The Metal Lab

Album Review: "Resolution" by Lamb of God

2012-01-22T22:45:00.000-05:00

Over the past decade, Lamb of God has become one of the most prolific American metal bands in the world. If not for the realities of time and a flagging music industry, Lamb of God would likely compete with the Big 4 in terms of popularity. Those two factors are the only things preventing the Virginia-based group from being included with the most famous bands in all of American metal. With six ground-breaking albums behind them (including one under their former name Burn the Priest), a remarkably stable line-up, and one of the most supportive fan bases in the world, Lamb of God is one of the only bands that manages to get bigger with each new release. Their newest album, Resolution, will definitely continue that trend, with even more destructive compositions for the listening pleasure of their fans.

Resolution is at once both a progressive album and a back-to-basics album for Lamb of God. Progression takes many forms on Resolution, but it's clear that Lamb of God wanted to try new things on this album. The pseudo-singing vocal style that D. Randall Blythe used on "Redneck" and "Set to Fail" from past albums re-appears on multiple songs this time around, most notably on the opening verse of "Insurrection" and the chorus of "The Number Six". Upon reading this, some might cry sellout, but upon listening to it, the adjusted style makes sense and works perfectly. Additionally, the group's compositional style takes a few interesting turns into rarely-explored and brand new territories. "Cheated" has the same old-school punk rock style of "Contractor" from 2009's Wrath, although its opening countdown will likely remind many listeners of the Pantera classic "Fuckin' Hostile" more. "Terminally Unique" opens with an incredible math metal section that utilizes the same style as prog veterans Between the Buried and Me. Closing track "King Me" adds an orchestral backing to an already-towering song, resulting in a phenomenal soundscape that is both breathtaking and unexpected. These developments are great signs for the future of Lamb of God.

At the same time, though, the return to the band's roots is welcome and enjoyable. Both "Guilty" and "Visitation" bear striking similarity to the overall style of 2003's As the Palaces Burn, only with better sound production. Much of the rest of the album is similar in style to either 2004's Ashes of the Wake or Wrath, with small sections reminiscent of 2006's Sacrament. "The Undertow" is one of the best songs that the band has ever recorded, and "Desolation" is an immediate reminder of why no band can duplicate Lamb of God's sound, especially their completely unique guitar tone. The order of the songs makes a lot of sense too, preventing any potential boredom or feeling of the music dragging.

Overall, is Resolution the best Lamb of God album to date? No, that title belongs to the disgustingly perfect Ashes of the Wake, with the monstrously heavy As the Palaces Burn following in a close second. But is Resolution an excellent album with plenty of great things to offer? Unequivocally yes. Now, the hype for Resolution will probably be just as big as it was for Wrath, with some dubbing it the Album of the Year when the new year has barely begun. I reserve judgment on that, considering that new albums from Meshuggah, Tool, Slayer, and many others are still pending for 2012. Nonetheless, Resolution deserves plenty of attention, and will earn Lamb of God even more much-deserved praise for their consistency and unfettered excellence.

Score: 7.5 out of 10

Track Listing

1. Straight for the Sun
2. Desolation
3. Ghost Walking
4. Guilty
5. The Undertow
6. The Number Six
7. Barbarosa
8. Invictus
9. Cheated
10. Insurrection
11. Terminally Unique
12. To the End
13. Visitation
14. King Me

Album Personnel

D. Randall Blythe – lead vocals
Mark Morton – Lead guitar
Willie Adler – Rhythm guitar
John Campbell – Bass guitar
Chris Adler – Drums

Album Review: "Hell Frost" by The Unguided

2011-12-29T00:48:00.000-05:00

Redemption and second chances don't come easily in the music industry, especially in more recent years when one-hit-wonders and single-release artists are becoming more prevalent than ever before. It becomes even more difficult when artists need to use new names or form new bands in order to find that redemption. Such was the path for vocalist Richard Sjunnesson after his departure from modern melodic death metal group Sonic Syndicate. Disgusted by the group's changed sound - a change which was forced on them by Nuclear Blast Records, no less - and wanting to return to his roots, Sjunnesson decided to form his own group that would take on Sonic Syndicate's older style and let it grow naturally. The resulting group became known as The Unguided, and with this group, Sjunnesson definitely achieved his goal.

It shouldn't come as a surprise that Sjunnesson relied on many familiar faces to bring The Unguided into existence. For production of the group's demos, the Nightmareland EP, and the debut album Hell Frost, producer Jonas Kjellgren (who is also the rhythm guitarist for Scar Symmetry) and his The Abyss studios were chosen, mirroring the choices for Sonic Syndicate's latest three albums. Artwork for both Nightmareland and Hell Frost, as well as the singles pressed from Hell Frost, was done by either Gustavo Sazes (who designed the cover for Sonic Syndicate's Burn This City EP) or Jose Aranguren (the artist behind the visuals for Sonic Syndicate's debut Eden Fire).

The remaining lineup outside of Sjunnesson is full of pleasant surprises. Richard recruited both his brother Roger, guitarist for Sonic Syndicate, and current Sonic Syndicate drummer John Bengtsson to play the same instruments in The Unguided. He even brought fellow ex-Sonic Syndicate vocalist Roland Johansson into the fold on clean vocals and guitar, recreating the vocal tandem that helped Sonic Syndicate rise to popularity in the first place.

The Unguided plays the same style of modern melodic death metal as their predecessor, but there are some subtle twists. Hell Frost has a much rougher feel to it overall, with the production sounding not quite as polished, and the mixing a bit more raw. This creates a more aggressive tone in the recording, helped by the heavier compositions and Richard's ferocious screaming vocals. The musicianship is also leagues above almost everything Sonic Syndicate ever composed, with a great deal more technicality and experimentation. The songs aren't formulaic, despite some structural similarities, and the lyrics are much more thought-provoking and intelligent. Hell Frost is the realization of the potential possessed by the musicians involved.

If you are one of the many left disappointed or outraged by Sonic Syndicate's last album, We Rule the Night, then Hell Frost is exactly what you need in order to cleanse your palette. Delivering on the promise of excellent modern melodic death metal that their former band promised and often came close to creating, The Unguided have made more progress in one album than Sonic Syndicate did with their last three. Richard Sjunnesson's dream has finally been made into reality - a proficient melodic death metal band, with newer stylistic tendencies and forward-thinking ideas that will help grow the genre and set a high standard for quality going forward.

Score: 7.5 out of 10

Track Listing

1. Inherit the Earth
2. Phoenix Down
3. Betrayer of the Code
4. My Own Death
5. Serenade of Guilt
6. Collapse My Dream
7. Green Eyed Demon
8. Iceheart Fragment
9. Pathfinder
10. Where the Frost Rose Withers
11. The Miracle of Mind

Album Personnel

Richard Sjunnesson - Vocals
Roland Johansson - Vocals, guitar
Roger Sjunnesson - Guitar, keyboards (session)
Jonas Kjellgren - Bass guitar (session)
John Bengtsson - Drums

Album Review: "Th1rt3en" by Megadeth

2011-10-30T23:42:00.000-04:00

Amidst the resurgences of Metallica and Anthrax and the genesis of an entire new wave of thrash metal around the world, Megadeth has been consistently and quietly releasing solid albums for the past ten years. The problem has been that the group's new albums end up being outshined by other new albums, from either their peers (in the case of 2009's Endgame, it was passed over by critics in favor of Slayer's World Painted Blood) or newer, more vibrant metal bands with large followings (such as 2004's The System has Failed being outclassed by Mastodon's Leviathan). It's likely not what Dave Mustaine envisioned for the band's return from hiatus in 2004 and subsequent signing with Roadrunner Records in 2006. Nonetheless, Mustaine and his cohorts are still making great music and keeping classic thrash relevant in the metal community. They've certainly accomplished that on their thirteenth studio album, appropriately titled Th1rt3en. But there is also plenty about the album that makes it different from its predecessors.

Over the course of their 28-year career, Megadeth has experienced a number of style changes, so hearing new things from the band is nothing new. That said, Th1rt3en is a very strong album with the same thrash style as the seminal albums Rust in Peace and Countdown to Extinction. Mustaine's solos are very diverse, some going for all-out speed and shred, with others focused on technicality and precision. The balance among the solos is one of the album's greatest assets, as it is also an indicator of how diverse the compositions are. The pure thrash songs on Th1rt3en are among the best that the band has written in years. "Never Dead", "Sudden Death", and "Wrecker" are all excellent examples of how thrash ought to sound and what the genre is capable of creating.

The rest of the album is mostly good, but there are some songs where the genres choices are a bit head-scratching. Some choices show that Mustaine is enjoying a rare opportunity to show how skilled he is at different genres. With songs like "We the People", "Guns Drugs & Money", and "Deadly Nightshade" showing a strong groove metal influence, it seems clear that Mustaine is channeling a love of Pantera and the guitar styles of Dimebag Darrell. These tracks and the inspiration that spawned them are great, and they help to offset the mediocrity of the tracks that have a clear hard rock or mainstream rock tone. Sure, Megadeth has created and performed songs worse than "Public Enemy No. 1" or "Fast Lane", but next to the high quality of the rest of the album, these songs just seem lackluster.

Overall, though, Th1rt3en is the latest in a series of well-composed and well-executed albums for Megadeth. Unfortunately, it seems likely that the group will be overshadowed once again, this time by their Big 4 comrades Anthrax and their new album Worship Music. In spite of that, though, Megadeth is still very relevant, setting the standard of consistency among thrash bands the world over. Within the Big 4, no one has had the output or the quality of Megadeth since 2001, and outside of the Big 4, Megadeth is still a name that is synonymous with excellence in thrash.

Score: 7 out of 10

Track Listing

1. Sudden Death
2. Public Enemy No. 1
3. Whose Life (Is it Anyways?)
4. We the People
5. Guns, Drugs & Money
6. Never Dead
7. New World Order
8. Fast Lane
9. Black Swan
10. Wrecker
11. Millennium of the Blind
12. Deadly Nightshade
13. 13

Album Personnel

Dave Mustaine – Lead vocals, lead guitar
Chris Broderick – Rhythm guitar, backup vocals
Dave Ellefson – Bass guitar, backup vocals
Shawn Drover – Drums

Album Review: "American Capitalist" by Five Finger Death Punch

2011-10-22T22:53:00.000-04:00

There is a very important reason why Five Finger Death Punch has essentially become the face of metal in America. In many ways, their outward appearance personifies every stereotype that pop culture makes about the modern-day metal listener, just as much as their music matches the preconceptions made about metal by most non-metal listeners. The group's first two albums, The Way of the Fist and War is the Answer, were chock-full of meaty riffs, wild guitar solos, guttural screaming vocals, and emotionally-charged lyrics about individualism, rage, and darkness. And as the group's album sales went through the roof, the face and voice of metal invaded the tranquility of pop culture America and refused to leave. War is the Answer was cemented on the Billboard 200 for 92 weeks following its debut at #7, which is a nearly impossible feat for a metal band in the era of downloaded music. It was only logical to believe, therefore, that Five Finger Death Punch's third album would be just as popular and do similarly well.

How unfortunate, though, that the third album, American Capitalist, is not on par with the group's previous work. Saying it's not on par isn't even an accurate description, though. The album isn't wholly bad – in fact, there are plenty of good things to say about it. But the things that are wrong with American Capitalist are so glaringly obvious that they're hard to ignore and harder still to forget.

In the interest of fairness, the positives of American Capitalist are consistent with what is expected of Five Finger Death Punch. The metalcore-groove fusion is just as strong as their earlier material, with the same precision guitar work and drumming as before. Ivan Moody's raw vocal prowess still makes him one of the most distinct voices in metal. The requisite softer tracks on the album, "Coming Down" and "Remember Everything", are among the best pseudo-ballads the band has written, while "Menace" is easily the heaviest, most aggressive song of the group's career. Additionally, there are a good number of other songs, like "Generation Dead", "Back for More", and "Wicked Ways", that are akin to the first two albums and will remind listeners that this is still the same band.

That reminder is desperately needed, too, because most of the rest of the album is a confusing, unfortunate mess, and almost all of it has to do with the lyrical content. Although less than half of the album experiences lyrical problems, the songs that suffer are bad enough that they drown out the positives of the rest of the album. The title track of the album is entirely about how being a capitalist is a good thing and the "American" thing to do, while "If I Fall" matches that message by saying that those that fail or lose should ensure that everyone else suffers in the same way. "100 Ways to Hate" blatantly attacks internet critics and local bands looking for a shot, placing them in the same group as groupies and fake friends that are after money, and "The Pride" is a laughable, yet also horrible attempt at re-creating the style of Billy Joel's "We Didn't Start the Fire", all while proclaiming the greatness of the American Dream. The worst of the group, though, is lead single "Under and Over It", wherein the band makes the claim that they haven't been changed by money and fame, and all the stories about them being changed are false accusations. I'm not sure if this is supposed to be ironic, given the ridiculous pictures in the liner notes, the disgraceful album art, or the shameful music video, but the song is unnecessarily boastful at best, or a horrifying lie at worst.

American Capitalist is not a terrible album, but it's definitely a regression for Five Finger Death Punch. After starting out well on The Way of the Fist and taking two steps forward towards excellence on War is the Answer, the group has taken three steps backwards with this new album. For all the good things that can be said about the album, there are just as many bad things to draw the listeners' attention and ire. Unfortunately, with the blaring message of how great America and capitalism are, the band has also lost their ability to relate to the average metal fan, which these days is a teenager or young adult struggling through high school or college and/or trying desperately to find a job. If this album was released nine years ago, I could understand why the band would choose such a message. But in this day and age, American Capitalist is just an unnecessary and irritating reminder that the American Dream is out of reach for most of us and will remain that way forever.

Score: 4.5 out of 10

Track Listing

1. American Capitalist
2. Under and Over It
3. The Pride
4. Coming Down
5. Menace
6. Generation Dead
7. Back for More
8. Remember Everything
9. Wicked Ways
10. If I Fall
11. 100 Ways to Hate

Album Personnel

Ivan Moody - Vocals
Zoltan Bathory - Guitar
Jason Hook - Guitar
Chris Kael - Bass guitar
Jeremy Spencer - Drums

Album Review: "IV" by Maylene and the Sons of Disaster

2011-10-20T19:29:00.000-04:00

The crunch and grime of Southern metal is attempted by many and mastered by few. The few that have made it their constant trade, like Clutch, Melvins, and Black Label Society, are responsible for inspiring a generation of new artists that have begun to make Southern metal a more popular genre again. Of greater interest, though, are the groups that have taken Southern metal and fused it with other styles to generate wholly new subgenres in the past decade. Groups such as Every Time I Die, He is Legend, and The Showdown have dared to tread where few others would even imagine possible, and they've done so with great success. Another group deserving of praise in this category is Maylene and the Sons of Disaster, whose fusion of metalcore and Southern metal was considered innovative and unique on their very first album. Now on their fourth full-length, the Georgia-based group has cemented that reputation, and is now focused on expanding their horizons via some intriguing experimentation.

The first few chords of opening track "In Dead We Dream" immediately confirm that the Southern metal heart of the band is still intact, and any lingering doubts are erased by the first raspy screams of vocalist Dallas Taylor. IV doesn't have quite the same thickly layered sound as its predecessor, III, but that can easily be attributed to the group cutting down from three guitarists to two last year. And despite the loss of a guitarist, most of this album is still crushingly heavy, with ripping guitar solos marking intense breakdowns, while meaty Southern metal riffs flow together to weave a complicated audio tapestry. Most songs on this album will have longtime fans of the band feeling very excited for the continuation of the style that helped make Maylene and the Songs of Disaster known to the public.

That being said, IV is not without its attempts at progression, some of which may not be well-received by fans. This album features a lot of melodic clean vocals from Taylor, which is not new for the band. However, the clean vocals have never been featured in such abundance before, dominating the vast majority of the album. On some songs, it works very well, such as the soft-sung ballad "Taking on Water" or the atmospheric acoustic track "Drought of '85". On others, though, the clean singing misses the mark because it doesn't mesh well with the thick guitar riffs and driving bass. Lead single "Open Your Eyes" is a perfect example, with a chorus that would fit better on a Skillet song forced into a downtuned lead riff that begs for a passionate screaming chorus. It's not an awful mismatch, and it does its job of keeping the song together, but it's not as energetic as many would want to hear.

IV is a difficult album to categorize for a band that seems to be going in two directions. The continuation of the group's older musical style is a welcome change that many fans have been waiting for, and they will praise the album for it repeatedly. However, those same veteran fans will likely have plenty of criticism to levy against the changes in the vocals, even as those very changes help to bring undecided listeners into the fold. For Maylene and the Sons of Disaster, IV could be the biggest album of their careers, or it could leave them in exactly the same place they were in prior to its release. There's no way to tell. This album is good overall, but it's also too ambiguous to have any true defining moments until fans have had time to listen to it repeatedly and make their own decisions.

Score: 6 out of 10

Track Listing

1. In Dead We Dream
2. Save Me
3. Faith Healer (Bring Me Down)
4. Open Your Eyes
5. Killing Me Slow
6. Taking on Water
7. Fate Games
8. Come for You
9. Never Enough
10. Cat's Walk
11. Drought of '85
12. Off to the Laughing Place

Album Personnel

Dallas Taylor - Lead vocals
Chad Huff - Guitar
Jake Duncan - Guitar, backing vocals
Brad Lehmann - Bass guitar
Miles McPherson - Drums

Album Review: "Worship Music" by Anthrax

2011-09-18T21:05:00.000-04:00

The Big 4 - Metallica, Slayer, Megadeth, and Anthrax - were the kings of thrash metal in the '80s. Nothing was more prevalent in American metal than those four bands. But as time passed and music changed, the Big 4 changed as well, each taking a different direction in attempts to stay relevant and popular. Anthrax encountered the most difficulty of the four bands, and their releases became less and less frequent with time, even though the band seemed to be doing fairly well with vocalist John Bush. Then, after 2003's We've Come for You All, Anthrax suddenly disappeared from the public eye. There was always news of the band working on new material, but nothing came to fruition, not even after the band's brief stint with lead singer Dan Nelson and the attempts to release Worship Music in 2009. It took the band's reunion with singer Joey Belladonna to finally bring this album to life, and with it, Anthrax hopes to revitalize their career and remind everyone what made them part of the Big 4 in the first place.

Belladonna has been out of Anthrax for 21 years, and although he has remained active in music with his solo project since then, it should be understandable that his voice has changed a lot since 1990's Persistence of Time. In that time, he's lost some of his higher range, but he makes up for it with much more resonance and rich tone in his middle range. The best way to describe Belladonna's vocals on Worship Music is that he sounds like a combination of Ronnie James Dio with Overkill's Bobby "Blitz" Ellsworth. Belladonna has added the depth and vocal control that Dio displayed so excellently throughout his storied career, while retaining the raw grit of his higher vocals, a characteristic that has always been part of Ellsworth's history with Overkill. It's not quite as exciting as Belladonna's unforgettable performances on Spreading the Disease and Among the Living, but it's still a powerful comeback piece for a singer that hasn't done this style of singing in a long time.

Musically, Worship Music is a mixture of Anthrax's later material with shades of their thrash beginnings mixed in. Most of the album is the Pantera-inspired groove metal style that the band used for We've Come for You All. The thrash elements are mixed into most of the songs in varying degrees, ranging from nearly nonexistent ("In the End", "Crawl", "I'm Alive") to saturating ("Earth on Hell", "Fight 'em 'til You Can't", "The Giant"). Hearing both ends of the spectrum gives a good sense of the potential stylistic variety Anthrax still has. Two highlights of this are "Judas Priest", a song paying tribute to the soon-to-be-retired British metal legends, and the hidden track after "Revolution Screams", which is a cover of "New Noise", originally by now-defunct punk act Refused. These two songs aren't completely outside of Anthrax's standard fare, but they have enough differences to highlight the growth and maturity that Anthrax has found nearly three decades after their humble beginnings.

Much like Metallica's Death Magnetic from three years ago, Worship Music isn't the glorious comeback album that everyone was hoping for. However, it is still a very good album with signs of positive movement for the band. They have not stagnated, nor have they lost their touch after such a long period of inactivity. And while the album does have some unnecessary inclusions, chief among them the two instrumentals "Hymn 1" and "Hymn 2", most of the album is high quality material from a veteran band regaining their relevance in modern music. Welcome back, Anthrax. We've missed you.

Score: 7 out of 10

Track Listing

1. Worship
2. Earth on Hell
3. The Devil You Know
4. Fight 'em 'til You Can't
5. I'm Alive
6. Hymn 1
7. In the End
8. The Giant
9. Hymn 2
10. Judas Priest
11. Crawl
12. The Constant
13. Revolution Screams/New Noise

Album Personnel

Joey Belladonna - Lead vocals
Rob Caggiano - Lead guitar
Scott Ian - Rhythm guitar, backing vocals
Frank Bello - Bass guitar, backing vocals
Charlie Benante - Drums

Album Review: "Drifter" by Heartsounds

2011-09-03T21:14:00.000-04:00

Rock music is the source of so many offshoots that it's often easy to forget how closely linked certain genres and subgenres are at the core. Only after sampling an extremely vast set of different rock-inspired styles does it become easier to recognize the similarities that exist among punk, alternative, metal, indie, and hardcore. These similarities are the reason why bands like Heartsounds exist. The punk rock quartet was born out of the ashes of melodic death metal group Light This City, following their breakup in 2008, mostly due to financial difficulties and what vocalist Laura Nichol summarized as a general dissatisfaction with the metal scene in general. At that point, Nichol and drummer Ben Murray decided to shift their focus to their new musical love - melodic punk in the vein of Bad Religion and A Wilhelm Scream. Their debut album Until We Surrender was a decent beginning for the new band, and sophomore effort Drifter displays growth and an overall tighter focus for Heartsounds.

The most immediate sign of improvement on Drifter is in the guitar work. Both Nichol and Murray were new to primarily playing guitars when forming the band, and it showed on Until We Surrender. The guitar work on that album was uninspiring and fairly basic, even for punk standards. Drifter contains a much greater variety of guitar lines and maintains the interest level in listeners from start to finish. Interestingly enough, a number of riffs from the album sound as though they could also fit on Light This City songs, maintaining the thrash inspiration that the now-defunct group was so widely renowned for. In particular, "Every Second Counts", "Unconditional", "You Are Not Your Body", and "Uncomfortably Numb" have that metallic edge, and with a little fine-tuning, those songs could very easily be transformed into solid metal pieces. Whether this was intentionally done by the band during composition or not, it certainly adds a deeper level of interest and intricacy to the album for Light This City fans that have continued to follow Nichol and Murray.

The main drawback on Drifter is one that carries over from Until We Surrender, and that is a lack of distinction. The members of Heartsounds are quite capable performers, and it is nice to see Nichol and Murray continuing forward with their aspirations. But Drifter still does very little to distinguish the group from their influences or their contemporaries. Their sound is still fairly archetypal for their genre, and they don't take any big risks to try to do something unique or progressive. It is true that punk is usually not a particularly progressive genre as a rule, but with so many young, aspiring melodic punk bands appearing in recent years, Heartsounds will need to do something to stand out from the pack.

Putting the lack of uniqueness aside, though, Drifter is a good album for Heartsounds, and it makes sense as the next step in their development as a band. They've figured out the framework of the sound they want to make, while ironing out the major flaws in their music and firming up the basics that needed work. It's unlikely to blow anyone's mind, sure, but most people listening to melodic punk aren't listening because they want to have their minds blown. In that sense, Heartsounds is doing exactly what they should be doing with their music. Hopefully the group can uphold that consistency moving forward, while simultaneously fleshing out their identity as a group apart from the rest of their scene.

Score: 6 out of 10

Track Listing

1. Every Second Counts
2. Unconditional
3. Drifter
4. I Have Nobody to Betray
5. Elements
6. Race to the Bottom
7. Don't Talk With Your Mouth Open
8. Everything's Going My Way
9. Echo
10. You Are Not Your Body
11. Uncomfortably Numb
12. Nothing Happens for a Reason

Album Personnel

Laura Nichol - Vocals, guitar
Ben Murray - Vocals, guitar
Kyle Camarillo - Bass guitar
Trey Derbes - Drums

Album Review: "When One Wakes" by Triphobia

2011-07-18T00:02:00.000-04:00

Very few high school bands are taken seriously or considered to have potential for long-term success. Traditionally, a high school band is an opportunity for a musician to get the first taste of band structure and to decide if the group dynamic fits their musical vision. It seems that Kinnelon, NJ-based group Triphobia didn't get that message, though, because this group of high school seniors already plays with more passion, skill, and integrity than some bands twice their age. Their 2009 EP The Hourglass exhibited a band overflowing with potential, only needing slight refinement and maturity to attain widespread recognition and greatness. Both refinement and maturity have been realized on the group's debut full-length album, When One Wakes, on which Triphobia evolves from a talented hard rock act to a more focused progressive rock group.

All five tracks from The Hourglass were re-recorded for When One Wakes, and it becomes obvious why this was done once the new versions have been heard. Courtesy of improved production facilities and refined compositions, all five songs are clearly superior to their predecessors. The improvement in vocal quality is apparent from the first notes sung by Kevin Yapaola on "Decision". The guitar parts and drum lines on both "Still Here" and "The Game" are greatly enhanced by the new production, adding to the overall energy and attention-grabbing power of both songs. The most welcome adjustment, though, is the re-ordering of "As I'm Told" and "Let it Go". The two songs are now sequential, which allows "As I'm Told" to progress directly into "Let it Go", as the band often performs the two songs in live shows. This seamless transition advances both songs, because now they can be viewed as one longer song when played in order.

However, the true showcase of Triphobia's growth comes via the all-new material from the band that is featured on When One Wakes. The young group clearly learned a great deal in the two years since The Hourglass, and most of the learning likely came from their mentors and friends in fellow Jersey rock acts West Gate and Downcast Theory. Album opener "Falling Out" is an immediate attention grabber, highlighted by an extremely catch lead riff and energetic vocals from Yapaola, coupled with just the right amount of aggression via the inhuman growls and screams of bassist/backing vocalist Derek Sabo. The progressive side of the band comes out on tracks like "Nebulous" and "Insignificant", where the influences of Porcupine Tree, Karnivool, and Opeth on lead guitarist/principal songwriter Dave Bellman become readily apparent. However, Bellman's appreciation of Porcupine Tree mastermind Steven Wilson is most obvious on the cover of Wilson's solo track "Trains". This astounding duet features Bellman on acoustic guitar as the only backup to Yapaola's heartfelt and beautiful singing. It's a well-placed break in the album, quickly becoming one of the most memorable songs on When One Wakes.

Triphobia has grown above and beyond what anyone could have expected from such a young group. They have overcome most of the restrictions that prevent other high school bands from succeeding, pushing forward and finding every possible way to promote themselves that they could. Now, with an impressive and professional full-length album under their belts, these young Jersey rock upstarts can look toward more prestigious goals and even more growth in their fan following. Triphobia is laying the groundwork for an impressive future in the world of progressive rock, and When One Wakes is the cornerstone of what will be a grand piece of musical excellence.

Score: 8.5 out of 10

Track Listing

1. Falling Out
2. Decision
3. Control
4. Nebulous
5. Still Here
6. Insignificant
7. Left Inside
8. Trains
9. The Game
10. As I'm Told
11. Let it Go
12. Outro

Album Personnel

Kevin Yapaola - Lead vocals
Dave Bellman - Lead guitar
Dan Elstien - Rhythm guitar
Derek Sabo - Bass guitar, backing vocals
Chris Flannery - Drums

Album Review: "Downcast Theory" by Downcast Theory

2011-07-17T23:41:00.001-04:00

The New Jersey rock scene is one of the most fiercely competitive locations in the country. Bands arrive on the scene quickly and gain a huge following, only to disappear soon after as another band takes over their niche. It's a testament to the level of talent in the region that so many bands originate there, but for a band to thrive and advance beyond the area, they need to have something more than just musical proficiency and practice with the current trend.

The members of Downcast Theory are intimately familiar with this fact, as they have watched many of their peers and friends in other bands come and go since the group formed in 2007. The release of 2009's Damaged Calm started Downcast Theory on the right path, but they were still looking for their "something more". It appears that they've found it, though, with the release of their self-titled album this year. Downcast Theory is a solid hard rock that blends the best current trends with the excellent tried-and-true methods of the past fifteen years in the genre.

The growth that has occurred in the band in just two years is remarkable, with every aspect of the band's sound showing improvement. The songwriting quality is incomparably better, and the diversity found within and among the album's thirteen tracks exceeds that of many veteran national bands. There are high-energy, fast-paced songs showing a touch of metal influence like "Forgotten Within" and "Invictus". There are slower, more ambient songs focusing on emotional response like "Fading Away" and "Isolate". Best of all, there are radio-ready hard rock hits in the making like "In Need", "Look Away", and "Call to Rise". Production and technique have also been tightened up considerably since Damaged Calm. The re-recorded versions of "Prayer" and "Change of Pace" are the only evidence needed of that.

The "something more" that Downcast Theory has to offer is the perfectly balanced skill set that all four members exhibit. Lead singer Matt Simon is capable of belting out high-end notes to punctuate important parts in songs, but is also just as able to croon softly on the lower parts of the scale building into those vocal punctuations, on top of his well-structured rhythm guitar play. Lead guitarist Jake Raynor is equal parts tradition and shred, playing lead riffs and hooks effortlessly before launching into a complex, fret-burning solo, all while adding clean-sung harmonies and lacerating screams to the vocal mix. Drummer Matt Raunick possesses both great subtlety and unrelenting intensity, hitting quiet sections at precisely correct volume and destroying his kit on rapid, energetic parts. New bassist Ryan Sauerman is the final piece to complete this group, showing perfect rhythm on the standard bass lines and breaking out with intricate leads and polyrhythms when bass is at the forefront. With such wide-ranging abilities, there is very little in rock that Downcast Theory would be unable to play.

Downcast Theory is one of the few bands capable of straddling the line between hard rock and alternative metal, while being able to appeal to both sides equally. For hard rock fans, they can offer the consistent, structured format of Shinedown, without their bland, formulaic approach to songwriting. For alternative metal fans, they bring the heavy edge and intensity of System of a Down, minus their chaotic style and often-comical image and lyrics. Downcast Theory is a band focused on expanding and redefining their boundaries, and with this new album, the horizons are limitless.

Score: 8.5 out of 10

Track Listing

1. Forgotten Within
2. In Need
3. Isolate
4. Fading Away
5. Insane
6. Look Away
7. Prayer
8. Invictus
9. Change of Pace
10. Wrong
11. Call to Rise
12. Drown
13. Rebirth

Album Personnel

Matt Simon - Lead vocals, rhythm guitar
Jake Raynor - Lead guitar, backing vocals
Ryan Sauerman - Bass guitar
Matt Raunick - Drums

Album Review: "Darkness in the Light" by Unearth

2011-06-22T18:17:00.000-04:00

Consistency is an under-appreciated quality in the world of heavy metal, and for any band striving for consistency, it becomes harder to maintain as more music is written and more albums are released. From the venerable Massachusetts metal scene, practically every band the region has produced has faltered somewhere along the way, including scene godfathers Killswitch Engage, Shadows Fall, and All That Remains. The only band from the area left with an unblemished record is Unearth, the group that has virtually always been the exception to the rule. When their three big contemporaries strove for melodicism and accessibility, Unearth chose to get heavier, more technical, and more intense. Their last three albums - 2004's The Oncoming Storm, 2006's III: In the Eyes of Fire, and 2008's The March - have all served as testimonies to the sheer, unbridled excellence that Unearth always produces. The group has returned with another statement of greatness, Darkness in the Light, proving that consistency does not equate with being formulaic.

