There are also loads of riot gang vocals and other types of backing/harmony vocals on the album. It´s very seldom he sings using his low register clean voice, which is otherwise a trademark on later releases by the band. The vocals by Peter Steele are raw and delivered with fierce conviction and caustic aggression. Stylistically the music on "Slow, Deep and Hard" is a combination of crushingly heavy doom metal riffs, feedback noises, industrial effects and repetition, atmospheric keyboards, hardcore punk sections, and a slight nod towards goth rock. "Slow, Deep and Hard" is in fact drenched in it. The black sarcasm which is also a trademark of the band´s sound was there from the get go though. Type O Negative is mostly known for their doomy, goth oriented, and melancholic sounding music, but the material on "Slow, Deep and Hard" is quite different from the material on their later releases. Type O Negative was formed in 1989 under the New Minority monicker, then changed their name to Repulsion, then to Sub Zero, and finally to Type O Negative. After crossover thrash metal act Carnivore disbanded in 1987, lead vocalist/bassist Peter Steele teamed up with keyboard player/producer Josh Silver, guitarist Kenny Hickey, and drummer Sal Abruscato to form Type O Negative. The album was released through Roadrunner Records in June 1991. Steele does, however, proffer just enough of his unique plasmaphilic sexual rumination - like the title track and “Blood & Fire” - to engender hope for a rosy (or is that gory?) future."Slow, Deep and Hard" is the debut full-length studio album by US doom/hardcore/goth metal act Type O Negative. Yes, “We Hate Everyone” jibes at the extreme left and far right, but the album is overrun with workaday sacrilege (like the three-part “Christian Woman”) that could have been gleaned from a copy of Crowley for Dummies. The quartet succumbs to its own worst inclinations on Bloody Kisses, an overblown, full-on goth record gravely (no pun intended) lacking in the band’s past over-the-top attitude. (Collector’s note: the original sleeve, which featured an up-close and personal shot of Steele’s anus, was later withdrawn and replaced with something less literally befitting the title.) Based on this, Brooklyn homeboy Andrew Dice Clay would likely enjoy the band’s company. Clearly skilled at the ins and outs of taming the savage metal crowd, Steele offers up an a cappella verse of “I’m in the Mood for Love” (yes, that one) before leading the band into a painstakingly enunciated, keyboard-tinged version of “Unsuccessfully Coping.” Unfortunately, he wastes a few minutes of space that could’ve been given over to post-Rickles banter on “Are You Afraid,” a witless pro-suicide anthem that only serves to call to mind the adage about heeding one’s own advice. Type O Negative’s “special” relationship with its audience manifests itself from the onset of the live Origin of the Feces, which fades in on a robust (and lengthy) crowd chant of “you suck,” accompanied by the crashes of multiple breaking bottles. In what passes not for humor but for highbrow art here, “The Misinterpretation of Silence and Its Disastrous Consequences” is sixty-four seconds of nothing. Steele saves most of his venom for such self-immolation sessions as “Prelude to Agony.” Steele’s deep bass croon (he actually is a more than adequate singer), combined with the solemn, bass-heavy dirginess of the “melodies,” often makes Type O Negative sound like an evil doppelgänger for fellow Sabbath-philes Joy Division. His oft-repeated lament - “I know you’re fuckin’ someone else” - is matched by his bandmates’ (who, not surprisingly, prefer to hide behind single initials here) interjections of “slut,” “whore” and equivalent insults. Slow, Deep and Hard is one of the most extreme metal albums of the decade, rife as it is with such drawn-out death-knells as “Unsuccessfully Coping With the Natural Beauty of Infidelity,” a funereal wail that finds Steele (who formerly fronted the thrash-metal outfit Carnivore) moaning in dismay about being spurned by the love of his life. “Whaddaya got?” Steele’s unilateral misanthropy has been mistaken for sexism, racism and simple-minded poppycock - but only the last interpretation holds any water at all. Bassist Peter Steele, frontman of this consummately nihilistic Brooklyn dirge-metal-cum-goth-rock quartet, lives by the rebel’s credo so eloquently expressed by Marlon Brando in The Wild One.
0 Comments
Leave a Reply. |