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)

Anyways… we made a valiant attempt to get Chris to give us his top 10 picks, but he kept saying something about the Saw 6 soundtrack, so we bumped him down to five. Enjoy, and Happy Holidays!

Mark’s List:

There were so many huge releases in 2009, it was hard to pick a top 10.  The year saw new music from metal’s heaviest hitters (Slayer, Cannibal Corpse, Megadeth, Mastodon, Anthrax) as well as comebacks from Alice in Chains and Immortal.  But ultimately, I believe 2009 will be remembered as when the new generation firmly took hold of the metal scene, as demonstrated by the outstanding releases from Skeletonwitch, Scale the Summit and Baroness.

10. Megadeth – Endgame (Roadrunner)
It’s no Rust in Peace Part-2, but with Endgame, Mustaine continues to prove that he can still crank out some great headbangers.
Check Out: This Day We Fight!

9. Slayer – World Painted Blood (American/Sony)
The second album since the return of Lombardo offers a new sound, but the same intensity.  One of the best album jackets/concepts of the year.
Check Out: Snuff

8. Devin Townsend Project – Addicted (Hevy Devy)
In a banner year for Devin, it’s the pop-metal soundtrack to a Anime-dream sequence (most likely depicting flight through a post-apocalyptic Japan).
Check Out: Hyperdrive!

7. Cannibal Corpse – Evisceration Plauge (Metal Blade)
Never ones to disappoint, Alex Webster and Corpsegrinder deliver the year’s most brutal offering.
Check Out: Carnivorous Swarm

6. Alice in Chains – Black Gives Way to Blue (Virgin/EMI)
Seattle’s finest create a comeback record worthy of the memory of Layne.
Check Out: Private Hell

5. Behemoth – Evangelion (Metal Blade/Nuclear Blast)
Negral conjures a maelstrom of demonic chaos that could easily convert anyone into a heretic.
Check Out: Ov Fire and the Void

4. Immortal – All Shall Fall (Nuclear Blast)
The Blizzard Beasts return with an incredible album that captures their focused and raw power.
Check Out: Arctic Swarm

3. Scale the Summit – Carving Desert Canyons (Prosthetic)
An instrumental masterpiece so rich in textures, tones and mood that it gets better with each listen.
Check Out: Dunes

2. Skeletonwitch – Breathing the Fire (Prosthetic)
A dominating statement from the Ohio thrash-masters.  An album that defines the term “thrash metal”.
Check Out: Submit to the Suffering

1. Baroness – Blue Record (Relapse)
Heavily layered with advanced concepts and dynamic playing.  Baroness once again delivers the album of the year.
Check Out: Jake Leg

Chris’ List:

Is a Top 5 acceptable?

5. Converge – Axe To Fall (Epitaph/Deathwish)
A somewhat fresh album from a familiar band that refuses to turn bad.
Check Out: Dark Horse

4. Cave In – Planets of Old (Hydrahead)
A four-song reunion works fine for me. Especially when the four songs kick tall ass.
Check Out: Retina Sees Rewind

3. Mastodon – Crack the Skye (Warner Bros.)
Bringing progress to Progressive Metal.
Check Out: Divinations

2. Baroness – Blue Record (Relapse)
The soundtrack that plays as my brothers and I descend to battle from snowy foothills astride armored polar bears, the perpetual winter sun smoldering unaware on a frozen, indifferent horizon.
Check Out: The Sweetest Curse

1. Propagandhi – Supporting Caste (Smallman)
Fast, angry, complicated. Even more so than before. The band affirms their category-defying musical identity, perhaps at the peak of their powers.
Check Out: Supporting Caste

Justin’s List:

Wow. What a fantastic year for metal. Narrowing this list down was quite a challenge… especially when I knew my top spot was reserved for a non-metal album. GASP! Yes folks… it’s true… my choice for album of the year goes to an indie rock band. But don’t worry… I’m not planning on wearing tight pants or reading Pitchfork anytime soon. In fact, I think I’ll carve “SLAYER” into my arm right now just to prove my self-worth. Eh… nevermind. That shit hurts.