The staples of Unearth's career are present in fine form on Darkness in the Light. Like The March before it, this album is bursting at the seams with awe-inspiring guitar solos that will get every listener's blood pumping. Be it the tasteful flair of Ken Susi or the frenetic shred of Buz McGrath, every single solo on this album is an attention grabber. The unmistakable bass tone of John "Slo" Maggard gives every track a full, layered feel that few bands can achieve. On top of everything is the inimitable roar of Trevor Phipps, giving his best vocal performance since The Oncoming Storm. Not only does Phipps have a stronger overall sound to his voice than on The March, but he is also able to vary his tones and styles a great deal, without the overproduced feel that occurred on In the Eyes of Fire. Phipps also delivers the most intelligent, emotional, and unforgiving lyrical onslaught of his career on Darkness in the Light, ranging between the deeply personal topics of internal conflict and scathing rebukes of societal injustice. It's familiar ground for Phipps, but never before has he tread it with such passion or ferocity.

However, Darkness in the Light does have plenty of elements that set it apart from the band's previous output. Immediately noticeable is the return of Susi's backing clean vocals, which have not been heard since The Oncoming Storm. The inclusion of these clean vocals is not a cheap attempt at greater accessibility, though. Rather, they serve as tasteful accentuation to Phipps' primal screams on vital lyrical passages. Of greater significance, though, is the overall tightness of the record and its stylistic variety. These come courtesy of Killswitch Engage drummer Justin Foley, providing the drums in studio for Unearth following the departure of drummer Derek Kerswill last year. Capable of playing with both remarkable subtlety and extreme brutality, Foley is the happy medium between the organic, groove-oriented play of Kerswill and the intricate, technically-focused play of Mike Justian, Unearth's drummer from 2004 to 2007. With Foley behind the kit, Unearth churns out songs of every style they've produced in their history. Technical thrash, assaultive hardcore, and well-integrated melody all blend together on this record, defining the band's sound in a way that hasn't been done since The Oncoming Storm.

Many have predicted that Unearth would stumble and lose their credibility during the past seven years. Those doubters that still remain will be left in waiting once again by Darkness in the Light. Continuing their trend of consistency and refining the minor missteps of their older work, Unearth have proven once again that they are uncompromising in their standards and stalwart in their musical vision. Very few bands in modern metal have maintained the level of aggression and rawness that Unearth continue to produce, and that will be one of the band's defining characteristics until they retire. Darkness in the Light is the latest declaration of Unearth's greatness, and a sign that there is only more top-notch metal to come.

Score: 9 out of 10

Track Listing

1. Watch it Burn
2. Ruination of the Lost
3. Shadows of the Light
4. Eyes of Black
5. Last Wish
6. Arise the War Cry
7. Equinox
8. Coming of the Dark
9. The Fallen
10. Overcome
11. Disillusion

Album Personnel

Trevor Phipps – Lead vocals
Buz McGrath – Lead guitar
Ken Susi – Rhythm guitar, backing vocals
John "Slo" Maggard – Bass guitar, backing vocals
Justin Foley – Drums

Album Review: "The Unseen Empire" by Scar Symmetry

2011-05-10T22:15:00.000-04:00

When a band experiences any significant membership change, they usually get a one-album grace period, during which they are afforded a chance to work out any issues resulting from the change. After that grace period ends, if the band cannot hold the interest of their established fans, then those fans usually abandon the band. This is especially true with vocalist changes, since many vocalists are the most recognizable members of their respective bands.

This is the reality that has faced Scar Symmetry since 2008. After releasing their 2008 masterpiece Holographic Universe, lead vocalist Christian Älvestam abruptly left the band, causing a massive backlash among fans. Many critics regard Älvestam as one of the best vocalists in all of modern metal, and rightly so. His guttural roars and screams are the antithesis of the beautiful melodies he sings, and very few singers are capable of reproducing his vocal performances. Perhaps the greatest indicator of his talent, though, is the fact that Scar Symmetry needed two singers to replace one.

Roberth Karlsson and Lars Palmqvist had some humongous shoes to fill when they stepped into the roles of co-lead vocalists for Scar Symmetry. Karlsson had little experience in such a vital position (as the brief frontman for Edge of Sanity in the late '90s), while Palmqvist had never before been in a band with any degree of prominence. Their performance on 2009's Dark Matter Dimensions convinced many fans that Scar Symmetry was still in good shape, but many others remained skeptical, calling for Älvestam's return. And now that the one-album grace period has passed, fans will judge Karlsson and Palmqvist even more harshly than before.

Fortunately, after The Unseen Empire, there is only one possible conclusion: anyone that still declares these two as unworthy successors of Älvestam is simply a bitter fan of the man, rather than the band, and is determined to hate anyone that follows in his footsteps. The only way that any fan of the band or their genre could judge this album as less than phenomenal is if they possessed such a biased viewpoint. The Unseen Empire is not only the best work of Scar Symmetry's career, it is one of the best melodic death metal albums to emerge from Sweden in the past decade. Everything about this album is a paragon of excellence, and none of the band's contemporaries can even hope to match it.

As can be expected, the brilliance begins in the vocal work. Karlsson has not changed one bit since Dark Matter Dimensions, which is perfect. His beastly growls and screams are unmatched, and his consistency in tone and style is a rare trait among unclean vocalists. By contrast, Palmqvist has improved by leaps and bounds. Rather than simply blasting out the high end of his voice, Palmqvist has now grown into a complete singer, with a well-developed low register to match his impressive high range. His performance on album opener "The Anomaly" is proof of that, with a refrain that descends into low tenor range and minimal use of the high notes that were omnipresent on Dark Matter Dimensions.

The instrumentation on The Unseen Empire manages to amplify the vocal quality while cascading into its own levels of greatness. Where Dark Matter Dimensions placed a priority on guitar solos to the point of saturation, The Unseen Empire favors balance over technicality. Guitarists Per Nilsson and Jonas Kjellgren are still able to display their wide range of skills, but they do so without the audacity or flashiness of nonstop soloing. Conversely, drummer Henrik Ohlsson is able to expand his technical repertoire with more frequent polyrhythmic compositions and split-second tempo changes. Bassist Kenneth Seil also expands his role, with bass fills and cuts systematically included throughout the album. All of the instrumentation has grown on this album, and it's proof that even things that are seemingly perfect can be made better.

The Unseen Empire is a leading candidate for Metal Album of the Year already, as nothing released to date has even come close to the breathtaking nature of this album. Scar Symmetry has labored to take up the mantle as new leaders in Swedish melodic death metal, and now they have released the album that vehemently states how much they belong in that position. The only people that will dislike this album are the ones that have decided to hate it before even hearing it. Every other listener will proclaim that The Unseen Empire is ground-breaking, genre-bending, and outstanding in every conceivable way.

Score: 9.5 out of 10

Track Listing

1. The Anomaly
2. Illuminoid Dream Sequence
3. Extinction Mantra
4. Seers of the Eschaton
5. Domination Agenda
6. Astronomicon
7. Rise of the Reptilian Regime
8. The Draconian Arrival
9. Alpha and Omega

Album Personnel

Roberth Karlsson – Lead vocals
Lars Palmqvist – Lead vocals
Per Nilsson – Lead guitar
Jonas Kjellgren – Rhythm guitar
Kenneth Seil – Bass guitar
Henrik Ohlsson – Drums

Album Review: "Circle Regenerated" by Norther

2011-05-03T20:38:00.000-04:00

Norther suffered a harsh loss in 2009, when lead vocalist, lead guitarist, and primary songwriter Petri Lindroos left the band. The reason for his departure was obvious, as his commitments to folk metal group Ensiferum were much more time-consuming than those with Norther. Given Ensiferum's recent growth in success, it also made sense for Lindroos to stick with the more popular band. However, Norther was left in an extremely precarious position, as three vital positions within the band were vacated, with few conceivable options for filling them. Thankfully, though, the Finnish group was able to adapt. Rhythm guitarist and backup vocalist Kristian Ranta, who had co-written a number of songs with Lindroos on both 2006's Till Death Unites Us and 2008's N, assumed the primary songwriting role for the growth of the band. Norther also found two new musicians that were already veterans of the Finnish metal scene to join the band. These things have all led to Norther's newest studio album, the appropriately-titled Circle Regenerated.

Musically, from a purely instrumental standpoint, this new album is consistent with Norther's previous work. The balance between guitar leads and keyboard leads is still almost completely even, as is the balance between clean and harsh vocals. New guitarist Daniel Freyberg of Naildown proves to be a more than capable replacement for Lindroos. His solos are tasteful and well-executed, and he shows a good deal more stylistic diversity overall. Rather than relying on the pure thrash that Lindroos included, Freyberg's solos often dabble in groove as well, and even occasionally revert to an acoustic passage for even more variety. These elements are where Circle Regenerated succeeds the most.

The most changes occur in the vocals and the songwriting. New singer Aleksi Sihvonen, formerly the frontman of now-defunct melodic death metal group Imperanon, is quite skilled and has better command of his voice than Lindroos. But his ability to sustain the vocal lines alone is lacking, and he often has to rely on Ranta or Freyberg to provide harmonies so that the clean-sung passages remain interesting. More noticeable, though, are the subtle style shifts that change the tone of this album a great deal. Sihvonen thankfully provides more intelligent lyrics than Lindroos had written for N. However, Ranta's songwriting moves towards the melodic end of the spectrum much more often than Lindroos did, which makes Circle Regenerated drastically different from anything else in Norther's back catalogue.

Overall, Circle Regenerated is a positive step for Norther, showing that the significant loss of Lindroos hasn't torn the band apart. They've recovered nicely and are making good progress towards re-establishing themselves in their scene. Although their sound is more melodic now than it used to be, they have stayed true to the principles on which the band was created. That certainly doesn't mean Circle Regenerated is flawless, because it very clearly is not. But the album is nonetheless a decent effort by Norther, and one in which they have hopefully worked out all the idiosyncrasies and difficulties that are bound to occur whenever any band lineup changes.

Score: 6 out of 10

Track Listing

1. Through it All
2. The Hate I Bear
3. Truth
4. Some Day
5. Break Myself Away
6. Believe
7. Falling
8. We Do Not Care
9. The Last Time
10. Closing In

Album Personnel

Aleksi Sihvonen − Lead vocals
Kristian Ranta − Guitar, clean vocals
Daniel Freyberg − Guitar, backing vocals
Jukka Koskinen − Bass guitar, backing vocals
Tuomas Planman − Keyboards
Heikki Saari − Drums

Album Review: "Fake History" by Letlive

2011-05-02T07:32:00.000-04:00

There are two reasons why Glassjaw is considered to be one of the primary innovators of post-hardcore. The first is Daryl Palumbo's incredibly distinct vocal style, allowing him to be instantly recognized on any song on which he sings. The second is the group's unique compositional style, which allowed for experimentation while still upholding the precepts of the genre. Most recent post-hardcore bands have attempted to replicate the group's formula, with varying degrees of success. One of these groups is Los Angeles-based quintet Letlive (sometimes typeset as letlive.). The group started out in the underground, but their third album, Fake History, ignited a lot of hype about the group when it was initially released by Tragic Hero Records in 2010 (and then re-released by Epitaph Records in 2011). However, whether the album truly deserves the accolades it has received is still open to debate.

At the outset, this album is quite skillfully executed. The group performs seamlessly and shows a great deal of talent on the part of the musicians involved. The guitar work is consistent and fits within the expectations of the genre. Bassist Ryan Jay Johnson actually manages to stand out on several songs, a feat which many bassists are incapable of doing because of how far back in the sound mix the bass usually appears. On Fake History, though, the bass is mixed almost evenly with the guitars, allowing it to show through and even stand out in times. Vocalist Jason Aalon Butler clearly has the vocal chops to stand alongside his contemporaries, possessing a good singing voice, a better-than-average scream, and well-inflected spoken vocals. All in all, these would seem to be the keys to a solid post-hardcore album.

However, when the flashiness of the album fades, the lasting impression that Fake History leaves is that the album is entirely too derivative to succeed. The comparison to Glassjaw is inescapable, but Letlive seems to be less influenced by Glassjaw and more like they're attempting to replicate their sound. There are a number of other bands that immediately come to mind throughout the course of the album as being sources for imitation. Throughout the course of the album, Letlive manages to come off as a less aggressive version of A Day to Remember, a less emotive imitation of The Spill Canvas, and a less progressive form of Protest the Hero. The last comparison is likely the most relevant, as Butler's vocals frequently sound almost identical to those of Protest the Hero lead singer Rody Walker.

Thus, the original question must be revisited - does Letlive really deserve so much praise for Fake History? Without any deep examination of the album, the answer could be yes. But once the surface is scratched and the album is scrutinized with some depth, that answer quickly becomes no. In an age where progressive music is more greatly appreciated and, in some cases, widely expected from the myriad of metal subgenres, Letlive are simply rehashing the successes of better bands in their scene. Granted, they are doing so with a great deal of skill and proficiency, but that skill is too high a price to pay for such a blatant lack of originality.

Score: 5 out of 10

Track Listing

1. Le Prologue
2. The Sick, Sick, 6.8 Billion
3. Renegade 86'
4. Enemies/Enemigos
5. Casino Columbus
6. Muther
7. Homeless Jazz
8. We, the Pros of Con
9. H. Ledger
10. Over Being Under
11. Day 54
12. Hollywood, and She Did
13. Lemon Party
14. This Mime (A Sex Symbol)

Album Personnel

Jason Aalon Butler – Vocals
Jean Nascimento – Guitar
Jeff Sahyoun – Guitar
Ryan Jay Johnson – Bass guitar
Anthony Rivera – Drums

Album Review: "Celestial Completion" by Becoming the Archetype

2011-04-26T22:17:00.001-04:00

Christian progressive metal group Becoming the Archetype has consistently released high-quality music since their humble beginnings as Nonexistent Failure in the early part of the decade, and then as The Remnant for a further two years. They've benefited a great deal from the input of excellent producers on each of their three full-length albums following their final name change. With the help of Tue Madsen (Terminate Damnation), Andreas Magnusson (The Physics of Fire), and Devin Townsend (Dichotomy), each Becoming the Archetype album has been better than its predecessor, becoming more progressive and well-balanced in sound each time. It was understandable, therefore, that some people were confused and/or worried when the band announced Matt Goldman as producer for the group's fourth album. Better known for his work with post-hardcore groups such as Underoath, Four Letter Lie, Vanna, and Oceana, Goldman seemed to be an odd choice for the Georgia-based group, and some worried that it might be the first major misstep for Becoming the Archetype.

Such concern was unnecessary, though. Becoming the Archetype's fourth album, Celestial Completion, is every bit as impressive and incredible as its predecessors, and displays a great deal more complexity and progression than anything else the group has ever written. Many had thought the band had reached the limits of their experimentation with Townsend in the producer's chair, but Celestial Completion easily outranks Dichotomy in the area of strange but beautiful musical inclusions. A complex keyboard arrangement performed by guitarist Seth Hecox, blended with background sitars, is the highlight of "Elemental Wrath: Requiem Aeternam Part II". At the same time, the sudden cut to a ska-like trombone breakdown on "Cardiac Rebellion" seems completely out of place at first, but gradually becomes the most enjoyable part of the song. The fact that these sections sound tasteful and work within the song structures are as much a testament to Goldman's producer skills as they are to the band's songwriting ability.

The one element that has had many fans on edge, though, is the introduction of clean vocals into the band's repertoire. Clean vocals have only appeared with regularity on one previous Becoming the Archetype album, The Physics of Fire, and they were performed there by former guitarist Alex Kenis (who left the band in 2008 to re-join his old band Aletheian). All other instances of clean vocals in the band's past have been minor incidental inclusions or guest performances, such as the bridge by Demon Hunter singer Ryan Clark on the title track of Dichotomy. On Celestial Completion, lead singer Jason Wisdom sings cleanly at fairly regular intervals, as a supplement to his standard menacing roars and screams. The clean vocals were a source of contention from the moment that lead single "The Magnetic Sky" debuted, but over the course of the entire album, they add unprecedented depth to the band's sound. The leads sung by Wisdom, backed by gorgeous harmonies courtesy of Hecox and fellow axeman Daniel Gailey, are the lynchpin to many songs on the album.

Becoming the Archetype are living up to and exceeding their fans' expectations of progression and uniqueness with Celestial Completion. For a band that is anticipated to stay outside the box, they have done a remarkable job of doing just that while also working to include more accessible elements in their sound. Their efforts to expand their audience have been successful in the past, and since Celestial Completion is so astoundingly good, it only stands to reason that Becoming the Archetype is on their way to gaining even more listeners in the very near future.

Score: 7.5 out of 10

Track Listing

1. The Resonant Frequency of Flesh
2. The Magnetic Sky
3. Internal Illumination
4. Path of the Beam
5. Music of the Spheres: Requiem Aeternam Part I
6. Elemental Wrath: Requiem Aeternam Part II
7. Xenosynthesis: Requiem Aeternam Part III
8. Invisible Creature
9. Cardiac Rebellion
10. Reflect/Refract
11. Breathing Light

Album Personnel

Jason Wisdom – Bass guitar, lead vocals
Seth Hecox – Lead guitar, keyboards, backing vocals
Daniel Gailey – Rhythm guitar, backing vocals
Brent "Duck" Duckett – Drums

Album Review: "The Discovery" by Born of Osiris

2011-04-10T22:23:00.002-04:00

Born of Osiris was one of the first bands to break away from the deathcore craze in favor of technically-infused death metal. The Illinois-based band had an edge over most of their contemporaries in this endeavor, though. As one of the only deathcore bands at the time to use keyboards, Born of Osiris easily transitioned out of their deathcore roots after their 2007 EP, The New Reign. Just in time for their first full-length album, 2009's A Higher Place, the group reconstructed their sound on their own terms and made a huge impact, landing at number 73 on the Billboard 200 charts in its first week. This established Born of Osiris as a heavyweight group in the world of metal, and also paved the way for their second album. The Discovery is a solid record with a number of unexpected twists and turns during its nearly-53 minute run time.

Like many of their peers, Born of Osiris has maintained some of its deathcore tendencies, even after the genre adjustment. However, in the midst of the breakdowns and guttural vocals, there are also plenty of surprising melodic and progressive inclusions to balance things out. The soloing by guitarists Lee McKinney and Jason Richardson is of particular significance, as it shows plenty of guitar prowess and finesse throughout the album. Keyboardist Joe Buras also makes his presence felt more on this album than on anything else Born of Osiris has ever released. Whether it's the electronica-inspired outro on "Devastate", the bell chimes on "Two Worlds of Design", or the backing symphonics on "Shaping the Masterpiece", keyboards are more than just another part of the rhythm section on The Discovery. The clean-sung interlude "A Solution" is perhaps the biggest shock on the album, as Born of Osiris has never shown any inclination for clean singing on previous albums.

Of course, some critics have criticized Born of Osiris as mere trend-jumpers within the metal world. Those voices may amplify upon receiving The Discovery, as it clearly is influenced by the rapidly-growing "djent" subgenre. The muted riffing style inspired by Meshuggah and made popular by bands like Periphery and TesseracT has become a trend in the same way that deathcore skyrocketed in popularity five years ago, so it's easy to claim that Born of Osiris is simply changing styles to match the new fad. However, this is an inaccurate criticism, since Born of Osiris has employed downtuned palm-muted riffs since the band's inception. This aspect of their style is just coming to the forefront more heavily on The Discovery.

What makes The Discovery special is its expansion of the band's sound, which it does very well. Born of Osiris used to be just a deathcore band, but in the course of four years, they have become infinitely more. Showing a more complete grasp of their compositional range, this group will now be able to reach a very widespread audience and make them regular listeners. This album will have no trouble attracting fans of metal bands ranging from Periphery to Winds of Plague and everything in between.

Score: 7 out of 10

Track Listing

1. Follow the Signs
2. Singularity
3. Ascension
4. Devastate
5. Recreate
6. Two Worlds of Design
7. A Solution
8. Shaping the Masterpiece
9. Dissimulation
10. Automatic Motion
11. The Omniscient
12. Last Straw
13. Regenerate
14. XIV
15. Behold

Album Personnel

Ronnie Canizaro – Lead vocals
Lee McKinney – Guitar
Jason Richardson - Guitar
David Darocha – Bass guitar
Joe Buras – Keyboards, backing vocals
Cameron Losch – Drums

Album Review: "Beast" by DevilDriver

2011-04-07T22:49:00.000-04:00

When DevilDriver rose from the ashes of Coal Chamber, many people expected the same mainstream performance of heavy music that frontman Dez Fafara had used in his former band. Those expectations were fully eliminated by the time DevilDriver's second album, 2005's The Fury of Our Maker's Hand, stormed onto the scene. It was clear that DevilDriver was a completely separate and undeniably superior band, with their no-holds-barred, take-no-prisoners approach to metal. With a decade now under the band's collective belt, DevilDriver has figured out their niche sound and the best methods of execution for their unique style of melded groove, thrash, hardcore, and death metal. Their fifth album, Beast, lives up to its namesake by being the fastest, most intense, and overwhelmingly heaviest record of their career.

Beast can almost be seen as a "back to the roots" album for DevilDriver because of the experimentation of its predecessor, 2009's Pray for Villains. On that album, DevilDriver tested a number of new sounds and ideas within the boundaries of their style, with varying degrees of success. Beast does away with almost of those new elements in favor of the more straightforward structures of The Fury of Our Maker's Hand and the assaultive intensity of 2007's The Last Kind Words. This is achieved not only with complete success, but with surprising ease. Beast embodies every compositional and lyrical theme of those preceding albums, in a style that seems totally natural for the band. No riffs or bridges sound out of place, no solos are ill-fitted to their songs, and no lyrics feel forced to match their respective lines. Every song is a seamless work of musical craftsmanship, coming together to form an album that really is a work of compositional art.

Where Beast diverges from DevilDriver's previous albums, though, is in the all-consuming ferocity of every song. The process of stripping down the new additions from Pray for Villains resulted in everything left in the musical framework being amplified, filling every note of the album with the passion, rage, and violence that they have adopted since their inception. From the full-tilt aggression of "Bring the Fight (To the Floor)" and "You Make Me Sick", to the insidious creeping virulence of "Hardened" and "Talons Out (Teeth Sharpened)", to the bile-spewing fury and hatred of "Shitlist" and "Blur", Beast is the brute force of DevilDriver's seething wrath put to music. This entire album exudes hostility and antagonism towards a world working against its best people, a quality that DevilDriver fans have and always will identify with.

The musical personification of "anger as artwork", Beast is a towering new effort from DevilDriver and one of their finest to date. It may not deliver anything new from the veteran group, but what it does deliver comes with unbelievable force at previously unseen levels. More than anything, this album is a testament to the consistency, longevity, and dedication that are the soul of DevilDriver. Never settling, never compromising, and never giving up in the face of adversity, this band and their newest Beast are here to stay, no matter what anyone says to the contrary.

Score: 7 out of 10

Track Listing

1. Dead to Rights
2. Bring the Fight (To the Floor)
3. Hardened
4. Shitlist
5. Talons Out (Teeth Sharpened)
6. You Make Me Sick
7. Coldblooded
8. Blur
9. The Blame Game
10. Black Soul Choir
11. Crowns of Creation
12. Lend Myself to the Night

Album Personnel

Dez Fafara – Vocals
Mike Spreitzer – Guitar
Jeff Kendrick – Guitar
Jonathan Miller – Bass guitar
John Boecklin – Drums

Album Review: "The Unforgiving" by Within Temptation

2011-04-07T20:38:00.000-04:00

Dutch symphonic metal group Within Temptation never fails to make their music interesting. Their fifteen-year career has been a continuous experiment to stretch their limits and explore every aspect of their sound to its fullest. Each album they have released to this point has focused on a different musical element, allowing that element to grow and evolve, and then carrying that growth over to future releases. Thus, Within Temptation's sound has been an ever-changing spiral of refinement and progress. Now, on their fifth studio album, The Unforgiving, Within Temptation has taken the next big step in audio evolution by re-shaping their entire compositional structure and songwriting approach to include new elements and styles. These bold endeavors have yielded a simply breathtaking album with more substance and intensity than anything the band has written before.

Instrumentally, the band sounds better than ever, now that every piece of their sound has been developed over the course of four albums. The rhythm section is as tight as ever, despite the fact that the drums were recorded by session member Nicka Hellenberg, who has since been replaced by new full-time drummer Mike Coolen. Keyboardist Martijn Spierenburg is able to explore many new arrangements on this album, and the symphonic sections backing him up have greater levels of bombast and energy for accentuation. The guitars show even more melodic energy and technical flair, with lead guitarist Ruud Jolie ripping through some excellent solos. And of course, vocalist Sharon den Adel delivers a stellar performance, somehow sounding even better than on 2007's The Heart of Everything. This is the finest we've seen Within Temptation perform up to this point in their careers, displaying a lot of subtlety and finesse that only seasoned musicians are usually capable of.

The area where The Unforgiving becomes truly exceptional, though, is in the songwriting and compositions. On previous albums, Within Temptation has held to a symphonic-based structure with elements of gothic rock and metal added for effect. But on The Unforgiving, the band has dramatically enriched their sound with a broad array of new influences. There is a strong infusion of modern hard rock structuring on songs like "Faster", "Sinéad", and "Shot in the Dark", which are unsurprisingly the three planned singles from the album thus far. Some songs like "In the Middle of the Night" and "A Demon's Fate" use grandiose, high-reaching power metal themes, similar to the style of Nightwish and After Forever. And there are even songs using syncopated, groove-injected rhythms and nonstandard time signatures, such as "Iron" and "Murder", that keep the album lively and prevent flatness. Diehard fans of Within Temptation's usual sound may be disappointed in these new influences, but they will also be satiated by the songs featuring the band's traditional style, such as "Fire and Ice", "Where is the Edge", and "Lost".

Ultimately, The Unforgiving is a musical journey of expansion and achievement, where Within Temptation examine their music and push it into unexplored territory. Not only is this effort an unbridled success, but it is also a major step towards mainstream recognition and worldwide growth of their fan base. At least half of the songs on this album could be active rock hits in the current format, and the entire album is worth buying for fans of at least ten rock and metal subgenres. Coupled with the short films and the comic book that are companion pieces to the album, The Unforgiving is much more than just an excellent record. It is an all-encompassing audio-visual experience that will leave its audience breathless for a long time to come.

Score: 8 out of 10

Track Listing

1. Why Not Me
2. Shot in the Dark
3. In the Middle of the Night
4. Faster
5. Fire and Ice
6. Iron
7. Where is the Edge
8. Sinéad
9. Lost
10. Murder
11. A Demon's Fate
12. Stairway to the Skies

Album Personnel

Sharon den Adel - Vocals
Ruud Jolie - Lead guitar
Robert Westerholt - Rhythm guitar
Jeroen van Veen - Bass guitar
Martijn Spierenburg - Keyboards
Nicka Hellenberg - Drums

Album Review: "Metamorphosis" by Mercenary

2011-03-17T22:34:00.000-04:00

In late 2009, Mercenary's lineup was sliced in half with the departure of vocalist Mikkel Sandager, keyboardist Morten Sandager, and drummer Mike Park. With the exodus of so many members, most bands would have just called it quits. But Mercenary soldiered on, reducing their lineup to a four-piece group and expanding their roles to cover all instruments. Many fans remained skeptical, though, doubting that the band could reach even a shadow of their former excellence without the Sandager brothers or Park in the band anymore. In particular, the impending absence of Mikkel's soaring power metal vocals caused a great deal of apprehension among longtime fans, as his vocal style helped to shape the band's best material. Surprisingly, though, Mercenary's first outing with their new roster, the aptly-titled Metamorphosis, is a good album with a lot of positive aspects to compensate for the missing pieces.

Casual fans of Mercenary may not even notice some of the changes in their sound caused by the personnel shift, due to one key factor: bassist René Pedersen, who has been elevated from backup vocalist to full-time lead singer, has a very similar clean singing voice to Mikkel Sandager and can hit most of the same notes. Coupled with Pedersen's introduction on the group's last album, Architect of Lies, the difference in the vocal style from that album to Metamorphosis is nearly imperceptible. The only vocal element Pedersen is unable to replicate is Sandager's high-pitched primal scream, a vocal talent that requires a great deal of training to pull off. Even lacking this, Pedersen has a very wide-ranging skill set as a vocalist, and giving him the opportunity to utilize all his skills has proven to be a positive revelation. He is comparable in many ways to Kasper Thomsen, lead vocalist of fellow Danish group Raunchy. And since Mercenary and Raunchy have drawn closer to each other in sound in recent years, this may cause a sudden increase in the fan bases of both bands.

As Pedersen compares to Mikkel Sandager in vocal abilities, so does the music on Metamorphosis compare to the band's older work. The lengthy, sweeping compositions still mix melodic death metal and power metal into a very unique sound with excellent, hook-filled choruses and gorgeous leads. Martin Buus still pulls off excellent guitar solos, and new drummer Morten Løwe makes an excellent first impression with his tasteful cymbal work and well-timed fills. The one thing that feels off, though, is the keyboard work. Buus does an admirable job filling in on keys, but at times, the usage of the keys feels like it was forced into the composition. Morten Sandager always maintained a very ambient presence on keys, only bringing them to the forefront when it was absolutely called for. That is always not the case here, but it is only a minor detriment to a few songs on the album.

All in all, Metamorphosis is a pleasant surprise for Mercenary fans that have been expecting the worst for some time now. Instead of a muddled album with lots of sound changes and an incomplete-sounding lineup, fans are getting a solid album of good songs that still sound like the band they've known and loved. While not on the same level as The Hours That Remain or Architect of Lies, Metamorphosis is still impressive just because of what the band overcame to reach this point. Such resilience is often overlooked in this age of music, and hopefully younger bands will be inspired by it to soldier on from lineup changes and creative differences.

Score: 7 out of 10

Track Listing

1. Through the Eyes of the Devil
2. The Follower
3. In a River of Madness
4. Memoria
5. Velvet Lies
6. In Bloodred Shades
7. Shades of Grey
8. On the Edge of Sanity
9. The Black Brigade
10. Incorporate Your Demons

Album Personnel

René Pedersen – Vocals, bass guitar
Martin Buus – Lead guitar, keyboards
Jakob Mølbjerg – Rhythm guitar
Morten Løwe – Drums

Album Review: "Surtur Rising" by Amon Amarth

2011-03-17T20:00:00.001-04:00

When a band is the most prolific in the world to play a particular type of music, the temptation often exists to rest on one's laurels, release sub-standard material, and generally show disregard for previous success in favor of basking in the sunshine of success. This usually leads to the swift downward spiral and implosion of that band. The only way to avoid that is to do what Swedish titans Amon Amarth have done: never release anything that is less than excellent, always try to be better than your previous material, and never stop to admire past successes. For the better part of two decades, Amon Amarth has been the biggest producer of self-styled "Viking metal" in the world, eclipsing many veteran bands playing a similar style and simultaneously outshining every newcomer that has entered their genre. Their latest opus, Surtur Rising, further cements Amon Amarth in their status as the greatest Viking metal group of all time.

As with all previous Amon Amarth albums, the overarching theme of Surtur Rising is drawn from the pages of ancient Norse mythology. The namesake of this album is Surtur, leader of the fire giants from the hellish land of Muspelheim. A fearsome character, Surtur's might is reflected in the music and production of this album. With even better production values than 2008's Twilight of the Thunder God, Surtur Rising truly evokes the feeling of marching into battle on an ancient field, with its ultra-crisp drum tones, smoothly punctuated bass lines, and well-placed backing symphonics. These elements give the whole album a very martial feeling, constantly driving forward, with only brief respites such as the instrumental closing to "A Beast Am I". Coupled with the excellent rhythmic elements, guitarists Johan Söderberg and Olavi Mikkonen continue to impress with their soloing ability, adding tasteful and technical shred to fast songs such as "Destroyer of the Universe", while contributing spirit and passion on slower songs like "The Last Stand of Frej". Over the course of Amon Amarth's last few albums, Söderberg and Mikkonen have shown that their talents are virtually limitless, Surtur Rising being no exception to that trend.

