Megadeth – Rust in Peace Live (CD and DVD)

Mark’s Review:

My favorite album of all time given the live treatment?  I can’t lose, right?  Well, as far as production and performance, the band delivers on all counts.  Take No Prisoners is incredibly tight and it was great to hear Poison Was the Cure and Five Magics in a live setting.  Unfortunately, Mustaine’s already polarizing voice is failing, and he struggles through many of the songs.  It doesn’t ruin them, but it does make you think twice about putting on the actual album tracks instead.  Also, the songs they chose to round out the set are a huge letdown.  No one wants to hear Trust and In My Darkest Hour was played-out a decade ago.

Mark’s Rating:

King says: “It’s good to hear Dave singing about serious topics again… you know, old ladies living in attics and such.”

Justin’s Review:

I’ve never been a “live album” kind of guy, but seeing and hearing Dave & Dave and the other dudes rip through this classic (and one of my favorite metal albums) wasn’t a bad way to kill an hour. It’s just a shame that they didn’t offer up an “instrumental-only” feature on the DVD… God… Mustaine’s vocals suck.

Justin’s Rating:

King says: “Dave may have mastered Five Magics, but clearly needs to work on his Pitch-Correction Spells.”

Dragonforce – Twilight Dementia

Mark’s Review:

This live album is quite bad.  Say what you want about Dragonforce, but Inhuman Rampage was a great power-metal album, unfortunately, all momentum built by Guitar Hero cannot excuse this sloppy, weak-sounding live set highlighted by the most unnecessary, curse-filled crowd banter by now-ex singer ZB Theart (stage name?).  I’ve heard these guys really suck live, and now, the world can hear it too.

Mark’s Rating:

King says: “Dammit!  I finally got past “Through the Fire and Flames” on “Expert”, and then I realized no one gives a shit about Dragonforce or Guitar Hero anymore.”

Justin’s Review:

I’d rather sit through an afternoon demonstration of proper sword sheathing etiquette at the Renaissance Faire than listen to 5 minutes of Dragonforce live.

Justin’s Rating:

King says: “I know pinball machines that write better songs than Dragonforce.”

Enslaved – Axioma Ethica Odini

Mark’s Review:

Justin sent me this album and I have to admit, while it’s musically very good, I just cant get into it.  You’d think that my love for Opeth would translate into Enslaved’s similar style, but I think they just lack some of the sophistication of Akerfeldt and crew.  Dynamically, I think it’s kind of stale, and the songs all sort of drone on.  I had the same problem with their previous release, Vertebrae, an album everyone loved but me.  Maybe this one is for you, but I grew weary of it.

Mark’s Rating:

King says: “One would say this album was “not Mark’s cup of TEA”… eh, EH?… cause of Grandma and the tea?… anyone?… anyone own “Them” out there?… C’mon people, I’m King Fucking Diamond!”

Justin’s Review:

Yeah Mark… this one IS for me. Fantastic songwriting, stellar vocals, and catchy as hell, Axioma Ethica Odini is another dynamic prog/black metal classic by the Norwegian legends, and the perfect followup to the almost perfect Vertebrae. As far as their last three releases are concerned, Enslaved have surpassed Opeth in my book. There… I said it.

Justin’s Rating:

King says: “Enslaved were the guests of honor at Amon’s annual end of summer BBQ Bash.”

Soundgarden – Black Rain

Mark’s Review:

An unreleased track recorded during the Badmotorfinger sessions, this song is what every old-school Soundgarden fan wants: Chris Cornell murdering it with that falsetto.  A very solid track that is hopefully a sign of things to come from the re-formed outfit.

Mark’s Rating:

King says: “See Chris?, I told you, the ladies LOVE the falsetto!”

Justin’s Review:

Proof in the pudding that Cornell and Co. have simply wasted 3/4 of their careers.

Justin’s Rating:

King says: “Hell yeah… I just added “Singles” to the top of my Netflix queue.”

Halford – Made of Metal

Mark’s Review:

Wow, this song really sucks.  I thought Halford had reached his nadir with Nostradamus, quite possibly one of the worst albums ever pressed, but this song is not only dated, but it’s cheesy and painful to listen to.  I think it’s time for the “Metal God” to hang em up, just live off the Priest legacy please, this is dreadful.

Mark’s Rating:

King says: “Ugh, Rob you played this song over the phone for me and I told you NOT to release it!! I guess you didn’t hear me?”

Justin’s Review:

Jesus Rob… could you possibly be any more cliché? You’re a bald, gay, middle-aged, metalhead, wearing a spiked, leather trench coat… singing about a super-sonic, metal NASCAR, that’s driven by aliens while riding laser beams. What the hell man?!?

Justin’s Rating:

King says: “Did Mustaine ghost-write these lyrics?”

I’ve pretty much hated every album that has come out this year.  Well, maybe hate is a strong word, but I’ve either been disappointed or underwhelmed by a vast majority of the metal offerings in 2010.  The new Nachtmystium wasn’t metal enough for me, the Meshuggah DVD was slick but lifeless and Until the Light Takes Us was far from compelling.  At first, I thought of chalking up this new dismissive attitude to old age or becoming a father, but it really seems as though metal music has taken the relatively “safe” route this year as far as boundary-pushing.  Could it be that the new state of the music industry is to blame?  Are acts toning down, or at least sculpting their more progressive ideas in an attempt to appeal to a wider audience and thus take a larger slice of an ever-decreasing revenue pie?  Bands seem to get faster and more technical, but they lack some of the basic songwriting, dynamics and feel that allows listeners to really connect with their music.  This is obvious in any art form, but in the genre of metal, where everybody plays fast and screams loudly, you need SOMETHING to stand out away from the crowd.

Which brings us to Cloudkicker, or the man behind the project, Ben Sharp.  If you read this site, you know that we are big fans of Mr. Sharp’s work and feel that just maybe, his apathy toward traditional distribution streams and touring might be the future.  What I enjoyed the most out of his new album Beacons, is not the technically adroit playing (which is apparent), but the LIFE he has injected into all of these compositions.  Maybe not having the pressure to sell t-shirts at terrible gigs in the middle of nowhere allows him to be a true artist, but you can tell when you listen to the songs that there is real passion in what he writes, and this is something you just can’t fake.  The frantic, yet controlled style of ”Here, wait a minute! Damn it!“ yields to some of the biggest-sounding songs this side of Devin Townsend.  The production, the tones and most importantly, the arrangements are all there and each track grows so organically, you cant help but get sucked in.  I challenge you to listen to the epic ”We’re Goin’ in. We’re Going down“, ”Push it Way Up!“ or ”It’s bad. We’re hit, man we are hit“ and not crank the volume as loud as your speakers or headphones can handle, if you have any emotion at all, it’s impossible.

Nine months in to 2010, and I’ve finally found something to put on my annual “Best-Of” list.  Cloudkicker’s Beacons shows how a fresh and honest approach to music can deliver big results.  It’s technically sound, heavy in it’s confidence and ultimately respectful to the listener.  I can’t wait for the next one.

Mark’s Rating:

King says: “Ben, need a vocalist?  How about a producer?… gardener?”

Justin’s Review:

If you’ve read this site for any length of time, you’ll already know how awesome we think Cloudkicker (read: Ben Sharp) is, and of course… Beacons does not disappoint. In fact… it’s easily Cloudkicker’s most diverse & cohesive effort to date. Without the pressure to meet album deadlines, touring cycles, and genre (read: Djent) requirements, Ben Sharp is free to hone his art to perfection… and at his own pace.

While Cloudkicker’s amazing music and low overhead are basically a metal label’s wet dream (read: TesseracT), Sharp has chosen to operate on his own… without the bullshit. And while I truly appreciate his music… I respect him even more for his perspective. Art for art’s sake.

And in an industry full of special-limited-edition-re-releases, that’s something worth supporting. So quit reading this, and go buy Beacons.

Justin’s Rating:

King says: “Ben Sharp is the Bill Watterson of the music industry”

Have A Listen:

Cloudkicker – Here, wait a minute! Damn it!:

Download audio file (Here_wait.mp3)

Maiden’s latest studio effort profiles a disturbing trend which began when Bruce and Adrian Smith rejoined the band in 1999: Long, aimless songs that attempt to be epic, but come off as unnecessarily long-winded.  I attribute this to the band’s endless search for a new, modern Hallowed Be Thy Name (or an epic stadium anthem that features a slow intro, a fast ending and plenty of harmony guitars and choruses to sing along to).  They found the 90’s version with Fear of the Dark, and seeing how it was the only song post-Seventh Son to make the cut for the “retro” Flight 666 tour set list, you can see how much stock they put into it.  Since Brave New World, we’ve heard twenty attempts coming in at over 7 minutes ranging from the successful (Dream of Mirrors) to the dreadfully overrated (Paschendale).  I gave up on A Matter of Life and Death after several listens just because the songs were SO long and also SO boring and while having some moments, Dance of Death was overall as dull as it’s cover art.  The Final Frontier follows this pattern with six of the ten songs at or over the magic 7 minutes in length.  Some of these songs are quality stuff, but with so much added filler, their impact often gets diminished.  Iron Maiden simply feels like they’re trying too hard.

The title track, The Final Frontier, is actually a pretty good song, but after sitting through a 4-minute, droning and COMPLETELY unnecessary “intro” called  Satellite 15, you’re left pretty confused on what just took place, and whether or not this is really worth your time.  The song also follows the predictability of other post-Blaze era album-openers by throwing together a catchy melody and driving beat with a simple, often-repeated chorus (Wildest Dreams, Different World, Wicker Man).  Is this necessarily a bad thing?  Well, no, because those songs are still awesome, but you get the feeling that maybe Maiden is just going through the motions a bit too much by sticking so blatantly to this formula.  The Alchemist and Isle of Avalon are some of the better songs on the album (although Avalon is still too long), and the first single El Dorado is solid despite some lyrics that seems like they were chosen just because they rhymed.  Despite being co-written by Janick, The Talisman is a good track, but after a boring 2-minute intro, you might have already skipped past it.

The Man Who Would Be King and When the Wild Wind Blows are the final two songs, and with a combined time of almost 20 minutes, they provide the long slow death to the album.  The Final Frontier is not a failure, but it suffers from overworked and over-thought songwriting and a maniacal desire to “create” a classic Maiden live staple.  After being beaten over the head with these attempts over the past four albums, it all begins to blend together into mush.  I am certain that some of these songs will kill live, because that’s what Maiden still does best, and I’ve noticed that because of Bruce’s “aging” voice, crowd participation help songs from the new era become a more powerful experience.  Maiden’s definitely not dead, they’re still probably the best metal band of all time, but I doubt I will listening to The Final Frontier very often.

Mark’s Rating:

King says: “11-minute song about Evil?  Bah, been there, done that.”

Matt’s Review:

For a band that has been around for over 30 years, Iron Maiden stays as busy as ever these days.  Not only do they keep an extensive touring schedule and churn out a new studio album every 3-4 years, but it also very evident that they are making valiant attempts to progress their sound into different areas, rather than live off of past glories and – at least consciously – rehash the same albums over and over again.  To an admirable extent, they achieve this with their latest offering, “The Final Frontier.”  However, to another extent, there are some moments of mediocrity and redundancy, which end up overshadowing some of those attempts.  Regardless, the album does have its fair share of redeeming qualities – you just have to dig a little deeper and be a little more patient to discover them…

Much like their last effort, “A Matter of Life and Death,” the songwriting duties have shifted more towards a group effort, with Adrian Smith and (to a lesser extent) Bruce Dickinson picking up much of the slack from Steve Harris.  Also, much like their previous effort, this mostly results in longer, progressive, mid-tempo songs with an epic feel, slower-moving transitions, and an overall approach that is definitely more simplified than in the past.  In other words, you get the feeling that, while the band is letting you know that they have nothing left to prove, they still have plenty of new music left in them and have every intent of continuing to explore their well-defined musical comfort zone.

Now for the album’s highlights:  “El Dorado” is just a well-crafted, no-nonsense metal song that will most definitely be the album’s ‘hit,’ as well as a song in their live repertoire for years to come.  It’s got everything – a catchy verse, bridge, a trademark anthemic chorus, and three guitar solos in the middle.  The ‘fast’ song on the album, “The Alchemist,” has classic Maiden written all over it, even if it does sound a little too similar to “Man On The Edge” at times.  Regardless, it is another well-crafted metal song.  Track 6, “Isle Of Avalon,” is officially the first ‘epic’ on the album, clocking in at just over 9 minutes.  There are some great progressive transitions on this one, very reminiscent of “Out Of The Silent Planet” from the Brave New World album.  Back-to-back tracks “Talisman” and “The Man Who Would Be King” are two more quality epics that offers much of the same ear candy.  Yes, the proggy epics are definitely Maiden’s forte these days… keep it up boys!

As for the album’s low points:  the opening track(s), “Satellite 15… The Final Frontier,” starts out promising with Satellite 15’s dark cyber-metal buildup, but then turns boring and generic after it kicks into the title track.  I don’t really understand what they were trying to do here, but anyways…  The third and fourth tracks, “Mother of Mercy” and “Coming Home,” respectively, are the obvious filler tracks on the album that frankly sound like rejects from the “No Prayer For The Dying” and/or “Fear Of The Dark” albums – personally my two least favorite Maiden albums of all time.

The remaining two tracks yet to be discussed – “Starblind” and “When the Wild Wind Blows” – fall into that mediocre category that I mentioned earlier.  Although both songs are lengthy and have one or two standout parts, particularly during the middle breaks, there are even more unnecessarily drawn out parts that could have easily been trimmed and/or eliminated to make for a much better song.

In summary, if you’re an old-school Maiden fan hoping for another “Number of the Beast” or “Powerslave,” then “The Final Frontier” is definitely not for you.  On the other hand, if you happen to be a fan of “Brave New World” and beyond, then the chances are you’ll enjoy this album as well and it will grow on you over time.  While the technical side of their playing is much simpler these days, the songwriting as a whole has definitely matured.  All in all, it’s another fairly respectable effort from the band that effortlessly rings up $20,000 bar tabs. 

Matt’s Rating:

King says: “Yes, age does bring maturity and grace… nothing a little makeup and hair dye can’t fix!”

Have A Listen:

Iron Maiden – El Dorado:

Download audio file (ElDorado.mp3)

It’s been a long time since Danzig was more than just a punchline for hipster comedy.  And while the internet is partially to blame in crushing Glenn’s evil image by displaying him mowing his lawn and getting punched-out backstage by angry supporting acts, the fact that he hasn’t released good music since How the Gods Kill doesn’t help.  So going into his new album, the annoyingly-spelled Deth Red Sabaoth, I realized that although I really wanted Lucifuge, I shouldn’t be surprised if I got Blackaciddevil instead.  Luckily for Danzig fans, the album does not sink that low, in fact it manages to conjure some of the dirty, gothic soul we’d expect from “Evil Elvis”.  I wouldn’t say Danzig is back, but after a long hiatus, Deth Red Sabaoth is a welcome surprise.

It’s not all perfect, but there are a number of tracks that sound like unreleased songs from the early days.  The first, Hammer of the Gods hits hard and from the intro riff to the epic, sing-along chorus, it’s something fans have been missing for years now.  The second, The Revengeful, is definitely a toe-tapper despite it’s over-driven guitar riff.  Plus, any song that features the lyric, “I got a bed of human skulls” has to gain some extra points.  Night Star Hel continues Glenn’s problems with spelling, but the ending riff and driving ride cymbal groove powerfully as if we were all still in a dirty black summer.

The unintentional comedy of the video for I’m the One always soured what was a great song and the lyrical cheesiness of Ju-Ju Bone might do the same.  It’s your typical blues-driven Danzig fare, but if it were a bit more stripped down and inspired video of Glenn brooding and crooning on the front porch of a broken-down shack it would probably be more successful.

My main beef with the album is that the overall tones are a little off and it does become distracting at times.  What one might consider a “dirty” sound can sometimes be interpreted as just plain “bad” and the guitars are often TOO over-driven for the mix.  It seems like there was no mastering done as sometimes Glenn’s voice, the drumming and the guitar all fluctuate.  Also, the inclusion of double bass drumming on Rebel Spirits and Black Candy sound out of place, and worse, out of touch.  This type of drumming was never necessary for Chuck Biscuits, and it ruins the vibe that made early Danzig so great.  Are these issues enough to bury this album alongside 6:66 Satan’s Child?  No, in fact, I think for true Danzig fans, Deth Red Sabaoth will be hailed as a return to form.  The album might not get as many plays as the first four masterpieces, but it reminds us of what we loved about Glenn and his unique approach to music.  Plus, the picture of him with a naked chick on the inside of the album is worth the purchase alone.

Mark’s Rating:

King says: “Glenn, you have a bed made of skulls?  I just put the matching armoire on Craigslist, we should talk!”

Justin’s Review:

I’m going to cut to the chase here… Deth Red Sabaoth is the Danzig album you’ve been wanting for years. The rockers… the crooners… the pinch harmonics… the stripper anthems; Deth Red Sabaoth has it all (including possibly one of the worst guitar sounds ever put to tape). Despite that little nugget of injustice (seriously Glenn… stick to songwriting… producing is not your bag), DRS is definitely a return to form for everyone’s favorite mesh-shirt-wearing-jongleur.

While never really closing in on “Instant-Classic” territory, the majority of the tracks are memorable, and feature enough variety to keep things fresh and interesting. Kickoff track “Hammer of the Gods” features a smattering of classic Danzig traits and a nice doomy break that wouldn’t sound out of place on an early Trouble record. “The Revengeful” lays the guitars on pretty thick (one of many tunes that comes oh-so-close to overusing pinch harmonics & Tommy Victor wank-solos), but still manages to keep it together and enjoyable. “On A Wicked Night” marks the first single off DRS and despite it’s power-ballad leanings… is an incredibly well-writen song. I have visions of The Cult performing this and not losing a step. As Mark so accurately points out, “Ju-Ju Bone” waltzes unapologetically into cheese-land… yet still manages to win me over completely. Actually… that could probably be said for 90% of this record. Hell… 90% of all (good) Danzig records.