10. Coalesce – Ox (Relapse)
15 years in, Coalesce continue to be one of the freshest sounding bands in the hardcore and metal community.
Check Out: Wild Ox Moan

9. Slayer – World Painted Blood (American/Sony)
Fast and raw… just how you probably like it. I know I do.
Check Out: Psychopathy Red

8. Converge – Axe To Fall (Epitaph/Deathwish)
As dynamic as it is heavy, Converge’s latest offering kicks you in the teeth before tucking you into bed. Awesome.
Check Out: Axe to Fall

7. Scale the Summit – Carving Desert Canyons (Prosthetic)
Remember the kind of music you and your friends were churning out in your early 20s? Yeah… it sucked compared to this.
Check Out: Sargasso Sea

6. Goes Cube – Another Day Has Passed (The End Records)
The Campbell’s Chunky Soup of the metal world… hearty and damn tasty!
Check Out: The Only Daughter

5. Baroness – Blue Record (Relapse)
Blue Record is one of those rare “all-emcompassing” albums. Great artwork, great music, great everything.
Check Out: The Sweetest Curse

4. Mastodon – Crack the Skye (Warner Bros.)
Like your beard, Crake the Skye really grows on you. And it totally rules.
Check Out: Oblivion

3. Revocation – Existence is Futile (Relapse)
These guys made me fall in love with shred all over again. When are we going to see the Existence is Futile tab book? (or vinyl for that matter… nudge nudge wink wink Relapse).
Check Out: Dismantle the Dictator

2. Skeletonwitch – Breathing the Fire (Prosthetic)
I Can Has Metal?
Check Out: Repulsive Salvation

1. The Life and Times – Tragic Boogie (Arena Rock/Hawthorn Street)
A non-metal album was my top choice of the year? Damn straight. Call me what you will, but me and my cred stand behind this decision. This band and album are absolutely amazing.
Check Out: Tragic Boogie

Honorable Mention:

Cave In – Planets of Old (Hydrahead)
Alice in Chains – Black Gives Way to Blue (Virgin/EMI)
Burnt By the Sun – Heart of Darkness (Relapse)
Buried Inside – Spoils of Failure (Relapse)
Propagandhi – Supporting Caste (Smallman)
Immortal – All Shall Fall (Nuclear Blast)
Cannibal Corpse – Evisceration Plauge (Metal Blade)

Mark’s List:

20. Nile – In Their Darkened Shrines (Relapse)
Karl Sanders’ masterpiece is the perfect soundtrack to releasing spirits from a cursed Egyptian tomb.
Check Out: Execration Text

19. Iron Maiden – Brave New World (EMI/ Sony)
Bruce and Adrian are back… well, Jannick is still there, but still, this Maiden album makes us forget the previous four and brings us back to 1986.
Check Out: The Fallen Angel

18. Killswitch Engage – The End of the Heartache (Roadrunner)
Hello Howard Jones, pleased to meet you, your band rules… and so does this album.
Check Out: Rose of Sharyn

17. Strapping Young Lad – Alien (Century Media)
Devin and the boys melt faces on an album that stands up to the legendary City.
Check Out: Zen

16. Skeletonwitch – Beyond the Permafrost (Prosthetic)
Thrash came back in a big way in the 00’s, and these guys lead the way.
Check Out: Upon Wings of Black

15. Opeth – Ghost Reveries (Roadrunner)
The proggiest of the Opeth releases was also one of the best.  Swedish metal meets George Harrison’s Maharishi.
Check Out: The Baying of the Hounds

14. Slayer – Christ Illusion (American)
Another return from some big names, this time it’s Lombardo and Rubin and voila!, Slayer makes their most inspired record in years.
Check Out: Skeleton Christ

13. Gojira – From Mars to Sirius (Prosthetic)
France’s metal titans give us one of the heaviest-sounding onslaughts in recent memory.  An open array of serenity and punishment.
Check Out: Flying Whales

12. Meshuggah – Nothing (Nuclear Blast)
The only album meant to be recorded with 8-string guitars. So heavy and hypnotic it’s made for the atmosphere of a different planet.
Check Out: Glints Collide

11. System of a Down – Toxicity (American)
An odd little metal band that turned into a huge, hard rock juggernaut after this combination of focused song writing, great production and heavy manic.
Check Out: Prison Song