Paired with this exceptional music are the vocal talents of Johan Hegg, one of Sweden's most distinctive voices and lyricists. Hegg's deep-throated growls and roars couple together perfectly with the musical elements to bring the images of ancient battle to life, somehow creating the atmosphere of chaos, death, and victory through his vocal intonations alone. The ancient Viking stories of which Hegg sings are vivid and rich, almost beautiful in the detail he gives them. In Hegg's lyrics, the power of the Norse gods and the scale of the world they ruled is truly conveyed, only serving to make the stories even more realistic. One only needs to read the lyrics to "War of the Gods" to comprehend just how profound and unique Hegg's storytelling abilities are. Simply stated, he's among metal's elite in crafting lyrics based around pre-existing characters and themes, and any lyricist attempting to write in this fashion should study his lyrics first.

Surtur Rising is another momentous album for Amon Amarth, leaving no doubt that they are one of the best metal bands in the world. Critics who said the band couldn't maintain their output after With Oden on Our Side and Twilight of the Thunder God will be silenced by this exquisite album. With every facet of Amon Amarth's sound on display in perfect form, Surtur Rising is another testimony to the overabundance of talent in this band. Their sound is inimitable, their lyrics are astounding, and their place among metal's leading bands is not to be denied.

Score: 8 out of 10

Track Listing

1. War of the Gods
2. Töck's Taunt - Loke's Treachery Part II
3. Destroyer of the Universe
4. Slaves of Fear
5. Live Without Regrets
6. The Last Stand of Frej
7. For Victory or Death
8. Wrath of the Norsemen
9. A Beast Am I
10. Doom Over Dead Man

Album Personnel

Johan Hegg − Vocals
Johan Söderberg − Guitar
Olavi Mikkonen − Guitar
Ted Lundström − Bass guitar
Fredrik Andersson − Drums

Album Review: "Relentless Reckless Forever" by Children of Bodom

2011-03-13T20:28:00.001-04:00

No metal band has a more divided fan base than Children of Bodom. Over the course of a career spanning close to 15 years, the Finnish group has repeatedly churned out albums that only exacerbate the fragmentation of their listeners. This is not due to a lack of skill, as the talent of frontman and lead guitarist Alexi Laiho has never been in question. Rather, genre consistency has always been an impossibility for the group, as each album modifies the sound from its predecessor in some way, shape, or form. Starting out as a death metal group with thrash and black metal influences, transitioning into a death-thrash hybrid, and even showing subtle metalcore influences on their last two albums, Children of Bodom just couldn't seem to decide how they should sound. However, the band's newest full-length album, Relentless Reckless Forever, actually takes a few steps back and finds a consistent tone that should please most Bodom fans.

After the bloated, over-the-top albums Are You Dead Yet? and Blooddrunk, this new record is a more straightforward approach to the band's sound, and it works. Relentless Reckless Forever is streamlined in its delivery, steady in its tone, and unrelenting in its ferocity. Instead of delving into industrial sounds or toying with breakdowns, this album sticks to a basic melodic death metal sound with thrash elements mixed in, similar to the output from 2000's Follow the Reaper. Not only does this provide a link to the band's older work, but it also allows the band to be a bit more daring in their songwriting. This album has infinitely more technicality than either of its predecessors, with tempo and key changes built into several songs and many interesting chord structures found within the riffs. Laiho's solos, particularly his trade-offs with keyboardist Janne Wirman, are also markedly improved, showing the greater amount of effort that went into the recording of this album. The best evidence of this is on closing track "Northpole Throwdown", which may be one of the fastest and most thrash-intensive songs in the band's entire catalogue.

Admittedly, Relentless Reckless Forever does have some noticeable drawbacks. On an album that's steeped mostly in fast compositions, the few slow songs like "Roundtrip to Hell and Back" and "Was It Worth It?" seem woefully out of place, despite being good songs on their own. And while one can't fault a veteran band for re-using ideas over the course of such a long career, some of the riffs on this album feel a bit too familiar. The most blatant instance of this is on "Cry of the Nihilist", where the main keyboard riff in the refrain is structured very similarly to the guitar riff in the refrain of "Tie My Rope" from 2008's Blooddrunk. However, these are only minor flaws on an otherwise solid album, unmarred by obviously horrendous tracks like some of its predecessors were.

Relentless Reckless Forever is exactly the album that Children of Bodom needed to release right now. It will help to unite fans of the group's mid-career work with fans of their more recent albums, offering high-quality material from both sides of the aisle for these groups. Will this be the album that unites all the band's listeners? No, because it is not an album that will satisfy fans of the band's oldest albums, from when Laiho was still trying to be the new Yngwie Malmsteen. However, this album will heal some of the fractures in the band's fan base, so that these fans can declare their adoration for Children of Bodom in a singular voice. It's the album that Bodom had to create, and it may quickly become a turning point in the band's discography.

Score: 7.5 out of 10

Track Listing

1. Not My Funeral
2. Shovel Knockout
3. Roundtrip to Hell and Back
4. Pussyfoot Miss Suicide
5. Relentless Reckless Forever
6. Ugly
7. Cry of the Nihilist
8. Was It Worth It?
9. Northpole Throwdown

Album Personnel

Alexi Laiho – Lead vocals, lead guitar
Roope Latvala – Rhythm guitar, backing vocals
Henkka Seppälä – Bass guitar, backing vocals
Janne Wirman – Keyboards
Jaska Raatikainen – Drums

Album Review: "Dimensions" by Audio Insight

2011-02-27T15:11:00.001-05:00

Progressive rock is a genre that has its tested veterans and its one-shot failures, and very little in between. When a band forms and chooses its direction as progressive rock, that band needs to have a very clear goal in mind, or else they are usually destined to become one of the many one-shot failures. In the modern realm of prog rock, bands like Karnivool, Mutemath, and even Coheed & Cambria have garnered immediate success because of their clear and distinct vision and goal for their sound. So it is with New Jersey's newest three-piece prog act, Audio Insight. These college kids have a firm grasp on the sound they want to create, and while they require some polishing, their debut album Dimensions is an impressive beginning to their career.

The biggest upside to Dimensions is the maturity of the band's sound. Their music has flow and grace that most younger bands are unable to achieve, especially within the progressive rock genre. The album seamlessly moves from one song into the next, often without decipherable breaks in the sound, which almost makes it seem like one continuous composition. However, each song also manages to be unique in its own space, achieving distinct differences from the preceding and succeeding songs. This kind of compositional maturity and effort is rare among young groups, most of whom attempt to emulate the sounds of the biggest, most popular bands in their respective genres. Audio Insight is not afraid to try their own sound and style, a characteristic which will help them a great deal in the future.

That being said, Audio Insight does take a fair share of cues from other progressive rock bands in their sound. The most obvious influence is Coheed & Cambria, which could be a blessing or a curse for the band. Coheed & Cambria does attract a fairly large audience and is widely known for their distinctive sound, so Audio Insight would have no trouble appealing to their fans. However, some are likely to dismiss the group as copies of Coheed, a judgment that is far from the truth and gives Audio Insight far too little credit. Distancing themselves from Coheed's core sound a bit more would be a good plan for Audio Insight's next album. There does seem to be influence from non-progressive groups like Rise Against and Thursday, as well, and exploring these influences in conjunction with the progressive elements of their sound would be an interesting venture.

Overall, Audio Insight is a very impressive young band with a bright future to look forward to. Their sound is still developing, but it is strong and unique in many ways, which shows how much effort they've put into developing their goals for their music. That gives them a tremendous edge over their contemporaries, which they'll need in the creative and talented Jersey music scene. They may not be like Porcupine Tree or Muse yet, but given enough time, Audio Insight could easily reach the lofty heights of the honored progressive rock elders. Such potential is hard to find these days. Hopefully it will be fully realized in time.

Score: 7.5 out of 10

Track Listing

1. Everything is Nothing
2. Dimensions (Part I)
3. Crucify
4. For the Corporations
5. Sheepskin
6. White Roses (In a Black Chapel)
7. Like Flies Around a Dying Light
8. Dimensions (Part II)

Album Personnel

Anthony Celi - Vocals, guitar
Michael Deverin - Bass guitar
Daniel Sullivan - Drums

Album Review: "The Hymn of a Broken Man" by Times of Grace

2011-02-20T19:26:00.002-05:00

In every era and genre of music, there are certain albums that define the period and establish trends that everyone else follows. The dawn of metalcore in the early 2000s was defined by Killswitch Engage's monumental sophomore album, Alive or Just Breathing. The perfect blend of harsh and clean vocals from vocalist Jesse Leach, combined with the overwhelmingly catchy guitar riffs written by Adam Dutkiewicz, yielded an album with influential power still felt today. The speed with which Alive or Just Breathing began to change metal was astounding, and only matched by the shocking and sudden departure of Leach from the band in 2002, the same year the album was released. It was an unfortunate ending to what many consider to be the band's greatest era, and while Leach's replacement, Howard Jones, is more than capable as a frontman, Killswitch Engage has not yet released an album that has matched the influence and scope of Alive or Just Breathing.

Which is why Times of Grace, the new collaboration by Leach and Dutkiewicz, is already one of the best bands in modern metal, nine years after the fateful change in Killswitch Engage's lineup. In that time, Dutkiewicz's position as one of the best songwriters in American metal has not changed, as he is still able to craft incredible compositions on guitar, bass, and drums. Meanwhile, Leach has somehow become an even more powerful singer, with an even wider vocal range and more control over his primal screams. These factors come together on the duo's debut album as Times of Grace, entitled The Hymn of a Broken Man. And just like Alive or Just Breathing before it, The Hymn of a Broken Man is already attracting praise and accolades from all over the metal community for its pure excellence.

The comparisons between this album and Alive or Just Breathing are inescapable, as are comparisons between Times of Grace and Killswitch Engage in general. However, while some of the riffs may seem similar to the material Dutkiewicz has written for Killswitch Engage's last three albums, the differences come through in the subtle additions to the songwriting. The elements of blues, progressive rock, shoegaze, and electronica all combine to give The Hymn of a Broken Man a much more diverse feeling, creating atmospheric effects and keeping the album as a whole engaging with tempo changes and unexpected new influences shining through. The most obvious occurrences of these additions are on "The Forgotten One", an entirely acoustic blues tune that is one of the album's best tracks, and "Fall from Grace", a song which features a towering, highly atmospheric composition that brilliantly offsets the soulful crooning of Dutkiewicz. These songs, along with the other subtle and blatant influences included in the album's compositions, prove just how intelligent and forward-thinking Dutkiewicz is as a songwriter.

The vocals and lyrics, though, are where The Hymn of a Broken Man really touches the hearts and minds of many listeners. Leach sings and screams through these songs with the energy and emotion of a man fighting for his very soul against unimaginable forces of darkness, making every word heartfelt and powerful. The strength of his voice is truly brought to life in his lyrics, which have a recurring theme of faith in the face of desperate times. Whether preaching for unity on "Strength in Numbers", pleading for an end to division and prejudice on "Live in Love", or finding the strands of positivity in bleakness on "Hope Remains", Leach is one of the most inspirational lyricists in all of metal. His lyrics come from the soul, and they speak to the soul of anyone that desires a better world.

Times of Grace is one of the best new musical ventures to come out of the metal world in recent years. In taking a tried-and-true sound and giving it a new spin, the pair of Leach and Dutkiewicz have managed to create something truly special and unique. No longer the young musicians of nine years ago getting their first taste of fame, these two men are now veterans delivering the best work of their respective careers. The Hymn of a Broken Man is a much-needed breath of fresh air in the modern metal scene, injecting hope and perseverance into a realm dominated by despair and anger.

Score: 9 out of 10

Track Listing

1. Strength in Numbers
2. Fight for Life
3. Willing
4. Where the Spirit Leads Me
5. Until the End of Days
6. Live in Love
7. In the Arms of Mercy
8. Hymn of a Broken Man
9. The Forgotten One
10. Hope Remains
11. The End of Eternity
12. Worlds Apart
13. Fall from Grace

Album Personnel

Jesse Leach - Lead vocals
Adam Dutkiewicz - Backing vocals, guitar, bass guitar, drums

Top 20 Albums of 2010

2011-01-02T13:15:00.002-05:00

Yes, it's that time again. The end of the year is upon us, which means it's time to roll out what albums made this year amazing for me. However, there are some people that have pointed out something about my past year-end lists, so let me make a quick disclaimer before I start this shindig:

I listen to a LOT of music. I have a 160 GB iPod that is maxed out with music, and I intend to get another one in the future and max it out as well. My music is my life. That said, I did not get to every album that was released this year in the rock and metal world. In fact, I didn't get to nearly as many as I wanted. I will listen to the albums I missed in the future though. At that time, if I determine that one of those albums is good enough, I will adjust my rankings to accommodate it. Thus, this list may change in the future. If you are not okay with that, I am sorry, but they are my rankings, not yours. I do my best to remain consistent, but that isn't always possible. Unlike last year, when my choices were extremely clear-cut for me, I spent hours agonizing over this list, trying to find a way to order it and decide which albums meant the most to me. It's been reordered and reconsidered more times than I can remember, and as I said, the chance exists that it will be redone again in the future. About the only thing I can promise is that my top three will always stay the same. For everything beyond that, I'm standing by the order that I have listed here for the foreseeable future.

Now that that's out of the way, we can move on to the list itself. As I just stated, I listened to significantly less music this year than I did last year. There are multiple things that factored into that, most of them having to do with the fact that I actually write about the music I listen to now instead of just listening. Either way, if you remember last year's top 200 list and were hoping for something similar, I must unfortunately (unfortunate for me, at least) announce that I will not be reaching that milestone. Hell, I have a long way to go before I get to even half of that. However, to make up for that fact and my lack of reviews for several weeks, I will give you an extended best-of list for this year.

2010 was a rough year for rock and metal. Legends passed on from our world, key bands announced break-ups, and accidents/near-misses seemed never more than a heartbeat away. Yet, our music lived on. As always, here are my honorable mentions first:

40. When Will We Surrender by Hundredth

39. The Guessing Game by Cathedral

38. We Are the Void by Dark Tranquillity

37. Eternal by War of Ages

36. Audio Secrecy by Stone Sour

35. Starve for the Devil by Arsis

34. Days of Defiance by Firewind

33. The Powerless Rise by As I Lay Dying

32. Threnody by Woe of Tyrants

31. Relentless Retribution by Death Angel

30. Revenants by Conducting from the Grave

29. Reptilian by Keep of Kalessin

28. Enemy Unbound by The Absence

27. Poetry for the Poisoned by Kamelot

26. Asylum by Disturbed

25. The Conscious Sedation by System Divide

24. Exiled to Earth by Bonded by Blood

23. Mechanize by Fear Factory

22. Blood in the Gears by The Showdown

21. Forging the Eclipse by Neaera

And now, without further ado, here it is - my Top 20 Albums of 2010.

20. Coat of Arms by Sabaton - Sabaton has been slowly gaining steam in the power metal world, but they sadly remain one of the most unknown and underrated bands in their genre. It's a travesty, especially with an album as astounding as Coat of Arms on their résumé. This is the fourth album from the Swedish group dealing with World War II and historical topics, and it follows the trend of others by being even better than its predecessor. Sabaton just keeps getting better, and more people need to listen to them.

19. Beyond the Gate by Wretched - As the American melodic death metal scene continues to define itself, a few bands have rushed forward to claim the spotlights, for better or for worse. Wretched is one of the sleeper bands, with less name recognition than their counterparts in Woe of Tyrants, Within the Ruins, and Conducting from the Grave. But Wretched is clearly the most forward-thinking and innovative band in their scene. This album screams of progression and intricacy amidst the technical riffs and brutal atmosphere. Wretched is one of my recommended bands to watch for the next year. They could become one of the biggest successes in their scene with this level of quality.

18. The Obsidian Conspiracy by Nevermore - Speaking of quality, has Nevermore ever released a bad album? I can't think of any that could even be dubbed mediocre. Their musical output is continuously awesome, with Warrel Dane's inimitable vocals and Jeff Loomis' guitar wizardry. The Obsidian Conspiracy takes some risks, as Nevermore is wont to do, but overall, this album just perpetuates the infinite slow evolution of their sound. And it still sounds amazing from start to finish.

17. Darkly, Darkly, Venus Aversa by Cradle of Filth - I've finally figured out my stance on this band: if you hate them, it's your loss. This album is even more well-done than Godspeed on the Devil's Thunder, thanks to a greater sense of brevity while utilizing a broader approach to the idea of a concept. It just provides further proof that Cradle of Filth is truly among the innovators in extreme metal, and that other bands follow where they lead, even if those same bands are loathe to admit it. In truth, this album cements Cradle of Filth as an architect of extreme metal philosophy and vision for every band to follow.

16. 12 Gauge by Kalmah - Kalmah should be the flag-bearer of the Finnish melodic death metal scene, in my opinion. They've never stooped to the levels that some of their countrymen have to attract attention, nor have they ever compromised their musical integrity and sound for the sake of expanding their audience. 12 Gauge is yet another phenomenal album from Kalmah, on the same level as 2008's outstanding For the Revolution. Give this band a listen if you want to find a Finnish band that takes their music as seriously as their fans do.

15. The Final Frontier by Iron Maiden - After three decades of making music, one might think that Steve Harris would run out of ideas. The Final Frontier is Harris' way of laughing at that thought and beckoning for another three decades to test him further. This album is one of the best that Iron Maiden has ever released, on par with Piece of Mind and Seventh Son of a Seventh Son, and just barely falling short of The Number of the Beast and Powerslave in my book. Bruce Dickinson sounds like he's 25 again instead of 52, and the entire band sounds reinvigorated on every note of this album. Iron Maiden isn't going anywhere soon, and everyone can be very thankful for that.

14. Periphery by Periphery - How do I even categorize Periphery? Their sound is so experimental and technical, crossing over too many subgenres to count within the confines of single songs. Misha Mansoor is the next big thing among guitarists, mark my words. He plays with the speed and precision of legends twice his age, and he makes it look easy too. If Alexi Laiho and Gus G. were the guitar kings of the previous decade, then Mansoor is the new face on the throne for the decade to come.

13. Love is Gone by Dommin - If you're looking for passion and intense emotions in your music, then Dommin is your new favorite band. These guys know how to channel every possible feeling into their music, evoking brooding sadness, surprising joy, inexplicable rage, and so much more through their lyrics. Their take on the gothic rock/metal sound is also fresh and exciting, utilizing keyboards at the forefront of the sound for a very unique, vintage feeling. Kristofer Dommin's voice is a force unto itself, uniting the entire sound and enhancing its power exponentially. Love is Gone is just the beginning of what is sure to be a long and exciting career for this quartet.

12. Universal by Borknagar - I'm convinced that you have to have a proven genius-level IQ in order to play in Borknagar. That is the only plausible explanation for how intricate and progressive their music is. Universal is a dark and twisted journey into uncharted territories of black metal and progressive metal, exploring unions and attempting compositions that most bands could never dream of. I've said it before, and I will say it again: If Borknagar doesn't already own the title of being "the thinking person's metal band", they need to own it now, because this album will have you deep in thought and consideration through many repeat listens.

11. Sons of the System by Mnemic - How does a band re-unite their fanbase after releasing an album that split it in half? If you're Mnemic, you release an album that's so damn catchy, it becomes required listening material every time you get in a car, go to the gym, or engage in any task where you normally listen to music. The riffs and song structures on this album are addictive, melding industrial with groove in an effortless way. This is an album that will stick with you for a long time.

10. A Thousand Suns by Linkin Park - This isn't exactly close to metal, but DAMN, this album is mind-blowingly good. There are more than enough detractors of Linkin Park's sound changes, especially concerning this album, but I will stand by A Thousand Suns and its progressive tone. I admire risk-takers, and this album is the riskiest composition I've heard in a long time. An album-length unbroken composition from a mainstream rock stalwart is difficult to pull off, at best. But Linkin Park has done it so well, I can hardly believe my ears. This is not the same group of musicians that galvanized a generation with the hormonal fury of Hybrid Theory, and surprisingly enough, I'm content with that.

9. Cold Day Memory by Sevendust - I enjoyed Sevendust's albums with Sonny Mayo on guitar, but one listen to this album is all it took to convince me that Clint Lowery is the true brain of Sevendust, just as much as Lajon Witherspoon is the heart. Cold Day Memory is Sevendust's best album since 2001's stellar Animosity, putting them back at the top of the heap of alt-metal bands that have persisted through the past decade. The music is heavy, but melodic. The lyrics are heartfelt and passionate in every word. Nobody can accuse Sevendust of ever doing anything except what felt right to them at the time, and this album is direct proof of that. They are among the most genuine and honest bands in the world, and that's why they've lasted so long and will continue to last for years to come.

8. Psalms of Conscious Martyrdom by Stigmata - Most of you probably haven't heard of this power-prog group from Sri Lanka (not one of the many other Stigmatas out there), but they're one of the most interesting groups I've discovered in recent years. Much of Stigmata's material makes some of the biggest prog bands sound like their songs were composed on a Casio children's keyboard. If you want to hear something fresh and exciting from the power-prog underground, then Stigmata is what you're looking for.

7. The Panic Broadcast by Soilwork - What Clint Lowery is to Sevendust, Peter Wichers is to Soilwork. 2007's Sworn to a Great Divide was a pretty good album, but The Panic Broadcast absolutely blows it out of the water. Wichers is one of the best songwriters in all of modern metal, as evidenced by this diverse album. Utilizing thrash, groove, and technical death metal elements to expand their sound, The Panic Broadcast is the most varied and interesting album of Soilwork's career, as well as a career milestone for Wichers. And by combining his songwriting skills with the stunning vocal talents of Björn "Speed" Strid, Soilwork is virtually unstoppable.

6. Ironbound by Overkill - In my opinion, the Big Four have been getting outclassed by many of their supposedly "lesser" peers for many years now. In 2008, it was Testament. Last year, it was Kreator. This year, Overkill delivers a simply monumental thrash album that is the best of their thirty-year history. From the first notes of "The Green and Black" to the final riffs of "The SRC", Ironbound is the purest essence of thrash quality. It's fast, it's raw, it's unrelenting, and best of all, it has the grandiose atmosphere and tone of the biggest thrash albums of the '80s.

5. Eparistera Daimones by Triptykon - Celtic what? Tom Warrior still has what it takes, and this album proves that. With his new project, one of the greatest minds in metal history has once again raised the bar for every extreme and avant-garde metal band to follow in his footsteps. Celtic Frost rarely sounded as strong as Triptykon does for the entirety of this album. Combined with the essential Shatter EP as a companion piece, Eparistera Daimones is a mind-warping trip through musical ingenuity.

4. For Aeons Past by Solution .45 - Two years ago, Christian Älvestam parted ways with Scar Symmetry amidst a small amount of controversy. He moved on to a couple of side projects, but none elicited the same reaction from fans looking to hear the full extent of his vocal prowess. However, in 2010, Älvestam has returned with a new band that sounds a lot like Scar Symmetry, except that Solution .45 is even better. This group utilizes some of the most subtle compositional nuances in metal that make huge differences, especially with the focus on melody and form. These elements also highlight the best parts of Älvestam's vocals, primarily using his outstanding clean singing while also allowing for his distinctive growls and screams. Simply put, For Aeons Past is a breathtaking album in every possible way.

3. The World is a Thorn by Demon Hunter - I view Demon Hunter as one of the most underrated bands in all of modern metal. For me, they are one of the rare groups that simply gets better with every album. The World is a Thorn is no exception, featuring absolutely phenomenal songwriting from Ryan Clark and highlighted by exceptional guest appearances from Strid, Älvestam, and Throwdown's Dave Peters. This album goes beyond the melodic focus of Storm the Gates of Hell, melding it with the straightforward aggression of their early albums to create the most even balance in their sound that they've ever had. I've said it after every other Demon Hunter album, and I'll say it again here - I don't know how Demon Hunter can get any better than this. But I still hope they prove me wrong yet again on their next album.

2. Invictus (Iconoclast III) by Heaven Shall Burn - Based on a lot of the reviews I read, most metal albums are usually judged by the quality of the music, often only taking lyrics into account when they are bad. I'm taking the opposite approach here, because Invictus is the best lyrical album I have EVER heard, hands down. Marcus Bischoff is poetic, uncompromising, vicious, and succinct - in short, a true lyrical genius. With historical calamities, current atrocities, and deeply personal struggles all laid bare, Invictus is obviously my choice as top lyrical album of the year. It also gets my picks for having the best cover of the year, with a beastly rendition of "Nowhere" by Therapy?, and the best guest appearance of the year, with Sabine Weniger of Deadlock performing a heart-stoppingly beautiful duet with Bischoff on "Given in Death".

1. Mutiny Within by Mutiny Within - For a band to resuscitate a dying genre and give it a completely new life, it takes quite a lot of talent, innovation, and luck. Mutiny Within had all three of those factors working in their favor with their self-titled debut. Because of this album, metalcore now has a new face, a new life, and a new direction that could turn legions of haters into fans. The influence is already showing, as technical and progressive metalcore bands are now appearing all over the place. Not only is this my favorite overall album of the year and my top compositional album, the album also opens with my top song of the year, the flawless "Awake". The sky is the limit for this group, literally…if you're discussing Chris Clancy's vocal range, at least.

With that, the book on 2010 is closed. I may do a genre breakdown similar to Part 2 of last year's review, depending on time. Either way, Happy New Year to all, and as always, HORNS UP!

\m/ -_- \m/

Album Review: "Darkly, Darkly, Venus Aversa" by Cradle of Filth

2010-11-14T23:14:00.000-05:00

Few bands have attracted as much derision as Cradle of Filth has throughout their career. But they are one of the few metal bands where the hatred arises not from lack of talent, but from overabundance of talent and the inability of some listeners to recognize it. Looking back at the black metal scene and extreme metal in general, Cradle of Filth has consistently been among the pioneering bands. If a trend becomes popular, they were usually doing it before most others. Even the band's missteps (Damnation and a Day and Thornography immediately come to mind) still have their hidden gems of inspiration and innovation. 2008's Godspeed on the Devil's Thunder was a stunning return to form, and its intriguing conceptual storyline was remarkably well-executed. Darkly, Darkly, Venus Aversa, another concept album, is a daring release with its own batch of new twists that will delight fans and potentially convert some naysayers.

Unlike Godspeed, this record's concept is not as immediately obvious to listeners. Lacking the narrations of longtime contributor Doug Bradley, the storyline instead requires lyrical analysis to decipher. It centers on the demon Lilith, believed by some groups to be the first wife of Adam in the Bible, and her return in the modern era as a goddess. The completely original story represents some of the most inspired and shocking lyrics frontman Dani Filth has ever written, even eclipsing the grotesque imagery on Godspeed. Not needing to utilize on the gore and horror of that album, Filth is instead free to let his perverse imagination run wild in a story that encompasses the Victorian era, Greek mythology, the Knights Templar, and several other historical periods and figures. Some may call it jumbled, but in reality it's a very precisely, well-composed tale that makes Darkly, Darkly, Venus Aversa the best lyrical album in Cradle of Filth's discography.

Musically, the album is extremely strong as well. The compositions are still grand, epic affairs that weave and slither through multiple sections on each song. However, the pacing of the album is more consistent than Godspeed, usually holding speed and tone consistent from the end of one song into the beginning of the next. The real advancement is the greater frequency of guitar solos, which have not been prominent in the band's sound until recently. The solos on "The Nun with the Astral Habit" and "Forgive Me Father (I Have Sinned)" are both well-performed and tasteful, but the best ones occur on "Deceiving Eyes" and "Lilith Immaculate", two tracks that form the heart of the album. Lead guitarist Paul Allender outdoes himself on these two tracks, playing excellent solos alongside deceptively catchy lead lines. Combined with the lyrical intricacy, the band creates a winning formula that will hook all but the most closed-minded listeners.

Darkly, Darkly, Venus Aversa is a masterpiece of extreme metal creation. With some of the best compositions of their career, the highest-quality lyrics of their history, and none of the misfires they've suffered in the past, Cradle of Filth have delivered one of the best extreme metal releases in recent memory. In doing so, they have eclipsed their contemporaries and smashed all expectations, with complete disregard for the accepted standards of their genre. Cradle of Filth set the standards for extreme metal now, and Darkly, Darkly, Venus Aversa will be nearly impossible for other bands to live up to.

Score: 8 out of 10

Track Listing

1. The Cult of Venus Aversa
2. One Foul Step from the Abyss
3. The Nun with the Astral Habit
4. Retreat of the Sacred Heart
5. The Persecution Song
6. Deceiving Eyes
7. Lilith Immaculate
8. The Spawn of Love and War
9. Harlot on a Pedestal
10. Forgive Me Father (I Have Sinned)
11. Beyond Eleventh Hour

Album Personnel

Dani Filth – Lead vocals
Paul Allender – Lead guitar
James McIlroy - Rhythm guitar
Dave Pybus – Bass guitar
Ashley Ellyllon – Keyboards, backing vocals
Martin Škaroupka – Drums

Album Review: "Poetry for the Poisoned" by Kamelot

2010-11-02T22:48:00.000-04:00

Kamelot is one of the leading bands in power metal because they have dared to do what many bands would not - expand their borders. The reason that The Black Halo and Ghost Opera were so successful is that they went outside the norms for most power metal bands. Instead of fast, over-the-top compositions of grandiosity and slow, crooning ballads placed side by side over the length of an album, Kamelot has dared to blend those two extremes and construct power metal songs more akin to what genre creators Iron Maiden did in their early years. Thus, instead of trying to top the creators (something that many modern power metal bands seem to be trying to do), Kamelot has decided to emulate them, and they have become a better band because of it. Their latest album, Poetry for the Poisoned, is very different from what the band has done on its two predecessors, but it is nonetheless a surprisingly good album that proves its worth over time, rather than through an instantaneous musical reveal.

For the first two-thirds of the album, Kamelot opts for a less epic, high-flying atmosphere than they've used on their previous albums. Roy Khan barely ever moves out of the lower and middle ranges of his vocals, holding back the high voice he's become well-known for. The music is similarly restrained, with only the track "If Tomorrow Came" using the fast-paced style of traditional power metal, and most songs feeling more like progressive-power ballads than anything else. However, the instrumentation is deceptively catchy, utilizing riffs that stick in the memory for long periods behind vocal patterns that provide superb accentuation. It is yet another new style for Kamelot, and while some fans may find it unimpressive at first, they will soon find themselves going back to re-listen to those songs on the album.

The final third of the album is where Kamelot reverts to the style of their past two albums, and it complements the rest of the album perfectly with its placement. The four-part epic "Poetry for the Poisoned" is where Khan starts to let loose on his vocals. Together with frequent Kamelot guest Simone Simons of Epica, Khan's vocal parts on this nine-and-a-half minute piece are among the best in Kamelot's entire discography. Closing track "Once Upon a Time" recalls the band's earliest recordings, with a composition based in the purest essentials of power metal. It's a fitting way to end an album that has seen the band traverse a great deal of territory that they've never been in before.

Poetry for the Poisoned may seem like a disappointment at first, but listeners will soon realize it is just as good as Kamelot's previous albums, albeit in different ways. Whereas the band used to be all about virtuosity and flashiness, they've now become much more well-rounded and diverse. The strongest parts of their sound - Khan's vocals and Thomas Youngblood's guitar wizardry - are still just as prominent as ever, and the rest of the band has excelled beyond what has previously been heard from them. Poetry for the Poisoned is Kamelot deciding to stretch their muscles and attempt some different things. It works remarkably well, and hopefully they will continue to mix things up on their future releases.