I first heard Deth Red Sabaoth a few weeks ago, and I’ve found myself doing attempting at least 3-4 Danzig impressions every day since. I think it’s a sign that this album’s pretty good.

Cover art kicks ass too.

Justin’s Rating:

King says: “Hey Glenn… when are we gonna do that duet we’ve always talked about?”

Have A Listen:

Danzig – On A Wicked Night:

Download audio file (On_a_Wicked_Night.mp3)

This day in age, it’s almost pointless to continue referring to Nachtmystium as a Black Metal band. The former troo kvlt USBM stalwarts have shed so much or their corpse-painted stigma, one almost forgets that less that six years ago Blake Judd was ball deep “bringing some of the world’s most extreme music to the world’s most extreme audiences.” with Battle Kommand Records. But throughout the numerous stylistic and lineup changes, there’s one BM trait Nachtmystium still hold near and dear to their hearts… pissing off the majority of people who loved their previous record.

Lucky for them, I’m not one of those people. Over the course of the last four years, Nachtmystium has declared “fuck you” to what was expected of them and delivered compelling album after compelling album. 2006’s Instinct: Decay scratched the surface (and no doubt left fans scratching their heads) by introducing a variety of psychedelic elements and soundscapes to the standard black metal fare. Then, in 2008, Assassins comes along with it’s blatant Pink Floyd worship, and begged the question… who exactly are these guys trying to impress? Three songs into Addicts, and that answer is clear… themselves.

It takes some seriously big balls (or seriously good drugs) for a band who’s name means “Encompassing Darkness” to write, record and release a song like Nightfall. I’m having a tough time even describing it… but the terms 80s/dance/pop all come to mind. The next track, No Funeral, follows suit with its jarring (yet shockingly appropriate) synth line and 80s snare sound. The title track continues the overall theme by showcasing the band’s best Killing Joke impression. And while we get back to “metal” territory with the next couple tracks (Blood Trance Fusion being my favorite Nactmystium song thus far), things once again return to the club scene with Ruined Life Continuum. It boggles my mind that Wrest, the same guy who brought us “Massive Conspiracy Against All Life” can now be found playing avant-garde dance beats. What a strange world we live in.

In full, Addicts is not nearly as thorough or cohesive as Assassins, but after repeated listens… it all begins to somehow make sense. Whether that was the intention or just mere coincidence remains to be seen. What I can safely say, is I expect to see Addicts appearing on plenty “best of” and “worst of” 2010 lists.

While most anyone not affiliated with “hipster metal” will continue to cry “bullshit sellouts,” the fact remains that Nachtmystium are successfully doing what few bands dare attempt… reinventing themselves.

And to some degree… the metal landscape at the same time.

Justin’s Rating:

King says: “This album keeps getting better every time I hear it. Too bad I can’t say the same for my falsetto!”

Mark’s Review:

I’ve written this review a few times now and I’m through rationalizing. I wanted to write a review on how confused I was and how hard it is to describe the new album by Nachmystium, Addicts: Black Meddle Part II. I was wondering if I truly liked it, just WANTED to like it, or hated it. Well, after many re-writes and re-listens, I really think I just don’t like this album and no amount of deep introspection into Blake Judd’s vision or acceptance of Gothic trance music will change that. Nachtmystium is definitely forging into new directions and deciding that the band will boldly go wherever they please musically. While this is a commendable stance, it always runs the risk of alienating a fanbase for the sake of personal gratification. I guess I don’t feel alienated, I’ve just become disinterested… which is maybe worse.

I don’t want to be so close-minded, but I there’s just not enough on Addicts to suck me in. The songs really aren’t terrible (in fact, High on Hate, Nightfall and Then Fires are pretty good), but the lack of attention paid to the details slowly becomes annoying. From the lazy vocal-phrasing and lyrics to the dull, repetitive passages that plague almost every song, everything has a disjointed and “half-assed” feel. So basically I’m left with two interpretations:

    1) either this is a very high-concept work of art that I cannot fully grasp, or
    2) it’s an incomplete and unfinished batch of songs given high importance by pretentious music blogs and hype

Either way, I don’t feel like I will be frequently listening to this album in the future. It’s not really a testament to the quality of the music, just a personal disconnect with the style and presentation. Now if you’ll please excuse me, I’m going to get back to blasting Hell Bent for Leather…

Mark’s Rating:

King says: “Blake… how come you never wear the makeup anymore??”

Have A Listen:

Nachtmystium – No Funeral:

Download audio file (No_Funeral.mp3)

Hey… I still liked it.

Ed’s Review:

Hour of 13 is a relatively new duo from North Carolina rocking out what they refer to as “True Original Occult Doom” according to their myspace site, yet another example of many new American bands diving head first into the doom metal revival – in this case basically re-hashing and re-working old Candlemass riffs until they are blue in the face, resulting in what sounds like a weed and Makers Mark-laced mess of melodic/retro Candlemass worship. The only problem is, this band doesn’t do it nearly as well as Candlemass, or any other classic doom band for that matter.

The album starts off strong – the first three or four songs are well done, but like so many other records in this genre it starts to fall off into generic territory about half way through, offering little more than fairly bland classic-style doom riffs with the same high-pitched vocal arrangements throughout. The production has a very 80’s/reverb vibe to it (commonly known as the “Metal Blade” production in reference to the 80’s Celtic Frost sound), all the guitar solos are pelted with way too much delay effect (probably to make up for the lack of skill in this area), the vocalist is a direct cross between Ozzy and Messiah Marcolin, and the rhythm guitars are about what you’d expect – slow, heavy, punishing. Of course there are moments where you find yourself banging your head to the groove – and there are some killer grooves – I just don’t think this material holds up to the classics by any means.

Highlights: Title/kick off track “The Ritualists” is a good doom track, solid rhythm guitars and catchy vocals. “Demons All Around Me” has a great chorus. Final track “The Crawlspace” has some cool moments. There are other elements, particularly guitar riffs, contained within the album that are fairly rocking also.

Overall this band knows what they are doing, but compared to the heavyweights of contemporary doom (think Daylight Dies, Solitude Aeternus, etc.) this is definitely a “burn it” CD.

Ed’s Rating:

King says: “Only two guys in the band? My make-up staff is bigger than that!!!”

Matt’s Review:

Over the years, I’ve come to realize that doom metal is one of those sub-genres that can theoretically encompass a very broad range of musical territory. Unlike many of its relatives – thrash, death, grindcore, speed, biker, glory, and war metal – doom is one of the few that allows for a great deal of experimentation and originality, while at the same time not sounding too forced or diluted. Several bands have managed to successfully pull this off over the years and thus distinguish themselves as a result (Paradise Lost, Novembers Doom, Type O Negative, My Dying Bride, Isis). Others have managed to do the opposite and simply sound forgettable and/or like something that has been rehashed about as many times as a shitty Godfather impersonation (Bongzilla, Acid Bath, Electric Wizard, Crowbar). Either way, it’s all subjective… but in my meaningless opinion, Hour of 13 leans more towards the latter category, unfortunately.

I had never heard of these guys until I was kindly asked to review this album. Therefore, I can honestly call this a completely unbiased review and will surely sleep guilt-free tonight.

The first track, “The Gathering,” is very short (only 2:09 min) and comes off as very psychedelic, yet generic open chord doom metal with an uneasy David Bowie-meets-present-day-Ozzy vocals. With it being so short, it’s hardly fair to make any stern judgments just yet… The next song, “The Ritualists,” seems to carve out a much more definitive expectation of what the rest of the album might sound like. The riffing is much more Sabbath-inspired (nothing groundbreaking in 2010 by any means), which naturally makes the vocals blend in a bit better. Although the flow of riffs is fairly nice throughout, the reverb-filled solo and “Ohhhhh” vocals towards the end are a bad choice.

“Naked Star” consists almost entirely of riffs that sound like they were stolen directly from a Dio-era Sabbath album and/or the Dio song “Holy Diver.” Not only is there another bad reverb-drenched solo, but the song awkwardly fades out during a verse at the end. More bad choices have been made.
“Demons All Around Me,” on the other hand, is a pretty awesome song. The riffing is very much in the realm of early Mercyful Fate with a hint of Judas Priest and is much more progressive than the previous songs. Done very well here indeed… even enough for me to forgive the sub-par solo at the end, which I’m guessing is going to be a pattern from here on out…

“Possession” takes us back to Dio-era Sabbath rip-offs, with the intro and verse riffs sounding almost exactly like “Sign Of The Southern Cross.” I’m not that impressed with this one… and it’s pointless for me to even mention the solos anymore.

“Soldiers Of Satan“… I’m pretty much bored up until 4:30, when a kick-ass fast riff finally breaks up the monotonous one-dimensional vocals and sub-par riffing for the remainder of the song.

“Evil Inside” offers much of the same formula. As with “Soldiers,” there is ‘that one part’ between 4:50 and 5:20 that breaks up the monotony with a double-time chuggy riff.

Needless to say, I felt like getting to the last song, “The Crawlspace,” was a bit of a chore… and yes, that’s only eight songs total. However, I do like this one much more than the others, with “Demons” being the lone exception (yes, my fav!). Like “Demons,” this one is much more progressive, with a good flow and use of different tempo changes throughout.

All in all, “The Ritualist” reveals a band that is largely one-dimensional in every aspect and has little to offer in terms of originality, technicality, and songwriting prowess. While there were some good moments here and there, the album as a whole is largely forgettable.

Matt’s Rating:

King says: “Those are demons all around you?  Hmm… could’ve sworn they were just dwarf extras from the movie Willow.”

Have A Listen:

Hour of 13 – The Ritualists:

Download audio file (The_Ritualists.mp3)

Soulfly records have always been a mixed bag of Max’s aggressive genius and his over-reliance on misused “tribal” and “spiritual” elements that while fresh on 1996’s Roots, have grown increasingly stale and forced.  I admittedly was (and still am) a big fan of their debut album and felt like it would’ve been the natural progression of Sepultura had Max not left.  Today, the album is an incredibly-dated collection of nu-metal inspired slam anthems, but given the timing and situation, it really captured Max’s anger toward his former band, his family and society in general.  The follow up, 2000’s Primitive, was an exponential decline as Max continued to invite many “special guests” to record vocals to bad songs; the culmination being the incredibly awful Jumpdafuckup featuring Corey Taylor (not to be confused with Fear Factory’s equally shitty Back the Fuck Up off Digimortal).  You always knew you’d get something heavy and raw with Soulfly, it just usually wasn’t going to be very good.

A decade later, Omen is more of the same.  A thrashier sound replaces the “A”-tuned, “Korn-riff” guitars from the past, but Max’s thimble-sized well of song-writing themes (“war”, “pain”, “blood”, “Brazil”) remain.  Tracks such as Bloodbath & Beyond and Great Depression give us the same flashes of promise we heard on 2005’s Dark Ages and 2008’s Conquer, but from there it all goes downhill quickly.  Lethal Injection features Tommy Victor and pretty much IS a recycled Prong song, Rise of the Fallen sounds suspiciously similar to Dream Theater’s The Dark Eternal Night (not a good thing), and the songs Mega-Doom and Vulture Culture voice the same lyrical depth seen in a 9th-grade metalhead’s notebook ramblings.  Besides dealing with a topic 15-20 years past it’s shelf date, the song Jeffrey Dahmer truly scrapes the bottom of the Soulfly catalog barrel.  The song is so cheesy and so ridiculous that I am actually jealous of the infamous killer’s victims that will never have to hear it.

Soulfly keeps teasing that they’ll become a band as dynamic as the old Sepultura, but they never will.  I know it’s unfair to compare the two bands, but Max’s successful career and reputation in the metal community has elevated him to point where he will always be judged against his past accomplishments.  Right or wrong, metal fans formed a connection with him through one of the best thrash bands of all time, and we will always yearn for that same feeling and excitement created by listening to Arise and Beneath the Remains.  Omen is just another failed attempt to make a similar connection, and although it’s not the worst Soulfly album, it makes me look forward to the inevitable “Sepultura Reunion” tour even more.

Mark’s Rating:

King says: “Ugh, I feel like Max just kicked me in the Brazil nuts!”

Justin’s Review:

Remember back in high school when you, me and every other dude with long hair would spend the better part of 4th period meticulously recreating the cover for Arise in ball point pen on those brown-bag textbook covers? Yeah dude… those were the days. Unfortunately for everyone, the era of Max Cavalera worship is one FOR the History books.

Max’s transition from metal monarch to nu-metal jestee can pretty much be pinpointed to 1997 and his departure from Sepultura. While Roots (his swan song with Sepultura) most certainly “borrowed” from what was popular at the time, Soulfly absolutely depended on it. Fast forward 12 years and the release of Omen (which sadly marks Soulfly as Max’s most extensive musical endeavor), and the band are still struggling to stray from their own roots. Plenty of nu-metal riffing, pathetic attempts at aggro-poetry (“Bloodbath & Beyond“… good lord) and guest appearances to be found here. Not to mention the lyrics to “Jeffery Dahmer” make Macabre’s Corporate Death sound like god damn Shakespeare.

However… I’m as surprised as anyone to report that Omen does have its fair share of redeeming qualities too. The punk-stylings of tracks like “Bloodbath and Beyond” and “Great Depression” do well to break the nu. Additionally, guitarist Marc Rizzo does a fine job of sprinkling interesting and memorable leads throughout the album. Unfortunately in the end, it’s simply not enough to win me over. Maybe a little more focus on these elements and Soulfly could actually stand a chance of sounding moderately fresh… which would be a true feat indeed.

For the most part, Soulfly’s music remains as tired and uninspired as its logo implies. The History books just aren’t the same.

Justin’s Rating:

King says: “To quote one Mr. Jeff Lebowski: “This will not stand, you know, this aggression will not stand, man.” ”

Have A Listen:

Soulfly – Bloodbath and Beyond:

Download audio file (Bloodbath_and_Beyond.mp3)

When I first visited Howl’s myspace site and found the band proudly sporting an endorsement for Chicago-based Emperor Cabinet amplifiers, I immediately asked myself “are these guys from Chicago?” Since all of your friends here at R/R are from Chicago, we usually get a first hand look at the extremely heavy yet sometimes questionable local hipster/celebrity male subculture that metal has become here, where the length of one’s beard can often be confused in drunken grandeur with the length of one’s self-proclaimed diabolical manhood. Anyway, turns out Howl is NOT from Chicago, but actually from Providence, RI – so I was immediately interested in what kind of metallic sludge this band had to offer without the media distractions of having their own premature Kuma’s Corner burger or having 20 simultaneous witty write-ups and name-drops in the Chicago Reader before anyone gets a chance to hear the actual music. And although Relapse is never a label to be cheap on the heaviness, I was a little iffy about the promo we received (64k mp3’s with a loud BEEP every 30 seconds throughout the ENTIRE ALBUM as a watermark… classy, fellas) but I gave the album a spin anyway. Hey, it’s a free promo right? And it’s METAL… good enough for me.

Turns out the low quality mp3’s and annoying beeps didn’t really matter all that much, because in the simplest terms possible, this album absolutely rips.

Howl have managed to find a near-perfect hybrid of the riffy, technical aspects of progressive heavyweights like Mastodon while keeping the pace at a slower, thicker sprawl than their speedy aforementioned peers, resulting in an aggressive and ultimately pummeling doom metal experience. What’s great about this album is the excellent songwriting combined with the consistency of quality songs from start to finish – two essential items that always make or break an album bearing this kind of intensity. Opener “Horns of Steel” is a juggernaut of a track, the slow building introduction giving way to a powerhouse of minor key riffage, directly throwing the listener into the wild, doomy ride this album has to offer. Things move in this path for a while, a brief dose of black metal riffs appearing during the bridge sections of “You Jackals Beware” that is completely nerve shattering (in a great way), eventually making it’s way to the excellent stand-out track “Jezebel” which conjures up imagery of both black dungeons and soaring cliffs – a very heavy, fairly complex and completely mesmerizing doom track that stands up with some of the best ever written, from Sabbath to Candlemass and beyond. The vocals tend to serve as more of an instrument as the album beats along, which is more than fitting considering the fine guitar work that rages throughout this listen. “Heavenless” moves more into prog territory, but with a cutting intensity and great fretwork both in rhythms and brief leads from guitarists Vincent Hausman and Andrea Black. In a similar manner to how Baroness has created a new flavor in slightly deep fried, yet killer hard rock guitar techniques, Howl is a guitarists’ band on a mission to bring the more evil, minor key range of doom metal into the volume game – this material is well-played and very dense, and rightfully so. “The Scorpions Last Sting” is another standout track, concluding with several minutes of bulldozer chug riffs mixed with psychedelic guitar overtones perfectly placed. The album concludes with the 10+ minute “The Day of Rest” which needs little description – just let me know if your stereo survives the damage.

I would highly recommend Howl to anyone who is fascinated by creative yet uncompromising doom-ridden guitar work – turned up to 11.

Ed’s Rating:

King says: “I wish we could have tuned down to B back in the 80’s… I probably could have ditched the make-up for a gig or three!”

Chris’ Review:

Man, I really thought I would get into this chug fest based on the album opener, but something happened and my interest faded as the tracks rolled by. Repeated listens of the album have me taking it down a notch on the patented R/R King scale each spin. What’s bothering me about Howl?

The overall thing is that there’s nothing here that sounds fresh or unique to me. There’s some cool moments, sure, like badass chugging riffs at some point in almost every song. But you know what, every high school band in my subdivision can crank out a badass chugging riff when they want to. What else does Howl got?

Well, they got this frenetic drummer that’s always playing big fills in small spaces and double bass, so that it sort of seems like the song is all intense and shit, but when you try to follow along, you find the song is actually pretty plain; the drummer’s just getting bored like you are. It’s hard to judge production on a low resolution review download, but it sure seems like there’s a whole lot of cymbal going on. At some points the guitars are just barely there. But golly, that crash cymbal sure comes through.