10. Mastodon – Remission (Relapse)
Their first full-length release and the introduction for many to Mastodon.  The album that woke up the metal world in 2002.
Check Out: March of the Fire Ants

9. Lamb of God – Ashes of the Wake (Epic)
The album catches Lamb of God and the Adler brothers at their hungriest, right on the cusp of becoming one of the biggest bands in heavy music.
Check Out: The Faded Line

8. Baroness – The Red Album (Relapse)
A genius mixture of metal’s fury and indie-rock’s fuzz dragged through the sludge of the Georgia swamplands. John Baizley becomes a new metal hero.
Check Out: Isak

7. Cynic – Traced in Air (Season of Mist)
We waited for 15 years after Focus, and Paul Masvidal did not disappoint us.  An incredible journey of musicianship, virtuosity and elite song-writing.
Check Out: The Space for This

6. Opeth – Deliverance (Music for Nations)
The title track contains one of the best riffs of all time.  Wreath and Master’s Apprentices provide some bone-chilling moments.
Check Out: Deliverance

5. The Sword – Age of Winters (Kemado)
A hipster delight, but also a headbanging, weed-smoking, stoner-metal classic.  The raw power of every riff conjures the ghost of Iommi (wait, he’s not dead!)
Check Out: Iron Swan

4. QOTSA – Songs for the Deaf (Interscope)
Another popular release that includes perfect song after perfect song.  Dave Grohl leaves his mark, and his curse on future Josh Homme projects.
Check Out: Song for the Dead

3. Immortal – Sons of Northern Darkness (Nuclear Blast)
One of the best black metal albums of all time. Abbath creates an avalanche of riffs and mayhem.
Check Out: One By One

2. Opeth – Blackwater Park (Music for Nations)
Many consider this the breakout album for Opeth.  A collection of the band’s finest moments and some of the best metal songs of all time.
Check Out: The Drapery Falls

1. Mastodon – Leviathan (Relapse)
Mastodon’s perfect metal album and one of the best releases ever.  A true classic from the first notes of track 1.
Check Out: every song

Justin’s List:

20. Candiria – 300 Percent Density (Century Media)
Normally, shit this eclectic is reserved for prog snobs… it’s a shame they’re too busy sucking off Dream Theatre to appreciate the real deal.
Check Out: 300 Percent Density

19. Killswitch Engage – The End of Heartache (Roadrunner)
This album raised the bar previously set by Alive or Just Breathing. A feat every other modern metalcore band (including Killswitch themselves) have yet to surpass.
Check Out: Rose of Sharyn

18. Starkweather – Croatoan (Candlelight/Hypertension)
Ready for something completely new and exciting? Check out these old-timers.
Check Out: Slither

17. Skeletonwitch – Breathing the Fire (Prosthetic)
As I’ve said before… this is “Metal” personified.
Check Out: Repulsive Salvation

16. Immortal – Sons of Northern Darkness (Nuclear Blast)
Black Metal’s finest hour?
Check Out: One By One

15. Slayer – Christ Illusion (American)
Kerry King + Tom Araya + Jeff Hanneman – Paul Bostaph + Dave Lombardo = ‘Nuff Said.
Check Out: Flesh Storm

14. Baroness – The Red Album (Relapse)
Eclectic, yet cohesive. Heavy, yet poetic. Artsy, yet fucking awesome.
Check Out: Wanderlust

13. Type O Negative – Dead Again (SPV)
Absolutely epic songwriting from “The Drab Four”.
Check Out: The Profit of Doom

12. Craft – Fuck the Universe (Carnal/Southern Lord)
Black Metal’s finest hour.
Check Out: Thorn In the Planet’s Side

11. Mastodon – Remission (Relapse)
Riffs beyond your wettest dream. A game changer for sure.
Check Out: Mother Puncher

10. Torche – Meanderthal (Hydra Head/Robotic Empire)
The prefect blend of heavy and poppy. I assume this album is perfect for cruising for metal chicks on a hot summer evening.
Check Out: Healer

9. Cave In – Jupiter (Hydra Head)
The biggest 180 in the history of hardcore. But Cave In are certainly a better band for having taken the risk.
Check Out: Big Riff

8. Opeth – Deliverance (Music for Nations)
One listen to the title track and you’ll know why it’s on this list.
Check Out: Deliverance