Score: 7 out of 10

Track Listing

1. The Great Pandemonium
2. If Tomorrow Came
3. Dear Editor
4. The Zodiac
5. Hunter's Season
6. House on a Hill
7. Necropolis
8. My Train of Thoughts
9. Seal of Woven Years
10. Poetry for the Poisoned, Part I: Incubus
11. Poetry for the Poisoned, Part II: So Long
12. Poetry for the Poisoned, Part III: All is Over
13. Poetry For The Poisoned, Part IV: Dissection
14. Once Upon a Time

Album Personnel

Roy Khan – Lead vocals
Thomas Youngblood – Guitar
Sean Tibbetts – Bass guitar
Oliver Palotai – Keyboards
Casey Grillo – Drums

Album Review: "A Thousand Suns" by Linkin Park

2010-11-02T21:25:00.000-04:00

Pink Floyd's Dark Side of the Moon is revered as one of the greatest albums of all time because it was one of the most ambitious albums released by any music performer in that era. The idea of crafting an entire album that was designed to be a continuous musical composition, rather than several separate songs, was a revolutionary idea in rock music at that time. Sure, concept albums existed before Dark Side of the Moon, but virtually all of them were conceptually based around a lyrical theme, rather than a musical theme. And while the album did have its singles, the innovation and progression it introduced forever changed the musical landscape.

Other groups have tried, with varying degrees of success, to release albums that are one continuous composition, but most groups that attempt this feat are part of genres in which that type of album is expected. Progressive rock groups such as Rush and Porcupine Tree, or technical metal bands like Meshuggah and Between the Buried and Me, are the best examples of success in this venture. Not since the album that started it all has a mainstream rock group with a worldwide following in the hundreds of millions attempted a feat such as this - until now.

Once the poster boys of nu metal and the leading band among angst-ridden teenagers, Linkin Park has become a much more mature, well-rounded group in the past four years. The release of 2007's Minutes to Midnight heralded the beginning of a new era for the California six-piece, one focused on pure hard rock and mostly free of the acrimony of youth. The haunting vocal melodies, piano sections, and lack of electronics divided fans, with some praising the band's style shift and others criticizing them as sellouts. The band's new album, A Thousand Suns, is likely to divide listeners even further, as they continue to evolve beyond their roots into even more new territory. But for those that can appreciate it, this album is undeniably the most intelligent, majestic album of Linkin Park's career; a stunning testament to the band's ability to expand beyond the boundaries set for them by critics and fans.

To its immediate credit, the album does see the return of Mike Shinoda's rap vocals, an element sorely missed on Minutes to Midnight. Shinoda does have a great singing voice too, but relegating the singing mostly to Chester Bennington re-clarifies Shinoda's roles in the band as MC, keyboardist, and occasional second guitarist. The album also sees an increase in Joseph Hahn's electronics over Minutes to Midnight, but not in the traditional form of record-scratching and one-shot sound effects. Rather, Hahn creates a separate musical landscape in the background of the entire album, layering and accentuating the primary instruments in certain parts, and acting as an organic, spacey music bed in others. The record scratches and sound effects do still exist, but they take a backseat to the new sounds of the innovative DJ.

The album has fewer actual "songs" in the traditional sense, with almost half the album's tracks being interludes or instrumental sections. However, that is the beauty of A Thousand Suns - in itself, this album is one 48-minute song that ebbs, winds, and flows through different sections, almost like the movements of a classical symphony. When experienced in order from start to finish, this album is an incredibly powerful composition, with many subtle touches that require listeners to replay the album multiple times in order to catch them all. Unfortunately, this does somewhat diminish the enjoyment of individual songs apart from the album as a whole, but tracks like "Wretches and Kings", "When They Come for Me", and "Blackout" are still quite excellent on their own. Listening to them as part of the whole album just improves them that much more.

A Thousand Suns is completely unexpected, beyond anything that Linkin Park fans could have ever imagined possible from the band. This album is a glorious work of art from a band that has become so much more than what they once were. Linkin Park may have been criticized in the past for trying to be more than they are, but this album proves that they are not constrained at all in their artistry. A Thousand Suns is the best attempt yet at reaching the heights of Dark Side of the Moon, and while the album may not perform as well as its inspiration in this age of file sharing and iTunes, it is still a stunning work of musical genius that rivals the older album in inventiveness and quality.

Score: 8 out of 10

Track Listing

1. The Requiem
2. The Radiance
3. Burning in the Skies
4. Empty Spaces
5. When They Come for Me
6. Robot Boy
7. Jornada del Muerto
8. Waiting for the End
9. Blackout
10. Wretches and Kings
11. Wisdom, Justice, and Love
12. Iridescent
13. Fallout
14. The Catalyst
15. The Messenger

Album Personnel

Chester Bennington – Co-lead vocals
Mike Shinoda – Co-lead vocals, keyboards, rhythm guitar
Brad Delson – Lead guitar, keyboards, backing vocals
Dave "Phoenix" Farrell – Bass guitar, backing vocals
Joseph Hahn – Turntables, synthesizer, samples, backing vocals
Rob Bourdon – Drums, percussion

Album Review: "Forging the Eclipse" by Neaera

2010-10-28T00:03:00.000-04:00

Neaera has been one of the best and most consistent bands in the new wave of German metal during the past decade. After two albums of tough and brutal metalcore, the band really found their stride on 2008's Armamentarium, an extremely strong melodic death metal album with a vast number of standout tracks. Armamentarium was the album that put Neaera in the top echelon of Germany's new metal scene, leading the pack alongside Heaven Shall Burn and Caliban. And although 2009's Omnicide - Creation Unleashed didn't quite match the quality of Armamentarium, it was still a solid album with a great overall tone. Maintaining their unbelievably fast production speed with their fifth album in six years, Neaera is back with Forging the Eclipse, an album that keeps them at the top of the heap with impressive new styles and overall performance.

"The Forging" marks the first time Neaera has opened an album with an instrumental, and is counted as only the third instrumental of the band's career. However, that and the inclusion of a second instrumental, "Certitude", are the only major changes in the structuring of the album from its two predecessors. Forging the Eclipse has the same excellent structural flow as Armamentarium, with each song's ending creating the right atmosphere and tone for the beginning of the next song. Similarly, it maintains an even pace and a consistent energy level from one song to the next, slowly building up to a huge climax towards the end of the album. This is very similar to the arrangement of Omnicide - Creation Unleashed, which had the same level of consistency and stability pervading the entire album. These two factors are concrete proof of Neaera's desire to maintain their level of skill and improve their technique from one album to the next. Forging the Eclipse shows their ability to remain at the same high level without dropping off, which is a definite step on the desired path.

Forging the Eclipse moves blindingly fast, so much so that it establishes itself as Neaera's fastest album before reaching the halfway point. Sebastian Heldt's drumming is unbelievably precise once again, and although he continues to abuse the double bass pedal, it works in his favor on most of the songs. The compositions are much crisper and more defined than on Omnicide - Creation Unleashed, with the different parts within each song having clearer transitions. Benny Hilleke continues to show off his vocal versatility, swinging back and forth between his high-pitched scream and his basement-level growl even more easily and frequently than he has before. In fact, the only drawback (if you can call it that) of this album is that there are no tracks that immediately stick out in the mind as being more excellent than others. The whole album is consistently good from beginning to end, maintaining a high level of quality throughout.

Forging the Eclipse falls somewhere in between Armamentarium and Omnicide - Creation Unleashed among the hierarchy of Neaera's discography. It doesn't have the superb standout tracks of the former album, but its overall composition and production improvements push it ahead of the latter. More importantly, though, the fact that Forging the Eclipse stays at the high level of quality expected by fans is a sign that Neaera isn't slowing down at all. This group has been together for over seven years without any lineup changes, while maintaining a slow and steady evolution of sound and staying true to their roots. These are the basics that most fans ask of metal bands, and Neaera is one of the few bands that deliver in every area. Forging the Eclipse is a statement of intent: Neaera is here to stay, and they intend to dominate the scene they're in before all is said and done.

Score: 8 out of 10

Track Listing

1. The Forging
2. Heaven's Descent
3. In Defiance
4. Eight Thousand Sorrows Deep
5. Arise Black Vengeance
6. Rubikon
7. Sirens of Black
8. Certitude
9. Exaltation
10. Tyranny of Want
11. The Prophecy
12. And to Posterity a Plague

Album Personnel

Benny Hilleke - Vocals
Tobias Buck - Guitar
Stefan Keller - Guitar
Benjamin Donath - Bass guitar
Sebastian Heldt - Drums

Double Review: "Silent Chaos Serpentine" and "Psalms of Conscious Martyrdom" by Stigmata

2010-10-21T18:00:00.003-04:00

Metal is not exclusive to any one country or location, as any fan of the genre knows. Where the spirit and drive to play heavy and loud exists, metal will find a way. So it is with Sri Lankan group Stigmata, a powerful and unique group with the heart of metal deeply embedded in all five members. Stigmata is one of only thirteen groups identified by the Encyclopedia Metallum as being located in Sri Lanka, a country better known for its civil war and tea production than any sort of music scene. Nonetheless, Stigmata has a lot of skill and potential appeal. Their two most recent albums, Silent Chaos Serpentine and Psalms of Conscious Martyrdom, are the stuff that makes most bands into humongous successes.

Silent Chaos Serpentine boasts a surprising number of influences, most of which appear in the first two songs. The most prevalent style is a Nevermore-influenced style of progressive thrash with power metal vocals. Vocalist Suresh de Silva is a monster with a microphone, effortlessly switching from a harsh, barking scream to soaring clean singing, and then moving to a mid-range clean vocal with a very martial, commanding presence. "Jazz Theory" is where this album really starts to get engaging, with a mariachi-like section suddenly breaking into the middle of the song and providing a delightful and informal interlude. "Lucid" opens with a gorgeous clean-sung intro that sees de Silva reaching Bruce Dickinson levels of emotion and expression, and he keeps that level of excellence for the entire song. "Wingless" has the feel of an Opeth song for its intro and refrain, transitioning into and out of an Unearth-style riff on the verses, making for an amazing contrast.

While the production on Silent Chaos Serpentine is not the greatest, it is still better than what you'll hear from a lot of black metal bands, and the stylistic diversity adds more than enough to the record to make up for the low production value. In its basic interpretation, Silent Chaos Serpentine is a largely successful attempt at achieving a fast, heavy, thrash-inspired power metal album with harsh vocals and epic compositions. In other words, this album is a much better version of 3 Inches of Blood's first album, Battlecry Under a Winter Sun. The inclusion of multiple different styles and outside influences is what pushes this album from being solid to exceptional.

However, the music gets even better on Psalms of Conscious Martyrdom, an album that pushes boundaries and dares to be more than what conventional metal fans would consider acceptable. De Silva shows just how far Stigmata has come in the first half of "SpiralComa", managing to sound like Rob Halford one moment and Dani Filth the next. It truly takes a rare and talented vocalist to pull that contrast off, and de Silva does it with remarkable ease. It's one of many amazing bits of musicality included throughout the entire album, giving Psalms of Conscious Martyrdom the feel of a treasure hunt, building anticipation for the next piece of musical delight to be uncovered.

From the astounding bass solo by Javeen Soysa on "Purer (Libera Nos a Malo)" to the brilliant layered vocals on "The Summoning Cry of Aries"; from the grandiose composition of "A Dead Rose Wails for Light" to the diverse and complex influences on "Od(d)yssey", there is not a moment on this album that is boring or stale. Every section of every song is dynamic, always moving towards something or creating a transition into a new part. The rising and falling atmosphere gives Psalms of Conscious Martyrdom a truly interconnected feel, leaving the audience feeling linked with the album's entire structure from start to finish.

Stigmata has thrown down the gauntlet with these two albums, making the statement that they are here to expand the horizons of metal as much as they are able. Silent Chaos Serpentine lays a solid foundation of expressive progression, and Psalms of Conscious Martyrdom adds endless options for growth and expansion onto the foundation. If this is what metal from Sri Lanka sounds like, then Stigmata needs to start cultivating a scene there quickly, because both of these albums can be seen as stepping stones to creating something even more intelligent, grand, and brutal in the future. This is a band definitely worthy of being followed by all metal fans.

Silent Chaos Serpentine Score: 7.5 out of 10

Psalms of Conscious Martyrdom Score: 8.5 out of 10

Track Listings

Silent Chaos Serpentine
1. Swinemaker
2. Forgiven, Forgotten
3. Jazz Theory
4. Lucid
5. My Malice
6. Wingless
7. Solitude
8. Book of Skin

Psalms of Conscious Martyrdom
1. SpiralComa
2. Purer (Libera Nos a Malo)
3. The Summoning Cry of Aries
4. Nothing
5. A Dead Rose Wails for Light
6. If Alpha Meets Omega
7. Od(d)yssey
8. March of the Saints

Album Personnel

Silent Chaos Serpentine
Suresh de Silva - Vocals
Andrew Obeyesekere - Lead guitar
Tennyson Napolean - Rhythm guitar
Vije Dhas - Bass guitar
Ranil Senarath - Drums

Psalms of Conscious Martyrdom
Suresh de Silva - Vocals
Andrew Obeyesekere - Lead guitar
Tennyson Napolean - Rhythm guitar
Javeen Soysa - Bass guitar
Taraka Senewirathne - Drums

Album Review: "Blood in the Gears" by The Showdown

2010-10-10T17:48:00.000-04:00

The Southern metal scene does not often cross paths with the Christian metal world, but there are some bands that choose to embrace both groups, despite their seeming disconnect. The two leading bands in this group are Tennessee's The Showdown and Georgia's Maylene and the Sons of Disaster, and both bands add some modern metal elements into their sound to create a fairly unique blend. However, The Showdown leans more towards the Southern metal side of things than any of their contemporaries; evidenced by their sophomore album Temptation Come My Way, a straightforward Southern rock mostly devoid of screaming or breakdowns. Their third album, 2008's Back Breaker, achieved an excellent fusion of melodic and aggressive elements, earning them widespread acclaim and recognition for finding their stride. Now back on the scene with Blood in the Gears, The Showdown is out to prove just how diverse and multi-faceted their sound can be.

One listen to Blood in the Gears is all it takes to understand why frontman David Bunton refers to The Showdown as "straight-up Tennessee dude metal" at their live shows. This album is jam-packed with thick, meaty guitar riffs and groove-laden drumming by Demon Hunter skinsman Tim "Yogi" Watts (who was only part of The Showdown during the recording of this album). The influences of Pantera and Kyuss are unmistakable in the groove parts of the album, but there is lots of classic thrash and NWOBHM influence as well. The guitar riffs have Iron Maiden gallops in abundance, while the solos are reminiscent of early Metallica and Megadeth in their technicality.

With all these influences, one might think that Blood in the Gears would become a chaotic, jumbled mess of parts that didn't connect. That is not the case at all, though. This album has a masterful flow and very smooth transitions between and within songs. The grouping of faster songs "Heavy Lies the Crown" and "Bring it Down" before the soulful and slow-moving "Take Me Home" is a beautiful exercise in contrast, extended even further moving into the groove-infused title track. And just when it seems like the album has shown every facet of its music, the crooning, heart-felt closing track "Diggin' My Own Grave" comes in and adds a whole new dimension to the sonic palette. This track starts off acoustically, and could have become a full-on country ballad if not for the surprising electric riff that hits at the 1:40 mark, transitioning the song into a metal power ballad until its ending. Delivering such an unexpected and yet still immensely potent song is a great way to end an already-strong album.

Lyrically, Blood in the Gears departs from the epic battle themes and mythology of Back Breaker, and there is definitely a more obvious spiritual aspect to this album. However, the intensity in Bunton's lyrics enhances the authority and drive of this album to even greater levels. Discussing real-life applications of spirituality and belief in a decidedly anti-religious world, Bunton takes a much harsher approach to the lyrics than most of his contemporaries. Many of the songs criticize worldly excess and irresponsibility, while projecting a bleak future if no changes are made. Clearly Bunton got some inspiration from Living Sacrifice vocalist Bruce Fitzhugh in the lyrics, as Fitzhugh has always taken a strong stance against societal rejection and condemnation of religion.

Blood in the Gears will stand as a pinnacle in The Showdown's career, because they have both cemented their sound and managed to experiment with new ideas and influences at the same time. It may have taken two albums with completely disparate sounds and a third that combined them to reach this point, but fans of the band can definitely say that it was worth the wait. If Back Breaker was the realization of The Showdown's balance and potential, then Blood in the Gears is the extension and mastery of those two things. From here, they can choose to add new influences or simply strengthen and perfect their existing ones. The sky is the limit now for these Tennessee believers.

Score: 8 out of 10

Track Listing

1. The Man Named Hell
2. Heavy Lies the Crown
3. Bring it Down
4. Take Me Home
5. Blood in the Gears
6. Dogma Enthroned
7. No Escape
8. The Crooked Path
9. Graveyard of Empires
10. Diggin' My Own Grave

Album Personnel

David Bunton - Lead vocals
Josh Childers - Guitar, backing vocals
Patrick Judge - Guitar
Jeremiah Scott - Bass guitar
Timothy "Yogi" Watts - Drums

Album Review: "Imperfect Harmonies" by Serj Tankian

2010-10-07T05:32:00.005-04:00

When System of a Down went on indefinite hiatus in 2006, fans unanimously clamored for a more detailed reason as to why, dissatisfied with the band's official statement of wanting to do different things. However, lead singer Serj Tankian quelled the discontent of the masses with his 2007 solo debut, Elect the Dead. Retaining many of the signature elements that made System great, Elect the Dead was a big hit among fans and satiated them for two years. However, the quirky live album Elect the Dead Symphony was less popular with listeners, who did not understand its purpose or meaning. Meanwhile, Scars of Broadway, the side project of System members Daron Malakian and John Dolmayan, was not as successful as Tankian's solo work.

These two factors combined led fans to restart the calls for a System reunion. Unfortunately for those hoping to hear more music similar to System from Tankian, the singer's sophomore solo effort, Imperfect Harmonies, sounds drastically different from Elect the Dead. However, those with open minds might find this to be a good thing, as Tankian takes a huge step into experimental prog rock with his new material.

Imperfect Harmonies is more of a continuation of Elect the Dead Symphony than the original Elect the Dead album, as an orchestra is utilized throughout the entire album as the primary backing music. The orchestral sounds create rich, organic blends of sound that allow songs to flow into and out of each other naturally, creating a full album experience that is most enjoyable when listened to in order from start to finish. Tankian's lyrics continue to be exceptional, giving the caustic social commentary now expected from him. The most powerful of these songs is "Yes, It's Genocide", which isn't even sung in English, but rather in Armenian.

However, this album does have its miscues that make it sound strange at best and completely muddled at worst. The electronic and synth effects are the worst of these offenses, as they do not combine well with the orchestra. In most places, they come off as either superfluous or clunky additions that are only there for the sake of having them. Also, Tankian's vocals are not quite as strong as they have been in the past. He stretches his limits further than they should be pushed in many ways. In particular, his attempts to hit high notes are often quite grating, making songs like "Gate 21" almost unlistenable.

If critics and listeners are able to overlook these things, then Imperfect Harmonies can be considered Serj Tankian's official breakout album. This is where the singer finally separates himself from System of a Down and establishes an identity all his own. This album will not appease those expecting to hear more music similar to System, but Tankian has always stated that his solo work is meant to be taken as a separate entity from his earlier band. Imperfect Harmonies is the record that will hopefully convince everyone to do that. This album will not please everyone, but it is unique when compared to Tankian's work up to now, and that is what's best for everyone.

Score: 6 out of 10

Track Listing

1. Disowned Inc.
2. Borders Are
3. Deserving?
4. Beatus
5. Reconstructive Demonstrations
6. Electron
7. Gate 21
8. Yes, It's Genocide
9. Peace Be Revenged
10. Left of Center
11. Wings of Summer

Album Personnel

Serj Tankian - Vocals and instrumentation
Vincent Pedulla - Additional orchestration
Andre Ettema - Additional electronics

Album Review: "The Culling of Wolves" by Knights of the Abyss

2010-09-26T14:26:00.000-04:00

When deathcore became a prominent genre in the middle of the decade, it ignited one of the fiercest debates ever among metal fans. But just as quickly as it rose to popularity, the much-maligned subgenre seems to be dying with similar expediency. Most bands are transitioning into the brutal technical death metal style pioneered by Suffocation and Immolation in the early '90s. The copious breakdowns and "pig squeal" vocals have been replaced with simpler tempo shifts and basement-level grunts and growls. It is a change that most metal fans are more than happy to witness.

However, the majority of deathcore bands choosing to make this change are not doing a good job of implementing it. Many cannot seem to get the song structures correct, either retaining many elements of their old sound or else writing in tempo and tone shifts that are clunky and unnecessary. Others resort to using traits of black metal and death metal as gimmicks to attract more fans. Thankfully, though, there are some bands that have made the change without hitting either of these two stumbling blocks. Arizona's Knights of the Abyss is among this group, sounding like a completely new and vastly improved band on their third album, The Culling of Wolves.

The most significant aspect of this album is the use of melodic riffs with rich tonality. Unlike most brutal death metal bands that use atonal riffs with only one or two different chords, Knights of the Abyss goes up and down the scale creating harmonies and layered structures that greatly enliven the atmosphere of the album. Similarly, instead of restricting himself to only one vocal style, vocalist Logan Kavanaugh (who goes by the stage name Harley Magnum) alternates between a straightforward screaming vocal and a deep growl, both of which are very strong and completely devoid of the telltale signs of refinement via audio production. It's very clear that it is his voice and not a computer-enhanced version, which deserves plenty of respect in this age of auto-tuning and other studio cheats.

Admittedly, The Culling of Wolves does have its drawbacks. While the songs do vary in speed and chord arrangement, many use the same tuning and overall structure, which occasionally makes it hard to differentiate one song from another. Thankfully, though, there are well-placed guitar solos in "Slave Nation" and "Swine of the Holy Order", as well as the instrumental "Cremation of Care" at the album's halfway point, that prevent the whole album from becoming monotonous. There is also one song, "Council of Wolves", which regresses back to the band's old deathcore sound with its exhaustive double bass drum and guitar harmonics.

Apart from these things, though, The Culling of Wolves is by far the best album so far this year from a band leaving deathcore behind in favor of a better sound. Knights of the Abyss has accomplished what Carnifex, Whitechapel, Annotations of an Autopsy, and so many of their other peers could not - reinvent themselves and their sound while holding true to the principles of their lyrics and their origins. The few remaining bands still playing deathcore should use this album as a model if they also decide to switch styles in the future.

Score: 6 out of 10

Track Listing

1. The House of Crimson Coin
2. Pandemic
3. Dead to Reform
4. Deceiver's Creed
5. Slave Nation
6. Cremation of Care
7. Flight of Molech
8. Council of Wolves
9. Swine of the Holy Order
10. Den of the Deceived
11. The Culling

Album Personnel

Logan "Harley Magnum" Kavanaugh - Vocals
Nick Florence - Guitar
Brian McNulty - Guitar
Griffin Kolinski - Bass guitar
Ben Harclerode - Drums

Album Review: "Man of Two Visions" by Valkyrie

2010-09-18T16:15:00.000-04:00

Since the release of 2007's Red Album, Baroness has become the new hot band in the progressive stoner metal scene, a slot occupied by Mastodon, Isis, and High on Fire in the past. However, not many people know that Baroness guitarist Pete Adams, who joined the band in 2008, has had a much longer relationship with Southern metal. That relationship began in 2004, when Pete joined Valkyrie, the band fronted by his brother Jake. The band certainly had humble beginnings, recording their first demo at a local college radio station. However, since then, Valkyrie has garnered a bit more respect and recognition, even counting veteran drummer Gary Isom (Spirit Caravan, Pentagram) as part of their lineup for a year. The band signed with Meteor City Records for the release of their second full-length, Man of Two Visions. It is an ambitious album that harkens back to the origins of heavy metal while simultaneously incorporating both classic rock sections and elements of the modern Southern metal sound.

The influence of Black Sabbath pervades every note of this album, although in some places it is more obvious than others. "Dawntide's Breeze" and the title track both have the classic Sabbath guitar-driven sound, even managing to use a very similar guitar tone of Tony Iommi's vintage tone from the '70s. The huge atmosphere and relaxed pace of albums like Paranoid and Sabbath Bloody Sabbath is an integral part of Man of Two Visions. Additionally, the instrumental tracks "Green Highlander" and "The Gorge" keep the album's flow consistent and give the whole record a very organic feel, another trait established by Sabbath and other metal pioneers like Deep Purple.

At the same time, though, Valkyrie also utilizes the elements of modern stoner rock throughout their sound. Much like their peers in The Sword and Priestess, Valkyrie relies on evolving riffs that build on each other to drive songs forward and create personality. Opening track "Running Out" is a great example of this, as the long intro and outro bridges feature constantly changing riffs that seamlessly flow into each other, making the song bigger and bigger until it reaches its conclusion. Valkyrie also follows the new stoner metal trend of using a fairly small drum kit and making it sound much larger and more elaborate than it actually is. New drummer Warren Hawkins has just as much prowess and technique behind the kit as his predecessor Isom, which means that we can expect to hear great things from Hawkins in the future.

With Man of Two Visions, Valkyrie has emerged from obscurity and thrown themselves fully into the revival of traditional heavy metal with a Southern twist. Unlike bands such as Clutch and Fu Manchu that incorporate blues elements into their sound to make it more accessible, Valkyrie and their peers opt for a classic approach to their Southern metal in an attempt to garner the more seasoned veterans of the genre into their fanbase. Similarly, they are helping to introduce younger fans to the sound that helped jump-start the entire genre. Hopefully they will continue to use this sound as a foundation for future material, because they can't go wrong sounding like the forefathers of heavy metal.

Score: 6 out of 10

Track Listing

1. Running Out
2. Dawntide's Breeze
3. Green Highlander
4. Apocalypse Unsealed
5. False Dreams
6. The Gorge
7. Man of Two Visions

Album Personnel

Jake Adams - Lead vocals, guitar
Pete Adams - Guitar, backing vocals
Will Barry-Rec - Bass guitar
Warren Hawkins - Drums

New & Noteworthy, September 17th - Raise the Banners

2010-09-17T22:31:00.002-04:00

This week's top release, the sophomore album from ex-System of a Down singer Serj Tankian, was originally supposed to come out two weeks ago, but Tankian ordered the album pushed back when the plant manufacturing the liner notes ran out of tree-free paper, a more eco-friendly alternative to traditional wood-pulp paper. This action is just another in a growing list of examples of rock and metal performers adopting a cause or fund to support. The environment has been a pet project for Tankian for a long time - both of System of a Down's last two albums, Mezmerize and Hypnotize, as well as Tankian's solo debut, Elect the Dead, were printed on tree-free paper. The environment is a hot topic for support in the metal community, but the causes some musicians adopt can be as simple as helping teach others to treat people fairly. No matter what the cause is, seeing the metal community rise up in support of current issues is always a beautiful thing to see, and I hope we see it more often in the future.

Besides Tankian, there are only a few other artists releasing albums this week, giving us another brief respite before getting into October, a month that is positively oversaturated with new releases. This week will likely have prog fans excited, so read on to see the slim (but still top-notch) picks for this week.

Next Week's New Releases

Imperfect Harmonies by Serj Tankian - The oddity that was Elect the Dead Symphony seems to have affected Tankian more deeply than the majority of those that listened to it, as Imperfect Harmonies seems to take a left turn towards symphonic rock. Tankian has also alluded to using more jazz and electronic elements on this album, which will likely distance his solo work from System of a Down quite a lot. If Tankian is seeking to establish himself completely as a solo artist independent of his old band, then Imperfect Harmonies is the album that will do that.
Songs for Singles by Torche - Where does one place Torche in the classification of stoner metal, exactly? They're too heavy to be grouped with Clutch and the more mainstream stoner metal scene, but they're not sludgy enough to be grouped with Crowbar and Down, nor do they have the progressive side of Neurosis and Isis. Torche lies somewhere in the middle of these three points on the spectrum, and they have aspects within their music that will appeal to fans of all three styles at different times. Much like Baroness, Torche has a little something for everyone that likes the Southern metal vibe.
A Public Disservice Announcement by Methods of Mayhem - In the past eighteen months, Roadrunner has gone out of their way to sign a lot of established, veteran bands whose careers seemed to be heading downhill. And while the label has done a good job revitalizing most of these artists, the biggest head-scratcher of the group is Methods of Mayhem, the nu metal band formed by Tommy Lee in 1999. Although the initial run of Methods of Mayhem was short, Lee re-formed the band in 2009 and tried to give it a new image. A Public Disservice Announcement features contributions from people all around the world that wrote parts based on the song stems posted on The Public Record. As such, it's a safe bet that this album will either be a smash-hit success or a colossal flop, depending on the caliber of the submissions chosen.
Nucleus by Dawnbringer - This progressive metal group is fronted by ex-Nachtmystium bassist Chris Black, who writes and performs almost all of the music on their studio albums. Much like Nachtmystium, Dawnbringer draws from a number of different styles to create their sound. However, Dawnbringer is a bit more focused and cohesive - the music can best be described as a fusion of NWOBHM and black metal, with touches of thrash and melodic death metal mixed in for good measure. Progressive black metal fans will adore this record, and fans of both aggressive NWOBHM and melodic black metal will also find lots to enjoy on Nucleus.
In Live Concert at the Royal Albert Hall by Opeth - If you are like me and were lucky enough to attend Opeth's "Evolution XX" tour this past spring, you already know just how special and unique those six concerts were. Those that did not manage to see this incredible tour will now be able to witness the show that took place in London on April 5th. This double-DVD set will feature both sets from the concert - the entirety of Blackwater Park played first, followed by a collection of the band's hits from their other albums. True devotees can also get the special five-disc edition which includes three CD's of the concert's audio recording.

Next Week: DVD's, reissues, and special collections flock to the store shelves, but all will bow before The Metal God. You know where to be next week!

News Commentary: And Justice for All - Swedish supergroup tackles bullying with new song

2010-09-15T00:51:00.005-04:00

Bullying is an epidemic that unfortunately still plagues schools all over the world. No matter how many punishments exist for it or how many lessons are planned around it, the problem still pervades the lives of children and adolescents everywhere. Celebrities of all kinds, ranging from pop musicians and rappers to actors and TV personalities, have tried to raise awareness about the issue in a multitude of different campaigns and causes. Now, true to form, the metal community has stepped up and delivered its message on bullying.

Swedish melodic death metal band Scarpoint is not widely known, having only released one full-length album, 2007's The Silence We Deserve, thus far in their career. However, their extensive touring résumé has connected them with some of the biggest names in their country's sprawling metal scene, as well as other prominent figures from the surrounding region. Thus, when the band decided to record an anti-bullying song and release it as a way to raise money and awareness, they had just the right contacts to achieve the recognition they hoped for.

"Open Your Eyes" is a one-off song by Sweden United, the official name for the group assembled by Scarpoint. The members of Scarpoint are responsible for the instrumentation on the song. In addition to Scarpoint vocalist Henrik Englund, an all-star cast of Scandinavian vocalists lend their talents to the song: Jens Kidman (Meshuggah), Jimmie Strimmell (Dead by April, ex-Nightrage), Anette Olzon (Nightwish), Björn "Speed" Strid (Soilwork), Zak Tell (Clawfinger), Martin Westerstrand (Lillasyster), Tom Englund (Evergrey), and Peter Tägtgren (Hypocrisy, Pain). The song was written by Scarpoint and ex-Dead by April guitarist Pontus Hjelm, produced by Clawfinger keyboardist Jocke Skog, and mixed by production wizard Jens Bogren.