Secondly, each song is full of riffs, but they’re mostly not very interesting and just pasted together. It’s like a heavy metal jam band at some points (“Jezebel“, “You Jackals Beware“). Some riffs are downright played out (“Asherah“, the intro to “Jezebel“; how did this even make the album)? And I’m thinking I’ve heard the opening of “The Scorpion’s Last Sting” somewhere, too (free gift to whomever can tell us where).

The sound and style of Howl is nothing offensive, but it’s nothing that’s been missing from my life either. If more songs like “Heavenless” or “Horns of Steel” added interest and energy to this album, it might have been saved, but as an collection, this album doesn’t float.

Chris’ Rating:

King says: “This band would have a chance if they had a gimmick. Try face paint and devil worship.”

Editor’s note: Chris… I believe you’re referring to Earth Crisis’ “The Wrath of Sanity“. Now where’s my free gift?

Have A Listen:

Howl – Jezebel:

Download audio file (Jezebel.mp3)

There aren’t many bands whose entire catalog of albums I own, but High on Fire sort of accidentally became one of them. I started with 2002’s Den of Thieves, and as each release trickled out, I found myself thinking, “Yeah, I could go for some more High on Fire.” It doesn’t hurt that the band tweaks their approach just enough each go-around to offer something fresh while preserving their trademark speed and snarl.

And so Snakes for the Divine marks an impressive fourth time for hearing a renewed High on Fire. Like previous albums I can’t call it a masterpiece, but a quality record, for sure. The first apparent difference in this album was how good the vocals sounded, which isn’t normally what I like about most albums but somehow they just nailed it on this one. It doesn’t hurt when, at about 6:13 into the title track, Matt Pike lets rip with what I’m assuming will be the best metal scream of 2010 and the first contender for the best scream of the new decade. Holy shit, it is badass. This track is probably my new favorite High on Fire song.

The rest of the album follows up that barn-burner respectably, if not ever quite re-attaining that first, glorious doom. Some close contenders include Frost Hammer and Holy Flames of the Fire Spitter (say it ten times, fast). The weakest track would be Bastard Samurai, a slow, meandering song about some Japanese Yakuza thing. It doesn’t help that this song comes after Frost Hammer, obviously a Viking  mythology tribute, and you just can’t switch from Scandinavia to Japan without some kind of transition; like something about Mongols or Cossacks, I’m thinking.

Sometime during the album I had the thought that I would describe this band as a ‘classic’ metal sound, but definitely not ‘retro,’ despite the Motorhead-like vocals The straightforward, fast, and awesome riffage executed with loud, but not slick, production, keeps me coming back for more. Yes, ‘classic’ is the word.

Chris’ Rating:

King says: “Scream of the Decade? Don’t count out the King!”

Justin’s Review:

Picture this…

It’s 7:43pm and still a balmy 93 degrees outside. You’ve just returned home from a rigorous 12-hour shift digging cable trenches for that new Old Navy store they’re building on the corner lot where you played baseball as a kid. Sweat trickles down your brow and the mud continues to harden underneath your fingernails. It’s been a looooong fucking day and that sunburn on the back of your neck itches like hell again. Rather than deal with the pile of bills staring you in the face, you decide to head out to the back porch with an ice cold beer and watch the sun set. Just before doing so, you drop the needle on your record player and crank that shit to 11.

Snakes for the Divine is the record.

And life just got a lot better.

Justin’s Rating:

King says: “I’m always getting High on Fire down in my Coven.”

Have A Listen:

High on Fire – Snakes for the Divine:

Download audio file (HoF-Snakes_for_the_Divine.mp3)

Chris’ Review:

If you were worried (like me) about the world’s supply of cover albums running low, give thanks to Six Feet Under and Metal Blade for issuing their third (third!!) edition of death metal versions of “Graveyard Classics.” I know I’ve been railing for years to anyone that would listen, “There is so much great metal and punk from the 1980’s, and nobody knows about it! Nobody’s marketing it! There’s a gold mine waiting to be discovered and respectfully elevated to its honorable status, and you’re all walking around like zombies controlled by the “new music” piping through you ear buds. Wake up!” Finally we have friends at Metal Blade that ‘get it’ and assigned a talented, young group of death metal musicians to show today’s metal fans what they’re missing.

Ok, I just listened to Graveyard Classics III, and I need retract everything written above. As a collection, the album is a sack of crap. A couple tracks are interesting, but have no chance at redeeming the rotting, audio turds that should have never been unearthed from the cesspit in which they festered. (Hey, writing death metal is fun!)

There’s almost no theme to the album, so I’m going to have to break it down for you track-by-track:

The opening cover of Mercyful Fate’s “A Dangerous Meeting” reminds you of how good Mercyful Fate’s songs are, but does not make you want to listen to Six Feet Under any more. Most decent 80’s metal songs sound tougher when recorded in a modern production style, but that’s a tribute to affordable studio electronics, not the band. The same could be said about most the tracks on here.

The first Canadian import comes from the re-discovered Anvil. “Metal on Metal” sucked then, sucks now.

The next two tracks are from Slayer and Metallica. These tracks are decent, but how could a death metal band of any skill screw up a classic thrash track? It’s like congratulating an asshole on being an asshole. It should just come natural.

Our next Canadian clunker comes via Bachman Turner Overdrive. Seriously? See “Metal on Metal,” above.

Now honestly, without sarcasm, I did kind of dig this version of Van Halen’s “On Fire.” VH albums are barely listenable to me, but a competent, metallic version of one of their faster songs will make you nod your head. Barnes’ ‘grandma’ vocals ruin it, though.

This Exciter song sure sucks. Something about it sucks extra hard, but I can’t put my finger on it. What could it be? Oh, here it is! Exciter is Canadian. See above. If they move the Buffalo Bills to Toronto, one of the conditions should be that Toronto also has to take Chris Barnes.

Nothing says ‘eighties’ like Twisted Sister. And nothing says “Six Feet Under is fucking with us,” like Chris Barnes growling, “He’s gonna kick your ass!” at the end of this track.

This cover of the Ramones’ “Psychotherapy” makes it really hard to convince non-metal fans that death metal is not a joke.

Finally we have the album closer, a closet classic from the 90’s, actually, Prong’s “Snap Your Fingers, Snap Your Neck.” Any fan of Headbanger’s Ball of a certain era remembers this song (I’m one of them.) Checking back to Prong’s Cleansing album, these guys sound like nu metal before it was nu. I’m not sure Prong ever received the respect that a band on the bleeding edge of a new style deserves, and I’m not sure this shitty cover is going to help with that.

In summary, this cover album goes as most cover albums go. It feels more like an attempt to milk some extra dollars from the fans, and doesn’t do the covered or the coverers much justice. I have an album of Black Sabbath songs played on sitars that’s just about the same thing; I’ve listened to it once.

Chris’ Rating:

King says: “I’ve got to start being more careful about who I give my publishing rights to. And what the hell is wrong with Canada?”

Matt’s Review:

I remember it well – about 16 years ago – when I first heard Cannibal Corpse’s cover of Black Sabbath’s “Zero The Hero.”  Even though I had been a Sabbath fan for quite some time (yes, even Ian Gillian-era), I had just started venturing into death and grindcore territory, as far as expanding my metal horizons was concerned. Regardless, I was still a green teenage musical whore and it didn’t take much for something to seduce my inner ear canals at that point, as long as it was heavy.  Needless to say, what can potentially be a very good thing can also be a very baaaaaad thing.  How else would you explain my brief love for Nuclear Assault?  Anyways, back to the point… I loved the first minute of the song.  It was heavier and doomier than the original.  Then the vocals came in.  That’s it.  That’s the end of my story.

Oh, I’ll just cut the crap already – I’ve never cared much for Chris Barnes as a vocalist (or as a musician for that matter).  Don’t get me wrong.  I know that his vocal style inspired a lot of other tone-deaf dude-bros with no sense of melody to start gutter-growling into a microphone, and for that I have to at least give him SOME form of props.  But like I said earlier, what can potentially be a good thing can actually be a giant shit sandwich exploding like an atomic bomb on a small country, radiating all sorts of shit-like deformities on everything and everyone it touches along the way.  Oh wait, that was the long version.  Sorry dude-bros, my bad…

After hearing the first two Graveyard Classics albums, I had a pretty good idea of what to expect on this one – heavier, down-tuned, unimaginative, pointlessly inferior versions of the originals with the same damn gutter-growling from start to finish.  Regardless, I was determined to keep an open mind and give the ole’ Six Feet boys a completely unbiased critique… assuming that I would be able to make it through the entire album without pulling all of my pubes out one-by-one, that is… turns out my will was strong, so my pubes stayed intact.

The first track, Mercyful Fate’s “A Dangerous Meeting,” brought back the same memories of when I first heard “Zero The Hero.”  I mean, what did I actually expect?  Chris Barnes to start singing falsetto?  Well maybe, but is it really that wrong for me to ask him to at least try not to sound like a total dipshit while singing someone else’s songs?  Weh-hell-hell, apparently it is…

I got much of the same vibe on the second track, which is Anvil’s “Metal On Metal.”  You know, there’s a reason why Anvil never ‘made it.’  They are simply a terrible band… and this is a terrible cover.

Now that brings us to track 3, Metallica’s “The Frayed Ends Of Sanity,” which also happens to be one of my favorite Met songs ever.  I must say, the rhythm tracks are pretty solid, but the solo is pretty damn sloppy and ruins it all for me.  This doesn’t make much sense since, well, the solo IS overdubbed and it IS possible to re-record it if it’s played shitty.  On the brighter side, Gall is a better drummer than Lars.

Slayer’s “At Dawn They Sleep” is actually one of the better covers on the album, in my opinion.  Sure, it’s nowhere near as good as the original, but it somehow suits them well.  Don’t ask me why.  Oh, and Gall’s fill at the end isn’t bad either.

BTO’s “Not Fragile” just plain sucks.  Bad choice.  Very bad choice.

Oh yeah, the same goes for Van Halen’s “On Fire” and Exciter’s “Pounding Metal.“  On a roll, boys.  On a roll.

Until now… they actually redeem themselves with Twisted Sister’s “Destroyer.“  It might be the only song on the album that actually sounds like it could be an original.  For me, it translates pretty well… although I’m not totally convinced that J.J. French (or even Dee for that matter) would be proud to hear this.

“Psychotherapy” by the Ramones is pretty hard to butcher completely since, well, it is punk after all.  As someone I played it for told me, it “sounds like Cookie Monster does the Ramones.”  I can just picture that Sesame Street episode right now -  a bunch of little kids are dancing around like idiots while the Cookie Monster hardcore dances and growls into a microphone… where were these episodes when I was a kid???

I can’t really say that they end with a bang, but “Snap Your Fingers, Snap Your Neck” isn’t too bad.  They do a decent job with the music, I think.  However, it’s another one of those songs where it doesn’t really matter how the vocals sound because the original ones weren’t that great to begin with (sorry Tommy, I didn’t mean to bring you into this).

All in all, that makes about 3 somewhat listenable covers on this entire album, which isn’t exactly good since that also means they’ve managed to successfully botch the other 7 songs, in my opinion. At this rate, there’s no reason to believe that this shit storm will stop, especially since this is already their third installment.  Hmmm… something tells me that they enjoy pissing on amputated legs.

Matt’s Rating:

King says: “Fuck these guys… they broke the oath.”

Have A Listen:

Six Feet Under – A Dangerous Meeting:

Download audio file (SFU_A_Dangerous_Meeting.mp3)

It’s not Fear Factory’s fault.  It’s not their fault that they perfected a sound and a style that would sweep through metal.  It’s not their fault that heavy music with triggered kicks, gated guitar riffs, a combination of singing and screaming with an overall gloss of keyboard sheen could be easily duplicated and copied by an endless number of bands.  It’s not their fault that Roadrunner Records tried to push them into a more mainstream avenue, and that the popularity of tech, keyboard and sample-based metal gave us Spineshank, Static-X, Disturbed, Sevendust and Coal Chamber.  Demanufacture and Obsolete were revolutionary albums that expertly combined an image, a message and a sound with great song-writing that was aggressive, dark, powerful and punishing.  It’s not their fault that we’ve been inundated with an onslaught of watered-down and poor imitations ever since.  So when you listen to Fear Factory’s 2010 offering, Mechanize, you quickly realize that you’ve heard this all before, and that it’s nothing new or exciting.

Although it shouldn’t matter, the band’s off-stage drama over the past few years has done quite a bit to sour my perception of them.  After shifting through lineups and reading almost monthly of the childish bickering between Dino Cazares and Burton C. Bell, it reeks of desperation that the two have “patched things up” for this new release.  While Gene Hoglan and Byron Stroud are more than capable in filling the shoes of Raymond Herrera and Christian Wolbers, you just feel like you’re listening to a band that is going through the motions or trying a bit too hard to recapture some sort of past magic.  Hearing about potential lawsuits from Herrera about the use of the band’s name and the constant deluge of Blabbermouth jawing and press releases casts quite a bit of doubt on their legitimacy.  The band could have righted all their past wrongs with an inspired new album full of great songs, but alas, they did not.

Listening to Mechanize, you realize how boring of an album it is.  The songs are very formulaic and because of all the imitators the band has unwillingly spawned, the production sounds extremely dated.  Despite this, most tracks are interchangeable and gone are the hooks of Demanufacture or Obsolete.  It seems as if the band came up with song titles that expressed the “Fear Factory techno-image” first, then wrote the music to accompany them later.  Mechanize, Powershifter and Oxidizer may sound like X-Men characters, but they are just a sample of the pedestrian tracks that litter this album.  The last track Final Exit, it excruciatingly bad, featuring a collection of forced samples and anticlimactic drama.  I feel like the album is just an excuse to tour, and I wouldn’t be surprised if we heard of more problems between the founding members once they hit the road.  Maybe I’m jaded, and maybe there’s just no where else to go with this genre of metal.  It’s not Fear Factory’s fault.

Mark’s Rating:

King says: “Ugh, and I thought their “remix” albums were bad…”

Justin’s Review:

Ahh… band politics. If you’ve ever been in or around a band for any length of time, you surely know of the unique dichotomy that exists. Somewhere between a business partnership and a relationship resides the typical band structure. In that regard, Fear Factory are no different from most bands… just a higher profile and a few more pubic spats than they probably care to remember. That’s all shit for the lawyers to sort out.

As it stands, we seem to have one Fear Factory (henceforth to be referred to as Arkaea) that controls one of the Fear Factory websites and myspace pages, and another Fear Factory (hence forth to be referred to as Fear Factory) that writes music that some people actually give a shit about. And it’s that Fear Factory that we’ve come to discuss today.

Yes folks… Burton C. Bell and Dino Cazares have put aside their differences, and Fear Factory are back with their “heaviest” lineup to date. Candlelight Records has stepped up to the plate this time around, and according to their press release, Mechanize is “a full-fisted blast of passion and innovation that sounds like the missing link between’s 1995’s caustic, groundbreaking Demanufacture and 1998’s more texturally nuanced Obsolete.” Wow… sweet! If only that were true!

What we have on our hands here, is arguably the most middle-of-the-road album of the band’s career (which is a real shame, because after listening to Transgression, I was ready for a good Fear Factory album) [Editor's Note: To clarify... I'm not a fan of Transgression]. I’ve been through Mechanize four times now, hoping for something to jump out at me, and I can honestly say… nothing has. Not riff, nor vocal melody; not song title nor structure; not lyric nor artwork. Absolutely nothing.

I hate to say it, but…

Fear Factory

is

Obsolete.

Justin’s Rating:

King says: “Nice try guys. Hey… at least you’ve got the 80s covers to fall back on… I hear there’s good money in that.”

Have A Listen:

Fear Factory – Powershifter:

Download audio file (Powershifter.mp3)

I always thought Diabolus in Musica was an underrated Slayer album. It contained a few great tracks, mixed with a bunch of others that had their moments but failed to really strike a chord. This was pretty typical pattern for the band during the early 90’s, sputtering to find their next breakout album after grunge had laid waste to the promise of metal. World Painted Blood reminds me of this time and of this album, because once again Slayer seems to be exploring new ways of expanding their sound. Ultimately this will bring controversy amongst the fanbase, but since Slayer’s killing spree is once again being driven by Dave Lombardo’s legendary drum work, the end result is definitely more raw and untamed. Tom Araya’s vocals and Jeff Hannemen’s guitars all sound great, but even though the sound and attitude exist, some songs seem to lack cohesion despite a collection of standout parts. World Painted Blood is a solid effort, but a majority of it feels a bit divided and struggles to live up to its potential.

The first three tracks off of World Painted Blood are outstanding, and the title track shows how Slayer successfully incorporates new sounds to create the insidious and demonic vibe. From the midpoint of the song, the band uses riffs that are a bit more open, accenting the space between the notes to paint the picture of a slowly stalking and impending doom. Snuff begins with a wild Kerry King solo reminiscent of Captor of Sin and blitzes through three and a half minutes of pure fury. Unfortunately, after this initial barrage, the album’s power and focus begin to waver. The long stretch of songs in the middle of the album are not necessarily bad, but they fail to capitalize on some positive, yet fleeting moments. Beauty Through Order seems to wander and jump through different tempos, not knowing if it wants to be Dead Skin Mask or not, and Americon features some promising riffs combined with stale, politically-charged lyrics that plague the song with their lack of imagination. Luckily the album ends with the already-released, new classic Psychopathy Red and another awesome track, Not of This God.

There are some people that don’t like Slayer, those people are obviously idiots, but there are a few people that will not like World Painted Blood. While I think the album has it’s share of problems, it’s annoyingly close to being a great body of work. The album contains several songs that will become new live staples guaranteed to start pits and break noses, as well as some questionable tracks with brilliant bits left unfulfilled. Slayer fans will be discussing the pros and cons of this album for awhile, so that definitely makes it worth a listen.

Mark’s Rating:

King says: “World Painted Blood? Right after repainting the front door, thank you.”

Justin’s Review:

Let’s cut the crap. Much like the rest of the Big 4, Slayer spent a healthy part of the last 20 years adapting their trademark sound to match modern trends. Unlike the other three, Slayer never pulled a full-on Judas towards their fans, and when it comes to “returning to their roots” the band proved they were more than capable with the release of 2006’s Christ Illusion.

