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Haven - Straight From The Cutting Room Floor... 1993

$60.00

01. Run

02. Interview .1

03. The Battle

04. Interview .2

05. Light The Way

06. Interview .3

07. Band Talking At Practice

08. Holy War

09. Interview .4

10. Don't Throw Your Life Away

11. Interview .5

12. Find Your Place

13. Was Machen Wir Heute

14. Hodge Podge, Pt. 1 [Instrumental]

15. Hodge Podge, Pt. 2 [Instrumental]

16. He Died For You

17. Hidden Track ( Outro) [We're Done]


Line-up / Musicians

Michael Cineron / Bass

Carlos Cintron / Guitars

Kevin Ayers / Vocals, Guitars, Drums

Musicians

Kevin Ayers – All Lead and Backing Vocals, Drums (track 8), Guitars

Tim Benton – Drums

Andrew Bruner – Guitars

Edward Bruner – Bass Guitar

John Farrell – Guitars

Ed Phelan – Drums (tracks 12 and 13)


This disc is a compilation of 4-track demo tapes, practice tapes recorded direct from a boom box, with reference vocals put in at a later time and/or recorded during the actual live practice session. The sound quality on this dis is not of professional studio quality, yet still captures where Haven was at musically and artistically at the times they were recorded. This disc sounds best when listening through stereo headphones. Recorded in Tim's basement, at Kev's house and at the Haven house sometime between October 1988 and April 1993."


Haven surpass is with jazzy and extensive integration of vocals and bass to texture riffs, as well as flexible drumming to accent them. In Heathen these elements more often stay yoked to the guitar, as in the pantheon of traditional shred. Where they fall behind is with solos, which though certainly good fail to be fulcrums of the songs, and with their imperfect economy when it comes to getting the most out of a melody. Excellence in this last aspect is what makes Heathen sometimes brilliant, while Haven is merely sometimes good.

 

Since this album has a considerable stake invested in vocals some explanation is warranted. Compared to most thrash bands, they have a somewhat ambitious end: to harmonise the riffs and basslines at key points in interesting ways. This technique is fraught for a riff’s success, as bad choices, inappropriate timbre or simply singing off key (ever heard Mind’s Eye?) sound far worse than they would if the vocals just stuck to the root note. Haven pull it with varying degrees of success; its highlight is midway through “Divination”, when the rock beat inverts to jazz and a series of sustained high notes allow the stringed instruments to bounce off the vocal line and form a veritable spectrum of tones. The singer’s timbre and delivery are consistently decent, kind of like a less powerful or precise Asgeir Mickelson (Spiral Architect), though his vibrato and “whooing” can distract badly. Then there’s the Christian thing, which is pretty awful if your attention strays into the lyrics.

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