The idea for Sweden United came to Scarpoint drummer Erik Thyselius after he read a story in 2008 about a three-year-old boy that was physically abused in school. The school he was in failed to protect him from the other children, and as a result, the boy now suffers from serious psychological issues. At such a young age, no child should have to suffer such trauma, and Thyselius was moved enough to start doing something to prevent that from happening to any other children.

This project just goes to show even more that metal is one of the most socially conscious genres in the entire spectrum of music. There are a multitude of metal bands that tackle issues like the environment, social injustice, war, political tyranny, and other common social issues. Taking on a subject like bullying is well within the scope of most of the artists involved in Sweden United. In fact, it is already covered territory for one - Evergrey dealt with bullying on their 2006 album, Monday Morning Apocalypse. Thus, for these musicians to take on this topic, it comes both from recognition of the broader problem and personal experience with its effects. It further proves that, for every metal band with lyrics about causing death and destruction, there is also one with lyrics about ways to fix the world and make things better.

Furthermore, although it is meant for every young person that has suffered from bullying, this song is a worldwide anthem for young metalheads that struggle with being outside the "popular" crowd every day. With very few exceptions, metal fans are a minority group throughout the world, and as such, they can often be subject to ridicule and bullying from other students that adhere to mainstream culture. "Open Your Eyes" is an outcry against such standards, calling for young metal fans to walk with their heads up and their eyes forward. This song is for the boys covered in piercings and tattoos that get pushed into lockers by football players and weight lifters for being different. It's for the girls that wear black eyeliner and black nail polish, while suffering derision from the cheerleaders and preppy girls for being "emo" or "goth". It's for every kid that has dared to wear an Iron Maiden, Slayer, Metallica, or Motörhead shirt to school and show support for their favorite band instead of some brand name of clothing. "Open Your Eyes" is for every young person that has chosen to be different, and it celebrates that decision for individuality in a great way.

The best part about "Open Your Eyes" is that all proceeds from sales of the single go directly to an anti-bullying campaign for Swedish schools. This is an incredibly generous gesture on the part of all those involved with the creation of "Open Your Eyes", who freely gave their time and money to the project without any expectation of compensation. Furthermore, such generosity may inspire other metal bands from around the world to begin similar projects in their own countries. With that kind of a worldwide effort, there is no way that this campaign could fail to have an impact on bullying in schools.

"Open Your Eyes" will be released on October 11th via Supernova Records. Here's to the hope that the song sells in huge numbers and spreads a wave of anti-bullying sentiment throughout the globe.

New & Noteworthy, September 10th - Voice of the Voiceless

2010-09-10T01:22:00.001-04:00

This past week saw Disturbed have their fourth consecutive #1 debut of their prolific career, an amazing feat in the era of file sharing and iTunes. Equally amazing is that Asylum is the third hard rock/metal record to debut at #1 in 2010, a year dominated by the likes of Eminem, Katy Perry, Usher, Lady Antebellum, and the child terror Justin Bieber. Following in the footsteps of Avenged Sevenfold and Godsmack, Disturbed has once again proven that fans of hard rock and metal are a force to be reckoned with now. And when one also includes the number of top ten debuts from hard rock and metal bands this year, it's becoming more and more obvious that heavy music is much more popular than mainstream America would like to believe.

This week assaults us with yet another overflowing list of new releases. There are actually two releases battling for the top spot in terms of appeal and significance. One is a reissue of one of metal's defining albums, a record that defined an entire decade and kick-started the legacy of a fallen hero of metal. The other is from a band that many would dispute as being metal, although they are definitely rock, and they have a history of debuting at #1 as well. Following behind these two albums are a multitude of amazing bands from all over the genre map. Much like the beginning of June, everyone should find at least one album on this list that they will like, so start reading and allocating your paychecks accordingly!

Next Week's New Releases

Cowboys from Hell [Reissue] by Pantera - The album that made Pantera into the biggest metal band of the '90s is being reissued in a number of different formats. The 2-disc version will feature a number of live tracks, including the entire Alive and Hostile EP, in addition to the regular album tracks. The 3-disc version has all that, plus a third disc of demos, highlighted by the never-before-released "The Will to Survive". The 3-disc version also comes in two deluxe editions: a "Texas-shaped box" set (recently delayed until October 22nd) and an "Ultimate Boxed Set" scheduled for November 22nd.
A Thousand Suns by Linkin Park - Feedback so far is mixed on this album, with some calling it brilliant and others saying it is horrendous. But one thing is undeniably clear: with 2007's Minutes to Midnight, Linkin Park fans have proven that they are behind the band until their career is over. The fact that an album so drastically different from their older material could still reach #1 and earn such high praise speaks volumes about the band's talent and their fans' devotion. Expect A Thousand Suns to perform excellently on the sales charts, no matter how mixed the reviews are.
Relentless Retribution by Death Angel - When Death Angel toured with Soilwork this past summer, they played the new song "River of Rapture" (likely to be the first single from Relentless Retribution) in their live set, and it was greeted with unanimous approval. This should not be a surprise, though. Since re-forming in 2001, Death Angel has been one of the most consistent and most underrated thrash bands in the country. Expect Relentless Retribution to contain many of the same key elements that made The Art of Dying and Killing Season into fan favorites.
Poetry for the Poisoned by Kamelot - It is unfortunate that the band was forced to cancel their upcoming North Amercian tour to support this album, due to Roy Khan falling ill and needing to return home to Norway for medical treatment. We wish him all the best and hope he heals quickly so that Kamelot can play this amazing album live in the US. As with Relentless Retribution, Poetry for the Poisoned is another album that builds on its predecessors - in this case, the critically-acclaimed albums The Black Halo and Ghost Opera. And as with both of those albums, the guest cast on Poetry for the Poisoned is an all-star group from all over the metal spectrum, including Simone Simons (Epica), Björn "Speed" Strid (Soilwork), Jon Oliva (Savatage), and Gus G. (Firewind, Ozzy Osbourne), among others..
Blood of the Nations by Accept - The veteran German act has returned with their first studio album in fourteen years. However, the band is once again without founding vocalist Udo Dirkschneider, who has decided to focus on his own band, U.D.O. Replacing Dirkschneider is ex-TT Quick singer Mark Tornillo, an excellent performer that has already proven his worth in the band's multiple live shows this year. The intense video for "Teutonic Terror" has already raised plenty of anticipation for this album, which should be a huge hit with fans and critics.
The Cold by Flotsam and Jetsam - Jumping over to a new indie label, Driven Music Group, the old-school thrashers have returned to their roots on their tenth album. At this point, the only original member of the band is vocalist Eric "AK" Knutson, but the return of longtime second guitarist Michael Gilbert is a welcome lineup shift for the Phoenix-based group. If The Cold really is the return to form that the band says it is, expect this album to do a lot better than 2005's Dreams of Death.
Babez for Breakfast by Lordi - The Finnish version of GWAR has made a ton of headway in the United States since the releases of The Arockalypse and Deadache. It's hard to match the novelty factor of these albums, even for Gwar fans that are somehow not tired of the band's shtick. If, after 15 years of being covered in fake blood, you want to try something new, Lordi is the band to check out. Granted, Lordi's live show isn't exactly unique either, but it's still different and interesting enough to merit checking out.
Keepers of the Faith by Terror - Signing to Century Media Records was the best thing Terror has done in their career. Free of the financial black hole that is Trustkill Records, Terror was able to capitalize by touring for most of the past two years. The recordings for Keepers of the Faith apparently took next to no time, because the band has taken very little time off from touring in the past few months. This album will continue Scott Vogel's love for mosh-worthy hardcore, and further cement Terror as one of the leading hardcore bands of the decade.
The Conscious Sedation by System Divide - The newest creation from the mind of Aborted frontman Sven de Caluwé, System Divide also features Caluwé's wife, Miri Milman, as co-vocalist. The pairing of these two on vocals is extremely powerful; more so than most other bands that have utilized a female clean singer with a male screamer in the past. Add to the mix a highly talented lineup that includes members of Abigail Williams, Malignancy, and Antenora, and you get one of the potential huge breakout bands of 2010.
Stranger by Valient Thorr - With four albums and a DVD under their belt, the North Carolina rockers don't look to slow down anytime soon. Nor should they, since 2010 has seen Valient Thorr reaching new audiences through touring with Mastodon, Between the Buried and Me, and Baroness. The band is currently traversing the eastern parts of North America with Howl and Junius as supporting acts.
Enemy Unbound by The Absence - Enemy Unbound has been in the works for way too long, with the band twice delaying their studio time for the album. However, if this album can match the reputation produced by 2005's From Your Grave and 2007's Riders of the Plague, expect to see a resurgence of the death metal scene in the band's hometown of Tampa. Ironically, though, support for this album will start in a completely different scene, as The Absence recently announced as the opening act for a quartet of dates with Greek power metallers Firewind in November. However, more touring will likely follow soon after.
Self Preserved While the Bodies Float Up by Oceansize - A band named after a Jane's Addiction song releasing an album with a name that sounds like a Cannibal Corpse song. What kind of music will you get here? Spacey, progressive, post-rock, of course! As you might have guessed, Oceansize makes as little sense to me as it likely does to you, unless you're a fan of the band already. The English quintet does seem to be heavily influenced by the work of their countryman, Steven Wilson, so if you're a fan of Porcupine Tree, then this album should merit a listen or two.
Genocide Chapters by Dawn of Ashes - Newly signed to Metal Blade, the EBM/dark electro group has evolved heavily in their sound since 2007's The Crypt Injection. They are now playing a blackened melodic death metal style, not unlike the works of Abigail Williams, Zonaria, and This Ending. Fans of the band have been crying foul since the change in sound occurred in 2008, but the band has pushed forward relentlessly. The new sound is starting to pay off already, as Dawn of Ashes was recently tapped to open Dimmu Borgir's upcoming North American tour with Enslaved and Blood Red Throne. These guys will be making a big splash in the next few months.
The History of Saints by Vanisher - Featuring members of Bloodjinn and Glass Casket in their lineup, Vanisher is being heavily promoted by Tribunal Records as the future of melodic metalcore. The band certainly does have the genre nailed down, with a nice addition of European melodic death metal influence to the mix. It may not sound entirely original, but The History of Saints will be an enjoyable listen for those looking to check out a new band in the scene.
Morbid Destitution of Covenant by Father Befouled - On their second album, the Chicago and Georgia-based quartet is still reeling from the suicide of drummer Antichristus last November. It shows through in the music, which harkens back to the infancy of death metal in its sound. With practically no production discernable through the chunky guitars and machine-gun drum lines, Father Befouled is a "back to the roots" death metal band. Fans of very early Deicide and Morbid Angel will like this. And by "very early", I mean the demo tapes of those two bands.
Avalon by Sully Erna - This is definitely NOT going to be anything that sounds like Godsmack. According to Erna's own descriptions of the album, Avalon will feature Native American tribal rhythms mixed with blues-influenced vocals. The album personnel list includes a cellist, a keyboardist, an acoustic guitarist/bassist, and several other musicians in addition to Erna. The Godsmack frontman says that this album has taken over seven years to complete - whether or not it will sound that way is still up in the air.
Skintight by Liv Kristine - The Leaves' Eyes frontwoman stepped into the world of solo recording in 1998 with Deus Ex Machina, but it wasn't until 2006's Enter My Religion that her solo career started receiving considerable notice. The latter album earned mixed reviews, with some only seeing it as a pop album, while others noticed influences of gothic and melodic rock, giving it a distinct flavor apart from the traditional, commercialized pop sound. Skintight will likely continue where Enter My Religion left off, and while many metal fans will reject this album outright for its lack of aggression, those with broader sonic palettes will find plenty to like here.
Marée Noire [EP] by Beneath the Massacre - With the imminent breakup of Despised Icon quickly approaching, bands are scrambling over their position as the leading technical death metal band in Canada. Beneath the Massacre is the clear-cut choice, showing off their amazing chops on 2008's Dystopia. This EP is designed to be a stopgap while the band writes their next album. The song titles seem to relate to the recent oil spill in the Gulf, and given that "Marée Noire" is French for "Black Tide", there is definitely an argument to be made for symbolism.
Dirge Within [EP] by Dirge Within - This EP will released exclusively on iTunes and will feature two songs from the band's early days. Dirge Within is quickly becoming one of the most popular young bands in the metal scene, building up lots of touring credibility in the past year. Whether or not they maintain their success or hit a sophomore slump will depend mostly if they can stop losing members and squash the rumors of rock star ego BS plaguing their lineup.
Twilight Dementia by DragonForce - This live album will be DragonForce's last official release with ZP Theart on vocals. The singer left the band in March due to "insurmountable musical differences". One can only imagine how hard it will be to find a singer able to perform at Theart's level. Regardless, though, those that never got to see DragonForce live with Theart should pick up this DVD just to see what all the hype is about.
The Seventh Date of Blashyrkh by Immortal - A traditional black metal band releasing a DVD is about as rare as a post-hardcore band with song titles that make sense, so you can guess just how special this release is. The main focus is Immortal's headlining performance at Wacken Open Air 2007, the highlight of their triumphant reunion tour after a four-year hiatus. Featuring a setlist that spans their entire discography, this DVD is a must-buy for black metal fans around the world. It is unlikely such a DVD will be seen by this genre ever again.

Next Week: Everyone's favorite System of a Down frontman delivers more harmonies on the imperfections of our world. Be prepared for as much social criticism as can possibly be delivered through music.

Album Review: "Audio Secrecy" by Stone Sour

2010-09-05T12:20:00.000-04:00

Corey Taylor may be most well-known for his role as the lead singer of Slipknot, but it's in his hard rock side project Stone Sour that he utilizes the fullest extent of his talent. The group's self-titled 2002 album displayed a completely different side of Taylor from what was seen in Slipknot, as he bared his soul through more mature and diverse songs. Both "Get Inside" and "Inhale" received Grammy nominations for Best Metal Performance, but the clincher was the heart-rending single "Bother", showing just what a skilled and versatile singer Taylor was. 2006's Come What(ever) May furthered Stone Sour's reputation and recognition, leading to prominent touring slots and the group's third Grammy nomination, again for Best Metal Performance with "30/30-150". Returning for album number three, Audio Secrecy, Stone Sour continues to impress with their heartfelt lyrics and inspiring music.

This album is much darker than either of its predecessors, which is remarkable considering some of the songs on those two albums. Audio Secrecy is laced with monstrous compositions creating the perfect brooding atmosphere to match the emotional content of the lyrics. However, the darkened feel does not equate with a lack of energy. In fact, Audio Secrecy may be the most lively, well-paced album of Stone Sour's career. Lead guitarist Jim Root delivers some of the best solos of his career, shredding through the faster songs while using precision technique to augment the slower songs perfectly. Drummer Roy Mayorga also shines on this album, adding great drum fills at key moments and holding the rest of the music together with his metronome-like timing.

Audio Secrecy has one full-on ballad, "Imperfect", which doesn’t quite match the power of "Bother", but still has a clear personal touch that tugs at the heartstrings. Additionally, there are a good number of softer tracks on this album that are similar to "Through Glass" from Come What(ever) May. However, this does not indicate a change in direction for Stone Sour. There are more than enough potently aggressive tracks discussing the bleak events of Taylor's recent personal life. The balance between the heavy and the less intense puts Audio Secrecy above its predecessors, and Taylor's singing perfects this balance.

Taylor is once again at the top of his game, and like the music, his singing is much darker as well. Audio Secrecy sees Taylor creeping ever closer to his vocal style on Slipknot, adding more rasp and grit to his singing in some songs, while incorporating throat-lacerating roars into others. Straightforward clean singing is still the biggest part of Taylor's vocal format in Stone Sour, though, and he stays true to form with an emotionally-charged, breathtaking performance from start to finish. There is no possible way that he can be accused of being a one-dimensional or even two-dimensional performer anymore. Corey Taylor is undoubtedly one of the best singers in the world, and the diversity of his talent is the reason why.

Stone Sour has tapped into their full potential on Audio Secrecy, and it really shows when the album is heard in order, from beginning to end. The flow of the album is gorgeous, made all the better by the aforementioned balance between soft and heavy. And even when the album is broken down into its individual songs, each one bears its own excellence. From the lighter tracks "Say You'll Haunt Me", "Dying", and "Imperfect"; to the heaviest songs "Mission Statement", "Unfinished", and "The Bitter End"; as well as everything in between, Audio Secrecy is the very definition of Stone Sour. Moreover, it is an archetypal album that defines what new bands in the hard rock and alternative metal scene should aspire to.

Score: 7 out of 10

Track Listing

1. Audio Secrecy
2. Mission Statement
3. Digital (Did You Tell)
4. Say You'll Haunt Me
5. Dying
6. Let's Be Honest
7. Unfinished
8. Hesitate
9. Nylon 6/6
10. Miracles
11. Pieces
12. The Bitter End
13. Imperfect
14. Threadbare

Album Personnel

Corey Taylor - Lead vocals, keyboard, guitar
Jim Root - Lead guitar, backing vocals
Josh Rand - Rhythm guitar
Shawn Economaki - Bass guitar
Roy Mayorga - Drums

New & Noteworthy, September 3rd – The Waiting Game

2010-09-03T19:41:00.001-04:00

Last week, I mentioned that Maynard James Keenan had three releases coming out this week. Well now that number has dropped down to two, as the Blood Into Wine documentary has been delayed until an unspecified date. However, Maynard fans are likely more anxious to know when new albums from Tool and A Perfect Circle will be coming out. This also begs the question of how Maynard will manage to keep both projects together along with Puscifer. In the beginning of the decade, his involvement with A Perfect Circle caused a five year wait for the release of Tool's fourth full-length album. Now, Puscifer has led to a four year wait on a new Tool album, which is likely to become five years unless the band is further in the writing and recording process than they would have fans believe.

Still, though, the release of two prominent items for Maynard this week is good news for fans. However, other big releases take top billing away from the singer in this week's column, including another side project that is at the top of its game with their third album. Read on to see what else is making waves in the world of rock and metal.

Next Week's New Releases

Audio Secrecy by Stone Sour - On their third album, Stone Sour has gotten darker and heavier, while still utilizing the full extent of Corey Taylor's voice to their greatest advantage. Those who have only heard Taylor in Slipknot know that he's a great vocalist, but Stone Sour is where he proves that he's one of the most talented and versatile singers in the world. From soulful, heartfelt singing to trachea-destroying screams and everything in between, Taylor leaves everything on the table on Audio Secrecy, making the album better with every new style he incorporates. The bonus edition provides extra tracks, a studio documentary and live performance videos, all of which are worth the higher purchase price.
Seeing Eye Dog by Helmet - Page Hamilton is an institution in rock music. The singer and guitarist has toured with David Bowie; produced albums for Gavin Rossdale and Bullets and Octane; and made guest appearances with Nine Inch Nails, P.O.D., and Norma Jean. All of those things are in addition to creating and fronting one of the most influential hard rock bands of the past twenty years. Helmet may have had their bumps in the road, but the band has been at the top of their game since their reunion in 2004. I particularly like this quote from Hamilton about the album in his March interview with Noisecreep: "We're not emo…We're not metal. We're not hardcore. It's just Helmet." And that's all it needs to be.
"C" is for (Please Insert Sophomoric Genitalia Reference HERE) by Puscifer - This new 12″ release finally allows fans of Maynard James Keenan to have a physical copy of the EP, which was released digitally through Amazon and iTunes last November. The EP contains four previously unreleased songs and live renditions of two tracks from their debut album, "V" is for Vagina. Given the mixed reviews that album received, this EP is likely to be equally varied in fan reception. However, one great reason to buy this vinyl is the hilarious cover art, which should amuse most fans in its irreverence.
Sound Into Blood Into Wine by Various Artists - This digital album is the soundtrack to the Blood Into Wine documentary that Keenan and winemaking mentor Eric Glomski have created. According to the film's website, the film is about "the long road to bringing credibility and notoriety to the northern Arizona winemaking region." I didn't even know that Arizona was capable of supporting vineyards, what with the overwhelming heat that seems to be the state's defining characteristic. If anyone knows more about the business, feel free to leave your knowledge in the comments. Otherwise, I'll just check out the documentary whenever it comes out.
Rust in Peace – Live by Megadeth - Those who were able to attend Megadeth's spring tour this year saw the album Rust in Peace performed in its entirety, to commemorate the album's 20th anniversary. The last night of the tour, which took place at the Hollywood Palladium, was recorded especially for this DVD release. In addition to the ten songs from the album, the band also played a six-song encore of fan favorite tracks. Those without DVD players can get a CD version of this release, while hi-def enthusiasts can also grab the Blu-ray version, which also has behind-the-scenes bonus material. By the way, you can enter to win a copy of the DVD over at Metal Insider!

Next Week: We return to the new release flood format as 21 new albums hit the streets. Chief interest goes to the most hotly anticipated reissue of the past decade. Come back and see for yourselves what it is!

Album Review: "Women and Children Last" by the Murderdolls

2010-09-01T22:36:00.000-04:00

Horror punk is one of the most difficult and specialized subgenres to master. Not only do horror punk bands have to master the style created by genre progenitors the Misfits, but they also have to find a unique way to stand out from the forefathers. This is why most horror punk bands simply become Misfits cover bands over time, because the subtlety required to achieve this mastery is very rare.

However, a few bands have found the right balance necessary to be successful at horror punk. One of the most underrated bands in this elite group is the Murderdolls, the duo of vocalist Wednesday 13 and guitarist Joey Jordison, who also plays drums for Slipknot and Rob Zombie. Their debut Beyond the Valley of the Murderdolls made a huge splash in 2002, but they went on a six-year hiatus in 2004 due to Jordison's obligations with Slipknot and Wednesday starting his solo project. However, the pair reunited early in 2010 to record a new album, much to the delight of horror punk enthusiasts. Women and Children Last is just as good as fans hoped it would be, creating a new prototype for future horror punk bands.

Women and Children Last justifies the band's numerous descriptions of sounding like Mötley Crüe combined with the Misfits. The album's atmosphere is permeated by the vintage hair metal guitar tones of classic Crüe albums. Jordison's guitar performance is excellent, proving what a talented and versatile musician he is. Jordison also played drums for the studio recordings, displaying a far different style from the schizophrenic, highly technical performance he gives in Slipknot. The drums are much slower and more directive in the rhythm, never taking the forefront but always proving essential to each song. Murderdolls touring guitarist Roman Surman is solid on lead guitar, throwing down top-notch solos while not overplaying his parts. The Mötley Crüe comparisons are given further credence through guest performances by Crüe guitarist Mick Mars on "Drug Me to Hell" and "Blood-Stained Valentine".

Wednesday 13 is at the top of his game lyrically on Women and Children Last. He crafts an amusing, yet still horror-filled world perfectly in sync with the dark humor of the Misfits, while adding just enough to Crüe-inspired hair metal independence and spirit to keep things interesting. The vocal performance is where the singer really shines, though. Taking a page out of Rob Zombie's playbook, Wednesday puts even more throat-scraping grit and grime into his voice, fitting perfectly with the dark music and darker lyrics. The effect evinces the precise reaction out of listeners, enticing them to listen to more while simultaneously driving home the perverse and slightly insane imagery created in each song.

Women and Children Last is the perfect blend of horror punk and hair metal, two styles that don't appear to mesh well with one another on the surface. This album proves that it can be done, and the Murderdolls should be proud of their accomplishments on this record. Very few bands could come back from such a long break and still create a follow-up album that is even better than its predecessor. Joey Jordison and Wednesday 13 have done just that, and in doing so, left fans desperately hoping that they won't have to wait eight years for the third album to come out.

Score: 7 out of 10

Track Listing

1. The World According to Revenge
2. Chapel of Blood
3. Bored 'til Death
4. Drug Me to Hell
5. Nowhere
6. Summertime Suicide
7. Death Valley Superstars
8. My Dark Place Alone
9. Blood-Stained Valentine
10. Pieces of You
11. Homicide Drive
12. Rock 'n' Roll is All I Got
13. Nothing's Gonna Be Alright
14. Whatever You Got, I'm Against It
15. Hello, Goodbye, Die

Album Personnel

Wednesday 13 – Lead vocals, bass guitar, rhythm guitar, backing vocals
Joey Jordison – Rhythm guitar, drums, bass guitar, backing vocals
Roman Surman – Lead guitar, bass guitar, backing vocals

Album Review: "Formalities" by The Spill Canvas

2010-08-31T21:15:00.000-04:00

The Spill Canvas is a band that comes from very different origins than one would expect. Lead singer Nick Thomas was guitarist and backup vocalist for now-defunct Christian metalcore act Nodes of Ranvier when he started The Spill Canvas in 2002. Eventually he quit Nodes of Ranvier and made The Spill Canvas a full-time project, and that decision has paid huge dividends. 2007's No Really, I'm Fine peaked at #143 on the Billboard 200, and the single "All Over You" has become an anthem among fans. So far in 2010, the band released a pair of digital EP's, Abnormalities and Realities, that contained some of the band's new material. The best songs from both EP's were then grouped with some acoustic tracks and other new songs to create the band's newest full-length, Formalities. This compilation shows some interesting development by the band, along with plenty of their traditional style.

Among the album's non-acoustic tracks, "Good Graces, Bad Influence" stands out from the rest, mostly because it has the bombast and atmosphere of ska bands like Streetlight Manifesto and Big D and the Kids Table. With the party feeling pervading the entire track, this song has a much more upbeat and vibrant tone than most of the band's other material. "The Bone" also is quite memorable, with a faster pace and more urgent delivery than everything else on the album. The track is reminiscent of the classic Foo Fighters song "One by One" in this sense, which is also quite different from the band's usual output. Fans of The Spill Canvas' most popular tracks will find plenty to enjoy on "Dust Storm", "As Long as it Takes", and "Crash Course", all of which feature the band's trademark elements.

The four acoustic tracks are a mixed offering, with some being more memorable than the songs they were based on, while others feel unnecessary when compared to their origin songs. The acoustic version of "Our Song" is enhanced greatly by the use of background string arrangements at various points in the song, creating rich harmonies that don't exist in the regular version. "10,000 Midnights" feels like it was meant to be an acoustic track all along, which might be why the original version doesn't appear on the album but the acoustic version does. However, "Dust Storm" lacks energy as an acoustic track, making the whole song drag and quickly become boring. "As Long as it Takes" suffers the same shortcomings in its acoustic version, although the use of hand drums saves the song from losing all of its appeal.

Overall, Formalities is a good stopgap release for The Spill Canvas, satiating diehard fans waiting for a new album and giving new listeners insight into the full spectrum of their sound. This album also shows that the band is capable of expanding into vastly different territory from their traditional songs. If they continue experimenting with different styles, it may help to convert some that have criticized The Spill Canvas as being just another indie rock band singing about breakups. The proof is now present that they are capable of standing out from the pack very easily, if they just take the necessary steps to do so.

Score: 6 out of 10

Track Listing

1. Dust Storm
2. Our Song
3. As Long as it Takes
4. 10,000 Midnights [Acoustic]
5. Good Graces, Bad Influences
6. The Bone
7. Dust Storm [Acoustic]
8. Crash Course
9. Our Song [Acoustic]
10. Don't Let Your Enemies Become Friends
11. As Long as it Takes [Acoustic]

Album Personnel

Nick Thomas - Lead vocals, guitar
Dan Ludeman- Guitar, backing vocals
Landon Heil - Bass guitar
Joe Beck - Drums

Album Review: "Asylum" by Disturbed

2010-08-31T19:46:00.000-04:00

There is no bigger band in hard rock right now than Disturbed. Over the past decade, they have helped to revolutionize the popularity of aggressive music, both in America and the world. From their stunning debut The Sickness to the thrilling masterpiece Indestructible, Disturbed is the face of heavy music for the majority of the world. They may not be the heaviest or most aggressive band out, but they are the one that people will name most often when discussing the genre. It also doesn't hurt that they are among the most intelligent, socially conscious bands in the world, and that their lyrics speak for the forgotten, abused, and neglected of an entire generation. Their fifth album, Asylum, sees Disturbed at their most ambitious since 2005's Ten Thousand Fists, crafting new and intricate songs that show a remarkable sonic evolution.

The opening of Asylum is all it takes to show that Disturbed has begun trying new things and wants to branch out more. For the first time in their career, an instrumental track, "Remnants", opens the album, providing an excellent introduction into the album's title track. Much of the album is focused on groove and precision structure, similar to 2002's Believe. Tracks like "Crucified" and "Serpentine" demand movement with the flow of the music. At the same time, there is also a greater emphasis placed on tempo and pacing throughout the album. Parts on "The Infection" and "Innocence" move much faster than typical songs of the band's history, while "Another Way to Die" and "Sacrifice" are slower and more deliberate in their composition. All of these elements keep the album interesting and varied from beginning to end. On top of the musical expansion, the album also covers new lyrical territory for Disturbed, as they attack historical subjects like the Holocaust ("Never Again"), current issues like global warming ("Another Way to Die"), and topics in the realms of fantasy like werewolves ("The Animal") and demons ("Serpentine").

At its core, though, Asylum is still a Disturbed album, with the key elements of their sound still perfectly intact. Nothing represents this better than the title track, which may be one of the strongest, catchiest songs the band has written in their entire career. With its infectious bass line, memorable lead riff, and sing-along lyrics, "Asylum" stands alongside "Down With the Sickness", "Prayer", "Stricken", and "Inside the Fire" in the tradition of near-perfect singles from Disturbed. "Never Again" and "Warrior" also fit in well with the band's history, showing that Disturbed has not lost sight of their roots in their effort for progression. Also still present are David Draiman's lyrics about personal heartbreak, struggles, and loss. Some tracks come from Draiman's own personal experiences, while others are more general topics that most of the band's fans will relate to. Either way, these parts of Asylum link it perfectly with the band's previous albums while still allowing it to maintain its own identity.

Asylum is undoubtedly one of the strongest albums in Disturbed's storied career. The Chicago quartet has only gotten better with time, finding their stride and never straying from their origins. If Ten Thousand Fists is the large tiger of Disturbed's discography, oversized with more muscle than necessary, and Indestructible is the lean jaguar, fine-cut to just the foundation and essentials, then Asylum is the lion, king of the jungle, perfectly balanced in both core strength and added power to create the purest musical engine for emotional expression. This album is one that Disturbed can be extremely proud of, and it is one that fans will enjoy for many years to come.

Score: 7 out of 10

Track Listing

1. Remnants
2. Asylum
3. The Infection
4. Warrior
5. Another Way to Die
6. Never Again
7. The Animal
8. Crucified
9. Serpentine
10. My Child
11. Sacrifice
12. Innocence

Album Personnel

David Draiman – Lead vocals
Dan Donegan – Guitar, backing vocals
John Moyer – Bass guitar, backing vocals
Mike Wengren – Drums, backing vocals

New & Noteworthy, August 27th - Healing Powers

2010-08-27T01:48:00.046-04:00

Two weeks ago, Behemoth announced they were cancelling their upcoming tour plans due to singer Adam "Nergal" Darski being taken to a hospital for an undisclosed sickness. This past Tuesday, it was revealed that Darski was diagnosed with leukemia and is in desperate need of a bone marrow transplant. This news only adds to what has been one of the worst years for metal in terms of genre stability and vitality, although a positive report from Lamb of God's Randy Blythe does take some of the sting off. Despite the obvious irony of this, I will be keeping Nergal in my prayers for the coming weeks. Whether you subscribe to Behemoth's anti-Christian beliefs or not, send whatever form of positive thoughts and good wishes you choose to Nergal and his family in this time of great distress.