7. Isis – Oceanic (Ipecac)
This album single-handidly turned the word “Neurosis” into “Neurisis”. Stock in metalgaze shoots through the roof.
Check Out: The Beginning and the End

6. Jesu – Jesu (Hydra Head)
Justin Broadrick shows the metal community there’s more to life than Godflesh. Much more.
Check Out: Friends are Evil

5. Converge – Jane Doe (Equal Vision/Deathwish)
Converge’s defining record… Jane Doe also happens to be the defining record for 98% of hardcore bands since.
Check Out: Concubine

4. Meshuggah – Nothing (Nuclear Blast)
Is there such a thing as “too heavy”? It turns out the answer is no.
Check Out: Straws Pulled at Random

3. Pelican – Australiasia (Hydra Head)
The perfect mix of skull-crushingly heavy and heart-breakingly emotional. The soundtrack to “flying” dreams.
Check Out: GW

2. Hopesfall – The Satellite Years (Trustkill)
An awesome post-hardcore band doing everything in their power to sound like Hum. Hey… it’s all green to me!
Check Out: A Man Exits

1. Mastodon – Leviathan (Relapse)
The metal equivalent of Dark Side of the Moon. Instant Classic. Period.
Check Out: every song

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)

We finally figured out what the hell we were doing (well… sort of) and recorded the first of many long-winded-blabber-fests to come. For our premiere (audio) episode, we tackle the Fall metal line-up, metal iPhone apps, and a few other goodies that you’ll be sure to enjoy while sitting in traffic on the way to work.

Our goal is to try and get in the habit of churning these things out once a month, but considering how long it took to edit this fucker, you’ll be lucky to have another one by the time the Fall 2010 preview is due up. Anyway… hope you enjoy, be sure to subscribe in iTunes, and feel free to give us the old “one-two” in the comments section.

A big pat on the back to anyone who actually makes it through the entire thing!

Download audio file (ReviewsResist_Podcast_1.mp3)

  
(41.8 mb / 45:39)

 

  We’re on iTunes… be sure and subscribe!

“Win! A Pair of Mastodon Vans!”

What bearded, metal aficionado could possibly resist this sweet temptation?

Wait… What? SHOES?!?

Are you fucking kidding me?

Super Sweet UPDATE!  So the new issue of Decibel is out, and our (stern, yet) loving letter is in print. I highly suggest you pick it up, our better yet… subscribe. We have many more angry letters to write.

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)

Well, it seems that I just can’t get enough of sold out shows lately. Yet another 3+ hours of standing butts-to-nuts with sweaty metal dudes who have absolutely no concept of the term “personal space”. Oh well, it’s Mastodon… I’ve done it before, and chances are, I’ll do it again next time around.

Surprisingly, the band have continued to stick it out at The Metro (capacity 1,100) these past few tour cycles, rather than graduate to the larger (capacity 1,300) House of Blues (and by now, you should know that if/when Mastodon do graduate to the HoB, someone else will be ghostwriting my review).

Intronaut opened this evening’s performance with a solid set of (their unique brand of) progressive sludge. I’m a fan of these guys, and was happy to finally get a chance to watch bassist Joe Lester work his magic in person. Based on the few youtube clips of I’d seen of the band, I wasn’t really expecting much in the vocal department, but they actually turned it out. The duel-vocal approach served the songs well (as did the massive knob tweaks that happened midway through the first song… come on Metro, sound check should take care of that shit). Intronaut’s setlist was very heavy on Prehistoricisms, and though I would’ve loved to hear something off Null, their brief showing did a great job satisfying my Introneeds. One thing in particular that impressed me, was the general attitude the band conveyed while onstage. No bitching at the sound guy, no heckling the crowd… just honest sincerity. A rare thing indeed.

Kylesa was up next, and though I’d listened to Time Will Fuse Its Worth a few times, I wasn’t entirely familiar with their catalog. So, it’s safe to say, I (more specifically, my ears) was not prepared for the sonic onslaught that followed for the next 45+ minutes. Kylesa are heavy as hell. Two drummers, 3 full stacks, and guitars tuned down to “who-the-fuck-knows-how-low” (and yes… for all you horn-dogs out there… a hot chick with a guitar). Good, good stuff here. Vocals could use a bit of finesse, but it’s easy to look beyond the vocals when a song like Hollow Severer is ripping your face off. I’m definitely going to have to check out their new one soon.