So where does Slayer go next? Dave Lombardo is comfortably back to the fold, the band has 2 Grammys collecting dust on the shelves, and at this point, would probably prefer golf and snake breeding to strapping on the leather pants and being drenched in stage blood. Well… this IS Slayer we’re talking about, so of course they collectively say “fuck that,” turn on the WABAC Machine and deliver us possibly their most well-rounded effort since Seasons in the Abyss. That’s not to say World Painted Blood is an instant classic. No… sadly, I think those days are behind them; but unlike their contemporaries, Slayer don’t pussyfoot around the issue either.

World Painted Blood embellishes on the “classic-era-Slayer” we all loved on Christ Illusion. The fast stuff is faster, the solos are ripping, and for the most part, that “late-90s-aggro-Stain-of-Mind-Slayer” is downplayed quite a bit (in favor of the “late-80s-try-to-be-creepy-but-end-up-sort-of-campy-Slayer”). All of which is fine by me. With the exception of a couple mediocre riffs and some cheese-dick lyrics (cough:Americon:cough:), the only real problem I have with this album is that it doesn’t quite sink in the way I wish it would. Positives aside, I don’t really see myself singing along to the chorus of Playing With Dolls 10 years from now, or trying to beat the solo from Snuff on Guitar Hero 18. Negatives aside, I do think World Painted Blood is a worthy addition to any metalhead’s collection (who the hell am I kidding… we all know you bought it the day it came out, right?)

Anyway, here’s to hoping Slayer continue to push themselves further (in this direction) before they move to Florida to retire. While you’re at it guys… be sure to give Larry Carroll a call next time around.

Justin’s Rating:

King says: “The only thing I like more than painting the world with blood is painting my face with upside-down crosses.”

Have A Listen:

Slayer – Snuff:

Download audio file (Snuff.mp3)

Mark’s Review:

If you read my bio, you’ll find that I’m that metal guy that’s into prog. If it’s technical, complex and musically advanced, I’m a fan, and although I’m quite immersed with the new Transatlantic, if you add a heavy component to it, then I’m all in. So it’s a mystery to me why I’ve never been able to get into Between the Buried and Me. These guys are as technical as hell, and can pretty much dominate any style of music, but I’ve never really enjoyed any of their albums. Their last album, Colors, featured some good songs, but it took me many, many listens to wrap my head around it. This usually means two things: 1) This is the sign of something great and complex, or 2) This just isn’t very good to begin with. The Great Misdirect gives me that similar feeling, lots of great moments that are wasted in a song-writing style that seems to feature a public display of talent over anything else.

Recently, a reader on MetalSucks.net stated that BTBAM is “the Lebron James of music“. I can see the correlation; James is an amazingly flexible athlete that can fine-tune his game between power and finesse to overpower anyone on the court. And just as he can seemingly perform anything humanly possible in order to win basketball games, BTBAM has the same level of talent in the musical realm, jumping through different genres and tempos with ease. The difference is that while James doesn’t feel like he has to use ALL the moves in his arsenal every time he touches the ball, every BTBAM song plows through riffs and song passages like a 2-year old does toilet paper. Almost every song on The Great Misdirect is jam-packed with a schizophrenic number of time changes, riffs, breakdowns and almost nothing resembling a song structure. While many will feel that this isn’t needed in the prog world, the songs get a bit tiresome and boring when you feel like they are just constantly changing themes for almost ten minutes with no payoff in sight. Tracks such as Obfuscation start off strong, but quickly degenerate into a chaotic and confusing pool of notes. It’s a shame, because that song, as well as Swim to the Moon and Fossil Genera feature some truly inspired and signature moments (although Fossil’s calliope-intro conjures a few chuckles and thoughts of bad Umphrey’s McGee). It doesn’t help when I’ve never been a fan of Tommy Rogers’ vocals, which I feel are forced when growling, and not technically sound when singing. Regardless, after sitting through four epic songs and two tracks that basically serve as intros, the album leaves me with feelings of both utter admiration and extreme confusion.

Maybe I’m the wrong type of prog fan to truly enjoy The Great Misdirect. As we’ve seen with the rise in popularity of other Victory bands as well as iwrestledabearonce and The Human Abstract, the current trend in technical music is to mash as many riffs and parts into a song as possible. You can say that this is a rebellion against standard song-writing structure, pushing the boundaries of what is “progressive”, or a commentary on the media over-saturation of American youth. No one denies that BTBAM are a group of very talented individuals, but after listening to almost an hour of attention-deficit inducing songs, I have a hard time really getting into their music.

Mark’s Rating:

King says: “Between the Buried and Meh”

Ed’s Review:

When a band advances so far into the expansive and sometimes flamboyant world of progressive metal, they’d better be damn good at it or else face a sea of snobbery from the mighty subculture of geeks that live & breathe this type of music (as Mark can confirm, just stand in line and eavesdrop a bit on your way in to a Dream Theater concert and you’ll know exactly what I’m talking about). What’s interesting about Between The Buried and Me is that they didn’t always play material so diverse or detailed as on their new opus “The Great Misdirect” – their roots are actually based in precision-oriented thrash and grindcore music, which makes it an odd pleasure to see a band move so far outside of the hardcore box without getting completely hung out to dry by their old-school fanbase (that is, if you consider 2002 “old-school”).

“The Great Misdirect” is BTBAM’s latest effort to explain the cosmos in just under an hour, and they have pulled out every damn trick in the book and then some. The band has always favored marathon session song structures elevated to dizzying technical heights, often intentionally confusing the listener with several peaks and valleys, sometimes going as far as to expand a single riff to so many variations it could easily send the Dillinger Escape Plan running for the nearest box of tissues. So it should be no surprise the band has taken this formula one step further on “The Great Misdirect” for better or for worse. BTBAM have never necessarily been the sum of their parts – simply put… with this band, it’s actually the parts that either strike or don’t.

I absolutely adore the opening track “Mirrors” with it’s free gliding clean guitars, part jazz and part space rock, and I’m even hearing some mid-90’s indie/emo touches here – a hell of a way to draw in listeners during the first five minutes of an opus. Obviously things change immediately, taking a quick turn for the extreme and pretty much staying there for the rest of the album. “Obfuscation” features the band’s usual pummeling grind metal mixed with a chanting chorus that contains none other than a bit of Dragonforce-esque riffage (yikes) and a fantastic drum/bass/lead breakdown just after the five minute mark that sounds like a hyperactive King Crimson mixed with The Mars Volta back when they were on a lot of drugs. Thankfully the band avoids using the polka gimmick as much as on their previous album “Colors“, instead favoring more airy, layered, psychedelic passages during their mellower moments that have more in common with Porcupine Tree and Katatonia than Mr. Bungle. A great example of this is “Disease, Injury, Madness” where vocalist Tommy Rogers layers several clean vocal tracks to achieve a psychedelic wonderment that would make prog gurus like Adrian Belew and Steven Wilson quite proud. “Desert of Song” returns briefly to the swingy, carnival-style polka the band likes to experiment with (a bit useless in my opinion… Mike Patton did it a lot better 10-15 years ago) which leads the band directly into smashing out the final 18-minute epic “Swim to the Moon“.
Although I love the Don Caballero-style intro and the next few space metal sections, the track quickly falls into a plethora of jam sessions pieced together (smells like Dream Theater) and even going as far as to include a brief drum solo (???). So yeah, the band lost me there. With that being said, the guitarists do a phenomenal job throughout the album, and although I think vocalist Tommy Rogers has a slightly generic “death growl” voice, I think there is a lot to be admired about his clean vocals and I actually look forward to hearing more of them in the future.

The songs on “The Great Misdirect” are well-executed for sure, but could they be considered cohesive and genuinely well written? It’s debatable to say the least. I’d prefer to say there are several “sections” of these songs that are impressive, if not downright mind-blowing. But to call this an “album”, or anything other than a long string of brainy sections glued together, is probably an overstatement. But I think few could argue that this is a very enjoyable listen nonetheless.

Ed’s Rating:

King says: “Between the Buried and MORE COWBELL!!!”

Have A Listen:

Between the Buried and Me – Obfuscation:

Download audio file (Obfuscation.mp3)

Not many bands can say they’ve kept as high a standard as Converge for four albums over eight years. The kind of hype and worship that followed 2001’s Jane Doe threatened to doom any attempt at a follow up, but 2004’s You Fail Me revealed a band with an incredibly clear vision and ability to harness the power of sound. For all the noteworthiness of Jane Doe, to my ears it’s You Fail Me that will stand as a timeless album.

And so it was 2006’s No Heroes that failed me; but only in that it didn’t continue to raise the bar impossibly high. No Heroes is also a great album; its main problem is that it’s almost too similar to You Fail Me.

Thus we come to 2009 and Converge still hasn’t hung it up, but have they dried up? As far as writing absolutely blistering hardcore, no. Axe To Fall opens with songs on par with some of the band’s best speed tracks. I’m scared to drive while listening to the album because I’m sure to careen off a cliff while air-drumming to the breakdown of the title track. Kurt Ballou’s guitar sound is one of my favorites of all time, almost worth the price of admission alone.

In addition to those excellent qualities we expect from a Converge album, Axe To Fall comes with some guest appearances, and nothing says “low on ideas” like “guest artist.” Despite the heavy collaboration with other artists mentioned in interviews, the album comes out sounding pretty Convergey. The extra artists are integrated tastefully, perhaps the one exception being the piano ditty “Cruel Bloom” with Neurosis’ Steve von Till that reminds me too much of Tom Waits. It’s not awful, it just doesn’t fit very well.

As much as a Converge album could ever be described as ‘fun’, Axe To Fall comes close. Fans of Converge have nothing to fear, and those unfamiliar with the band have some catching up to do.

Chris’ Rating:

King says: “Did I not make it clear I was available for guest appearances? Does anyone read my memos?”

Justin’s Review:

Ah Converge… the fine wine of the hardcore world.

In honor of their 2009 vintage, I present you a vino review (minus the booze-talk) that pretty much sums things up…

The _____ is dark, viscous and complex, slowly revealing its richness.  The opening is intense with _____, _____ followed by _____.  Further _____ reveals pronounced _____ of _____, _____, and slightly _____ nuances.

 

Obviously very _____, the feel of this _____ is nevertheless rich, robust and created for longevity.  The _____ is full with well-structured _____ and balanced _____ leading to a long, firm finish.

 

Few pairings in the world are as utterly seamless as _____ and _____.  When paired with _____ in a _____, the _____ was little short of magical.  This impeccably made _____ should provide enjoyment over the next _____ years.”

Remember folks… don’t _____ and drive.

(…and respect the X)

Justin’s Rating:

King says: “I still prefer their 2004 vintage, but the 2001, 2006 & 2009 will satisfy most any palate.”

Converge – “Axe to Fall”

Right now is a revolutionary time for fans of thrash, because for the first time, a generation of metalheads raised fully on the thrash movement of the early 80’s are now forming bands and aiming to emulate or even top their idols. Experts point to bands such as Toxic Holocaust or Municipal Waste as purveyors of the thrash revival, but in my opinion, the leader of this movement is the Ohio-based band Skeletonwitch. If you’ve never heard these guys, but you’re into metal, you’re missing out on one of the best new bands out on the scene today. Their debut album, Beyond the Permafrost was tremendous, and their second effort: Breathing the Fire is even better. Now, with so many bands attempting to revive the style and feel of early thrash, what makes Skeletonwitch such an amazing band and Fire such an amazing album? Well, here are a few reasons that come to mind:

1) They play old-school thrash, but they do it with such ease. Skeletonwitch realizes that good thrash isn’t something complicated, they make sure when the snare’s tempo is under 200 bpm, the kick drums are over. The lyrics are dark and the riffs of Scott Hedrick and Nate Garnette arrive in an onslaught full of arpeggio sweeps and full-blast down-picking. These guys wear their influences on their sleeve, but they do a great job at blending them into a style and sound that’s heavy, extreme, and anything but dated. Seasoned metalheads can hear Dave Lombardo’s halftime drumbeat on Stand Fight and Die, as well as traces of old Death, Testament, Megadeth and even Diamond Head. Coupled with fantastic production from Jack Endino, they retain a raw, but clean sound you wish was around for Show No Mercy and Ride the Lightning.

2) The songs are short, and they fly by with such fury and precision that when they end, you’re left wanting more. Strangled by Unseen Hands and Submit to the Suffering just do not let up, packing so many memorable parts into a clenched fist aimed directly at your face. Skeletonwitch makes sure you get hooked early, and since there’s not a lot of fat to be trimmed, the songs are focused and don’t stray far from the goal. All in all, the album is 35 minutes of surprising moments and aggression that doesn’t have time to get old. It’s perfect for clicking “REPEAT” on your audio player of choice.

3) I mean, c’mon, just LOOK at these guys. These guys ARE metal! The band portrays a raw attitude insisting to keep pummeling you into the ground with speed and mayhem. There’s no radio single, no ballads, pretty much nothing that doesn’t deal with death, tormented souls, or war (aka “cool stuff”). These are the kids that sat in the back of high-school science class in a Nuclear Assault shirt drawing Dark Angel logos on their assignment notebook. I can’t picture Chance Garnette giving up his parsel-tongued delivery for something softer, and with a drummer that goes by “Mullet Chad”, you can tell these guys eat, sleep and breathe metal. Breathing the Fire indeed.

Mark’s Rating:

King says: “Skeletons?  Witches?  Fire?  What’s not to love??? ”

Justin’s Review:

Well folks, Mark’s gone ahead and pretty much covered every single point that I wanted to make here, so I’ve decided to borrow a quick snippet from Skeletonwitch’s somewhat dated (but surprisingly accurate) bio:

Imagine a young Metallica, Megadeth, Slayer, and Exodus slamming beers and cranking up Immortal records at a rager in 1985. Just when you think the keg is killed, Judas Priest joins the party with a fresh case of beer.

If that doesn’t sound like “metal” personified, than I don’t know what does. And that’s precisely what you’ll get with Breathing the Fire… Metal Personified. And who in their right mind wouldn’t love that? (Besides “concerned” Bible thumpers that is).

Again, to borrow tried and true words… WORSHIP THE WITCH!

Justin’s Rating:

King says: “Go directly the Prosthetic webstore… Do not pass go. Do not collect $200.”

Skeletonwitch – “Repulsive Salvation”

Can you feel the chill in the air? No… it’s not Jack Frost nipping at your nose (not yet at least). That tingling sensation you’re feeling is the icy-cold sting of Abbath, Horgh and Demonaz returning from their long hibernation and delivering Immortal’s latest frostbitten soundtrack to the apocalypse, All Shall Fall. It’s been nearly 18 years since the band broke the ice with their debut full length Diabolical Fullmoon Mysticism (featuring everyone’s favorite black metal video and animated .gif “The Call of the Wintermoon“), and while Abbath and Co. can still be found running through the Norwegian forests brandishing an axe, Immotral’s music has certainly matured over time.

As you probably know, the “black metal” genre covers a lot of ground, and has been known to spark plenty of controversy both in terms of the general public’s perception of it and the majority of die-hard fans’ insolent attitudes towards some of BM’s heavy-hitters. Immortal, being one of the pioneering bands (of the second wave), have dealt with their share of criticism over the years, but throughout it all, have remained at forefront of the scene. In 2002, they released what many (myself included) regard as the band’s milestone… Sons of Northern Darkness. By tr00 kvlt standards, SoND could be considered the band’s “sellout” album, as it featured vastly improved sound quality, and GASP! some actual “hits” (so to speak).

Well… I hate to brake it to the elitists out there, but All Shall Fall doesn’t stray too far from these standards. The unfortunate thing however, is that when held side by side with it’s predecessor, All Shall Fall doesn’t quite live up either. While the songs themselves are undeniably Immortal, they don’t have the lasting power of tracks like “Tyrants” or “One By One” (though I will admit, I’m enjoying them more with each subsequent listen). Arctic Swarm comes the closest, by featuring that classic Immortal groove underneath the album’s most outstandingly bleak lyrics.

Release the arctic swarm to drag us down
Spread its shivering wings, caught us by its cold
With haunting frosty eyes, it journeys fast
The cold will bring the fall

Album closer Unearthly Kingdom is also a welcome surprise with it’s transition from brooding to badass and back again. Peter Tägtgren has returned to his role as producer, and on that level, the album absolutely rules. All Shall Fall perfectly captures the Immortal grimness without ever coming across as shrill. In this day of rampant over-production, it’s always nice to hear (solid) recordings that actually fit the music. Hails to cover artist Pär Olofsson on his contribution as well… it’s nice to have something besides a photo of the band to look at for once.

Overall, All Shall Fall is a (frozen) solid effort, but knowing what the Immortal are capable of, it’s probably just the tip of the iceberg. Let’s hope the next one puts an end to Global Warming.

Justin’s Rating:

King says: “Good to have you back guys… let’s get together soon and trade makeup tips. You bring the axe, I’ll bring the wine.”

Mark’s Review:

The year was 2002, and by most standards, life was good. The Rock thrilled us all in The Scorpion King, Life with Bonnie taught America to laugh again, and Immortal released what I consider one of the greatest metal albums of all time, Sons of Northern Darkness. After I saw Immortal live, I became obsessed with what these guys would do next. For me, they defined what black metal should be: riff after god-crushing riff wrapped up in a ice-cold aura of corpse paint and wrist spikes. Unfortunately, they chose to break up shortly after touring for the album, leaving many fans such as myself high and dry. Then, as if my prayers to the Norse Gods of Snow and Ice had been answered, it was announced that Immortal would be returning to the stage at the 2007 Wacken Open Air, schedule some US dates as well and enter the studio to record new material. Although my first impression of the new album was that there was some frost that needed to thaw, I soon realized that All Shall Fall is definitely a triumphant return for the Blizzard Beasts.