This week of new releases makes last week look like a cakewalk by comparison. The biggest hard rock band of the past decade tops the list with their fifth album, and a ton of young, up-and-coming bands are also hitting the charts. Read on and see what the future of metal holds.

Next Week's New Releases

Asylum by Disturbed - On 2008's Indestructible, Disturbed proved to the world that they were still alive and well in a huge way. That album, in many ways, re-launched the band's career and reawakened the vibe that had people raving about them ten years ago. If the album's title track is any indicator, Asylum is going to be just as good as Indestructible, if not better. Although the video for "Asylum" might explain why David Draiman has been entering the stage in a straitjacket for so long.
Women and Children Last by Murderdolls - Six years after going on hiatus, Joey Jordison and Wednesday 13 have reformed Murderdolls and are finally releasing their sophomore album. None of the band's previous musicians aside from Jordison and Wednesday have returned, but that will have little to no impact on the quality of the music, in all likelihood. What will be important is how Jordison will split his time among his various projects. Although he will have no problem on the upcoming tour with Rob Zombie (for whom he plays drums), what happens after that tour will reveal much about his priorities for 2011.
Feeding the Wolves by 10 Years - Recently announced as main support for Sevendust on the second annual Hard Drive Live Tour, these guys are hoping they can replicate the success of The Autumn Effect and Division. As is typical for bands to do prior to an album's release, 10 Years is calling Feeding the Wolves their heaviest album yet. Time will tell if that is an accurate description or not.
Symptoms + Cures by Comeback Kid - 2007's Broadcasting… was the first release from Comeback Kid to chart on the Billboard Top 200. The performance of Symptoms + Cures will determine whether that was an indicator the band reaching a wider audience or the recording industry being in such a poor state of affairs. This album features guest vocals by Liam Cormier of Cancer Bats and Nuno Pereira of A Wilhelm Scream, which should attract some interest from fans of those two bands.
Misled by Certainty by Cephalic Carnage - The veteran American grindcore act is still ripping faces while keeping a good sense of humor about their music. While they may not always use the overt parody and farce of their earlier releases, Cephalic Carnage is still able to work some lighter moments into their destructive onslaught. Misled by Certainty is likely to continue where the excellent Xenosapien left off, with a merciless assault of technical grind intermixed with unexpected elements borrowed from other genres.
Breaker by For Today - This band is rapidly gaining a following to the point where they are probably the second most popular metal band from Iowa (we all know who is first in that category). The success of 2009's Portraits earned these kids a co-headlining spot on this year's Scream the Prayer Tour. Breaker looks to continue the band's aggressive, no-holds-barred metalcore attack with thoughtful, spiritual lyrics. For Today is quickly becoming one of the biggest names in Christian metal because of these things.
The Autumn Offering by The Autumn Offering - The album teaser that the band released a month ago indicates that this will likely be the heaviest album they've made yet. Statements made by vocalist Matt McChesney indicate that the band is trying to distance themselves from the metalcore genre, and these statements are backed up by some parts of the teaser, which show a much greater death metal influence than previous songs. This album might be a breakout for The Autumn Offering, but it could also be a colossal failure. Time will tell how the fans receive this shift in style.
Into the Crypts of Blasphemy by Interment - Interment features in its lineup vocalist Johan Jansson and bassist Martin Schulman, both of whom were part of the final lineup of now-defunct Swedish death metal legends Centinex. Interment had been rendered defunct in the mid-'90s due to their involvement in Centinex, but the band was finally reactivated in 2006 following Centinex's split. Now, 22 years after coming together as a band, they are releasing their first full-length album. Now that is what I call dedication to a project!
Secret Handshakes by Tub Ring - The experimental rockers are back to appease the Mr. Bungle and Mindless Self Indulgence fans around the world with a new album. Listening to Tub Ring is a very scary experience for the uninitiated, as I myself discovered recently. However, if you're familiar with the bands mentioned above and/or similar artists that enjoy making you think you've gone on an acid trip without ingesting anything, Tub Ring will be a welcome addition to your music collection.
Invade by Within the Ruins - As metalcore has started to die, the new bands coming into the scene have taken various new approaches to the genre in order to give it a new twist. Within the Ruins has gone the route of throwing technical riffs and complex polyrhythms into their breakdown-filled music. The results on Invade could best be described as a heavier version of The Human Abstract's debut album, Rubicon. Give these Massachusetts kids a try if you're looking for a nice mix of Unearth and Meshuggah.
Genesis to Nemesis by Infernaeon - Infernaeon is the result of crossing Florida death metal with Norwegian black metal, two unholy legions of music that have created some of the most controversial and violent works in history between them. Their Prosthetic debut A Symphony of Suffering went almost completely unnoticed, but Genesis to Nemesis has received some pre-release hype thanks to its plentiful guest cast. Erik Rutan (Hate Eternal/Morbid Angel) and Oderus Urungus (GWAR) are the biggest names showing up on this album, which might help the group increase their following if they get onto some good tours.
Rubicon by Tristania - Up until 2007, Tristania's female vocalist was former Green Carnation session member Vibeke Stene, who was replaced by Mary Demurtas after the release of Illumination. Now, Tristania's male vocal position has been filled by another Green Carnation alumnus, Kjetil Nordhus. I will not be remotely surprised if Green Carnation founder Terje "Tchort" Vik Schei joins Tristania on second guitar in the next few years, since Green Carnation has been defunct for three years now.
Deceiver by The Word Alive - Initially formed as a side project of Escape the Fate vocalist Craig Mabbitt, The Word Alive is now a full-time project after signing to Fearless Records. Escape the Fate fans will probably love The Word Alive, due to them sounding very similar. Post-hardcore fans that like In Fear and Faith, blessthefall, or Asking Alexandria will have a lot to like about these guys too.
Exoplanet by The Contortionist - The newest guilty pleasure of technical death metal fans, The Contortionist fills the same space as Veil of Maya, Molotov Solution, and Born of Osiris in the realm of technical, progressive deathcore. Taking a cue of inspiration from Cynic, Exoplanet is sprinkled with ambient sections and other comparatively quiet moments amidst the beatdowns. Give these guys a shot if you're looking for something incredibly heavy with small breaks for relaxation.
Throes by Hero Destroyed - These Pittsburgh kids don't sound like they're from anywhere north of the Mason-Dixon. Blending a Southern-fried metalcore sound with spastic mathcore, Hero Destroyed has a very unique atmosphere to their music. If you can imagine the lovechild of Maylene and the Sons of Disaster with The Dillinger Escape Plan, you're thinking of Hero Destroyed.
Astron Black and the Thirty Tyrants by Nightfall - Melodic black metal is one genre that never quite caught its stride as well as it should have, but the scene is gaining momentum worldwide as more of the veteran acts are starting to gain recognition. Greek quartet Nightfall is one such group, finally gaining a prominent deal in the US after nineteen years together. It's been six years since their last album, which means frontman Efthimis Karadimas has had plenty of time to write vast, towering compositions that will drop jaws everywhere.
Number[s] by Woe, Is Me - Having a seven-piece band isn't unheard of, but it's about the most uncommon number one can see when thinking of conventional sizes in rock or metal bands. Woe, Is Me somehow have managed to make it work since last September, all while earning themselves a record deal with new Rise imprint Velocity Records. Their cover of Ke-dollar sign-ha's pop hit "Tik Tok" will amuse some and irritate most others.
Lights from Paradise by Quest for Fire - These psychedelic rockers are part of a quirky scene from over the northern border. Our friends at Noisecreep inform us that the Toronto-based group has compatriots with names like Deloro, Wyrd, Andre Ethier (who names their band after a baseball player?), and Anagram, just to name a few. However, it's also clear that these guys are in it for the joy of creating good music, a cause that all of us can support.
Hear No Evil by Complete Failure - Newly signed to Relapse, these grind prodigies from Pittsburgh include former Circle of Dead Children/Today is the Day drummer Mike Rosswog in their ranks, giving them a great foundation right away to start with. They self-released this album back in May, but now they have the opportunity to share their talent with a much wider audience.
New Blood by The Other - These horror punk aficionados from Germany are among the few bands able to pull off the genre successfully without being a simple Misfits cover band. Their release will likely be overshadowed by the Murderdolls today, but if they get the right amount of exposure, The Other could be one of the next big horror punk bands to actually perform original material.
Time for Annihilation...On the Road and On the Record by Papa Roach - Did anyone else besides me forget that Papa Roach was even still active? Have they done anything important since Infest was released in 2000? Putting that aside, this is a combination live album and EP of new music. If you're still listening to Papa Roach, then I suppose this album would be appealing to you, although why C-grade nu metal from the beginning of the decade would appeal to anyone in 2010 is beyond me.

Next Week: There is a brief reprieve from the deluge of new releases, but a few highly significant albums hit the streets, including a triple play from Maynard James Keenan. No, none of it is from Tool or A Perfect Circle, so just calm yourselves down right now, fanboys. Come back next week and find out what's in store for you.

Album Review: "Beyond the Gate" by Wretched

2010-08-22T11:38:00.000-04:00

Sweden used to be the country that defined melodic death metal, and with good reason. The history of the scene that started in Gothenburg is undeniable, with legendary names like At the Gates, In Flames, Dark Tranquillity, and so many others all emerging from that one area. However, in recent years, an American melodic death metal scene has begun to form, taking a whole new perspective on the subgenre by adding elements of thrash, hardcore, and technical metal into the core sound. This merging has resulted in a highly talented group of young bands playing very technical metal with solos and breakdowns in equal measure. Bands like Woe of Tyrants, Conducting from the Grave, and At the Throne of Judgment stand out from the sprawling metalcore and deathcore scenes with their unique blending of speed and brutality. Newcomers are starting to catch on to this style as well, including North Carolina-based quintet Wretched. Their sophomore album Beyond the Gate is another example of just how good this new style can be when played properly.

Those that are familiar with Wretched's debut album The Exodus of Autonomy already know just how diverse their style is. Beyond the Gate is a continuation of that diversity, with a good deal of fine-tuning and enhancement. This album may seem like a deathcore album at first, with the blinding speed and impossible heaviness of "Birthing Sloth". But while the band may incorporate some deathcore elements into their sound, most of their influence (outside of melodic death metal) is based in classic thrash metal. Nothing is better evidence of this than the precision solos by Steven Funderburk and John Vail, who sound like younger versions of Dave Mustaine and Marty Friedman in their prime. Wretched also has lots of appreciation for technical death metal bands like Arsis and Into Eternity, evidenced by their use of split-second time changes that those two bands helped to popularize.

The real crowning achievement of Beyond the Gate, though, is the twelve-minute instrumental break in the middle of the album. Composed of the tracks "On the Horizon", "Part I: Aberration", and "Part II: Beyond the Gate", these three songs combine to form a massive epic that is unlike anything that one could hear outside of progressive metal. The total effect almost has the feel of a classical symphony, aided in part by the use of symphonic parts in "On the Horizon". Very few bands dare to compose something so experimental and untraditional. It works amazingly well for Wretched, though, showing that they have the confidence to try different things and avoid resorting to the easy methods of getting noticed.

Beyond the Gate is a massive step forward for Wretched. The quintet has completely avoided the "sophomore slump" and instead delivered a top-quality album that stands head-and-shoulders above many albums released by their peers. Of greater significance, though, is what this album proves about the new form of melodic death metal taking shape in America. Daring to buck trends and work outside the box, Wretched has brought a whole new level of complexity and progression to this growing scene. One can only hope that their contemporaries are bold enough to do the same.

Score: 8 out of 10

Track Listing

1. Birthing Sloth
2. The Deed of Elturiel
3. In the Marrow
4. A Still Mantra
5. Cimmerian Shamballa
6. On the Horizon
7. Part I: Aberration
8. Part II: Beyond the Gate
9. My Carrion
10. The Guardians of Uraitahn
11. The Talisman
12. Eternal Translucence

Album Personnel

Billy Powers - Vocals
Steven Funderburk - Guitar
John Vail - Guitar
Rico Marziali - Bass guitar
Marshall Wieczorek - Drums

New & Noteworthy, August 20th - Festivus Maximus

2010-08-20T00:18:00.000-04:00

Ozzfest is already almost finished rolling through the country for its six tour dates, while the Uproar Festival has churned its gears into motion this past week, covering much larger territory over a longer period of time. These two festivals are the last major summer tours of 2010, giving metalheads a few precious last chances to spend a whole day rocking out to their favorite bands on outdoor stages. Hopefully you've made it out to at least one of the numerous summer festivals that took place during the last few months. If not, definitely get out to the Uproar Festival for one last sweet taste of summer.

Unlike the festival calendar, the new release calendar is still scorching hot. There are an estimated 70 new releases scheduled to debut in the next six weeks, with plenty of time for more to be added to the list. I have a feeling I'll be re-living the insanity of early June all over again. So without further ado, let's get the ball rolling.

Next Week's New Releases

At the Edge of Time by Blind Guardian - In the four years since the release of A Twist in the Myth, it would seem that Blind Guardian has been doing a lot of reading. According to an interview with vocalist/bassist Hansi Kürsch, most of the songs on the album are based on various writings, ranging from fantasy novels and Norse mythology to poems and political works by John Milton. Fans around the world have been waiting anxiously for this album, and it will definitely be worth the wait.
Warp Riders by The Sword - The Texas quartet has made quite a name for themselves in the two years since Gods of the Earth was released. Multiple stints opening for Metallica on the World Magnetic Tour, a slot on the Texas Stage at the 2008 Ozzfest, and other tours with the likes of Machine Head, Lamb of God, Clutch, and more have transformed The Sword from underground fascination into mainstream success story. Warp Riders will surely extend the group's fanbase, with its spacey cover artwork and equally spacey lyrical themes. But am I the only that is reminded by this artwork of the Protoss Carrier from Starcraft?
Invidious Dominion by Malevolent Creation - After over two decades together, Malevolent Creation is still just as intense and brutal as they were on The Ten Commandments. Invidious Dominion marks the return of original bassist Jason Blachowicz to the fold, which will likely only serve to make the album even more crushing. Add to it the amazing cover art done by Pär Olofsson, who has also worked with The Faceless and Immortal among others, and you've got one titanic package of death metal in this album.
Zombie EP by The Devil Wears Prada - This EP has been teased, revealed, and then teased some more in the past six weeks. All the fuss is likely unnecessary, though - The Devil Wears Prada is so popular, they could have announced the EP the day before its release and it would still sell massively. Zombie is intended to tide fans over during the wait for the band's next full-length, but if these five songs are as good as the material on With Roots Above and Branches Below, then the fans will only become more ravenous for a new album.
Heaven's Venom by Kataklysm - The creators of "northern hyperblast" are fast approaching their twenty year anniversary, and on their eleventh studio album, they're still at the top of their game. 2008's Prevail was an unstoppable opus of death metal fury, and if lead single "Push the Venom" is any indicator, Heaven's Venom will be even more destructive. If you missed seeing them on Ozzfest, catch them on tour with DevilDriver in the coming weeks to see the new musical onslaught delivered live.
7th Symphony by Apocalyptica - The most telling indicator of Apocalyptica's success is the star power of their guests on each successive album. 2007's Worlds Collide featured Cristina Scabbia of Lacuna Coil, Corey Taylor of Slipknot/Stone Sour, Till Lindemann of Rammstein, and Adam Gontier of Three Days Grace, as well as the requisite appearance by Slayer drummer Dave Lombardo. 7th Symphony gets even more mainstream, with Bush frontman Gavin Rossdale, Shinedown singer Brent Smith, and Flyleaf vocalist Lacey Sturm all lending their skills. However, there's still plenty of metal assistance to be had - Lombardo returns for yet another cameo, and Gojira vocalist Joe Duplantier also adds his talents to one track.
Blood in the Gears by The Showdown - On 2008's Back Breaker, The Showdown finally found the happy medium in their sound between heavy groove metal and catchy Southern rock. To fill the gaps in their lineup, the band added Destroy Destroy Destroy bassist Jeremiah Scott (who also produced both Back Breaker and Blood in the Gears), as well as Demon Hunter members Patrick Judge and Tim "Yogi" Watts (Watts left the band after the recordings were completed). The Showdown is on the rise very quickly, and Blood in the Gears could become their breakout album.
Cursed by Ion Dissonance - 2007's Minus the Herd was a marked change in sound for Ion Dissonance. The Canadian quintet had previously played spastic mathcore similar to Converge. Minus the Herd shifted into a groove-based, Meshuggah-influenced sound that earned mixed reviews. Cursed continues the style shift, as the album is reported to feature 8-string guitars and the band's first use of clean vocals in their entire career. I sense a great disturbance in the Ion Dissonance fanbase, as if it were instantly split in half between those that appreciate this album and those that despise it.
Thunder in the Sky by Manowar - This EP was sold during the "Death to Infidels Tour" in Europe last summer and has also been available through the band's online store, but is only now seeing an official release in stores. Thunder in the Sky is a prelude to Manowar's next studio album, which will be the first installment in "The Asgard Saga", their new multimedia collaboration with author Wolfgang Hohlbein. One can only guess what sort of grandiose, over-the-top power metal will be included on the new album.
Degenerate by Trigger the Bloodshed - This album has been out in the UK since the middle of May, so it's nice to see it finally get released here as well. Trigger the Bloodshed specializes in technical brutal death metal, similar to Beneath the Massacre and The Red Shore. Their entire scene has an undying love for early Suffocation, and it shows very clearly in both lyrics and music. Pick up Degenerate if you want to feel like you're in a moshpit while strung out on speed.
City of Fire by City of Fire - As if the members of Fear Factory didn't have enough side projects, City of Fire is a project conceived by Byron Stroud with two of his bandmates from the now-defunct group Caustic Thought. City of Fire also features Burton C. Bell on lead vocals, giving the group that much more potential recognition. Their music is much more groove-oriented and atmospheric than Fear Factory, leading to slightly greater accessibility. It remains to be seen just how much of a focus this will become for Bell and Stroud over time.
A Sign of Sublime by Sarah Jezebel Deva - After a long history as part of Cradle of Filth, as well as fronting her own band Angtoria, Sarah Jezebel Deva is finally releasing an album of solo material. Her backing band contains a few familiar faces, including Cradle of Filth bassist Dave Pybus. The album itself covers numerous styles that display Sarah's full vocal capabilities. If you were a fan of her work in Cradle of Filth, check out this album to see what else she can do.
Madness in Manila: Shadows Fall Live in the Philippines 2009 by Shadows Fall - This new DVD from the Massachusetts metalcore group will include footage of their performance at the Pulp Summer Slam in (you guessed it) Manila last summer. The promo poster for the event is more than a little weird, but one can't exactly fault the concert organizers for having odd taste in artwork. There's little information available regarding what else is on the DVD. However, anyone that has seen Shadows Fall live knows that it's an experience worth remembering, meaning that this DVD is worth the purchase price just for the concert footage.

Next Week: The asylum opens its doors to all those desiring shelter. I'll be first in line if I keep looking at the list of new releases for September. May the metal gods grant me serenity.

Album Review: "Exiled to Earth" by Bonded by Blood

2010-08-15T14:51:00.001-04:00

There have been many waves of thrash metal in the course of the past three decades. The whole scene started in the early '80s with the Big Four - Metallica, Megadeth, Slayer, and Anthrax - and the numerous American and German thrash bands that followed them. In the late '80s and early '90s as thrash started to fade, the second wave began, with the less-prominent American thrash bands and German bands attempting to keep the scene alive while the Big 4 stagnated or lost relevance. In the late '90s, a new wave of thrash bands from Europe, led by The Haunted and Darkane, took on the mantle of thrash revivalists, helping to bring the scene back. Now, in the last five years, a whole new group of young American thrash bands have attempted to bring back the old-school thrash style of the '80s with their fast, technical play and raw production. Bonded by Blood is one of the bands in this fourth wave of thrash, and their debut Feed the Beast showed a lot of promise. Their sophomore effort, Exiled to Earth, upholds the high standard they set for themselves and even sees them surpass it in some ways.

Exiled to Earth is unique in that it's a concept album, which is incredibly rare to see in thrash. The album tells the story of an alien race known as the Crong, who come to Earth intent on conquest. A group of warriors must fight back against the Crong to regain control of the planet and save the human race. Almost none of the veteran thrash bands ever attempted to create a concept album, so seeing one of the young bands do that shows a lot of maturity and inventiveness. The concept only exists in the lyrics, so it doesn't distract from the music in any way. However, it also makes the lyrics even more interesting to read and memorize, for those that enjoy doing such things.

Musically, Exiled to Earth is a throwback to the glory days of thrash in the early '80s with just enough young energy added to make it sound fresh. This will make the album a big hit among both diehard thrash veterans and newcomers to the genre. Guitarists Alex Lee and Juan Juarez channel the best parts of Slayer from Reign in Blood and Seasons in the Abyss, from the lightning-fast solos to the impossibly tight riffing. Vocalist Jose Barrales is a dead ringer for Bobby "Blitz" Ellsworth of Overkill, using the same high-pitched, urgent delivery of the veteran. Drummer Carlos Regalado and bassist Jerry Garcia keep the rhythm section together from start to finish, reminding listeners simultaneously of Tom Hunting from Exodus and David Ellefson of Megadeth.

In short, Bonded by Blood has created a titanic record that raises the bar for all of their contemporaries. The other young thrash bands have held their own up until this point, but Bonded by Blood is now the first one to step out and make a statement. Exiled to Earth shows all doubters that this band is the real deal, capable of playing with the veterans as well as their peers. Expect to hear more great things from Bonded by Blood in the future.

Score: 8 out of 10

Track Listing

1. 600 AB (After the Bomb)
2. Episodes of Aggression
3. Prototype: Death Machine
4. Prison Planet
5. Genetic Encryption
6. Blood Spilled Offerings
7. Exiled to Earth
8. Parasitic Infection
9. Desolate Future
10. Sector 87
11. Cross-Insemination

Album Personnel

Jose Barrales - Lead vocals
Alex Lee - Guitar, backing vocals
Juan Juarez - Guitar
Jerry Garcia - Bass guitar, backing vocals
Carlos Regalado - Drums

Album Review: "Stampede" by Hellyeah

2010-08-15T12:19:00.000-04:00

The supergroup known as Hellyeah gained most of its notice because it was Vinnie Paul Abbott's triumphant return to the music world following the death of his brother, Dimebag Darrell, and the subsequent end of Pantera, Damageplan, and all other projects involving the two brothers. The group has found their niche in playing groove metal with a distinct Southern attitude and theme to it. However, the group's critics view this as a betrayal of Pantera's legacy, even though there are few core differences between the two groups. Bucking the critics and forging ahead with their ideals, Hellyeah give a sincere effort on their sophomore album, Stampede, which succeeds in some areas, but has a few weaknesses as well.

Hellyeah is too talented of a band to deliver bad music, and Stampede proves that admirably. Vinnie Paul's drumming is spot-on from start to finish, as can be expected from the veteran. Guitarists Greg Tribbett and Tom Maxwell deliver solid performances, showing their diverse range of skills outside of their regular bands Mudvayne and Nothingface, respectively. Their riffing on "Order the Sun" gives the track a perfect Pantera feeling. New bassist Bob Zilla, who used to play with Vinnie Paul in Damageplan, shines on Stampede, always making his presence felt but never taking the spotlight, as bassists should. Singer Chad Gray spits and growls his lyrics with just as much vitriol and intensity as he did on the group's self-titled debut, even managing to top his performances with Mudvayne at certain points. Gray also shows a surprising new affinity for clean singing, crooning soulfully on "Stand or Walk Away" about the pain of loss and failure in life. It's a heartfelt song that ranks as one of the most memorable on the album.

However, Gray's performance on two other soft tracks, "Hell of a Time" and "Better Man", comes off as forced and clichéd as he lacks the sincerity in his voice to really sell the songs. The performance doesn't fit and forces listeners to wonder why he didn’t put as much into those tracks as he did "Stand or Walk Away", since he clearly has the ability. However, the bigger problem is one that pervades the entire album, and that is the lyrics. Hellyeah has taken the idea of "sex, drugs, and rock-n-roll" to the utmost extreme, filling the album with imagery about being drunk, getting high, and getting with beautiful women 24/7. The chief culprit in this area is "Pole Rider", a song that requires no explanation and carries the subtlety of a Playboy centerfold plastered on a highway billboard. The songs that don't carry the aforementioned imagery are much stronger and more memorable, leading to speculation about why the band would write such forgettable lyrics when they can do better. The answer to this question is simple, though - for some listeners, the over-the-top lyrics are the biggest attraction Hellyeah can offer. And catering to fans is one thing that every rock group can admit to doing at least once.

Between these two weaknesses, it's easy to see why critics give Hellyeah a hard time. However, it's also easy to see why people buy their records like crazy. Stampede's debut at #8 on the Billboard charts makes sense when one considers how many fans of commercial hard rock are looking for something with a bit more grit and heaviness. Hellyeah fits the bill perfectly for these people, and at the same time, reawakens the liveliness of '80s hair metal with more honest music. It may not be a perfect formula, but it's sure to appeal to the crowd of non-elitist rock and metal fans, of which there are plenty.

Score: 6 out of 10

Track Listing

1. Cowboy Way
2. The Debt That All Men Pay
3. Hell of a Time
4. Stampede
5. Better Man
6. It's On!
7. Pole Rider
8. Cold as a Stone
9. Stand or Walk Away
10. Alive and Well
11. Order the Sun

Album Personnel

Chad Gray – Vocals
Greg Tribbett – Guitar
Tom Maxwell – Guitar
Bob Zilla – Bass guitar
Vinnie Paul – Drums

New & Noteworthy, August 13th - Sanctuary

2010-08-13T01:09:00.001-04:00

This week, we will boldly go where no one has gone before, seeking out new life in the world of classic heavy metal. We will explore strange new worlds, and we will engage in new pursuits with one of the most classic, veteran acts in all of heavy music. With this band, not all good things have to come to an end. They are worldwide emissaries of metal, and they're back to take us on another voyage. We now enter THE FINAL FRONTIER! And yes, that's all the Star Trek references I can possibly fit into this opening paragraph (although bonus points go to the first commenter to tell me which Star Trek series has an episode that shares its title with the Maiden classic that is also the title of this week's edition).

Oh, and there are also some other albums coming out this week, despite what the hype machine would have you all believe. It includes the continued resurgence of a great 90s rock group, the premiere of a bizarre supergroup, and a remixed version of one of the most politically-charged albums of the past decade. They may not be receiving as much attention as this week's biggest release, but they're definitely worth mentioning, so read on and find out what else lies in store for us!

Next Week's New Releases

The Final Frontier by Iron Maiden - Fifteen albums into their career, Iron Maiden are just as relevant and excellent as they were in the '80s, possibly even more so. This album will continue what the last three albums have established - long, epic songs with breathtaking compositions and Bruce Dickinson's incredible vocals. And if Avenged Sevenfold can debut at #1 on the Billboard charts, then one of the best bands in the history of music deserves similar honors. Get out there and buy this album! Make it so! (Yes, I had to throw in one more.)
The Trouble With Angels by Filter - Anthems for the Damned, Filter's 2008 release, debuted at #60 on the Billboard charts, a signal of how badly fans wanted them back after nearly six years of inactivity. The Trouble With Angels doesn't have that natural booster on its side, but given the positive reviews that its predecessor received, this album should still perform well.
MiXXXes of the Molé by Ministry - When Houses of the Molé came out in 2004, it received national attention for its harsh, biting criticism of the Bush administration. Very few artists dared to tread where Al Jourgensen did with that album. Even now, with Bush long gone from the White House, it still stands as a stark reminder of the power music holds in public affairs. This new remix album revisits the album's nine tracks (and one hidden track) in the same way that 2009's The Last Dubber reinvented The Last Sucker. Is this a new trend for Jourgensen?
Asleep Next to Science by Orbs - This supergroup unites Dan Briggs (Between the Buried and Me), Ashley Ellyllon (Cradle of Filth, ex-Abigail Williams), Adam Fisher, and Clayton Holyoak (both of Fear Before the March of Flames) in one musical endeavor. Surprisingly, it sounds almost nothing like any of the bands that the members also play in. Orbs is a progressive, experimental rock band with plenty of psychedelic elements. Think Primus lyrics and vocals mixed with a heavy dose of Porcupine Tree compositions.
The Culling of Wolves by Knights of the Abyss - The deathcore outfit from Arizona has been slowly rising in popularity since their formation in 2005. Extensive touring has helped greatly in this, and the band is keeping with that strategy for their third full-length. They have their own headlining tour booked for immediately after the album's release, and will follow it up as part of Cattle Decapitation's "California Blood Tour" in the fall.
World in Decline by Antagonist - Prosthetic hyped Antagonist's 2008 debut Exist quite a bit, but it failed to make a big impact in the scene. Hopefully, World in Decline will draw some more attention to the Southern California quintet. The thrash-influenced hardcore that they play has plenty of strong social insight in the lyrics, and there is no shortage of technicality to back up the vocals.
Automata by Return to Earth - The experimental metal trio signed with Metal Blade early this year, based on the underground success of 2007's Captains of Industry. It's easy to see why people like this group. For one thing, drummer Chris Pennie used to play in The Dillinger Escape Plan, and is now part of Coheed & Cambria. Also, the band is a dead ringer for Mastodon. In fact, if I listened to the track "Back of My Hand" while blindfolded, I would swear it was a long-lost B-side from Remission.
Too Many Humans by The Last Felony - Expect to hear a lot about this band in the coming months, because they recently got a potentially humongous boost in recognition when they were chosen as the opening act for Despised Icon's final Canadian tour. The technical death metal group has only been around for five years, but one album was all it took to earn them a contract with Lifeforce Records. They've already been compared to Beneath the Massacre, Impending Doom, Suffokate, and other fast-rising death metal bands in both sound and potential.
RiotGod by RiotGod - A side project of Monster Magnet members Bob Pantella and Jim Baglino, RiotGod is focused on hard rock with stoner rock influences. The band's self-titled debut has already started making waves, as it was the most added album on the CMJ Loud Rock Charts this past week. If the album lives up to the hype, RiotGod could become a very popular name in the fall.
Fi'mbulvintr by King of Asgard - This Viking metal group has plenty of experience under its belt, despite only being active two years. The three members have previous credits with Thy Primordial, Falconer, Mithotyn, Indungeon, and Infernal Vengeance, among numerous other bands. Their oddly-spelled Metal Blade debut will appeal to fans of more traditional Viking metal such as Heidevolk and Wulfgar.
Point of Origin by Downspirit - Metal and blues have come together in the past with mixed results. The most commonly-used (and also most successful) example of this fusion is Volbeat, and their popularity has given this style a whole new power. German/Swiss band Downspirit take Volbeat's foundation of blues metal, and add elements of Shinedown and other modern rock bands to create an altogether different sound. The result is not as catchy or unique as Volbeat, but there is still enough distinctiveness to merit giving this album a try.
The Winepress by The Burial - This is not the English dubstep producer Burial, who drops the antecedent from his moniker. This Christian group comes out of Indiana, and the members definitely have an unabashed love for Unearth and Parkway Drive. Their debut on Facedown imprint Strike First Records isn't exactly original, but their mixture of metalcore and deathcore does have some unique qualities that make it worth checking out.

Next Week: Big name releases abound, covering almost every genre and giving all heavy music fans reason to be excited. Summer is still hot in the metal world, people! Stay tuned for what's still to come!

New & Noteworthy, August 6th - Pleasure and Pain

2010-08-06T02:16:00.000-04:00

It was a week marked both by sorrow and celebration. On Monday morning, vocalist Mahk Daniels of Early Graves was killed in a tragic van accident in Oregon, striking another talented young band with terrible calamity. But there is also cause to rejoice, as Nightwish singer Anette Olzon gave birth to her second son last Friday night, and first with current boyfriend Johan Husgafvel, bassist of Swedish industrial group Pain. New life is always a good reason to celebrate, and it reminds us that even when we mourn those lost, we can be happy for those in our future.