As previously discussed, Mastodon have come a long way these past few years (certainly since I first saw them play a Remission-heavy set in front of about 50 people at the sorely missed Fireside Bowl), and this evening’s ridiculously ambitious set showcased what the band has been up to since. I (as it seemed most of the crowd) was unaware going in, that Mastodon was planning to perform Crack the Skye in its entirety. A pleasant surprise, as the band pulled out another 10 songs from their back catalog afterwards (though it made a long night even longer… hey… I’m old and my feet hurt). In addition, Mastodon took a page from the “Neurosis Book of Live Performance” by incorporating video and synths into their set. Both of which worked very well and made an enjoyable set even more so (I probably don’t need to mention the playing was spot-on). And guess what? They closed with Hearts Alive. Yep… it ruled. Don’t be jealous. Oh wait… maybe you should be.

Justin’s Rating:

King says: “Back in my day, we didn’t need no stinkin’ video screens to entertain a crowd. Just fog machines, gothic sets, upside down crosses, skeletons, fake blood, a cape and some hairspray.”

Chris’ Review:

My previous experiences seeing Mastodon live had me looking forward to another opportunity to enjoy them at this venue, one of Chicago’s best for its size, usually considered a treat for seeing a ‘big’ band. This long night almost didn’t live up to my high expectations, but Mastodon saved it in the end. Gosh, those guys are good.

Arriving early to see Intronaut allowed us to enjoy their proficient execution of a familiar style of [progressive sludge] (thanks, Justin), but with an aggressive edge to set it apart from the mediocre masses of this genre.

Intronaut’s just-right set was followed by some technical difficulties which was then followed by Kylesa’s set. By this time the main floor of Metro was filling in but still comfortable. Kylesa’s almost straight-ahead style and two-drummer attack provided a great contrast to Mastodon, however, the effect was diminished as Kylesa’s set stretched out a bit longer than necessary.

Even more unnecessary was the interminable set change to Mastodon. As soon as Kylesa finished, the main floor packed in as the rest of this sold-out crowd arrived for the headliner. Don’t accuse me of being old and crabby for saying this, because I’ve been saying it since I was young and crabby: long set changes are a disservice to everyone (except maybe the bar). Why are we punished for actually wanting to see all the bands on the bill? I could show up a couple hours after the show starts and hear the headliner with fresh ears, but as a music lover, a chance to see an evening of well organized, thoughtfully packaged live acts is a main reason I pay the ticket price and truck my ass downtown for a show. On a weeknight, mind you. Alright, that did sound pretty old. While I’m on the old-man rant, another problem at a sold out Metro show is the time spent standing in a butts-to-nuts stress position if you want to be out from under the balconies, where the sound is usually better.

Finally, with the opening notes of Oblivion, Mastodon started their highly anticipated performance. One’s opinion of the main set would probably depend mostly on one’s opinion of Crack the Skye because that’s what they played, from beginning to end. While I like Crack the Skye overall, I think its songs do wander a little bit without hooks, which gave this live show quite a prog-rock feel; enjoyed more intellectually than viscerally. About 3/4 into the set, I had the idea that if this were Mastodon’s debut, this crowd would have lost interest much earlier. The band delivered an almost technically perfect performance as usual (to my ears a couple vocal parts of the new material weren’t quite pulled off live), but the material set the energy level of the set at a fairly subdued feel. As noted in my rant above, my personal discomfort may have had as much cause for this as the music.

After Crack the Skye was completed, Mastodon took a short break and their ‘second set’ which featured material from Blood Mountain and Leviathan (and “March of the Fire Ants“) rocked more confidently. While I may be criticizing Mastodon for taking an indulgent turn with their material, I think the epic closer, “Hearts Alive,” and the fact that I’ve looked forward to hearing it each time I’ve had the chance to see them, tells me Mastodon has earned the devotion this crowd showed.

Chris’ Rating:

King says: “Nice band, but seriously, these guys suck at concept albums. King is not impressed. And why am I not on Letterman?”

Have A Look:

Mastodon – Live at the Metro 4/30/09

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”