With expectations running extremely high, I was a bit disappointed by what I first heard on All Shall Fall. I guess it’s unfair to compare the album to Northern Darkness, but it’s impossible not to. The title track and The Rise of Darkness are solid, but they seem to lack the bite and madness of One by One or Demonium. When track 3 began, I was wondering if maybe I had set my sights too high. I was expecting these guys to churn out another metal classic and I was starting to feel a little let down. Luckily, here is where the mood starts to shift and you can hear the band really begin to knock off the rust. Hordes of War brings the insane fury and trademark gallop while Norden on Fire features a mid-tempo march of doom and that atmospheric, echoing Immortal breakdown. Abbath definitely saves his best for last, as the album ends with two monsters: Arctic Swarm and the epic Unearthly Kingdom. Clocking in at over eight minutes, Kingdom is a classic, featuring all the wild tempo shifts, blazing-fast riffage and images of frigid warriors battling you can take.

When the album was over, I immediately began listening again because I could tell that my initial disappointment was based on unreal expectations. I’m glad I did, because it keeps getting better and better. It still might not be as good as their previous effort, but that doesn’t mean the songs don’t still rule. With increased exposure and production values, a different tone is to be expected, but in a live setting, these songs will still destroy just as much as anything off of At the Heart of Winter. Looks like Immortal is back, because All Shall Fall grows on you into one of the best metal offerings of the year.

Mark’s Rating:

King says: “Is it cold in here? or is it just you? ”

Once again, Nuclear Blast have outdone themselves with a wide variety of packaging options.

Have A Listen:

Immortal – All Shall Fall:

Download audio file (All_Shall_Fall.mp3)

In an autumn full of anticipated releases from some of metal’s heaviest hitters, it’s Baroness’s second major release that stands out.  When the “Red Album” splashed onto the scene; it was so great, it generated amazing buzz, was named Revolver’s album of the year, and declared Savannah’s Baroness as the new gods of sludge.  That album completely kicked my ass from the first time I heard the opening notes of “Rays on Pinion,” so I along with many others have been waiting two years in anticipation for their next offering.  I’m happy to report that “Blue Record” does not disappoint, in fact, it rules.

“Blue Record” begins with two instant classics: “The Sweetest Curse” and “Jake Leg“.  Both of these songs are sludgy anthems that epitomize that Baroness style by combining John Baizley’s throaty voice, over-buzzed guitars and pounding drums into a dynamic blend all their own.  The harmony guitars abound on the album and the fast, and out-of control runs are displayed once again on songs like “A Horse Called Golgotha“.  The unsung hero of Baroness is definitely drummer Alan Blickle, who’s barreling, single-kick pulse drives life into “O’er Hell and Hide” and lends some swing and balance to “Swollen and Halo“.  Instrumental interludes are back again, but stylistically, there is an intent to reincarnate the themes they introduce into similar melodies that project a new life and a new perspective.  You can hear the results as the chanted vocal melody of “Steel that Sleeps the Eye” returns as a driving rocker in “Swollen and Halo“, or when the stomping waltz of “Ogeechee Hymnal” changes into the dirgey “Bullhead’s Lament“.  Once again the production is top-notch, creating a sound that’s soulful and dirty, yet tight and composed.  And I don’t think I have to praise the artwork, because it continues to prove the worthlessness of .mp3s.  Do yourself a favor and buy this record on vinyl.

The “Red Album” is a tough effort to top, because it’s pretty much perfect, but “Blue Record” comes close.  It’s definitely a logical step in the progression of the band, and it shows that they are here to dominate the metal scene for years to come.  The songs are a bit more streamlined, and a bit toned down, but they have a confidence and a grace underneath the rough exterior.  It’s scary to think what Baroness is capable of artistically, but I’m hoping for a long career, and I can’t wait to see what’s next.

Mark’s Rating:

King says: “Baroness, take my advice, just don’t release a “Black Album,” we’ve seen how that ruins credibility.”

Chris’ Review:

My main question for the new Baroness record was whether it would distinguish Baroness from the easy comparisons and classifications that the Red Album, enjoyable as it is from beginning to end, could not escape. To my great delight, the Blue Record defines Baroness clearly as their own band.

I wouldn’t say any part of the Red Album was disagreeable, but on the whole the album failed to grab me; it usually fades to the background as I’m listening. The Blue Record captivates throughout with a just-right amount of challenging sounds and passages instead of merely delivering one nice sound after another. What I’m getting at is, like most great albums, the Blue Record takes risks; it’s not homogeneous. Not everyone is going to like the acoustic sing-along “Steel That Sleeps The Eye.” The galloping beat of “Oer Hell and Hide” might be too dancey for you. Why the hell is that fuzz guitar solo on “A Horse Called Golgotha” so damn loud? Somehow Baroness makes these oddities enjoyable.

And the more conventional parts are plenty pleasurable as well: a treasure trove of guitar tones playing signature Baroness licks, layered vocals singing and yelling that signature melodic style. Musically I don’t know what you call it, but it sounds like the motivational melodies of the Seven Dwarves sung by Viking marauders.

Look closer at the art nouveau inspired cover art and you see more and more interesting details you might miss on your first glance: broken eggs spilling their embryonic goo, giant sperm wriggling in the sky. Listen to the Blue Record with a similar attention to detail and enjoy the revelations.

Chris’ Rating:

King says: “The Baroness: my favorite G.I. Joe character and (now my) southern metal band.”

Have A Listen:

Baroness – The Sweetest Curse:

Download audio file (The_Sweetest_Curse.mp3)

Replacing a well-known, well-established, well-respected vocalist is one of the toughest challenges a band can face. AC/DC and Anthrax (and to a much lesser extent, Iron Maiden) have managed to pull it off, but more often than not, bands who are forced to take action in this regard are met with a largely unsupportive audience (including those who turn their backs completely). So I can only imagine what a long, winding road Alice in Chains have had to venture down with the decision to reform after a 10+ year hiatus and the death of renowned singer Layne Staley. Not only was Staley’s voice instantly recognizable, it (alongside his haunting lyrics and outstanding vocal harmonies with guitarist Jerry Cantrell) practically defined the band’s sound.

So here it is 13 years after their last record, 7 years after Layne’s passing… and Alice in Chains have returned with their new album Black Gives Way to Blue; featuring Cantrell’s former touring vocalist William DuVall; who’s stepping in to fill some very large shoes. While the obvious question at hand is does DuVall pull it off… I couldn’t help but also wonder if this could/should really even be considered an Alice in Chains record (as opposed to another bloated Cantrell “solo” album)? Thankfully, any questions/doubts I might’ve had, were answered with a resounding “fuck yeah” several months ago with the release of lead single “A Looking In View“… a track so dark, so heavy, and so catchy… it just screams Alice in Chains.

As a whole, Black Gives Way to Blue follows suit. The majority of the album is complete return to form… plenty of classic AiC riffing, brooding sing-alongs and outstanding songwriting… while still retaining a surprisingly modern touch and slightly more positive vibe than you’re probably accustomed to from the band. Vocally, I couldn’t have really asked for anything more. The harmonies are spot-on (and noticeably played up), and while Duvall isn’t (nor should be considered) a Layne clone, he’s a perfect fit for the band and definitely worthy of the role he’s been chosen to play. Overall, the songs themselves tend to be slightly less memorable than classic AiC, but tracks like “All Secrets Known“, “Lesson Learned” & “Take Her Out” (among others) certainly stick to your mouth like peanut butter on the brain.

If there’s one area where BGWtB tends to fall a little flat, it’s the acoustic tracks. Throughout their career, AiC have managed to seamlessly integrate the lighter fare into their repertoire, and when taking their back catalog into consideration, these three just don’t measure up. The title track; a moderately depressing tribute to Staley; is a touching number, but probably not something with widespread rock-radio appeal. But in all honesty, that’s okay… “A Looking in View” and followup single “Check My Brain” will do a bang-up job in that department.

It’s hard to believe “the 90s” are almost 10 years old now… but if you’re anything like me, you’ll be dusting off your flannels and putting Black Gives Way to Blue on repeat for a long time to come. Alice in Chains are most definitely back and ready to show Chris Cornell what the term “aging rocker” should really mean.

Justin’s Rating:

King says: “I… believe… them bones… are Melissaaaaaaaaaaaaa!!!”

Mark’s Review:

“Seriously? Alice in Chains is going to record a new album with a new singer and just try to replace Layne Staley? This won’t fly, there’s no way this doesn’t destroy their legacy as one of the most dynamic and original bands to come out of the Seattle scene. Unless they found a guy in the Philippines on YouTube like Journey did, it will be impossible to recreate the characteristic harmonies and one of the most unique voices in the history of hard rock. Get ready for the “county-fair circuit”, fellas“.

Yep, like many fans, I had a lot of selfish concerns going into a new Alice in Chains record. I’ve been burned by new singers before, and I was certain this was going to be another case of “Sepultura Syndrome”, where I listen to new material from a band I love and wish that it was sung by the old singer. But it’s a slippery slope: get a singer that sounds different, and the fans want the old sound, or use someone that sounds similar and turn into a local-bar cover act like Judas Priest with Ripper Owens or Iron Maiden with Blaze Bailey. So after all this trepidation, I’ve been very surprised and relieved while listening to AiC’s latest, Black Gives Way to Blue. While I don’t think it will make anyone forget Layne anytime soon, the band definitely sounds like they are back and amazingly true to form.

The first thing that stands out when you listen to BGWtB, is how much new frontman William DuVall sounds like Staley. Duvall’s voice is a bit more sharp, but it blends effortlessly with Cantrell and can pierce through a haunting riff just like Layne used to. While Cantrell still handles most of the heavy lifting, both of them create harmonies with ease, and the signature eerie vocal crawl remains. While A Looking in View might be the best song on the album, All Secrets Known is definitely the blueprint on how the new guy is going to mix with the old sound. The song features all the fuzzy guitar runs and wide open vocal phrasing that lifelong fans come to expect. Acid Bubble and Private Hell both could easily fit onto the tracklist from Dirt and each feature that slow crunch and harmonies stretched to the limit. Although Check My Brain is sure to be a rock-radio hit, the chorus ode to California reeks of lazy songwriting. AiC still likes to add a few extra choruses when they don’t seem to be necessary and Sean Kinney’s drumming is pretty pedestrian compared to the band’s heyday, but my main beef with the album mostly revolves around a distinct change in tone and the lack of bleakness. Overall this is not an issue, but the edge it created is sorely missed on songs like Your Decision, which would shine without the addition of a drumbeat, and Take Her Out which seems annoyingly up-tempo.

Despite these very minor grievances, the album comes through as a very polished effort and the next logical step in the history of the band. I’m pretty happy to report that with Black Gives Way to Blue, AiC has not tarnished their legacy, and I am not experiencing any symptoms of Sepultura Syndrome. Sorry Derrick Green.

Mark’s Rating:

King says: “Layne was addicted to heroin?? Hmmm, no wonder he was starting to look like Grandma!”

Have A Listen:

Alice in Chains – A Looking in View:

Download audio file (A_Looking_In_View.mp3)

The last two Megadeth albums have shown that Mustaine does his best work when there’s a Bush in the White House. While “The System Has Failed” and “United Abominations” weren’t on the same level with “Rust in Peace” and “Countdown to Extinction“, they certainly were a step in the right direction, and were light-years ahead of the radio-rock oriented “Risk” and “Youthanasia“. Mustaine has resurrected the mad riffing of the early days, and realized that he’s at his best when the speed is turned up and his nasal whine is high-pitched. Now we have the third offering from Dave and Co. since he took time off due to that nerve condition in his wrist, and although there are flashes that make it feel like 1990 again, “Endgame” features a bit too many mediocre moments to be considered a new classic.

Will you enjoy “Endgame“? Well, that depends on what type of Megadeth fan you are. Picture the album as a revised version of “So Far, So Good, So What” with way better production. It has lots of great moments, plus its fair share of clunky ones, but the detailed comparisons between the two albums is pretty shocking. For instance, like “So Far, So Good…“, “Endgame” starts with an instrumental (one that actually sounds a little bit like “Into the Lungs of Hell“). Not a big deal, since they’re both good tunes that both bleed into a classic Megadeth thrash song. On “Endgame“, that second song is the awesome “This Day We Fight!“, which I’m sure will become a live staple on par with “Wake Up Dead” and “Hangar 18“. “1,320” is pretty much a new version of “502“, as both songs lyrically revolve around driving fast cars and feature great riffs and sound bites of squealing tires. After that, there’s highlights in the form of “Endgame” and “Head Crusher” and low-lights with “How the Story Ends” and “44 Minutes“. I’m not even going to discuss the cringe-worthy ballad, “The Hardest Part of Letting Go…” because every Megadeth album can’t seem to avoid that one shitstorm of a song that forces you to make a face like you just inadvertently discovered the fart in the room.

Out of 11 songs on “Endgame“, I’d say half of them are very good and the rest aren’t really terrible (besides the aforementioned ballad), they’re just kinda bland. These are the songs that although they feature some buzzsaw riffs, screaming solos and Dave growling… remain aimless. Overall, “Endgame” will add some killer songs to Megadeth’s live setlist, but I’d avoid putting it into their Pantheon.

Mark’s Rating:

King says: “A valid attempt from Dave, but if you’re going “old-school”, I could have used more songs about witches and demons.”

Justin’s Review:

I’m going to generalize a little here, but up until now, you could get a pretty good read as to the quality of any given Megadeth album by simply taking a quick glance at the cover. Rust in Peace… fucking awesome. Peace Sells… pretty damn cool. Youthanasia… uh… yeah. So anyways, it comes as a bit of surprise that “Endgame“, which gets my vote for most boring album cover in the history of metal, actually isn’t half bad. Wait… I take that back.  It IS half bad.  But it’s also half bad-ass.

As Mark mentions, Dave and Co. (really… does anyone even know who plays in Megadeth these days?) are making a valiant attempt to recapture what made them a great band 19+ years ago… and man… when they are on, they are on. “Endgame” features plenty of pummeling riffs and classic Mustaine solos scattered throughout (Dialectic Chaos, Head Crusher, and Endgame to name a few), as well as the standout track “This Day We Fight!” which could possibly be the best ‘deth song since Rust in Peace… Polaris (although Mark did recently play Sleepwalker from 2007’s “United Abominations” for me, and that song is certainly in the running).

On the flipside, “Endgame” is also rife with classic Mustaine cheese-dick lyrics (“When it’s dog eat dog, you are what you eat; just like the mad dog… that bites the had that feeds.“), half-assed filler tracks (44 Minutes, Bite the Hand, How the Story Ends) and a laughably bad modern-metal ballad (The Hardest Part of Letting Go… Sealed With a Kiss). Like I said… when they are on, they are on. When they aren’t… well… (and is it me, or does the chorus to Bodies sounds an awful lot like the chorus to a certain other Megadeth hit circa 1992?)

As I sit here and try to hash out a few more things to say about “Endgame“, the thought crosses my mind… (and this is certainly something I now plan to discuss in a future podcast) who’s the shittier lyricist… post-1990 Hetfield or post-1990 Mustaine? (eg: “I’ve got nothing left to lose… but my mind. I’ve got nothing left to choose… so I think I’ll go insane.“) Eesh.

Anyways… considering my feelings towards Megadeth’s output near the past two decades, I see “Endgame” as a welcome improvement, and a definite step in the right direction. With a little less cheese and a little more Ed Repka, Megadeth just might earn themselves a solid 4 next time around.

Justin’s Rating:

King says: “I checked the Megadeth e-store for a Vic Rattlehead NASCAR Shirt and couldn’t find one… I know it’s gotta be there somewhere… oh wait.”

Have A Listen:

Megadeth – Head Crusher:

Download audio file (Head_Crusher.mp3)

It’s not Revocation’s fault, but when I received their new album, “Existence is Futile“, I was told that it was possibly the metal album of the year. That got me interested, but then I punched their name into Google, and found scores of websites proclaiming Revocation as “The Next Big Metal Band”. Now, usually this tag can be more of a curse than a blessing, but I was excited to hear these guys and made certain to reserve judgment until I could sit down and fully experience the album. Could this band possibly live up to the hype that had been built? The answer, unfortunately, is “no“, and while I think “Futile” is quality stuff, it doesn’t stand out as anything that I would term ground-breaking, or even more than slightly memorable.

Revocation doesn’t tip-toe around what it wants to accomplish. It’s technical-death metal of the highest order, and they do create some very unique and cool song structures. Guitarist/Vocalist David Davidson mixes boatloads of great riffs with some old-school soloing reminiscent of early Death and Carcass. Phil Dubois’s drumming is extremely impressive, but it lacks that memorable fill or beat that defines a song. The vocals are solid, but not very dynamic and their overall presentation could cause them to be confused for a number of other bands. The band’s guitar tone comes alive on the instrumental “Across Forests and Fjords“, and the sweeping riffs and melodies in “Tragedy of Modern Ages” have been stuck in my head since I heard them. But that’s two songs out of 11, and while the rest are a collection of very precise and technical musicianship, they just don’t grab you.

So I’m not sure if a bad review of the album is fair to the band, because Revocation is obviously very talented and I’m sure they slay live. Is it more of a comment on the current American metal scene that we think of these guys as pioneers? The band reminds me of a lot of technical-death outfits such as Cryptopsy, Origin, or even The Faceless. All of these guys have a great sound and just punish you with an onslaught of perfectly-played notes, but ultimately just don’t have that little “wow-factor” that sucks you in and makes you regularly fire up their music. I still have hope for Revocation, but I feel that “Existence is Futile” just cant live up to the hype.

Mark’s Rating:

King says: “It’s tough to live up to what metal demands, we can’t all be The King…”

Justin’s Review:

While I may be slightly older than Mark, I think it’s safe to say I’m a tad less jaded… especially when it comes to buying into the hype that surrounds Revocation and their new album “Existence is Futile.” Granted… proclaiming a virtually unknown (at least in my book) band are potentially the “next great metal band” is a pretty tall order, but quite frankly, I doubt Revocation give two shits… and really, neither do I.