This week marks the release of a number of excellent albums, beginning two solid months packed with high-quality albums. Read on for more reasons to rejoice!

Next Week's New Releases

Order of the Black by Black Label Society - Just in time for Ozzfest, BLS is back with another new record. Eight albums in, Zakk Wylde still hasn't changed the formula, and still doesn't need to. The four-year wait since Shot to Hell has been rough on the fans, but Order of the Black should make it all worth it.
The Ghetto Blaster EP by Street Sweeper Social Club - If you're unfamiliar with these guys, it's the collaboration of Rage Against the Machine/Nightwatchman bassist Tom Morello and The Coup vocalist Boots Riley. It's an interesting amalgamation of rap and rock that has a unique flavor to it that I like to call "the Morello stamp", since anything that Tom Morello touches has that same instantly recognizable and maddeningly indescribable quality to it. If you're a fan of Morello's other work, then you'll definitely like SSSC.
<3 by Mindless Self Indulgence - This EP was given away for free to those who bought copies of MSI's album If during a specific week back in February. It is now being made available in the iTunes store for the die-hard fans that just have to have this collection of demos and b-sides. It's a little long for an EP, clocking in at 8 songs, but I suppose the classification will matter little in the end.
Beyond Cops. Beyond God. by Waking the Cadaver - For a long time, Waking the Cadaver was the poster child of anti-deathcore ravings on Internet message boards. Expect the hate mill to start churning again now that the Jersey-based group is releasing their sophomore album. These guys go all out and squeeze every bloody ounce of brutality from their music. Pick this up if you're looking for a good reason to mosh in your bedroom.
Exiled to Earth by Bonded by Blood - Some reviews have said that Exiled to Earth is supposed to be a concept album, but I can't seem to get a good idea of what the concept is supposed to be. I can, however, say that there's a good reason why most thrash bands don't do concept albums. Who can care or even pay attention to a concept when the music is supposed to be melting your face off from its speed?
American Hell by Destruction of a Rose - Melodic metalcore seems to be the new "in" trend attempt to revitalize the genre. Destruction of a Rose seem to want to make everything bigger in their melodic metalcore blend. The heavier parts are insanely heavy, likening the band to Beneath the Sky and For the Fallen Dreams. But the melodic parts really go all-out too, earning comparisons to The World We Knew and This or the Apocalypse. It's a little bit of everything, and it's decent.
Forging the Land of Thousand Lakes by Amorphis - This is the first live release from the Finnish group in North America during their entire 20-year career. If you're not familiar with Amorphis, you ought to get familiar quickly. Their newer material is Finland's answer to Paradise Lost, and vocalist Tomi Joutsen has the skills to prove it.
Planetary Duality [Remixed/Remastered] by The Faceless - One of the hottest new "buzz bands" of recent memory, The Faceless is fast-tracking towards taking over the technical death metal crowd. This reissue of their breakout album will be a nice way to build up hype about the band leading into their tour with Suffocation and Decrepit Birth in the fall. Pick it up to get some bonus videos and other interesting goodies.
Streetcleaner [Reissue] by Godflesh - Industrial pioneers Godflesh, reunited for some summer festival appearances, are re-releasing their landmark debut with a second disc full of demos, original versions of songs, and live hits. Unless you're going to Europe to see Godflesh live, this is as close as you're going to get to new material from the band…at least, for now.
Hordes of Chaos [Ultra Riot Edition] by Kreator - Hordes of Chaos was easily one of the best thrash albums released last year, if not the best overall. It's only fair, therefore, that it gets a fancy new look and bonus materials to sweeten an already-excellent deal. The bonus tracks are demo recordings of several Hordes of Chaos hits, as well as some older songs as well. There is also a DVD documentary covering the making of the album. This box set will be well worth the purchase price.

It is at this time that I must announce a change to the format of New & Noteworthy, effective immediately. I am no longer going to cover new tours in the blog edition of the column, simply because I do not have time to research and write about all the new tours that get announced every week. To those that relied on me for this information, I'm deeply sorry for not being able to continue to bring this information. My day job and other personal matters have left me with little to no time for research anymore, though. I do hope you all can understand.

Album Review: "The Pulse of Awakening" by Sybreed

2010-08-04T22:24:00.001-04:00

When a band is named Sybreed, it's pretty easy to guess what their predominant themes will be. The Swiss quartet has been playing Fear Factory-inspired industrial metal since their inception in 2003, gaining a fair amount of notice in Europe with the albums Slave Design and Antares (the latter of which featured session drums by Soilwork/Aborted skinsman Dirk Verbeuren). Guitarist Thomas "Drop" Betrisey has also earned some recognition as an excellent remix artist, creating remixes for both Celldweller and Soilwork in recent years. Back now with their third album, The Pulse of Awakening, Sybreed focuses on expanding their sonic capabilities while still holding true to their core sound. They are successful in both areas, although there are certainly things that could have been improved as well.

Musically, this album is the most diverse offering yet from Sybreed. The core sound still draws on Digimortal and Archetype-era Fear Factory, heavily focused in synth and guitar effects with lots of technical, complex drum patterns worked in. However, while both of the band's previous albums adhered to the heavier end of the spectrum, The Pulse of Awakening expands on certain songs into more pop-focused riffs and hooks. The result will draw a lot of comparisons to Sybreed's Danish counterparts in Mnemic and Raunchy, both of whom use catchier hooks to enliven their songs in certain areas. Bear in mind that this does not mean the band has abandoned heaviness entirely, as "A.E.O.N." and "I Am Ultraviolence" are two of the heaviest songs ever written by Sybreed. The album is well-balanced and well-composed in that aspect.

There are two problems with this record, though. The first is vocalist Benjamin Nominet, who still hasn't exactly figured out parts of his voice. His screams are undoubtedly excellent, with better technique than anything heard before from him. However, his clean singing still lacks the confidence and inflection needed to be truly profound and evocative. Nominet definitely has a recognizable voice, and his delivery is quite unique among his contemporaries. But some of the heavier processing added to the vocals detracts from what could potentially be a very moving performance. Second, the album falls into a fairly predictable pattern of heavy vs. light as it continues. Only at one point on the album does a heavy song immediately follow another heavy song, and such repetition never happens with a light song. However, this pattern is less of a problem because of how good the compositions are. And there is enough variation in the compositions for the album to stay interesting despite the formula.

Overall, The Pulse of Awakening is a pretty strong industrial album and definitely should give Sybreed a boost in popularity. While it doesn't have the sheer, unadultered power of Fear Factory's Mechanize or the ear-yanking catchiness of Mnemic's Sons of the System, The Pulse of Awakening offers a fair balance between the two ends of the spectrum and is a good addition to the very small industrial metal community. Given more time and greater exposure, Sybreed could very easily attract a devoted fanbase in the US with their catchy-but-still-heavy cyber blend.

Score: 6 out of 10

Track Listing

1. Nomenklatura
2. A.E.O.N.
3. Doomsday Part
4. Human Black Box
5. KillJoy
6. I Am Ultraviolence
7. Electronegative
8. In the Cold Light
9. Lucifer Effect
10. Love Like Blood
11. Meridian A.D.
12. From Zero to Nothing

Album Personnel

Benjamin Nominet – Vocals
Thomas "Drop" Betrisey – Guitar
Stéphane Grand – Bass guitar
Kevin Choiral – Drums

No New & Noteworthy this week

2010-08-02T00:51:00.000-04:00

Once again, I'm forced to cancel New & Noteworthy this week. I've been too busy to keep up with the news and other happenings as of late. Metal Insider will have the release-only version of N&N on Tuesday, so check them out for that. Sorry to do this again, but I'm in a pretty rough patch right now with some of the changes occurring at my day job. I'll try to get back on the ball once things settle down there.

New & Noteworthy, July 23rd - Playing the Spoilers

2010-07-23T00:43:00.001-04:00

Two weeks ago it was Mayhem, last week it was Summer Slaughter, and this week it's…Over the Limit? Yes, yet another summer tour kicks off this weekend, this one headlined by Oceano and As Blood Runs Black. This tour is probably the most aptly named tour of the past five years, and it's also not really necessary, with a lineup that feels like the cast-offs of both Summer Slaughter and Thrash & Burn. More excitement will be generated by two other tours kicking off this week - the first leg of the American Carnage/Canadian Carnage Tour featuring Megadeth, Slayer, and Testament; and Cynic's "Re-Traced / Re-Focused Live" tour, which will also feature Intronaut and Dysrhythmia. Obviously, seeing three of the biggest thrash acts in history is a huge deal, but progressive/experimental metal fans will be salivating to see Cynic play their entire discography live. Where does that leave the Over the Limit tour? Well, it's basically the third wheel now - or, in the case of the whole summer lineup, the ninth wheel.

There are some new releases that are also acting as spoilers this week, looking to steal the spotlight from a major debut this week. Considering the debut comes from one of the most commercial names in metal, though, that is unlikely. Read on to see what's coming at you this week.

Next Week's New Releases

Nightmare by Avenged Sevenfold - After Jimmy "The Rev" Sullivan's tragic passing at the end of 2009, nobody was sure whether Avenged Sevenfold would continue on. But with the help of Mike Portnoy, every metal purist's Nightmare has become a reality. Nobody can be sure how the Dream Theater skinsman will mesh with the metalcore darlings of commercial America, but fans will get a chance to see it live as well as hear it on the album, as Portnoy will also take part in A7X's run on the upcoming Rockstar Energy Uproar Festival.
Collisions and Castaways by 36 Crazyfists - The Alaskan group is supporting this album in a big way already, acting as main support for Fear Factory during their current tour. The promotion doesn't stop there, as a headlining tour with Straight Line Stitch and Dirge Within starts up as soon as the Fear Factory tour ends. These guys aren't the heaviest metalcore group out there, but singer Brock Lindow is one of the best in the business. That makes 36CF always worth checking out.
Polarity by Decrepit Birth - The brutal death metal band has recently added ex-Abigail Williams drummer Samus Paulicelli to their lineup, adding a good amount of technicality to their already-intricate sound. On their third album, Decrepit Birth looks to justify the hype surrounding them after three years of nearly-nonstop touring. Former members of Decrepit Birth are also alumni of/now in Vital Remains, Misery Index, Dying Fetus, Divine Heresy, Hate Eternal, and Animosity. That should give you a general look into this band's approach - violent as hell every second.
Shadowcast by Insidious Disease - This supergroup has some serious firepower in its ranks. The project is helmed by Dimmu Borgir guitarist Silenoz, who put together the group in order to examine "the misfits of society". Also featured in the lineup are Morgoth vocalist Marc Grewe, Old Man's Child guitarist Jardar, Napalm Death bassist Shane Embury, and drummer Tony Laureano from about a thousand different metal bands. This group is sure to be among the most violent and evil supergroups ever assembled.
ReVamp by ReVamp - The breakup of After Forever in 2009 was a shame, as one of the better female-fronted power metal bands in the world called it quits before they could truly achieve the success they deserved. But singer Floor Jansen wasn't done with music and started a new project, with Grip, Inc./Enemy of the Sun guitarist Waldemar Sorychta and her After Forever bandmate Joost van der Broek as co-songwriters. ReVamp is the result, a progressive/symphonic metal group that will capitalize on Jansen's incredible vocal prowess and her collaborators' wealth of talent.
Vessels by Ivoryline - Back with their third full-length album and second for Tooth & Nail Records, these Texas-based Christian rockers are looking to capitalize on the success of 2008's There Came a Lion, which peaked at #15 on the Billboard Heatseekers chart. The band's touring experience includes runs with Emery, Madina Lake, and Automatic Loveletter, which should give new listeners an idea of their sound.
Lock & Key by Cruel Hand - One usually doesn't think of Maine as being home to anything except fish, lobster, and, well, trees. But apparently a hardcore scene may be brewing in the North, with Cruel Hand leading the charge out of the Pine Tree State and onto stages worldwide. These guys might get lumped into the Boston hardcore scene, but don't expect straightforward mosh-core like you'll get from Down to Nothing and Death Before Dishonor. Cruel Hand enjoys diversifying sounds, mixing in some thrash and death metal styles with their love for Madball. This album could be a huge breakthrough for them if it reaches the right ears.
Kingdom of Evil by Angels of Babylon - This band has absolutely nothing to do with the forthcoming second album of 2010 from Avantasia. Angels of Babylon is actually a supergroup of sorts, featuring Megadeth bassist David Ellefson and ex-Manowar drummer Kenny "Rhino" Edwards in their lineup. Kingdom of Evil is the four-piece group's debut, and has been out in Europe for nearly six months. It finally sees release in the US now, much to the delight of fans of White Wizzard, Icarus Witch, and Charred Walls of the Damned. There's nothing wrong with adding another classic heavy metal group to the fold.
20 Years Strong: Rivers Runs Red Live In Brussels by Life of Agony - It is amazing to think that the Brooklyn-based quartet has been around for two decades, especially since it's been five years since they've actually put out any new material. This live album and DVD chronicles the band's 20th anniversary performance in Belgium from April of this year. It also includes a band documentary and bonus features, which will hopefully also reveal some of the band's plans for the future.
Lords of Depravity 2 by Sodom - The German veterans have a new album tentatively due out later this year, but Lords of Depravity 2 will give fans a good look into the band's past, with over six hours of footage from their archives. The first disc contains a full-length documentary of the band's history, while the second disc is packed with live footage, highlighted by their 25th anniversary performance from Wacken Open Air 2007. This has been a good year for German thrash historians, as Destruction released a DVD back in April as well. Pick this up if you want to know how thrash got truly evil in the Rhineland.

This Week's Tour Announcements

Helmet and Bison B.C.

With Seeing Eye Dog due out on September 7th, Helmet is wasting no time promoting the new record, hitting the road the day after its release for a two month trek around the country. They'll swing up and down the West Coast in September with Bison B.C., and then after a week off, they do a full-country circuit by themselves. Do I even have to tell you why Helmet is good and you should see these shows? If I do, then you are woefully ignorant of one of the best hard rock/stoner metal bands in history.
ThePRP announcement

Triptykon, 1349, and Yakuza

Tom Warrior is coming back! And he's bringing the big guns with him. The new project from the former Celtic Frost frontman rips even harder than his old band did (as stated in my review of their debut album). A lesser-known fact is that he also produced 1349's new album Demonoir, which will likely equal some live guest appearances for both bands. This tour will flat-out destroy.
Blabbermouth announcement

CKY

It's not inaccurate to call these guys "skateboard metal", is it? They'll be all over the North and Northeast in mid-fall, hitting small clubs in mid-to-small size markets. You have to hand it to CKY - even after the turmoil of a near-breakup, losing their label support, and the stigma that comes from being even remotely involved with Bam Margera, they've stuck it out for a long time and managed to stay relevant. Check out one of these shows for a good fun time.
ThePRP announcement

Hellyeah and Anew Revolution

Anew Revolution is reaching out to the most diverse audience possible to promote iMerica. After announcing dates with Volbeat three weeks ago, they now have also lined up shows with Hellyeah, leading into the supergroup's stint on the Uproar Festival. Hellyeah themselves will be promoting Stampede and playing lots of new songs, so if you like either band's new album, hit up one of these five Midwest shows.
ThePRP announcement

Knights of the Abyss, Conducting from the Grave, The World We Knew, and Enfold Darkness

About a month ago, Knights of the Abyss announced a few tour dates in July, in an attempt to build anticipation for the release of their third full-length, The Culling of Wolves. Now that the album is set for an August 17th release, the deathcore group is preparing their first tour officially supporting it. With direct support coming from one of the most talented young bands in the deathcore scene, Conducting from the Grave, this tour is a must for mosh enthusiasts and technical aficionados.
ThePRP announcement

Corpus Christi and A Hero A Fake

A Feast for Crows is finally out, and following their short string of dates with Divide the Sea and Judges, Corpus Christi is officially hitting the road to promote their sophomore album. They'll tour all over the Midwest and the East Coast in late summer, hitting many markets that have either never seen the band before or only seen them once or twice. These young guys have lots of potential, so check them out if you're looking for something new and different.
ThePRP announcement

For Today

The Christian hardcore act is not resting between tours. Directly after the "Scream the Prayer" Tour that they are currently on, they'll be playing headlining shows leading right into their next tour with Bleeding Through and After the Burial. Undoubtedly, these shows are designed to build even more buzz about the upcoming release of Breaker, the band's third full-length album. For Today has a very dedicated following, and for a good reason too. Check out their live show if you're unfamiliar with them to see why they're getting so popular.
ThePRP announcement

70,000 Tons of Metal Cruise

After weeks and weeks of thrash bands and old-school metal bands getting added, someone that will bring out the true geeks of the metal world is now playing this cruise. Iced Earth, one of the biggest power metal bands in the US, will be performing on this historic voyage. How do you say no to that? We've officially passed the halfway point on the cruise's lineup total, but keep on checking to see what other awesome bands show up on this bill.
Blabbermouth announcement

In This Moment

Already deep into the Mayhem Festival, Maria Brink and Co. don't plan on taking a break anytime soon. Following Mayhem's conclusion, the band has lined up a series of headlining shows in the Southwest to promote their album. With the positive reviews that A Star-Crossed Wasteland is getting, these shows will surely be good investments. Check them out for a more complete set than what you'll get on Mayhem.
ThePRP announcement

Saviours

The band that I vilified in my Ozzfest lineup commentary is hitting the studio soon to record a new EP. They've already signed on for a few Ozzfest off-day shows, most notably DevilDriver's dates that were finalized two weeks ago. Their full off-date schedule for the whole of August is now available as well, showing a few bar and club shows at the end of the month. If you know about this band and like them, then I guess these shows are for you.
ThePRP announcement

Flotsam and Jetsam

It's not often that older bands play release parties for their new material, so it's nice to see Flotsam and Jetsam taking initiative to do that. Their new record The Cold is due out on September 14th, and the veteran group will hold a release party three days later in Tempe, Arizona. Obviously, if you can it out to this show, you'll want to go and see one of the most underrated thrash bands tear it up.
Blabbermouth announcement

40 Below Summer

The nu-metal group will play a one-off reunion show in New Jersey on October 2nd, where they'll perform their debut album Invitation to the Dance in its entirety. Also appearing will be Max Illidge's new band With Daggers Drawn, as well as fellow Jersey metal bands God Forbid and Dead Men Dreaming. This will be a fun show for nostalgic fans and die-hards. There might also be news delivered of a possible reunion or new material.
Blabbermouth announcement

Týr

Hailing from the Faroe Islands, Týr is one of the best Viking metal groups not named Amon Amarth that you'll ever hear. Their 2009 album By the Light of the Northern Star was a masterfully crafted album, and they deserve plenty of recognition stateside to match their European reputation. Therefore, if you can make it to their one-off headlining show in New Jersey on September 11th, you definitely should go. These guys are just too good to be true in many ways.
Blabbermouth announcement

Mantic Ritual, Hexen, Infernal Death, and others

I said I'd get off my soapbox last week about supporting rockers in need, but I wasn't anticipating this. A benefit concert for Chuck Schuldiner is being held in Amityville, New York tomorrow night for only $10 per ticket. If you live on Long Island, you can't not attend this show. Supporting the Schuldiner family and Chuck's legacy is a must for all metalheads. Get out there and support one of the legends.
Blabbermouth announcement

Smashing Pumpkins and Kill Hannah

I also was not anticipating this - a show to benefit a cause I've shown as much support for as humanly possible. This performance will raise money for Madina Lake bassist Matthew Leone's medical bills, which I've urgently asked all my readers to assist with every week since his noble actions put him in the hospital. Tickets for the show will be raffled off at $10 per ticket, and people can enter as many times as they wish. So enter the raffle as much as you're able and help a true hero in need.
Blabbermouth announcement

So we draw New & Noteworthy to a close for another week. Next week marks the beginning of a very busy August, so come back and see what's in store for you!

Album Review: "Attack of the Wolf King" by Haste the Day

2010-07-18T12:15:00.001-04:00

Haste the Day has had to fight for their entire career to stay relevant in the world of Christian metal. With bands like Demon Hunter and As I Lay Dying drawing bigger crowds and selling more records, Haste the Day has almost always been overshadowed, despite being just as good as their contemporaries in the early days. Their first two albums, Burning Bridges and When Everything Falls, were viciously heavy, led by the unique vocals of former lead singer Jimmy Ryan. After his departure from the band, the band slightly shifted in style to better accommodate their new lead singer, Stephen Keech. Pressure the Hinges and Dreamer had more diverse compositions and a wider array of music styles, but lacked the all-out heaviness of the first two albums. Now, on their fifth album, Attack of the Wolf King, the band is forced to once again adjust their approach after more lineup changes. The result is still enjoyable, but it does not feel like the same band anymore.

The good parts of Attack of the Wolf King are when the band stays heavy and sticks with the metalcore approach that they're known for. Keech may not have the same level of primacy that his predecessor had, but he's still a great screamer with enough raw power in his voice to outdo many vocalists in the scene. One of the greatest moments on the album is the song "The Place Where Most Deny", which features a pairing of Keech and Micah Kinard, vocalist of Oh, Sleeper. Kinard is an immensely talented young singer, and his vocals add a great deal of power to an already-captivating song. The musical performance on most of the songs retains the band's style from their most recent albums, carrying a variety of influences from within the metal scene. This approach definitely works for the band, allowing them to show their entire skill set and appeal to the most fans.

However, Attack of the Wolf King will likely have most longtime Haste the Day fans feeling like something is missing. This feeling can be attributed to the absence of founding members Brennan and Devin Chaulk, both of whom left the band in 2009 to follow other callings in life. Their replacements, guitarist Scotty Whelan and drummer Giuseppe Capolupo, are certainly capable musicians with plenty of skill on their respective instruments. But the Chaulk brothers, along with bassist Mike Murphy, were also the primary clean vocalists for the band's entire career until this album. Now with only Murphy providing the clean singing, a lot of these songs don't feel like genuine Haste the Day material. This is a band that, for its first two albums, had instantly recognizable vocals in both singing and screaming. Now, five albums into their career, the vocals are much more difficult to distinguish from other, less talented metalcore bands.

The final verdict on Attack of the Wolf King is that it's still a good record, but it won't have the same level of appeal to Haste the Day's older fans as it will to the newer ones. The evolution and change within the band was unavoidable, and they cannot be blamed for it. However, there are still a number of things that could have been adjusted or left out to give this album a more classic and recognizable feeling to the established fans. At its heart, though, Attack of the Wolf King gives Keech a chance to show off his skills, and though they may not be as unique as others, his vocals are now the driving force in Haste the Day.

Score: 6 out of 10

Track Listing

1. Wake Up the Sun
2. Dog Like Vultures
3. The Quiet, Deadly Ticking
4. Travesty
5. Merit for Sadness
6. The Un-Manifest
7. The Place That Most Deny
8. White as Snow
9. Crush Resistance
10. Walk With a Crooked Spine
11. My Name is Darkness

Album Personnel

Stephen Keech – Lead vocals
David Krysl – Guitar
Scotty Whelan – Guitar
Michael Murphy – Bass guitar, backing vocals
Giuseppe Capolupo – Drums

New & Noteworthy, July 16th - Punch the Walls

2010-07-16T01:06:00.000-04:00

The Mayhem Festival kicked off last weekend and was heralded by new releases from three of its artists. This weekend sees the beginning of another big tour, Summer Slaughter, headlined by comeback artist of the year Decapitated. And while no Summer Slaughter artists have new releases on July 20th (although there will be one on the 27th), there are still a plethora of loud and heavy artists hitting the streets with new albums this coming week. So everyone should be picking their driving music for the Summer Slaughter tour dates from the upcoming new releases.

The tour schedule for this week also sees plenty of heaviness hitting the pavement. But the biggest tour sees three-fourths of the Big 4 hitting the road together for the first time in two decades. Thrash fans will ensure that this tour is sold out within minutes of tickets going on sale. Keep your eyes open for the sale date of that tour, as well as all the other gems coming to a stage near you very soon!

Next Week's New Releases

Wormwood by The Acacia Strain - The battle for metalcore supremacy in Massachusetts has been a four-way slugfest for nearly a decade. But when thinking of deathcore in The Bay State, only one name comes to mind. From their humble beginnings on 2002's …And Life is Very Long to 2008's massive faceripper Continent, The Acacia Strain are synonymous with beatdown mosh metal. Wormwood differs from previous material in that it was not written around a central theme, but the unmatched brutality that this band is known for will not be lessened even slightly.
There Will Be Violence by Impending Doom - One of the leading bands on Facedown Records' roster, Impending Doom have set the high water mark in Christian deathcore. The subgenre may not have a lot of easily recognizable names, but few can match the divine fury that these Californians wielded on 2009's The Serpent Servant. There Will Be Violence features cameos from Tim Lambesis of As I Lay Dying and (ironically) Vincent Bennett of The Acacia Strain, showing just how quickly this band is rising in the metal world.
Death Potion by Early Man - Traditional metal act Early Man has had a tumultuous five years since their debut album Closing In hit stores. Now signed to The End Records and relocated to Los Angeles, the band has achieved minor hit status via soundtrack appearances in movies (Aqua Teen Hunger Force), video games (MLB 07: The Show and NHL 2K8), and television shows (HBO's Eastbound and Down). Hopefully Death Potion will gain them more widespread recognition with a full album of quality material.
Offspring of Time by Burning the Masses - The band's sophomore release was recorded with ex-Misericordium vocalist Cameron Argon - who promptly left the band in mid-May to pursue a college career. He has since been replaced by Brian Kulikoff, although Argon's vocals remain on Offspring of Time. If these San Diego upstarts hope to achieve any lasting success, they need to pick a vocalist and stick with them, as Kulikoff is their fourth singer in five years of existence.
Fragments of Form and Function by Allegaeon - This Colorado-based quintet has a lot of love for combining styles of bands like The Black Dahlia Murder and Decrepit Birth. They have intense technicality sweeping through all of their songs, but there's some melody in the background as well, providing variety and atmosphere. It's an interesting style that will hopefully attract a few fans from a wide variety of groups.
This is Revenge by Ender - The Jersey deathcore group's Eulogy debut isn't anything you haven't heard before. But if you catch these guys on the "Player Hatour" this month, you'll see a very odd stage show that can sometimes involve fans humping band members' legs, among other weirdness. If you're looking to laugh or be confused, Ender will do it for you in a live setting.
The Vitality Theory by Rosaline - Unlike the previous group, Rosaline just left Eulogy, signing with Good Fight Music this year. The six-piece post-hardcore group has a semi-experimental nature to them, earning comparisons to early Thursday and Hopesfall. While it may not be original, at least these guys are emulating the best of their scene.
Ressentiment by East of the Wall - The result of the breakup of The Postman Syndrome, East of the Wall plays the same style of experimental post-metal that their predecessors played, just without lyrics. Fans of Rosetta and Year of No Light already know about the brilliance of this band, due to East of the Wall's split EP with the two bands released earlier this year. Fans of other experimental instrumental bands like Animals as Leaders will also want to give East of the Wall a shot.
Nightmares by Mozart Season - Another band trying to blend heavy, groove-laden riffs into post-hardcore, Mozart Season has the same appeal and the same drawbacks of bands like Motionless in White and Agraceful. On one hand, they write some killer riffs that any metal kid would love. But on the other hand, their vocals and lyrics leave most metalheads feeling disgusted and disappointed. If you don't mind the pop-punk influence that shines through on most of the choruses, then Mozart Season is worth a look.
Turning Lead Into Gold With The High Confessions by The High Confessions - This band is pretty much a supergroup with the most diverse history possible, featuring alumni of Ministry, Sonic Youth, Nachtmystium, and a recording engineer that worked with Stereolab. Their Relapse debut has one of the most oddly funny titles seen in a long time, and it's very easy to categorize their genre as "experimental". Consider this album a must-buy if you're a fan of Relapse's output at all.
Gift Horse by Mose Giganticus - The synth punk outfit's third album is Relapse's other big release this week, and also marks the debut of Mose Giganticus for the label. This album is supposedly much heavier and addresses numerous religious topics from a storyline perspective. One can only guess what insanity has spewed forth from the mind of Matt Garfield this time around, although it's a sure bet that this album will be attention-grabbing.
Coming Alive by Chimaira - The CD/double DVD release chronicles the band's touring in support of 2009's The Infection and also delivers the entirety of Chimaira Christmas 10 on film, among other features. Those who have never seen the insanity of a Chimaira Christmas show or only seen clips on YouTube need to pick up this DVD, myself included. The snippets I've heard from Chimaira Christmas attendees say that the experience is incomparable to anything else. And even without any knowledge of what a Chimaira Christmas is like, the live setlist is enough to merit the purchase of this DVD.

