2007-02-17
Not long ago I reviewed Nitrolyt's 5-song demo
"J.A.A.R", and since have kept my eye on this German quintet – one reason being their humorist yet professional approach towards modern metal on "J.A.A.R" and the other being the simple fact they are from Leipzig, Germany (hometown of
Disillusion, among others). Nitrolyt were kind enough to release their expected album "Hollywood Death Scene" in late 2006, and already it received very positive responses, so here's another take on it.
This 7-track album is actually more like an EP, clocking at about 30 minutes (secluding the two live tracks) of a tentative form of metal, having a very modern approach to metal and rock; these guys try their best at combining progressive-metal complexity, thrash heaviness, alternative-rock/grunge overtones and just plain heavy metal to bang your head to, while avoiding the oh-so-dreaded "Nu-metal" tag. Opener "Sign Language" demonstrates this thesis well - beginning with a swelling
Godsmack/
Alice In Chains-like groove, going into odd-rhythm riffing in-between the different parts, having a melodic chorus (including some backing keyboards) and a textbook c-part, and overall having parts and structure very reminiscent to Disillusion's materials.
It's not by chance that Nitrolyt's music is close to Disillusion's - they've recorded in the same Salvation Recordings studio (a studio known for its array of different style/sounding bands, including
Dark Suns for example) but also because Nitrolyt seem to wish to create their own cocktail of genres. The problem starts when several bartenders add different ingredients to the same cocktail… some keyboard parts come off as superfluous, too much of
Dream Theater is put in songs such as the faster and seemingly thrashier "Soldiers" and to a larger extent in "Haunted" (verses and passages mostly), and vocalist Steve Wingard's vocals can come off as out-of-style in some parts, but let's not allow a few minor issues distance us from this album.
Nitrolyt make up for these faults with a load of exquisite riffing from guitarist Sebastian Hupfer, best displayed in the dramatic duet "The Suffering" or on the bizarre instrumental "Russian Roulette", but also have a very capable drummer (Georg Franz) and an equally capable bass-player (Peter Hoffmann). There's no doubt Nitrolyt have the ability to ride the wave of modern prog-metal, especially if they'll keep walking the path of the title track, but mostly since they have what it takes to succeed – talent and skill. And if you want to get a better view of them, just check out the added live tracks (for "Sign Language" and "J.A.A.S"), or better yet just go see them live.
What Nitrolyt now need, is more or less what any other independent band needs: signing with well-established label and getting some directions from a producer with some vision of which sounds will compliment their materials the most. Both are needed in order to extort their skill and talent into a worthy full-length album, utilizing their huge potential, and marking them not only among the "bands out of Leipzig" list but among the "good bands you don't care where they came from, they're just good!" list.
Ofer Vayner