What I do care about… is a band that I’ve never even heard of cranked out one of the most riff-tastic (yet tasteful) metal albums in years. Before I dive into specifics, let me take a second to clarify my perception on “riff-tastic”. Mark mentioned The Faceless, and I think it’s a fair point of comparison (through not necessarily the same genre). The Faceless (who I will give props for their phenomenal technical skills) write riffs. Their songs are chock-full of them. In fact… that’s ALL their songs are. Just a shitload of riffs placed one after another in no discernible fashion (then played at warp speed). Extreme? Most Definitely. Memorable? Not a chance.

Which brings us to Revocation… yet another “technical” metal band in their mid 20s who (based solely on their logo and artwork) I probably wouldn’t even waste my time with. Well… you’ve all heard the old saying… “it’s best not to judge a book by its cover.” Truer words could not have been spoken. While Revocation too, feature songs chock-full of riffs (seriously some of the freshest I’ve heard in a looooonnnggg time), they also write killer songs. Despite Mark’s take on it, “Existence is Futile” is filled to the brim with songs that flow exceptionally well (Deathonomics, Leviathan Awaits), showcase astoundingly memorable riffs (Pestilence Reigns, The Brain Scramblers), and even feature a few welcome surprises (Dismantle the Dictator). To top it all off, closing track The Tragedy of Modern Ages features an outro that comes dangerously close (in terms of sheer awesomeness) to Opeth’s Deliverance or Meshuggah’s Straws Pulled at Random.

It’s tough to pin the band down to a specific sub-genre (there are elements of old-school, thrash, death metal, prog, and so on), but for fans of good old-fashion metal… Revocation delivers in spades. In addition to the fantastic riffs and songwriting, we’re treated to some formidable drumming, audible bass (hey… in metal that’s a definite plus!) and solos, Solos, SOLOS, SOLOS!!! (which of course, rule). The vocals are nothing to write home about, but for the most part, tend to be very well suited to the songs themselves (and the occasional gang vocals are a nice touch). All in all, if you’re looking for something to freshen up the old cd collection / ipod / record player (?) … look no further.

If Mastodon have taught the world of metal anything, it’s “screw the hype… we just do what we want.” Let’s hope Revocation follow suit.

Justin’s Rating:

King says: “Does it seem like I’m just giving out 5s like they were candy on Halloween? Possibly… but the one thing I know for sure is Existence is Futile is a real treat!”

Have A Listen:

Revocation – Pestilence Reigns:

Download audio file (Pestilence_Reigns.mp3)

Man… it’s been awhile, but Burnt by the Sun are back (for a limited time only), and showing the metal/hardcore community how the fuck it’s done. If you haven’t followed the fluctuating career of these Jerseyites, Heart of Darkness is as great a place to start as it is absolute proof of their legacy to the genre we all hold dear.

In terms of sheer heaviness, Heart of Darkness easily trumps the band’s previous efforts, yet somehow doesn’t feel quite as aggressive… which I certainly don’t consider to be a bad thing. The songwriting on HoD is remarkably cohesive, and BBTS are able to deliver a rock-solid album as opposed to a collection of good songs (a feat that’s becoming all too rare these days, and one that will always win brownie-points with yours truly).

The album kicks off with Inner Station, a song that could easily be considered the exemplary BBTS track. It’s heavy, fast, aggressive, screamy, rifftastic, memorable, tough, rifftastic, spoken, screamy, heavy, galloping, heavy as fuck, and under 3 minutes long. Sound pretty awesome? It is. And there’s plenty more where that came from. The album also features a (thankfully) rerecorded version of Goliath, which was featured on the split 7″ with Car Bomb from a couple years back. Closer The Wolves are Running is another high point, with riffs on par with Spinner Dunn (God that song rules… I think I’m going to go back and listen to The Perfect is the Enemy of the Good as soon as I’m finished here). It’s also worth pointing out that fans of the band will truly appreciate the production values herein. There’s something about BBTS’s gruff ethos that simply would not work, were they being produced by Adam D or Zeuss. Instead, producer Eric Rachel delivers a fantastically coarse sound… the perfect compliment to the songs themselves.

An interesting side note (for those who are unaware)… drummer Dave Witte pulls double duty in BBTS and Municipal Waste (who also have a new… though somewhat disappointing… album out). Dave’s bands are a far-cry from one another, but the dude gets an “A for effort” when it comes to being rad (he’s like the metal Jose Freese).

Anyways… if you haven’t figured it out by now, Heart of Darkness is a must-own. And for you cheap bastards out there, a must-stream.

Justin’s Rating:

King says: “I’ve never gotten Burnt by the Sun… namely because I use SPF 666! Wait… what? Ohhhh… you meant the band… yeah, those guys rule.”

Chris’ Review:

The overall feel of Heart of Darkness strikes a nice balance between modern metal and vintage industrial shred. With songs patched together in an almost grindcore fashion, a few sections are guilty of being unnatural (“Rust (Future Primitive))” or at worst, uninteresting (“F-unit”). More to my taste, some songs stay focused and highly effective (“There Will be Blood,” “The Wolves Are Running”). Deadly precise drums, blast beats and all, guitars and bass alternately huge and surgical, and vocals deceptively complex and varied, keep the theme of ‘well balanced’ going throughout the album.

If Burnt By the Sun wanted their final album to solidify the band’s status as a unique metal voice executed with precision, Heart of Darkness delivers.

Chris’ Rating:

King says: “Come on guys, “Last album?”   I tried that several times and it didn’t help sales at all, so cut the crap.”

Have A Listen:

Burnt by the Sun – Inner Station:

Download audio file (Inner_Station.mp3)

Mark’s Review:

When Black Metal first hit the scene, I laughed and figured it was some sort ov joke. After reading Lords ov Chaos and hearing the stories ov guys burning churches and members ov Mayhem eating pieces ov brain after finding their singer lying in a dead heap after a self-inflicted shotgun wound made me laugh. Are these guys serious? Is there really NOTHING to do in Norway? Wow, they must really LOVE Satan! Then, there were the endless amount ov ridiculous Black Metal photos showing fake wooden swords, smeared corpse paint and fake blood. I figured it was all just a lame attempt to scare parents and the establishment. Then I went to see Manowar at Riley’s Rock House (RIP), and Immortal opened. After laughing at the thought ov the three ov them ordering Blizzards at the nearby Dairy Queen, they soon took the stage, and I was absolutely blown away. I remember in the bathroom afterward, there was a guy at the urinal next to me just muttering to himself, “Immortal… Immortal…“, definitely the sign ov a good performance.

Since then, I’ve dabbled in mostly “commercial” Black Metal: Dimmu, Emperor, Gorgoroth and Behemoth. Behemoth’s music appealed to me immediately; their songs were great, and I really liked the unending sonic onslaught they created. And since I enjoyed, Demigod and The Apostasy, I was looking forward to hearing their new album. Evangelion is heavy and fast as hell, and it’s probably their most complete album yet.

Daimonos is the ultimate album starter. Taking its cues from Hell Awaits, screams from hell swirl around to a boil before Nergal and company begin to destroy you. When the chorus chants begin, you’ll find yourself looking around the room for something to sacrifice. The drumming and guitars are so fast and tight, it’s like a buzz-saw that only wants to tear your flesh from your bones. Inferno’s drumming is just ridiculous, with or without the help of triggers. And unlike most black metal releases, the production is fantastic. Daniel Bergstrand and Colin Richardson managed to create heavy and organic tones from guitars and drums which are obviously very processed. Songs such as Lucifer and Alas, the Lord is Upon Me, show that they can still bring the evil when the speed is slower, but Behemoth really shines when they ramp up the BPM. No where is this more apparent then on the song Ov Fire and the Void, quite possibly one ov the best metal songs I’ve heard this year. It’s simply awesome.

Because I’m saving my “5 Kings” for the new Baroness, I cant quite give the album a perfect review. But I have to say, if you’re into what makes metal great, get Evangelion. It has all the speed, power and heaviness you’d expect mixed with great songs and a satanic vibe that is sure to scare parents and give you goosebumps.

Mark’s Rating:

King says: “If I’m ever in Poland and run out of chicken femurs, I’ll give these guys a call!”

Ed’s Review:

Poland has delivered a few amazing metal bands over the years without a doubt. After my soon-to-be wife turned me on to Decapitated (the infamous child prodigies of the Polish death metal underground) a few years back, I decided that I would give just about any band from this often ridiculed European region a chance. Enter BEHEMOTH who have apparently been placed in the “blackened death metal” category for quite some time now (huh?) much to my surprise. Perhaps I’ll get slapped by half of the message-board community (and probably be labeled a douche for saying this), but I didn’t even know this particular sub-genre existed. But I suppose I can understand it now – in Behemoth’s case, we are talking about a diabolically rich hybrid of black metal imagery and tone combined with the fierce and technical prowess of extremely brutal death metal, which is enough to make any weakling (or even reasonably upstanding citizen) squirm in his underwear indefinitely.

But seriously, no matter what sub-genre people are willing to toss around here, Behemoth have proven that they definitely have what it takes to match the metal with the face paint on their 9th studio album Evangelion. This is a very brutal slab of extreme metal that will probably have you reaching for the nearest pint of Żywiec the very minute it begins to thrash your head into a pulpy goiter.

Opening this ferocious riff-fest of an album are two blasting tracks of occult-laced mayhem sure to please anyone who can appreciate getting their face melted by this brand of metal. Particularly opener Daimonos slays with a magnificent velocity, then catches the ear with a breakdown solo eerily similar to the one in “Zero Tolerance” from Death’s Symbolic album (which I must say I almost busted a nut to). Shemhamforash is an all-out blast beat for the most part, ending with what sounds like a sitar (showing a possible Nile influence or maybe just an excuse to be weird and trippy – either way it works). Ov Fire and the Void, easily the album’s best track, is a grinding mid-tempo masterpiece with some classic textural guitar work overlapped with the speedy underbelly of Inferno’s kick-drumming, which brings to mind Decapitated at their best. And speaking of Inferno, this guy is a sick drummer. He’s so sick, he might need some extra face paint just to cover up how fucking talented he is, and in my opinion he may be the key to the quality of this record. My favorite guitar riff stands at the intro of Transmigrating Beyond Realms ov Amenti which is a loopy spiral of dischordant madness, down tuned and circling around Inferno’s impressive percussion. The album continues along this path consistently, with the top-notch production never taking away from the overall intensity (black metal “purists” please be forewarned: this is an absolute hi-fidelity production to the max, so if you are looking for 4-track white noise soaked in goats blood, be sure to look elsewhere). The only shortfall for me is the final track Lucifer, where the band tries their hand at doom metal, old-school style. The track seems a bit long and unnecessarily repetitive, although it could be far worse for a band of this caliber.

Ed’s Rating:

King says: “If I ever get a Polish scent hound, he shalleth be named BEHEMOTH!”

Behemoth – “Ov Fire And The Void”

(Warning… video NSFW)

Speaking of old, if Cave In still has any old fans left, I think they’ll enjoy this latest E.P. Perhaps “old” is not specific enough to date a Cave In fan, because the band is on at least its third career under the same name. So, let us say, fans that appreciated both the major label Cave In and the original hardcore Cave In should find something they like on Planets of Old. Speaking as one of those fans, I’m saying that honestly… and not as a promo for Perfect Pitch Black, which was neither perfect nor black. I’ve only had the Planets of Old songs less than a week, and I think I’ve listened to them more times than I’ve ever listened to that last album. The driving energy of these four songs is all I could hope for from Cave In.

A larger question looms… will Planets of Old win new fans for this deserving rock stalwart? No, not likely. However, I doubt Cave In cares, and the music is surely better for it. The uniqueness of Cave In’s style and sound sets them well above mediocre, but at the same time sets them firmly in the category of ‘acquired taste.’

The E.P.’s opener, “Cayman Tongue,” sets a fairly heavy mood but with that great, trademark, crystal-clear vocal of Stephen Brodsky. A balance of screamy vocals and noise-jam interlude is thrown into the song to remind you that this is the “new” new Cave In.

Second track “Retina Sees Rewind” is a little weirder to me; Stephen Brodsky goes full-on Geddy Lee over rapid-fire riffage for exactly two minutes flat (and I think the song is about the movie “Spaceballs!”). An added bonus from this song, and others on this E.P., is the sweet guitar tones that will have pedal-philes leaning into the speakers. Was that an Octavial-Mega-Muff through a Jerk-Store-Super-Chorus?

“The Red Trail” is the lackluster track of the bunch. It’s not that bad, it’s just that other bands, such as Cave In’s incestuous brethren Converge, have recorded better versions of this song over the years. Change the scream vocals back to the trademark Cave In sound referenced above, and I’d probably be loving this.

The driving tempo and riffs continue through “Air Escapes” which may be the least ‘fresh’ of all these songs, but didn’t I say I was an old Cave In fan? Cave In just sold me another record.

Chris’ Rating:

King says: “Singing three octaves higher could make this band a hit. But it’s a good listen nonetheless.”

Justin’s Review:

Unless you’ve been skipping out on paying your internet bill for the last few months, you’ve no doubt read that Boston’s most famous hardcore/indie/metal/space/prog/alternative/punk/pop/rock band are back from their two-and-a-half-year hiatus.

While their last effort (2005’s Perfect Pitch Black) was a far cry from the spacey-pop stylings of Antenna (which still ruled, despite it’s non-metalness), it found the band struggling a bit to come to terms their “newest” musical direction (a feat they somehow manage to do with each new recording). They wanted to be heavy again, but they weren’t quite ready to commit to a full-on return their old-school HxC days.

Fast forward 4 years, a couple of half-assed side projects (and one decent one) later, and BAM… Cave In are fucking back! Planets of Old is both everything I had hoped for, and nothing I expected at the same time. It’s heavy, aggressive, fast, and pummeling; but altogether different than any heavy, aggressive, fast, and pummeling Cave In songs you’ve heard before. Each one of the four tracks are unique in their own right… and considering the musical ground Cave In have already covered in their 11+ year career, that’s a pretty astonishing feat. Basically, Planets of Old comes in, kicks you in the balls for 15 minutes, and leaves you wanting more.

In another interesting turn of events, longtime drummer J.R. Conners, who left the band shortly after the release of PPB, (replaced by Converge’s Ben Koller… who offered up a noticeably more aggressive and looser approach), is back at the fold, and has surprisingly taken a bit of inspiration from Koller’s frantic style. Moreover, the complexity of the riffs and song structures are toned down from typical Cave In fare, but that just proves (once again) that the band doesn’t need to be playing Juggernaut to justify their position amongst metal’s elite.

In short… if you don’t like Planets of Old… you’re probably wasting your time reading this site.

In “classic” Hydra Head fashion, this one’s only available on vinyl format (for those of us who still listen to records once in a blue moon), but if you’re dying to hear it (and you certainly should be)… the entire E.P. is streaming here.

Justin’s Rating:

King says: “Yeah, this shit pretty much rules… that reminds me… I need to put in a call into my buds at Guitar Hero, and get “Big Riff” submitted for DLC.”

Cave In Live Teaser from Fuel TV:

I did lots of embarrassing things in the late 90’s. This list includes wearing black jean shorts and listening to Coal Chamber. In 1997, I went to a Shorewood VFW hall and saw them and Sevendust play for $1.05. The low price it was sponsored by the now-defunct 105.1 The Kat FM, a metal radio station out of Wilmington that you had trouble picking up on a stereo even if you were standing next to the tower. I’ll admit, I thought this was one of the best shows ever, because at the time I loved Coal Chamber’s debut album and they had a real hot chick bassist. Looking back, I have no idea what I was thinking. When you listen to the band now, it’s so dated and lame. The songs are weak and boring, the lyrics are laughable, and the band’s look with the makeup and fishnets was comically goth. Also, Rayna Foss was not hot at all! What was i thinking? I blame my clouded vision at the time to an awkward period of late-teens rebellion coupled with the fact that Roadrunner Records brainwashed me that all their down-tuned, techno-metal bands were the apex of heavy.

Since then, Coal Chamber has disbanded, and lead singer Dez Fafara has gone on to form DevilDriver. I saw these guys at the first Sounds of the Underground tour, and although they were faster and heavier than Fafara’s previous band, all I heard was a wall of double bass, uninspired groove riffs and bad screaming. Nothing really inspiring, and nothing really original. The band seems like they’re more obsessed with portraying an over-the-top metal “image” that is meant to scare parents and seduce teenage-outsiders, and although they’d hardly be the first in the genre to attempt this, the way DevilDriver market themselves, it seems like they’re trying to follow a trend, and they’re a little behind. For instance, their Wikipedia entry says that they’ve attempted to break the record for the “World’s Largest Circle Pit” at the 2007 Download Festival, which is pitiful for a multitude of reasons. Ultimately, the fact that you’d have to organize or even ask your audience to start such an event shows that the band is a little too calculated and savvy to be a respected metal act.

Their new album, Pray for Villains is their 4th, and to me it seems like things haven’t changed much since I first heard them. The songs are still an endless stream of double bass, mindless noise and a creative and lyrical focus placed firmly on the attack against authority and the neanderthal violence that awaits them. Although the first two tracks on the album (the title track and Pure Sincerity) start strong, the album soon falls into a mundane pattern that appeals to a lowest-common denominator. The drumming and guitar work is very solid on Villains, but it’s the lyrics and vocals that kill the credibility of this band. Although I have nothing against Fafara’s style, more times than not, his words and phrasing leave me laughing. I’ve Been Sober contains a chorus that sounds like the Cookie Monster leading a sing-a-long, and Another Night in London is an unoriginal borefest that I’m sure will fire up the group of jocks in the pit with its tales of fighting and riots. Teach Me to Whisper and Forgiveness is a Six-Gun not only sound like cheese-fests just from their titles, they deliver with shockingly bad music and lyrics.

DevilDriver has a lot of fans, and I can see why, because it’s metal for people that don’t really like metal. The album is loud, fast and heavy, but lacks any real musical merit, and it’s an easy sell for anyone who wants to portray that image of rebellion toward their elders. In a few years, most of these people have moved on in their lives and in their musical tastes, and because DevilDriver’s music is largely forgettable, they’re easily cast aside. Now, I’m certain Fafara and Co. don’t set out to create something that appeals to the “overnight” metal fan, but I think it’s much easier to write and release an album that sounds this way, rather than break new ground. I’m sure Pray for Villains will appeal to a huge group of these people, and people like I was in 1997; I guess it just doesn’t have any appeal for me now.

