Maleficent “Demize”

Released 2009

Track List

1 New Deadly Tragedy

2 Demize

3 Soggoth’s Old Peculiar

4 Malice And Desire

5 Where The Wild Roses Grow

6 Bleeding Altar

7 Black Mass Destruction

(Band: Maleficent Martini: Vocals. Mortimer Cain: Vocals. Dr. Vincent M. Sickx: Guitars, Bass, Programming.

Peter Turner: Guitar. Stefano Mazzoli: Drums)

REVIEW: Splendidly conceptual theatrical nutters on stage, purveyors of a strange kind of hybrid industrio-metal on record - Maleficent are not your usual rock band, that's for sure. Given my extensive history of gravitating to bands who are, in one way or another, not usual, that's a large part of the reason why I like 'em, and I speak as one who normally runs a mile when anything resembling a metal band heaves into view over the rock 'n' roll horizon. On this, their debut release, Maleficent mash up the pound and pulse of industrial strength electronics with an implacable wall of guitar, and add a hefty dose of vocal histrionics courtesy of twin vocalists Martini, who gives it everything from operatic diva-isms to a mutant bayou-blues snarl, and Mortimer Cain, who takes care of the sepulchral growling end of things. 'Demize' is a freak-rock blast, built upon a powerhouse rumble of overdriven electronica, everything erupting into a monster chorus - it's as if someone plugged Queen Adreena into the mains and threw the high voltage switch. 'Malice And Desire' is a Bladerunner blues, scratchy electronics and threatening bass soundtracking an oblique war of the sexes lyric. 'Black Mass Destruction' is possibly the nearest thing here to a conventional metal song, but in true Maleficent style it doesn't get that near. A lyrical melodrama that sounds like something Marilyn Manson would dream about after too many cheese sandwiches, the song is a lurching, heavyweight, post-Sabbath grind, hauling itself along as if weighed down by the sheer mass of that rampaging guitar. The instrumental interludes 'Soggoth's Old Peculiar' (nope, I don't know what the title means, either: sounds like a beer to me) and 'Bleeding Altar' hint at an almost Foetus-esque take on industrial ambiences. As it happens, I'd like to hear what Maleficent would come up with if they went into a studio with JG Thirlwell at the production controls. The most accessible song here - and probably a low-stress way to get into a band which is not necessarily in the business of making things easy for the listener - is 'Where The Wild Roses Grow', in which Nick Cave's classic murder ballad is kitted out with big boots and attitude. Strange and scary, and good stuff too. BY Uncle Nemesis