This Week's Tour Announcements

The American Carnage Tour - Megadeth, Slayer, and Anthrax

Sure, it may not be the entire Big 4 Tour we hoped for, and with Metallica announcing the end of the Death Magnetic touring cycle, the chances of a true Big 4 Tour are slim right now. But hey, 3 out of 4 is pretty damn impressive, especially considering that one of these bands was nearly dead for almost two years. As I stated above, these shows WILL sell out nearly instantly, so if you have to camp out at the box office to get them, do so, because these shows will absolutely be worth whatever their cost is.
ThePRP announcement

Serj Tankian

With his sophomore album Imperfect Harmonies due out on September 7th, the System of a Down frontman will immediately hit the road after its release with his backing band, The F.C.C. More biting social commentary can be expected, as is standard for Tankian. Whether he can overcome the persistent SOAD comparisons that Elect the Dead received remains to be seen.
ThePRP announcement

California Blood Tour - Cattle Decapitation, Devourment, and more

The full lineup for this tour also features Knights of the Abyss, Burning the Masses, and Son of Aurelius, meaning that this tour will pretty much act like a cement mixer running over your face. Running from late September to early November, this tour will leave a trail of blood and bodies in its wake as it crosses the entire country. I love when bands take the time to stop in smaller markets, and this tour does just that. Kudos to Cattle Decapitation for never forgetting their fans, even the ones that raise cows in the farms of Nebraska for our beef industry.
ThePRP announcement

Nachtmystium, Zoroaster, The Atlas Moth, and Dark Castle

Get ready to have your mind warped with this tour. Chock full of experimental psychedelic metal and headlined by the kings of weirdness in heavy music, this tour is NOT for the musically uneducated. Unfortunately for West Coasters, this tour does not go past the Mississippi River very much. But East Coasters won't be poking fun when they see what the West gets in exchange.
ThePRP announcement

Melvins

Starting in mid-September, the Melvins look to take over as much territory west of the Rocky Mountains as they can. They will spend a solid month in eight states, including an unprecedented eight shows in California alone. It may not be a full lineup of awesomeness like Nachtmystium's tour, but the Melvins are awesome enough on their own that East Coasters will be just as jealous as West Coasters over neither of these being full US tours.
ThePRP announcement

Deftones

This week, I'm getting just as sick of announcing new Deftones tour dates as I was last week of announcing new openers for Tool. It was only two weeks ago that I announced the expansion of the band's summer tour with Baroness and Circa Survive. Now there are not only more dates, but another opening band, This Will Destroy You, playing the last seven shows leading into BlackDiamondSkye. Will Chino Moreno never stop?
ThePRP announcement

Dir En Grey and Apocalyptica

This seems like a weird pairing, with the Japanese pop-metal outfit co-headlining with Finland's cello metal quartet. The highlight of this tour will be seeing Apocalyptica play new songs from their forthcoming album 7th Symphony, due out on August 24th, the same day that this tour hits New York City. Now that is what I call an excellent scheduling maneuver!
Blabbermouth announcement

Early Man, Evile, and Bonded by Blood

The heavy metal group is using two talented young thrash groups for support on their tour to support Death Potion. This is good for both bands. Early Man get to play with two bands that are pretty much guaranteed to fire up the crowd for them. Meanwhile, both Evile and Bonded by Blood get a good tour to lead them into the second leg of Overkill's Killfest 2010 tour, announced back in May. The only problem is the tour occurring six weeks after the album's release, but that's a mere technicality for fans anxious to see the return of Early Man.
ThePRP announcement

Venomous Concept, Kill the Client, Murder Construct, and Nails

A grind fan's dream, Venomous Concept is the collaboration of two members each from Napalm Death and Brutal Truth. Their album Poisoned Apple hit stores last year, and they're finally hitting the US for a string of eleven shows in September. Napalm Death is too busy for Venomous Concept to be more than just a side project, so get to these shows if you can.
Blabbermouth announcement

Fu Manchu, Black Tusk, and It's Casual

There's no word yet on any plans for new material from Fu Manchu, but seeing them on tour with Black Tusk in tow should tide fans over for now. The stoner rock veterans still have plenty of gas in the tank, and they've proven time and again that their music always has something new and fun to offer whenever a new album appears. Black Tusk is a great support band for this tour due to their similarity to Fu Manchu's older material. Check out this tour for a chance to kick back and relax Southern-style.
ThePRP announcement

We Came as Romans, Upon a Burning Body, In Fear and Faith, Confide, and Abandon All Ships

Touring diversity ought to be encouraged more often, in my humble opinion. So I'm gratified to see this tour in the works for late summer. There is plenty of heaviness on this tour, but it's countered with lots of melody. You'll get a mixed bag of bands here, but all are good at what they do, making this tour worth checking out if you want to expand your horizons.
ThePRP announcement

Antagonist, Diskreet, The Breathing Process, and Wretched

Antagonist's sophomore album World in Decline hits stores on August 17th via Prosthetic, and they're hitting the road right after its release. Their debut Exist didn't make the waves the band hoped to create, although it was skillfully performed and produced. Hopefully World in Decline matches the quality level of Exist, because strong touring will make it easier for the band to get recognized.
ThePRP announcement

Oceano, The Tony Danza Tapdance Extravaganza, Circle of Contempt, and Blind Witness

These three shows will be an additional exclamation point on the end of the "Over the Limit" Tour, although none of the shows are particularly impressive or exciting. The only highlights will be see new songs from Danza III: The Series of Unfortunate Events, and the small chance of one or two new songs from Oceano's forthcoming sophomore album Contagion. Other than that, these shows don't mean a lot.
ThePRP announcement

Vision of Disorder, Incendiary, Judas Syndrome, and Reign Supreme

August 20th will be a great night for New Yorkers, as Vision of Disorder will headline a hometown show in NYC. The support acts are all drawn from the underground hardcore scene, making this a great show all around. But what will draw most fans in is the possibility of new music from VOD and potential news about the band's supposed new album. Check out the show if you can, and keep your ears peeled for news otherwise.
ThePRP announcement

Queens of the Stone Age and Eagles of Death Metal

Last week, I placed three very obvious links in my paragraph covering Living Sacrifice's new tour plans. If you didn’t click those links, shame on you! Please, support rock stars in need and check out these links, especially this one. Eagles of Death Metal bassist Brian O'Connor was recently diagnosed with cancer and he needs help to pay for his chemotherapy treatments. This one-off show in Los Angeles will serve as a benefit show for O'Connor, which means you should attend if you are in the area. If you're not in the area, donate to him if you're able. Rock stars need our help now in every way we can possible give.
ThePRP announcement

Now that I'm off my soapbox, I'll end this edition of New & Noteworthy. Check in next week to see what summer tour gets highlighted by relevant new releases and tours!

Album Review: "The Panic Broadcast" by Soilwork

2010-07-14T21:41:00.002-04:00

Few bands in the world can match the sheer raw talent that is held in Soilwork's lineup. Guitarist Peter Wichers, back in the band after a three-year break, is one of the best composers in all of melodic death metal, and newly-joined fellow guitarist Sylvain Coudret is incredibly well-versed in a multitude of styles. Bassist Ola Flink and keyboardist Sven Karlsson are both among the most underrated musicians on their respective instruments, and drummer Dirk Verbeuren is known around the world for his metronomic precision in Aborted, Scarve, Sybreed, and a number of other bands in addition to Soilwork. And of course, vocalist Björn "Speed" Strid is widely considered to be one of the best singers to emerge from Sweden in the past two decades, with his instantly recognizable voice and versatile range. With such a talented cast of players, Soilwork's newest album, The Panic Broadcast, has a high level of expectation surrounding it. This album not only meets those expectations, it blows them clear out of the water.

The first minute of this album is all it takes to show just how badly the band missed Wichers' presence on 2007's Sworn to a Great Divide. Granted, that album was still quite good, and Wichers' replacement, Daniel Antonsson of Dimension Zero and Dark Tranquillity, performed excellently in his place. But the songwriting was somewhat lacking on that album, and Wichers makes it obvious with the immediately amazing composition on "Late for the Kill, Early for the Slaughter". The whole album is filled with similarly extraordinary instances of songwriting brilliance. From the shades of thrash mixed into "Deliverance is Mine" and the haunting melodies of "Let This River Flow", to the infectious groove of "Epitome" and the relentless pure death metal speed of "King of the Threshold", this single album has more nuance and diversity than most bands can hope to encompass in an entire career.

Strid displays his brilliance throughout every note of The Panic Broadcast, further proving why he has earned guest vocal spots with the likes of Destruction, Mercenary, and Demon Hunter in recent years. His clean singing is stronger, more powerful, and more operatic than it has ever been, and his growls and screams carry more viciousness than anything his contemporaries could offer. It's easy to see why Strid is one of the most recognizable and sought-after singers in metal. Very few vocalists, be they fresh-faced newcomers or hardened veterans of metal, can match his skills and stylistic mastery.

The Panic Broadcast is even better than any Soilwork fan could have anticipated. Longtime listeners have been waiting for a successor to 2002's pivotal Natural Born Chaos, while newcomers to the band will expect a continuation of the catchy, semi-commercialized style of Sworn to a Great Divide. This album delivers on both counts, which is no easy feat by any means. More importantly, though, The Panic Broadcast shows just how wide the spectrum can go for Soilwork. There is nothing holding this band back now, and on this album, they've proven themselves to any remaining detractors in a huge way.

Score: 8.5 out of 10

Track Listing

1. Late for the Kill, Early for the Slaughter
2. Two Lives Worth of Reckoning
3. The Thrill
4. Deliverance is Mine
5. Night Comes Clean
6. King of the Threshold
7. Let This River Flow
8. Epitome
9. The Akuma Afterglow
10. Enter Dog of Pavlov
11. Sweet Demise

Album Personnel

Björn "Speed" Strid – Vocals
Peter Wichers – Lead guitar
Sylvain Coudret – Rhythm guitar
Ola Flink – Bass guitar
Sven Karlsson – Keyboards
Dirk Verbeuren – Drums

Album Review: "Meridional" by Norma Jean

2010-07-14T20:31:00.000-04:00

To say that Norma Jean's career has been inconsistent would be an understatement, to say the least. In the space of four album, the Christian metal quintet from Georgia has played progressive technical metal (Bless the Martyr and Kiss the Child), spastic mathcore a-la-Dillinger Escape Plan (O God, the Aftermath), melodic metalcore (Redeemer), and whiny, subpar post-hardcore (The Anti Mother). Fans of the band are firmly divided because of their inconsistency, unable to find common ground between the first pair of albums and the second pair. The only way that the band could hope to bridge the divide would be to release an album that musically walked the line between the two extremes of their sound, because releasing another album with a completely different sound would decimate the fanbase even further. Luckily, the band's newest effort, Meridional, manages to balance the band's technical and melodic sides into an album that has something for everybody.

The most noticeable and welcome change from The Anti Mother is that Cory Brandan Putman has returned to his vocal style from Redeemer, using screams and clean singing in mostly equal measure over the course of the album. This is a relief for most fans, since many critics and fans vilified The Anti Mother for its overuse of his clean singing, limiting the album in many ways. The decrease in clean singing is accompanied by an increase in technicality and overall heaviness on the album. Both "The Anthem of the Angry Brides" and "Blood Burner" recall the intensity of O God, the Aftermath in their structure and style, with buzzsaw guitar riffs and complex drum patterns changing throughout both songs.

However, fans of the melodic side of Norma Jean will find equal enjoyment in the album's softer songs. There are a number of songs that use lots of clean singing and slower, atmospheric guitar riffs that slowly draw listeners in before hitting a big climax seemingly out of nowhere. "High Noise Low Output" and "Falling from the Sky: Day Seven" do this back-to-back through different means, with the latter accomplishing it in almost twice as much time as the former. This is another positive part of this album - the songs vary in length similar to Bless the Martyr and Kiss the Child. Thus, rather than stagnating halfway through with similarly-structured songs like The Anti Mother, Meridional keeps listeners on their toes and engaged from start to finish with its variety.

This album may not turn into an instant fan favorite due to its blend of styles, but it is undoubtedly the best album of their career because of this. After Bless the Martyr, the band seemed to adopt a one-dimensional mentality that changed from one album to the next. It's only here, four albums later, that Norma Jean shows the kind of diversity and experimentation that attracted so many people to them in the first place. Meridional is a return to form, or rather forms, that re-establishes Norma Jean as one of the better Christian metal bands in today's scene.

Score: 7 out of 10

Track Listing

1. Leaderless and Self Enlisted
2. The Anthem of the Angry Brides
3. Deathbed Atheist
4. Bastardizer
5. A Media Friendly Turn for the Worse
6. Septentrional
7. Blood Burner
8. High Noise Low Output
9. Falling from the Sky: Day Seven
10. Everlasting Tapeworm
11. Occidental
12. The People That Surround You on a Regular Basis
13. Innocent Bystanders United

Album Personnel

Cory Brandan – Vocals, guitar
Chris Day – Guitar
Scottie Henry – Guitar
Jake Schultz – Bass guitar
Chris Raines – Drums

Album Review: "Setlist: The Very Best of Judas Priest Live" by Judas Priest

2010-07-13T23:54:00.000-04:00

It doesn't seem to take much for a band to release a greatest hits collection in this day and age. More often than not, it's just about surviving long enough to release enough albums from which a "greatest hits" list can be drawn. And what's the point of releasing such a collection when the only group that might be interested is comprised of die-hard fans that already have all the albums? A greatest hits album composed entirely of live songs is a fresh take on the idea, though, and the new Setlist collection from Legacy Recordings attempts to put that concept into action. Their look at Judas Priest, though, doesn't do much for the band's longtime fans, and has serious flaws that hold it back.

The album's positive aspects mostly come from the fact that Judas Priest is one of the best live bands in the history of metal. Rob Halford's amazing vocals are just as good on stage as they are in a recording studio. Glenn Tipton and K.K. Downing show off a bit more on some songs than they do in the studio, throwing in guitar solos and getting creative on a number of songs. Hearing fans singing along with well-known lyrics enhances the live feel of the album, creating a better atmosphere than if the band was just performing without any fan interaction. The song selection is also a nice touch, drawing from a mix of the band's well-known hits and some of their lesser-known songs, rather than just throwing in the singles like a traditional greatest hits album.

However, the biggest problem with Setlist's Judas Priest album is that it doesn't give the band's biggest fans much that they don't already have. Judas Priest has already released five live albums in the US during their career, and ten of the twelve come from three of those live albums: Unleashed in the East, Priest...Live!, and A Touch of Evil: Live. The other two are drawn from the Japanese import Priest, Live & Rare, meaning that longtime fans will already have most of these songs, and the most devoted ones will have all twelve. Granted, that is essentially the point of a greatest hits collection, but the problem is compounded by the songs being completely out of order. This not only ruins the continuity of some tracks, but also creates a chaotic sound due to the subtle differences in Halford's voice and the background crowd noise. It's not easy to notice these differences at first, but sharp-eared listeners will easily pick out the changes between a song from 1979 and one from 2008.

The bonus material that is accessible through a computer is a nice touch, but overall, this Setlist isn't anything exceptional or necessary. Fans of the band that have never heard any of their live material might find this album appealing, but there are very few other people that will find anything of value here. This also ultimately reveals the downfall of greatest live hits albums. There is even less selection here than for traditional greatest hits albums, and there are way too many places where missteps can occur. Simply buying one of the band's regular live albums will give a better idea of what Judas Priest sound like live, with the addition of greater band interaction with fans and flowing continuity to truly convey the experience of a live Priest show.

Score: 4 out of 10

Track Listing

1. Judas Rising
2. Riding on the Wind
3. Heading Out to the Highway
4. Breaking the Law
5. Exciter
6. Tyrant
7. Out in the Cold
8. Dissident Aggressor
9. The Green Manalishi (With the Two Pronged Crown)
10. Beyond the Realms of Death
11. Freewheel Burning
12. You've Got Another Thing Comin'

Album Personnel

Rob Halford - Lead vocals
Glenn Tipton - Guitar, backing vocals
K.K. Downing - Guitar, backing vocals
Ian Hill - Bass guitar, backing vocals
Scott Travis - Drums on tracks 1, 2, and 8
Dave Holland - Drums on tracks 3, 4, 7, 11, and 12
Les Binks - Drums on tracks 5, 6, 9, and 10

New & Noteworthy, July 9th - Start the Mayhem

2010-07-09T00:01:00.000-04:00

For those who have been living under a rock for the past four months, the Rockstar Energy Mayhem Festival kicks off this weekend in California. It's only fitting, therefore, that three of this week's new releases come from Mayhem bands. In its third year as a major touring festival, Mayhem has become the default tour for lots of metalheads. With Ozzfest still mired in gimmicks and Sounds of the Underground long buried and forgotten, Mayhem is now the best option. This year is no exception, carrying a second stage filled to the brim with talented bands. Tickets are still available for many dates, so you cave-dwellers out there that haven't gotten your tickets yet know what you need to do.

The resurgence of one of the top nu-metal acts of the '90s tops the release chart this week, with a huge list of awesome albums following behind. The touring schedule continues to fill the winter months, and a certain one-shot event gets some big heavyweights (both literally and metaphorically) added to its lineup. All the fresh goodies you could ever want await you if you keep reading!

Next Week's New Releases

Korn III: Remember Who You Are by Korn - I'm not sure if there's supposed to be some hidden meaning in this album title, but Korn needs to remember who they are if this album is to be a success. Their untitled 2007 album is best forgotten or avoided, but if Korn wants to prove they can last without David Silveria on drums, then Korn III needs to be a success. Hopefully the band's recent crop circle ~~gimmick~~ performance and upcoming headlining slot of the Mayhem Festival will be an accurate predictor of the album's worth.
Stampede by Hellyeah - Chad Gray and Greg Tribbett were busy for quite awhile on some no-name project, but now that they're back, Hellyeah is ready to cause a ruckus once again. The lead single off Stampede is entitled "Cowboy Way", and it showcases an increased Southern rock and country influence in the supergroup (only amplified by the overabundance of cowboy hats in the music video). If this album is as infectious as their self-titled debut, then the band's members should probably consider making Hellyeah their primary focus.
The Panic Broadcast by Soilwork - After leaving the band in 2005, Peter Wichers came back to Soilwork in 2009, resuming his lead guitar position and also bringing his new skills as a producer to the table. It will be interesting to see how he and Sylvain Coudret fill the shoes of Ola Frenning and Daniel Antonsson, both of whom left the band after 2007's Sworn to a Great Divide. The Panic Broadcast is billed as being more technical than its predecessor, and if it lives up to that reputation, then longtime fans might finally have the follow-up to Natural Born Chaos that they've waited seven years for.
A Star-Crossed Wasteland by In This Moment - This album will be a landmark in the band's career because it will accurately show which side of their sound fans want to hear more. If reviews are positive, then In This Moment can safely stay to the heavier edge of their sound showcased on Beautiful Tragedy. If not, then Maria Brink and Co. can return to the more melodic sound of The Dream. The band's performance on the Mayhem Festival will also determine if Brink can stick with wearing ball gowns onstage. If the new blue dress survives this tour, then she can keep it up for another year.
Crucible - Remixed & Remastered by Halford - The original release of Crucible in 2002 seemed to cement the reality into people's heads that Rob Halford was not going back to Judas Priest. His decision to shatter that reality a year later was a massive mindfuck for every Halford fan in the world, because this album is a masterpiece of The Metal God's prolific career. This new version of the classic album features four bonus tracks, including two never before released in the States, as well as new artwork and plenty of other extras.
Meridional by Norma Jean - It's ironic that ex-Norma Jean drummer Daniel Davison is now playing in Underoath, especially when you examine the two bands' careers side by side. In the same time period that Underoath has gotten heavier and more technical, Norma Jean has dropped much of their technicality and increased their melody. It will be interesting to see if that trend continues on Meridional, Norma Jean's first album without Davison, and also their first album not released by Solid State Records.
Matador by Zoroaster - The Atlanta-based sludge trio has been making waves for three years, even getting Mastodon's Brent Hinds to perform guest vocals on their last full-length. Armed with a new deal from E1, they will attempt to spread their influence even further with Matador. If you go to see them live, though, bring some earplugs or else stand in the back.
Solitaire by Edenbridge - Symphonic metal with a female singer? I think we've seen this formula before. However, Edenbridge at least goes the extra mile with the symphonic tag, as Solitaire is their second album recorded with the Czech Film Orchestra. This Austrian group also has a more progressive edge than most similar-sounding bands, so this album is worth a try if you find other symphonic metal releases to be formulaic.
The Pulse of Awakening by Sybreed - Two weeks ago on New & Noteworthy, I mentioned two albums being released that had already been out for several weeks in Europe. Sybreed is taking that one step further - as of this week, The Pulse of Awakening has been out in Europe for eight months. Musically, Sybreed treads the middle ground of industrial metal - not as heavy and blastbeat-intensive as Fear Factory, but not as melodic and catchy as Mnemic either. They have a good balance to their sound that most industrial metal fans will find refreshing and enjoyable.
God Grant Me Vengeance by Hell Within - This Boston hardcore group has been around for eight years, but God Grant Me Vengeance is just their third full-length release. Talk about a model of perseverance. After two releases on Lifeforce, Hell Within signed with tiny indie label Thorp Records for this album. They'll need to continue their lifelong model of nonstop touring for this album to advance their career at all.

This Week's Tour Announcements

Bleeding Through, After the Burial, For Today, and The Word Alive

Initially, I was surprised when Bleeding Through didn't show up on any major summer tours to support their new self-titled album. This somewhat makes up for that, although an appearance on any of the ~~thousands~~ ~~hundreds~~ numerous summer tours would have done wonders for them. This tour package is pretty awesome, though, so it makes up for their missed opportunity. A fifth band will also appear on the bill; Stray from the Path will play the first nineteen shows of the tour before handing the spot over to Dead and Divine. This tour will be worth it just to see how Dave Nassie performs live with his new bandmates.
ThePRP announcement

DevilDriver

Apparently, DevilDriver was one of the many bands on Ozzfest that didn't like only having six shows for a major festival, and thus they decided to organize an off-date tour of their own. The band will be joined by Kataklysm, Skeletonwitch, and Saviours for six off-date shows during the actual run of Ozzfest. Once the festival is over, the band will then launch a headlining tour with Kittie, Kataklysm, and Hostility, mostly hitting the Midwest and South, both of which are completely ignored by Ozzfest. Classy move by the veteran band, trying to reach all of their fans as much as they can.
ThePRP announcement

Nonpoint

Keeping with the off-Ozzfest theme, Nonpoint has finalized their touring plans surrounding the festival as well. Unlike DevilDriver, Nonpoint will be touring by themselves for the time being, although they could add other bands to their plans very easily. They will also start in the South and hit smaller markets as they traverse the country. With the strength of their new album Miracle, these solo shows will be worth checking out.
ThePRP announcement

70,000 Tons of Metal Cruise

Half of the cruise's billing has officially been announced as of this week. Another '80s metal act, Agent Steel, has been confirmed for the cruise, giving the older crowd eight or nine bands to look forward to. The bigger announcement, though, is the addition of the revitalized Fear Factory. Bigger is an extremely appropriate adjective to use - I'm expecting that once Dino Cazares and Gene Hoglan board the ship, the cruise will immediately be re-named "80,000 Tons of Metal". All joking aside, though, this cruise gets better and better with each new band that is announced. And there's still twenty more bands left to be revealed!
Blabbermouth announcement

Tool and Jello Biafra

To be honest, I'm getting sick of announcing new openers for Tool's summer tour every single week. However, this week is the first announcement that offers a spark of interest for something besides Tool. The former Dead Kennedy and prominent Green Party member will bring his new punk group (dubbed Jello Biafra and the Guantanamo School of Medicine - new nominee for Most Awesome Band Name Ever!) to the San Francisco and Sacramento stops of Tool's summer tour. Californians will rejoice over this, and the rest of the country will just give them dirty looks as usual.
ThePRP announcement

Living Sacrifice

About three months ago, I mentioned my surprise at Living Sacrifice's lack of a summer touring schedule. Well, the veteran Christian group has finally done something about that, booking a number of shows in August. The highlight of the list is their appearance at a benefit show for Deftones bassist Chi Cheng on August 14th. Right now, with the number of rock stars needing financial assistance due to medical bills, there can be no higher calling for rock and metal fans than to attend benefit shows and/or donate to assist the musicians they love. If you're a Living Sacrifice fan in southern California, or even just a regular metalhead in SoCal, attendance at this benefit show is mandatory.
ThePRP announcement

Codeseven

Back from the grave after a six-year hiatus, the group will be playing a hometown show in North Carolina on August 20th, with further shows potentially in the works for the fall. However, every rock and metal fan knows that hometown shows are the best shows, so head out to this show for what will likely be a very unique and special night with Codeseven. They will likely play a genuine mix of older and newer material, giving their entire career a good retrospective.
ThePRP announcement

The World We Knew

The group is finishing up their run of dates with Within the Ruins and Woe of Tyrants, and they already have more dates in the works for August. They've dubbed their tour dates for the summer as the "Summer Shredding Tour 2010", which is an appropriate name, albeit very unoriginal. Check out the young deathcore group if you're still not tired of the subgenre yet, because these guys have plenty of energy to spare.
ThePRP announcement

Tombs and Planks

This is actually two separate bands, not one, although the name does seem to fit together somehow. If some adventurous youths decide to start a band called "Tombs and Planks", I will never forgive myself. Anyway, the two sludge groups are trekking around the Northeast and Midwest, hitting a ton of dive bars and tiny venues as they go. Sludge/doom is meant to be enjoyed in tight-knit spaces with like-minded individuals, so head out to these shows and bring friends for a good night of plodding, bulldozer-to-the-face metal.
ThePRP announcement

Nickelback, Buckcherry, and Three Days Grace

Say what you want about Buckcherry and Three Days Grace, but I'd personally be happier seeing them tour by themselves instead of with Nickelback. Put two fairly good bands on a lineup together with one really bad band that is still popular for some reason, and you lose out on a lot more attendees than you gain. This stadium tour will run from mid-September until the end of October, and if someone can mandate that Nickelback only play songs from 2003 and earlier, it might be worth checking out.
Blabbermouth announcement

Close the chapter on this week's New & Noteworthy, folks! Next week, the heaviest of the heavy come roaring out of the gates with new albums, so practice your moshpit techniques and get ready to throw down!

New & Noteworthy, July 2nd - True Heroes

2010-07-02T03:09:00.001-04:00

The saga of Matthew Leone has left an incredible impression on me this week. I don't know of any other people that would try to break up a domestic abuse at great personal risk to self. The fact that the Madina Lake bassist wound up in a coma only makes his story more shocking and personal. Thankfully, though, Leone is conscious and aware now. I am in awe of the example he has set for people around the world and for musicians in the scene. Everyone should strive to be like Matthew Leone: selfless, caring, and just - in other words, a true hero.

We celebrate Leone and his actions this week, but we will take our standard look at the new releases and tours as well. There are quite a few Christian metal albums and another batch of reissues hitting the stores this week, but the biggest focus is on Trent Reznor's triumphant return to music. Meanwhile, bands are booking tours for the end of summer like it's going out of style. Keep reading and get ready for the heat!

Next Week's New Releases

How to Destroy Angels by How to Destroy Angels - Trent Reznor has always been about doing things on his own terms. Now he gets to do that. How to Destroy Angels is Reznor, his wife Mariqueen Maandig, and Nine Inch Nails collaborator Atticus Ross. The music is on par with the brilliance of Nine Inch Nails, if not more so because Reznor is going even further outside the box this time around. Hi-def enthusiasts can get the upgrade package for better audio and a music video thrown in.
Danza III: The Series of Unfortunate Events by The Tony Danza Tapdance Extravaganza - The grindcore comedians are up to their usual brand of insanity on their third release. The album features easily one of the band's most humorous song titles to date, a small homage to the Die Hard series. The album closer also references the questionable apocalypse theory of 2012, leading to speculation of whether the band believes that the world (or maybe their career) is coming to end. Fans of the band, myself included, hope that neither of those is the case.
New EP by The Devil Wears Prada - The details of this EP have been a complete mystery for weeks, and it appears that the band wants to keep it that way for as long as possible. The only clue is this website, which features a countdown clock and a repeating audio loop. Maybe on Monday, when the countdown ends, we'll finally know what the band has in store.
The Inevitable Relapse by Filter - This limited edition 7-inch single is the precursor to the planned August release of The Trouble With Angels, Filter's second album following their return from hiatus in late 2007. While fans will be enthusiastic for this album, it likely won't repeat the immediate success of 2008's Anthems for the Damned, which debuted at #60 on the Billboard 200. But miracles have been known to happen where Filter is concerned. Watch this album closely.
The Marriage of Heaven and Hell by A Plea for Purging - Look up the word "tireless" in the dictionary and you'll find a picture of A Plea for Purging. The band tours relentlessly, even while writing and recording their music. And they certainly do record a lot - The Marriage of Heaven and Hell is their third album in four years. These Christian metalcore kids showed a surprising love for technical metal in the vein of Meshuggah on their last album, Depravity. I wouldn't be surprised if that pattern repeats itself here.
Legacy of the Ancients by Pathology - After three releases on three independent labels, the gore-obsessed death metal trio finally got themselves a deal with Victory to get bigger exposure. It's odd that it took so long for a larger label to pick them up, considering that the members' credits include stints in Disgorge, The Locust, and Cattle Decapitation. Nonetheless, though, Legacy of the Ancients will attract fans of Disgorge and other similar goregrind/brutal death metal bands like Devourment, Lividity, and Katalepsy.
A Feast for Crows by Corpus Christi - The Cincinnati-based group debuted on Victory last year with The Darker Shades of White, earning great reviews for such a young band. Their new album should show some marked improvement, although sadly, it is completely unrelated to the excellent novel by George R.R. Martin. Literary comparisons aside, though, Corpus Christi has lots of potential to leapfrog ahead in the Christian metal scene.
Yet by My Epic - These guys aren't particularly metal in most respects. In fact, the best comparison I can make for them is that they embody the experimental post-hardcore sound of mewithoutYou. Definitely not a heavy band, but there is plenty of odd intricacy in their music that will appeal to fans of softer prog rock and less whiny forms of post-hardcore.
Man of Two Visions by Valkyrie - Fans of Baroness might not know that singer and guitarist Pete Adams has a side project called Valkyrie, co-founded by his brother Jake. Much like Baroness, Valkyrie draws the core of their sound from traditional stoner-doom metal. However, unlike Baroness, Valkyrie stays true to the classic genre without any of the crazy prog influences. It would be easy to call Valkyrie "the poor man's Baroness", but in reality, it's more accurate to think of Valkyrie as a younger version of Saint Vitus or Witchfinder General.
Rising from the Grave by Helstar - Houston's Helstar has been delivering thrash since the mid-'80s, and their career has been consistent despite a lack of exposure. This box set will feature remastered versions of the band's two Metal Blade albums, A Distant Thunder and Nosferatu. It will also feature the band's first video-recorded live performance, filmed on Christmas night at the Backstage Club in Houston in 1989, and appropriately dubbed "Twas the Night of a Hellish Xmas".
Spirit the Earth Aflame by Primordial - The Irish black/folk metal squad is has been re-releasing their albums with bonus material for awhile now. 2000's Spirit the Earth Aflame is the third in the reissue cycle, and the second disc of this edition will feature five live tracks, including live covers of Bathory and Rotting Christ, as well as one bonus studio track and re-recordings of three other songs. This is a great collector's item with plenty of extras to satiate fans.
The Farthest Reaches by Son of Aurelius - If you've never heard of this group, think of The Faceless, Obscura, and other technical brutal death metal groups in a similar vein. Their debut appeared in April, and they've earned a spot on the Over the Limit tour, which might have the most appropriate name of this summer's endless options for live concerts. This special edition will only be available digitally and will include five bonus tracks for the extreme technical death metal fans.

This Week's Tour Announcements

Deftones, Baroness, and Circa Survive

Last week, America's alt-metal sweethearts added yet another tour to their already packed touring schedule. Five more dates have been to this tour in various locations. How Chino Moreno and Co. plan to survive the last five months of the year is anyone's guess, since they won't get a break anywhere in their run of shows. But everyone knows that these guys are veterans, and they will manage themselves as best they can.
ThePRP announcement

Bad Company

The classic lineup of the band is reuniting for a series of shows that will apparently run from mid-July until mid-October. The dates announced so far have huge gaps in that time period, but more dates are due to be announced soon, so expect for those gaps to fill during the next few weeks. Apparently live concert CD's will be sold on-site at each show as well, giving fans something to remember the show by, if it goes as well as the band's UK tour did.
Blabbermouth announcement

"Bring Your Own Bowl Cut" Tour - Becoming the Archetype, Onward to Olympas, and To Speak of Wolves

The last we've heard from Becoming the Archetype was the digital release of their song "Necrotizing Fasciitis" last October. This humorously-named tour will hopefully lead to news about the band's fourth album, but the name is also not unprecedented. In 2008, the band had both the "Bring Your Own Beard" and "Born With a Moustache" tours. Clearly this is a band that appreciates the "jungle warrior" look. To Speak of Wolves will only be playing on select dates, but if they're playing one of your shows, get out to the show early, as this band shows a lot of promise at their young age.
ThePRP announcement

Enthroned, Deströyer 666, Pathology, and Estuary

It was over two months ago that Enthroned announced their plans to return to the US. Now the Belgian group has made their return official, and there's a hefty support package in tow. The tour will run throughout August and will hit most major cities. Now fans just have to hope that it's not another nine years before the band returns to America again.
ThePRP announcement

Volbeat and Anew Revolution

This tour may be only five dates, but even one chance to see Volbeat must be capitalized on. The Danish rockers are the new hot band in the world right now, touring with the likes of Metallica, AC/DC, Machine Head, Fear Factory, and many more. They have a fourth album coming out soon overseas, although there's no word yet on an American release date. Still, though, here's a chance to see new materials from that album and find out (if you haven't already, for some poor excuse of a reason) why Volbeat is six different kinds of awesome.
ThePRP announcement

Suffokate, The Red Shore, And Hell Followed With, Murder Death Kill, and King Conquer

This tour is chock-full of brutal death metal and deathcore, so come prepared to mosh. The shows will take place at small clubs and bars, increasing the chances for possible stage diving as well. The lineup is mostly young bands, which also promises lots of energy and craziness onstage. If you like any one of the bands in the lineup, this tour is worth it.
ThePRP announcement

That's all for this week. Enjoy the long holiday weekend, and prepare for next week, with the promise of many huge new releases just over the hoizon. And if you are able, please donate to the Leones to assist with Matthew's medical bills. A true hero deserves as much support as we can give him!