Mark’s Rating:

King says: “Wow, these songs contain so many cheesy lyrics and lame references to “evil” things, even I’m embarrassed! ”

Justin’s Review:

At this point, I’m not sure what’s worse… the fact that 12 hours from now, I’ll be back at this very desk with a crapload of work to do, or the fact that it’s Sunday night and I’m here listening to the new DevilDriver for the second time through.

Either way, I’m thoroughly bored and depressed.

Justin’s Rating:

King says: “Good Lord… someone needs to show Dez Fafara a thing or three about dynamic vocals.”

Have A Listen:

DevilDriver – Pray For Villains:

Download audio file (Pray_For_Villains.mp3)

Sigh.

I’d like to know who the asshole is that’s going around lending some of my favorite bands a copy of “Surviving the Rock ‘N’ Roll Industry The Metallica Way: How to Transform Your Awesome Underground Band into a Boring, Half-Assed, Mainstream Version of Your Former Selves… and Get Away With It.”

Someone needs to find this fucker and give him an elbow to the face. Seriously, what the hell is going on out there? Sepultura, Earth Crisis, Killswitch Engage, Poison the Well, Obituary (yeah… I said it) have all seriously dropped the ball this year. Well go ahead and add Death By Stereo to the growing list of disappointments.

About a week ago, I stumbled upon the video for “Welcome to the Party“… the first single off the Death Is My Only Friend. Damn, was I impressed. Considering that their previous effort (Death For Life) was a garishly overproduced take on modern metalcore, I considered this new single to be a welcome return to form. The video is pretty awesome, the song kicks total ass, and shit… it even has a (ST-inspired) bass solo!

Translation: my expectations were high for the forthcoming album.

But are high expectations part of the problem? Sadly, I think not. To put things in perspective… 2 of the first 7 songs are ballads (one of which is a shitty reinterpretation of a shitty song off the last record). And both of them contain piano and orchestral arrangements. WHAT THE FUCK? Have I entered the Bizarro World here? DBS and orchestral arrangements? The last time I saw these guys live, Efrem Schulz was sporting an 8″ pink mohawk and screaming in people’s faces as he hurled his fat ass off the stage every 30 seconds. Now I have to sit and listen to him croon “I can’t face this world on my own… I keep on searching for your face. I promise that we’ll live forever… forever and a day” for a second straight album? Dude… where’s the spit? Where’s the fire? Even the band’s trademark “Woo-ooohh-ohhhs” seem lifeless this time around. Have DBS finally climbed aboard Desperation Train?

In all fairness, there are a few bright spots on the album… “We Sing Today For A Better Tomorrow” could easily be found on Into the Valley of Death, “The Ballad of Sid Dynamite” is a nice balance of old school DBS and modern hooks, and as previously mentioned, “Welcome to the Party” pretty much rules. But it’s simply not enough to overcome the rest of the lackluster (or downright shitty) songs here.

In conclusion… I’m considering Death is My Only Friend strike two. DBS had better stop pissing in my ear and telling me my brain is on fire.

*** Total side note: Is it me, or does the album cover (despite the fact the it does indeed have boobs on it) look awfully familiar? (Link NSFW) ***

Justin’s Rating:

King says: “The next album had better not be called “A Visit From the Dead” or you’ll be hearing from my lawyers!”

Mark’s Review:

“With each release, the goal of our label is to create an oasis of diversity and uniqueness within the industry where fans of all music can find sanctuary and solace from the drab, carbon-copy musical plagues that sweep through commercial culture.“

     - Serj Tankian, discussing his new label, Serjical Strike Records

I find this quote interesting because when prominent members of successful bands start their own labels, they’re never really their own. I’m sure when Universal heard that System of a Down was “taking a hiatus” after their massively successful Hypnotize / Mesmerize stretch, they realized that all those people that bought those records would be searching for a suitable alternative. What better alternative to System of a Down than the lead singer of System of a Down, who’s solo album sounds like System of a Down? And, oh yeah, we’ll give you your own label, so you can “promote it” and sign other bands you like… hopefully ones that also sound like System of a Down.

Which brings me to the new Death By Stereo, which is their first since being signed by Serjical Strike Records. I’ve been a casual fan of DBS since I saw them open for Mastodon and got into their anthem-style hardcore. One thing I liked about them, is that they’re a band that knows who they are, and what they want to present to the listener. Mash some hardcore riffs and punk drum beats with high-energy lyrics about teenage anger and rebellion against society, and everybody wins. So why does the band seem like its acting like a bad System of a Down cover band on Death is My Only Friend?

As Justin said, there’s quite a few ballads on the album, and that’s not the problem, it’s the sense that these songs don’t fit. Last Song and Forever and a Day are complete cheese-fests; so much so, that I had to hold back my snickering while listening. And while Opening Destruction, Welcome to the Party and The Ballad of Sid Dynamite remind me of the older stuff, overall, it seems like once again this is a sanitized version of DBS for the masses. I noticed the vocal lines and melodies for a majority of the songs sound eerily similar, which causes all the songs (and there are a lot of them) run together. Finally, the album ends with 2 of the laziest songs I’ve ever heard. It’s almost like DBS said, “Well, for maximum revenue with iTunes, Serj says we need to have 15 tracks“. Incredibly bad.

Overall, this is quite a disappointment. I’m sure the guys in DBS were flipping out at the chance to put out an album with the backing of Tankian’s label, but after toiling for years and building their underground fan base, it just sounds like they’re trying too hard to impress the cool kids. On Death is My Only Friend, DBS turns out to be what Tankian says he doesn’t want… a carbon-copy band looking to appeal to a commercial culture.

Mark’s Rating:

King says: “Hey Serj, King here… I need some cash and can sing falsetto… call me!”

Have A Listen:

Death By Stereo – Welcome to the Party:

Download audio file (Welcome_To_The_Party.mp3)

Mark’s Review:

Could Brendan O’Brien be the kryptonite for once-great, American metal bands? After Mastodon announced that the famous hard-rock producer would be working on their album Crack the Skye, I was worried. It was an ominous sign that Mastodon wanted to take their sound to a more “approachable” level, and they needed someone to hone this vision into an acceptable package for new fans and mainstream media. I can’t say I blame them. In a few short years, they had arguably become the best American metal band, secured a major label deal and garnered loads positive press. It was time for them to choose whether to take their careers to the next level, or keep pushing the metal scene they were now leading. Crack the Skye was released, and although it’s filled with quality songs, I felt it really lacked the intensity and memorable moments of their previous works. I keep trying to get into it, but in the end I feel that the album blends together with forgettable riffs, passages and vocals.   Editor’s note: Bullshit.

Killswitch Engage is at a similar crossroads. Once an underground band, the addition of Howard Jones turned them into American metalcore darlings, and for good reason. The End of the Heartache is a classic album filled with all the extreme riffage, guttural screams and soaring vocals that make metal great. I felt their next album, As Daylight Dies, was a quality effort, but with their increased popularity and exposure, the band was quickly becoming a soundtrack for MMA events and Hot Topic. When I heard a “nicer”, mainstream radio version of the song My Curse with all the screaming cut out, the line between “credibility” and “credit cards” had been crossed. Well, now enter O’Brien, and their latest release: the self-titled Killswitch Engage.

Amazingly similar to Skye, the album starts off with a group of punishing songs that show what makes Killswitch great. Never Again, Starting Over and Reckoning feature Jones’s incredible voice and the serpentine riffs of (co-producer and lead guitar) Adam Dutkiewicz. Unfortunately after these opening gems, things turn repetitive. The album quickly becomes a mundane “paint-by-numbers” release with the tracks using the same metalcore songwriting formula (opening riff-scream verse fast-sing chorus slow-breakdown-repeat). The vocals steer more toward singing than screaming and we lose that intense dynamic Jones is able to create. Every riff continues along the same path, with the heavy chugging always followed by a sweeping arpeggio tail. The end result is something that’s good, but not great; tolerable, but not memorable; solid, but safe. Much like I felt with Mastodon, it seems like the steam has been let out of Killswitch Engage, and in order to “ensure” that this album is easily digestible for the new metalcore fan, something has been produced that is very sound but not very ground-breaking. I’m sure with this release, Killswitch has found a place in the hearts of “Affliction”-wearing jocks and mall-metal followers everywhere, but in the end, it’s a very “common” record and its formulaic construction pales in comparison to their older, more-spirited releases.

Mark’s Rating:

King says: “The “Brendan O’Brien Album Formula” needs more falsetto and more evil… with that, you can’t go wrong.”

Justin’s Review:

I’ve been following Killswitch Engage’s career for nearly a decade now (anyone remember their album Killswitch Engage? Anyone? Anyone?) and much like a number of their East-Coast brethren, it’s been exciting to watch the band seemingly pave the way for modern (American) metal. As I said, it’s been nearly 10 years, and despite their complete over-saturation, and what many describe as “turning metal gay”, KsE still dominate the airwaves and continue to turn a plethora of teenage girls on to metal. And what headbanger in their right mind would argue with that?

Well, it’s 2009 and KsE is back in the spotlight with their brand new album… Killswitch Engage.

Wait… What? Killswitch Engage? Yep… you heard me right. Killswitch Engage.

If there’s ever been a sign that a band has run out of fresh ideas, it’s naming an album after themselves. For the second time. (Or a third… :cough::cough:). I’m guessing you can probably figure where I’m headed with this.

Well, as Mark points out, Killswitch Engage (henceforth to be referred to as KsE09) starts of with everything that makes KsE great… solid riffs, great hooks, awesome solos and a healthy dose of Blood Has Been Shed (literally… Never Again lifts the verse riff directly from Greetings from the Gallows). Anyways, a few good tracks follow, but after about 10 minutes, and throughout the rest of the album, it’s nappy-nap time. Not to shit on the album entirely, but for the most part it’s everything you heard last time around (though I will admit… slightly more memorable than As the Daylight Dies… which isn’t saying a whole hell of a lot).

As Mark so eloquently discusses above, Brendan O’Brien was brought in to produce this one, which I found to be a strange and interesting decision. As most of you already know, guitarist/backup singer/attention whore Adam D has produced all of the band’s previous efforts (as well as 98% of metalcore records in general), so I’m not really sure what the motivation was to bring O’Brien onboard here. Is it just the trendy thing to do, or was Killswitch actually looking to the album’s production to push them in a much-needed new direction? Honestly, I have no idea… but what I AM certain of is that Roadrunner pissed away tens of thousands of dollars for the completely unnecessarily addition of O’Brien (good thing they’ve got Nickleback around to keep the cash flow in check). I’ve listened through this thing 4 times now, and I’ll be damned if the album sounds different or new in any way whatsoever. KsE09 features the same slick production that all of a sudden has become synonymous with “boring as hell”.

I’d hate to dissuade anyone who is an avid follower of the band, because KsE09 certainly does not suck, but unless they change it up and knock my socks off next time around, I think I’ll be limiting my diet strictly to BHBS.

Justin’s Rating:

King says: “With Killswitch Engage, it’s pretty obvious that fresh ideas belong to ‘THEM’.”

Have A Listen:

Killswitch Engage – Starting Over:

Download audio file (Starting_Over.mp3)

Justin’s Review:

Combine ingredients into a large mixing bowl.
Stir and enjoy loud.

The above recipe is one that the members of Goes Cube followed very closely when cooking up their debut full-length “Another Day Has Passed” (out now on The End Records). It is also one that will guarantee a spot on my “Top 10 of 2009” list.

Now excuse me while I go gorge myself.

Justin’s Rating:

King says: “Ah… Metal Stew… a recipe fit for a King!”

Chris’ Review:

Any extended listening to FM rock radio these days reminds me that I’m reaching that target market age for those stations that play a lot of Pink Zep and AC Halen because they’re mixing in more 90s ‘classics’ than ever. (Did Alice in Chains get this much airplay when they were still a band? Oh wait, they’re a band again! Hmmm, pay my mortgage this month or buy concert tickets… ) Well, that shit just annoys me and most music lovers I know. The best music of my good ol’ days couldn’t be found on the radio back then and I don’t want it to be now. If I’m going to take an indulgent dip in the mosh pits of yore, I gotta hear something fresh, but a throwback to my aggro roots will really get my head twitching. That’s kind of how I hear Goes Cube.

That throwback reference might come from the fact that Goes Cube does not reference any major trend in currently popular music that I can identify. They’re from Brooklyn, New York, and I’ve assumed all recent bands from Brooklyn sound like 80’s bands (such as Justin’s favorites, Vampire Weekend). But Goes Cube does not sound like an 80’s band. They don’t scream like a _____core band, but they don’t have cheesy vocals like the moose rock bands on aforementioned FM stations. And they’re not technical, just straightforward heavy. Maybe this is a new trend.

Another Day Has Passed opens with a ripping blast, “Bluest Sky,” and while such riffage is reprised at times throughout the album, the metallic opening assault is a bit of a mislead. The single, “Grinding the Knife Blade,” showcases more of the Cube’s conventional songwriting abilities while simplicity works on other tracks (“Back to Basics,” “I Hold Grudges”). Unfortunately, some songs seem a bit too tossed off (“Goes Cube Song 30,” “Restore”) and a couple tracks are just plain stinkers (“Saab Sonnet,” “Urbana-Champaign”).

While it may take some flavoring to your taste (i.e. skipping a few tracks) the basic broth of a hearty, heavy, aggressive stew is here. Goes Cube’s bio claims the band is a noteworthy live act and I can totally see that. Put a band like Goes Cube on a bill with a bunch of metros in tight pants or teenagers doing finger gymnastics and I guarantee this band will slay. And that’s not just the good ol’ days talking.

Chris’ Rating:

King says: “Not a flawless effort, but I could pump my scepter to this.”

Have A Listen:

Goes Cube – The Only Daughter:

Download audio file (The_Only_Daughter.mp3)

Andy’s Review:

Since 1980 with the arrival of Venom, black metal has found its throne at the forefront of a shifting metal scene. There has always been some sort of controversy with what black metal really is, and who supplies the “truest blackened sound”. Whether you’re a fan of the early years of Bathory & Hellhammer or the 2nd wave with Mayhem & Emperor, you have to admit, it’s gotten even more interesting at present day (I’m sure I’ll have my balls cut off, liquefied and placed in a chalice to devour along side a bloody lamb dinner for saying that). These days, black metal has broken the mold of satanic ideologies, corpse paint, and 6″ spikes to just some regular dudes with beards and shaggy hair who look like they should be playing in Eyehategod. Whatever it is about black metal that changes, it definitely isn’t the gargantuan atmosphere that permeates from its sickening pores.

After researching the black metal movement for some time now, I have yet to hear of an Irish black metal band. Excited? Hell yes! If I hadn’t known these lads were metal before seeing the artwork, I probably would’ve looked this over. With their new full length White Tomb, Altar of Plagues display a pummeling, emotional, aggression… taking primitive black metal and experimentation to new heights. The first track “Earth: As a Womb” reeks of Isis, with its subtle fade-in and delicately delayed guitars. This builds for 2+ minutes, at which point the black metal persona of AoP is unleashed like a kick to the junk that insults with its ugliness and excites with barbaric force. Unfortunately, from here on out, it’s much of the same stale formula. It’s exciting at first, don’t get me wrong, but I would’ve preferred longer bm passages to the noiseless, boring stuff. The songs on White Tomb teeter on mellow Isis-styled experimentation and strong black metal riffs, which at times, don’t seem to fit the same puzzle. Coming from a country that has been completely silent in the black metal scene, I was hoping for a little more of something I hadn’t heard before.

Overall, the production is pretty damn good. It has a nasty, overly-noisy distorted feel to it that sounds like a train about to derail. The guitars are the perfect blend of primitive Darkthrone-fuzz and that Wolves in the Throne Room “creepy cave” sound. The searing vocals (although your typical black metal screams) bleed through the speakers with intense sincerity and conviction. The rhythm section plows & crushes through the thick whirring of buzzing guitars and screams, capitalizing on total brutality and passion.

As White Tomb proceeds for almost 50 minutes, it expresses a lot of emotion, dragging and pulling to get its point across… these guys aren’t fucking around. If this is the direction that (one of the many) different sub genres of black metal will continue in, I can’t say I would be unhappy (even if it does in fact, become the “next sound” for the black metal hipster to indulge in). After all, music shouldn’t have a face to its sound.

Andy’s Rating:

King says: “If you’re curious to know what Isis skull fucking Wolves in the Throne Room sounds like, I’d recommended picking this one up.”

Justin’s Review:

Ireland isn’t exactly known for its stellar exports in the world of metal. In fact, when I think of Irish music in general, the bloated drunk-punk babbling of bands like The Tossers come to mind (or even worse, anything post-1987 by U2). So in that regard, discovering a band of New-Wave Black Metal Irishmen was a feckin’ delight.

Being that Altar of Plagues take a page (or two) from “Post-Rock for Dummies”, they will no doubt draw comparisons to their bm brethren Wolves in the Throne Room (giving Pitchfork readers yet another black metal band to get a boner over). A fair comparison, though though with White Tomb, AoP takes tree-hugging black metal to a much darker, more foreboding place. To quote guitarist/vocalist/synth player James O’Ceallaigh; “The sentiment of White Tomb goes beyond [the Apocalypse], it describes a mass disconnection with the Earth” (to note… this lyrical sampling: “A once sacred womb, now more akin to a furnace“). An interesting concept for sure, and one the AoP handles with a great deal of integrity as the album progresses.

Technically speaking, White Tomb is divided into two songs, (“Earth” and “Through the Collapse“) each comprised of two separate movements. While that’s perfect for your “black-metal-on-the-go” playlist, it doesn’t really do the material justice. Have you ever tried watching Goodfellas with commercial breaks? Yeah, same shit. Like any good cinematic endeavor, White Tomb works best when experienced as a whole. So, despite the bleak outlook, AoP certainly prove a good point… the end of the world will suck, but it’s going to sound pretty damn cool.

