be of any help:

KrigareTjovane - I remember having read your Num Skull review when it came out, and I found it actually spot-on, with the occasional humour moment. It isn't exactly the most elaborate writing I've seen, but it does a good job at describing the music, and its conciseness works in its favour as it never feels like it's dragging or losing rhythm, which is usually a huge plus in my book. It isn't an overly complex release, so it doesn't have to be essay-long in my opinion. The other album was undoubtedly more difficult to analyze, judging from what you've written, and it definitely gives the impression you don't know the band as well as NS - okay, arguably they don't have that much of a backstory given that it's their only release lol. But you could surely delve on the members' other projects and experiences, which are a lot, hoping they'll also give you some ideas for musical comparisons (for example, one of the members is in Agoraphobic Nosebleed, and some points you've made regarding China Girl can apply to them as well, especially the unreal drum machine). Of course, if you can't think of similar albums/bands, writing more becomes harder and you'll have to make up for it by spending more words than usual on the musical description (which is fine nonetheless).

LuckyLuke - I think some of your reviews feel a bit off, but I'm not having the easiest time pinpointing the exact issue. Part of this maybe is a limited vocabulary - you repeat some words way too often. I reckon it's a musical album we're talking about, but your Ensiferum review contains the word 'songs' 15 times whereas a synonym (i.e. 'tracks', 'compositions') or a similar word (e.g. 'work', 'material') would work better, but even reformulating the entire paragraph to avoid mentioning the same words too much isn't a bad thing to do. On your Dragony review, you namedrop the band 14 times, 'symphonic' is repeated 7 times in a very short frame in the Ad Infinitum one (and at some point you can just refer to a general 'genre', as you've made already clear which one they play), and ditto goes for the 8 'album's in the Diamond Falcon writing (where you could just write the album title at least once). Note that I don't have any superpowers, I just felt some words were simply too frequent while reading lol. I'm sure training yourself to find other ways to say the same thing is a good enough exercise. Of course, all of these were your first reviews and you've improved that detail later, only thought it was worth mentioning. Otherwise, a shorter paragraph every now and then is obviously fine, but you probably make just a bit too many of them, you may want to unite some into one (ex. the three short ones in the middle of your latest), so as to avoid any 'fragmented'-like effect. Lastly, while most of us are far from professional writers... maybe smilies are too informal in a review. Just a thought :-P
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gasmask_colostomy
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PostPosted: Fri Dec 03, 2021 6:20 am 
 

Brief thoughts to add to the above:

LuckyLuke - I’ve only read your recent Serenity review. That one is too long and quite messy. You talk lots and lots about different aspects of the album, but I don’t end up with the clearest understanding of the music. Features like the cover art aren’t really that important but you spend quite long talking about those. The important thing is the music, and Burning Of Sodom is right that you need more vocabulary to describe that. I’m especially confused when you use the word “hymns” several times to describe a particular kind of song. Do you mean “anthem”, with a big chorus? Hymns are for church. Beyond that, the structure needs work. A little introduction is fine, but generally the most important points should be written first. You consider the lyrics important, which is fine, but why not discuss them when you introduce the theme of the album? Put similar points together and your structure will start to improve. It will take a while, but you’ll get better.

KrigareTjovane - You’re right, the shorter review isn’t as good. Currently it’s a summary that needs a couple of detailed examples to make it clearer and more useful. You are good at concise writing but remember that sometimes the general image can be seen most clearly in microcosm.
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KrigareTjovane
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PostPosted: Sun Dec 05, 2021 10:36 pm 
 

Thank you both TheBurningOfSodom and gasmask_colostomy for the valuable responses and kind words!

TheBurningOfSodom wrote:
But you could surely delve on the members' other projects and experiences, which are a lot, hoping they'll also give you some ideas for musical comparisons (for example, one of the members is in Agoraphobic Nosebleed, and some points you've made regarding China Girl can apply to them as well, especially the unreal drum machine). Of course, if you can't think of similar albums/bands, writing more becomes harder and you'll have to make up for it by spending more words than usual on the musical description (which is fine nonetheless).

The way I've been conditioned to write is to use as few comparisons to other bands as possible. In fact the first draft of my Num Skull review had 4 or 5 bands mentioned but as I found myself filling out the music's description, I began removing them one by one as they began to feel out of place and muddied up the flow.

Obviously with Agoraphobic Nosebleed (and with any musician's other work) it's a different story and comparisons would've been very appropriate. That said, I've never heard an Agoraphobic Nosebleed song in my life so I lack the knowledge to say anything of depth, but yeah I get why it'd be helpful to work that stuff in. Even just a cursory glance at that band would've given me some useful perspective and could've potentially helped inform and solidify my opinion.

gasmask_colostomy wrote:
You’re right, the shorter review isn’t as good. Currently it’s a summary that needs a couple of detailed examples to make it clearer and more useful. You are good at concise writing but remember that sometimes the general image can be seen most clearly in microcosm.

I think I've been looking at reviewing from a bit of a narrow perspective; reviews really should contain more than just musical description. Background information is more important than I thought at painting a fuller picture so I will keep that in mind moving forward.

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TheBurningOfSodom
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PostPosted: Mon Dec 06, 2021 8:24 am 
 

KrigareTjovane wrote:
The way I've been conditioned to write is to use as few comparisons to other bands as possible.

It's an interesting position since I think I'm sometimes overrelying on them, so I find myself at the other end of the spectrum :lol: but yeah, as all things, in medio stat virtus. After all, you just can't get stressed out trying to trace back every band to another everybody knows, so some moderate tips are definitely the way to go, as you already rightly pointed.
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