Whether you’re a bm n00b, a veteran corpse-painted snob, or simply wonder about the sonic qualities of our planet’s undoing, I’d recommend picking up this disc. Or maybe buy the mp3s… they’re greener. Just make sure to listen without distraction.

Justin’s Rating:

King says: “Never seen An Inconvenient Truth? Don’t bother… listen to White Tomb instead.”

Have A Listen:

Altar of Plagues – Earth: As a Womb (Sample):

Download audio file (AOP_EarthSample.mp3)

I suppose it was predictable that EC’s 2008 reunion tour would result in a reunion album followed by another reunion tour to help sell said album. Less predictable was whether Earth Crisis went back to the studio to do more experimenting with their style or record a nice slice of nostalgia for the ’90s hardcore “kids” that broke out the old windbreakers and basketball jerseys for last year’s tour.

If I had to compare To The Death to their older material (which of course I have to) I’d say Breed The Killers. Some EC fans regard Breed The Killers as the beginning of the end for this band, but I’m one that welcomed the progression from a sludgier, bombastic hardcore to a faster and thrashier style. (I did not welcome the aforementioned “experimenting” that came after Breed The Killers.) That leaves us wondering, if Earth Crisis isn’t giving fodder to the aging pit dancers, will they succeed in drawing new fans to The Discipline? I’m gonna say no on that one. If I had to compare To The Death to something less than ten years old for a younger metalhead… hmmm… think Lamb of God with a lot less technical shit going on and more gang vocals. I don’t think younger fans are going to hear something they’ve been missing, musically anyway.

But credit to Earth Crisis for finding that fine line between self-tribute and ill-conceived reinvention. Most of the songs are concise and energetic, Karl’s vocals are badass as ever, and the trademark guitar and bass tones are there. Opening track “Against the Current” rips a vintage gang vocal breakdown chorus; the opening riffs of “When Slaves Revolt” had me cranking the volume instantly, and how about closing the album with an allusion to the call-and-response outro of the song “Gomorrah’s Season Ends,” the lyric that launched a hundred thousand straight edgers? Maybe a little indulgent, but it slayed then and it slays now.

Secondly, as the band’s promo material openly states, Earth Crisis is as much about their message as their music (more so than their music, actually, which is Karl’s convoluted explanation of why their last album sucked so bad). True, the message also sells a lot of t-shirts, but Earth Crisis did nothing to distance themselves from the ‘direct action’ ethos of animal and earth liberation groups, preaching “Ultramilitance” before eco-terrorists were declared a top priority for the FBI. (Looking back, apparently both the FBI and Earth Crisis were a bit misguided in early 2001). I can’t think of anything in today’s kiddie metal culture that holds a candle to the social influence of bands like EC in their prime. Whether that was a positive or negative influence is a whole other can of worms (please don’t hurt the worms). For those who didn’t see it in person, To The Death offers a glimpse of the roots of that power.

Chris’ Rating:

King says: “I was almost convinced to stop buying leather vests.”

Justin’s Review:

With their 2008 reunion tour, Earth Crisis rose like the Phoenix (and one could only hope… burning every last copy of Slither in their wake). If the show I saw proved anything, it was that: 1) EC was ready to prove to the metal/hardcore* scene it was 1996 all over again and they hadn’t missed a beat and 2) watching a room full of aging 30-somethings trying to do the windmill is quite amusing. And thank God for the former, because outside of Hatebreed, hardcore just hasn’t been getting through to the kids since Full Collapse hit it big and Tony Brummel started chasing the almighty emo dollar.

So… like a fine, non-alcoholic wine or an aged, soy cheese, EC are back with an older perspective, a new label, and ready to tout their distinct brand of metallic hardcore*, love for all things animal, and “kill your local drug dealer” ethos. And I, for one, am stoked. Karl Buechner’s a much better spokesman for the sXe movement when he’s behind the microphone rather than in front of the television camera. And let’s be honest… Freya wasn’t anything to write home about, so having EC back at the top of the heap is a welcome return. You can probably imagine my excitement when I read that the new material was supposed to be a “mixture between Destroy the Machines and Breed the Killers” (in my mind, the only thing better would be a press release saying “the new shit sounds exactly like Gomorrah’s Season Ends“). Needless to say, my expectations going into To the Death were pretty high. And ultimately, I suppose, that might’ve been the album’s undoing.

Left on its own, TtD is a completely solid effort… great production, classic hXc songwriting, and plenty of mosh (from 0:03 in). Unfortunately, those perks are also what I consider the album’s defining shortcomings.

When compared to previous EC efforts, TtD has far and above the best production. The guitars shred, the bass is completely audible, and the drums sound killer. They’ve even managed to nail what I can only assume is the “Golden Gang-Vocal Ratio”… the perfect quantity of lead to backup vocals. Yet, the end result of this precision knob-dialing is one that I find a little stale. You can close your eyes and for at least 1/3 of the album, and pretend you’re listening to Hatebreed. Not that there’s anything wrong with that, but one of the traits that defined the Earth Crisis of the 90s was that of dynamics… and so I find it even more disappointing that EC have harkened back to a more “straight-ahead” approach when it comes to songwriting as well. Though EC still find themselves well beyond 98% of their peers, it’s more “chugga-chugga” than suspended chords and pinch harmonics these days (though for the record, I think “To Ashes” is about as quintessential an EC song as you can get).

Maybe it’s just me. I’ve been told on a few occasions that I’m stuck in the 90s, so it’s quite possible that I’m full of shit and this album rules. Either way, I’d recommend “picking up some change” and heading out to purchase at least a couple Earth Crisis albums circa ‘92-’98 (or 2009 if that’s how you roll).

* Note that “metalcore” was not used once in this review.

Justin’s Rating:

King says: “I still respect the “X”… I’d just like to hear a little more “Y” and “Z” next time around.”

Have A Listen:

Earth Crisis – To Ashes:

Download audio file (To_Ashes.mp3)

People say I’m a sucker for wankery, and while I’ve attended a G3 concert and own a Transatlantic live DVD, even I have my limits. That’s why I love Carving Desert Canyons, the second album from young Texas punks, Scale the Summit. This band is really the type musicians love to hate. They’re younger than you, and you’ll never be as good at your instrument as they are, but they’ve managed to write an album that blends instrumental mastery with mature songwriting that any prog-geek will eat up.

Each song features epic riff upon epic riff, all slickly layered to create some powerful and emotional tunes. The sound is BIG, and the pure tones from guitarists Chris Letchford and Travis Levrier allow the songs to breathe and take on their own unique characteristics. One thing I found interesting, is that while newer prog and metalcore bands tend to stress speed and blast out notes at furious pace, Scale the Summit slows the pace, and lets the songs evolve naturally. The riffs climb and produce intense dynamics, while the solos are tasteful and are intermixed intelligently within each song’s theme. Sargasso Sea is a highlight, with an fiery intro and lead passage that could’ve been pulled from Death’s “Human“. The Great Plains is another awesome song, with a wide-open main passage leading into a tapping groove that is smooth . The album is full of signature moments and from the harmonic ending to Dunes, to the crunching riffery of City in the Sky. Every song seems to build with a subtle and effortless expertise that is impressive and inspiring.

You may not like instrumental music, and you may not like prog metal, but I think that Scale the Summit has really produced a masterpiece here. Definitely worth a listen and so far, one of my favorite releases of a young 2009.

Mark’s Rating:

King says: “Fie! So many riffs, even I’m impressed!”

Justin’s Review:

Remember the days when guitar magazines were chock full of full-page ads from Shrapnel Records… dedicated to the latest solo wank-fests from the likes of Marty Friedman, Richie Kotzen or Tony MacAlpine? Yeah, me neither. And I highly doubt Scale the Summit do, because they were probably reading Berenstain Bears books around that time.

Well… it seems that the Ghosts of Masturbatory Guitar Past (Satriani, Vai, & Petrucci) have visited these dudes somewhere along the way, because they certainly know their way around an Ionian scale. And you know what’s even more impressive? They actually know how to write songs. Holy shit… stop the press! You mean to tell me that someone who is extremely talented at guitar actually knows how to write a song? Yes, my friends, you heard it here first.

With Carving Desert Canyons, Scale the Summit have resurrected a genre I assumed was long gone… Instru-metal. And I have to say, not since Return to Metalopolis has an Instru-metal album been so enjoyable (Australasia excluded). As Mark so poignantly points out, Carving Desert Canyons is not only rifftasitic, but intelligent as well. The production is top-notch (if they would only ditch that “Canyon” snare sound) and it’s a perfect soundtrack for Springtime cruising with the windows down (I’m sure the chicks you keep driving past will totally dig it).

StS’s self-proclaimed “Adventure Metal” is certainly a fitting tag, and if you’re looking for something that’s both rocking and uplifting at the same time, then this one is a must-own. (Let’s just hope StS don’t have to get subjected to too many Dream Theater fans at the next year’s Prog Nation).

Justin’s Rating:

King says: “Hey Dudes… Um… are you guys by chance looking for a singer?”

Have A Listen:

Scale the Summit – Sargasso Sea:

Download audio file (Sargasso_Sea.mp3)

Word on the street is that metalheads are going to hate the shit out of this album (“… too much of that guitar-dude’s gay-ass singing“). So, I’m going to put my cred on the line here… Crack the Skye is a damn fine record.

Long before the album’s release, the members of Mastodon made it quite clear to the press that they were attempting to write a “classic rock record.” While those words may not be exactly true to form, Remission-era Mastodon is scarce to be found here. Gone are the brooding riffs of March of the Fire Ants or Megalodon, instead replaced by long-winded passages of prog-wankery. But you know what? It’s still Mastodon, and it’s still awesome (If you don’t find yourself singing along to Oblivion by the second chorus, I’ll eat my hat).

Speaking in terms of classic rock, I don’t think it’s out of line to compare Crack the Skye to Pink Floyd’s “Animals“. If you’re going to seek out some Pink Floyd to listen to, chances are you’ll probably give Dark Side of the Moon or The Wall a spin. But sometimes, Animals is just what the doctor ordered… a great album to just sit back, relax, and jam out (get high if that’s your thing) to. Which brings me to another point I’d like to make… Crack the Skye is a completely solid album. Despite it’s lack of short, memorable rockers, it’s a much more cohesive record than Blood Mountain, and a nice return to structure (which is something I very much appreciate).

If I do have one glaring complaint about the CtS, it’s that (while Brendan Obrien’s production is top-notch) Brann Dailor’s drums are buried too deep in the mix. His trademark rolls get lost in a sea of guitars, vocals & effects, and while it’s true that the drums themselves are less chaotic than before, I think that the majority of the problem lies in the mix itself. To counter this point, I am very much in love with said sea of guitars, vocals & effects (as well as the addition of keys and percussion throughout the album).

While CtS is sure to bring the message board flamewars, true Mastodon fans will find it a nice one to add to their collections… certainly one that well grow on you over time.

Justin’s Rating:

King says: “Another heady concept album? These guys must’ve learned from the King!”

Mark’s Review:

I’ve been very wary of Mastodon’s new album Crack the Skye when I heard that it was being produced by Brendan O’Brien and was to have a more “classic rock” feel. I had never really gotten into Blood Mountain and found most of it to be aimless and uninspired, so I figured this was it for Mastodon. I had predicted that they would become another metal band that had their fire extinguished by more fame and a big record label. I was pessimistic, but I so wanted to be wrong. When I first listened to the album, the first track Oblivion sounded different, but I liked it. It has a great vibe and all the great vocal hooks of a top-notch hard rock song. The second track, Divinations, begins with that trademark Mastodon sound, bringing forth memories of Seabeast or Megalodon. It too is a great song, so I was feeling pretty positive at this point. Two tracks in and this record was sounding pretty good! Maybe I was wrong? Maybe I was being too negative? Unfortunately, I kept listening… and Crack the Skye turned from something promising into something ordinary.

The rest of the album is so tame. The aggression and fury that highlighted the first Mastodon releases are gone, as are Brann Dailor’s manic fills and Troy Sanders’ searing vocals. These are the elements that drew me to this band. At a time when metal was getting very stale, Remission was like a kick to the nuts… and I think that soon we will recognize Leviathan as one of the best metal albums of the past 15 years. Brent Hinds handles most of the vocal duty on this one, and while I don’t hate his voice, the early tracks with Sanders just have so much power and ferocity, it’s hard to get into the new, slick version of Mastodon. Much like Blood Mountain, the album becomes a sea of music, with nothing of note standing out. The Czar is the album killer. It is a long and boring song that has many parts, but seems to drag on endlessly. Ghost of Karelia is the closest you’re going to get to an old-school Mastodon song on this album, but after sitting through a 9-minute clunker, I’ve lost interest. I’ve given this album several listens to try and convince myself that I should like it… maybe one day it will grow on me, but as of now, it hasn’t.

And you know why? It isn’t Mastodon! Maybe this is what the band wanted all along, and I know Justin contradicts me, but seriously this does NOT sound like the same band. It’s the Mastodon that wrote songs like Blood and Thunder and Workhorse that made it so popular with fans. They have every right to change their sound or explore new directions, but we’ve seen where this road leads, and while I applaud their vision, I am not happy with the results. So, Crack the Skye? Solid album, good music, but if you’ve heard Mastodon before… kinda a letdown.

Mark’s Rating:

King says: “Such pain… to hear a loved one slowly dying!”

Mastodon – “Divinations”

While literature and film often employ thematic elements and foreshadowing, it’s quite rare to find such concepts in the world of metal. With Spoils of Failure, Buried Inside do so, and (once again) deliver a sludgy opus magnum.

Frivolous “Neur-Isis” comparisons aside, (and whether it’s intentional or not) Buried Inside do a great job of exploring traits primarily found in the world of classical music. Whereas 2005’s time-inspired Chronoclast explored variations on a single theme (à la La Valse), Spoils of Failure breaks down into what can only be described as a series of suites, strung together by a singular idea (Ballet Deviare take note). This may be boring as fuck to some people, but I find it a breath of fresh air in a genre that all too often falls victim to true repetitiveness.

In keeping with the Maurice Ravel references, the album’s opener “I” is basically the metal equivalent of Boléro. Starting off with a single droning guitar, the song builds eloquently for the next six and a half minutes, finally breaking down and giving the listener a moment to reflect before moving on.

While “III,” “VII,” and “VIII” employ a nice range of dynamics, and “V” churns out the monster riffs, it’s the layered guitar interplay and spacey, repetitious leads that really stand out and make Spoils of Failure an exciting listen. Both brooding and beautiful, this is “Thinking Man’s Metal” at its best.

Justin’s Rating:

King says: “In the words of the late, great Kyuss… ‘Listen Without Distraction.’ ”

Chris’ Review:

A predictable to response to Justin’s accurate review would be, “But does it rock?” and the answer is an unqualified “Sometimes.”

The grand themes of the album are easy to miss if you don’t follow the listening instructions, but, like Buried Inside’s previous album Chronoclast, something subtle tells you this band is on the right side of this genre’s fine line between interesting music and boring sludge.

If you’ve got the 53 minutes to invest, Spoils of Failure may reward you with its grand vision, but taken in smaller pieces, the aforementioned subtleties are enjoyable on any track. Guitar interplay is surely this band’s special contribution to the genre. Songs will often build a feeling tension before resolving to a synchronized, bombastic chugging riff which could get real cheesy real fast, but somehow Buried Inside gets it just right every time. One unusual example being the closing to the song “V” (the title track?) which actually fades out. However, it fades on the biggest, badass chord progression and lead guitar riff of the album, or of hundreds of albums for that matter. How else you would close such a song is unthinkable. If they don’t close their live set with this song, what the hell do they follow it with? I can’t wait to find out. Finally, Buried Inside is not afraid to mix tempos. Thinking metal it may be, but post-rock with distortion it is not.

So perhaps complaining that Buried Inside does not always “rock” is like complaining that AC/DC lacks complexity. It would be similarly unfair to say that if you don’t like Spoils of Failure, you just don’t get it. A lot of people don’t listen to metal for sublime complexity.

Chris’ Rating:

King says: “Old, dead European guys know complex music. Me, for example.”

Wrath starts with an intriguing pair of opening tracks that make a heavy statement based more on guitar textures and subtle tension than I would expect from Lamb of God. Just as unexpectedly, they pull it off extremely well and left me excited to hear where else they would take this new style.

Unfortunately, I was a bit disappointed that the rest of the album didn’t take as many risks and relied heavily on LoG’s familiar percussive metal precision. While they do this as well as anyone, more than a couple songs feel like they’re at least a minute too long. My only other complaints come when the vocals go Full Anselmo over the otherwise outstanding production.

Wrath may barely squeak over the high bar that Lamb of God has set for themselves, but that means you can still find some pretty fine metal on this album.

Chris’ Rating:

King says: “Very likely to be in heavy rotation on my annual Easter Egg Hunt soundtrack this year.”

Justin’s Review:

Over the course of their career, Lamb of God have haven’t strayed too far from what they do best… and that’s fine by me. Wrath is another of LoG’s professed “pure American metal” offerings, and while it may not be braking any new barriers, it certainly delivers some memorable riffage.

After some backlash over Sacrament (come on people… it’s not that bad), LoG have simultaneously spread their wings (the Opeth-ish ending of In Your Words is a nice splash of variety), and gone back to a more straight-ahead approach (Set to Fail and Contractor are perfect examples of what I assume “pure American metal” should sound like… pummeling from the get-go and deserving of numerous repeat listens). Bravo on both accounts.

As with most Lamb of God albums, Wrath has a few sleepy-time-tracks (is it me, or does the beginning of Choke Sermon sound an awful lot like another LoG song you might’ve played on Guitar Hero?); but really, who gives a shit about those? That’s what iTunes playlists are for!

As a side note… the Wrath Deluxe Edition offers up a second disc containing mp3s of the base tracks (drums, bass, guitars and vocals) for every song on the album. So if you are into dicking around in Garageband or enjoy heavy metal karaoke, I’d suggest picking up this version.

Justin’s Rating:

King says: “Man… Chris Adler fucking rules…”

 

Download audio file (Set_To_Fail-Drums.mp3)