Tag Archives: awesome

Heaven and Hell – The Devil You Know [Review]

Posted on April 12, 2009 | 7 comments

The Devil You Know is the “debut” album from Heaven and Hell. In all seriousness, though, it’s basically a Black Sabbath album (thankfully under a new moniker). The Album was released on April 28, 2009 on Rhino/Roadrunner Records.


Heaven and Hell The Devil You Know album art

Firstly, I want to comment on the awesomeness that is this artwork. It is everything album art should be: both visually appealing and informational. The art itself is fantastic (and goes well with the name of the album) and it tastefully and legibly gives you all the info you need. Two thumbs up for this one.

As far as the music goes, it is just what one should expect from Dio and the rest of the guys from Black Sabbath. This album is pure old school Heavy/Doom metal. I am still surprised at how good Dio sounds even this far into his sixties. It is pretty obvious that he struggles a bit for the really powerful wailing notes, but he still sounds amazing, and has a ton of attitude and character to his voice. In fact, he almost sounds better for the lower vocals than he ever did. The problem with Dio still being the same old Dio are his ridiculous lyrics. The most hilariously bad example on this album is in the song “Eating the Cannibals”. Let’s just say that the line ‘We’re eating the cannibals” is repeated numerous times throughout the song.

The best part about this album is that I have not heard this many Tony Iommi solos on an album in a long time (perhaps ever). Iommi is at the best I have ever heard him (to clarify: not better than the old stuff, but just as good). This album has more great riffs and solos than any Black Sabbath fan could ask for. Even Geezer Butler gets in on the fun and has some great bass parts throughout the album.

Quite easily the biggest flaw of the album is that it’s predictable. For anyone familiar with Black Sabbath and the Doom Metal genre, you can almost bank on the fact that you know the next part of each song already. It is nice, though, that some bands are staying true to the old heavy metal formula (granted, Sabbath were really the inventors of this).

All in all, I am quite pleased with the album. It’s not as memorable or legendary as most of the Black Sabbath stuff, but it’s still better than a majority of the heavy metal out there today.

Track picks: “Double the Pain” and “The Turn of the Screw”

Overall Score: 8/10

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Success Will Write Apocalypse Across The Sky – The Grand Partition and the Abrogation of Idolatry [Review]

Posted on April 10, 2009 | 1 comment

The Grand Partition And The Abrogation Of Idolatry is the first full-length release from Floridian Death metal band Success Will Write Apocalypse Across The Sky. The album was released April 3, 2009 on Nuclear Blast records.


Success Will Write Apocalypse Across The Sky SWWAATS The Grand Partition And The Abrogation Of Idolatry album art

When I first heard of this band, I really thought it would be a band along the lines of The Devil Wears Prada, The Tony Danza Tapdance Extravaganza, or one of those other bands with silly names. I was pleasantly surprised to find out that this band is pretty much straight up brutal death metal. IT is still a real pity that this band had to pick such long and ludicrous names for their band and album.

The Grand Partition is a particularly refreshing dose of Death metal in times where most available music of this intensity and power is littered with cliché breakdowns. The most comparable band to these guys might be Skinless. Constant blast beats and machine gun-sounding double bass, along with brutal guitar riffs and gutter vocals abound. At time the album can steer in the direction of deathcore with the amount of tempo switches, time changes, etc. but it always seems appropriate, and never switches into breakdown mode (a refreshing change from most bands these days). As far as death metal goes, this band has got the brutal type under wraps. Beyond the fact that this fits very nicely into the genre, it sounds fantastic. None of the instruments are buried in the mix, muddy, or indecipherable (something that happens a lot to bands like this).

From the second it starts, this album grabs it’s listener from the genitals, and does not let go. The intensity level knob must have been broken, because this album never comes down from eleven. That is perfectly fine, because in a brutal death metal album that is exactly how it should be. The only real downside of this album (and every other recent brutal death metal album) is that there is not a ton of originality. But, as with genres like Power Metal, this can be a big plus if that is what you are looking for. For those looking to hear some good ol’ fashioned brutal death, this is a winner. For those looking for a brutal death album that is a bit more progressive, you have best look elsewhere. Regardless, this is an album that fans of the more extreme heavy metal sub-genes need to blast into their earholes.

Track picks: “10,000 Sermons, One Solution” and “One Must Imagine Sisyphus Happy”

Overall score: 9/10 devil horns

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Metallica – Master of Puppets [Retrospective]

Posted on April 8, 2009 | 7 comments

Master of Puppets, Metallica. Just thinking of this album is metal. Master of Puppets is arguably the most famous and influential metal albums of the 80’s (and all time). Sure, there was Reign in Blood, Number of the Beast, Operation: Mindcrime and others, but none of those albums were comprised entirely of iconic songs, nor are they as easily heard throughout modern metal music.

Metallica Master of Puppets album cover

When you think of the big four in Thrash metal, each band really has their magnum opus, all of which are legendary in the metal community. For those uneducated in the lore of metal, the big four in thrash are/were: Anthrax, Megadeth, Slayer, and Metallica. Among The Living, Rust in Peace, Reign in Blood, and Master of Puppets are the bands’ best albums (respectively). All undeniably great albums, but none with quite as much clout and following as Master of Puppets. None of the other albums are as complete, either. Longer songs, bigger solos, more memorable hooks and riffs, better production, and just as pissed off.

The best (and perhaps most ironic) part about Master of Puppets is that the three best songs on the album were co-written Cliff Burton. This is unsurprising if you know about Burton’s history, and how he helped James Hetfield and Kirk Hammett how to theorize and harmonize. As Hetfield says, “without Cliff, we wouldn’t be where we are today.” Beyond the songs co-written by Burton, each songs brings a lot of technical prowess and songwriting ability to the album. One of Metallica’s most popular songs, “Welcome Home (Sanitarium)” perhaps is a prime example of this. “Welcome Home (Sanitarium)” has a unique song structure, beautiful (and skillful) solos, and among the greatest metal guitar tones ever used. The thing is, every song has most of these elements, showcasing them in a different manner every time – making for an extremely fresh and interesting listen no matter how many times you do so.

A must-have for every good metal collection, and a must-hear for anyone who wants to like metal, Master of Puppets is nothing short of iconic. It is Thrash metal, and then so much more. Unlike the the other bands in the big four, Metallica (and this album especially) have the ability to appeal to metalheads of every type and age.

Track picks: All of them, fool.

Overall score: 11/10 devil horns

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Psyopus – Odd Senses [Review]

Posted on April 6, 2009 | 3 comments

Odd Senses is the third full-length release from avant-garde/mathcore band PsyOpus, hailing from Rochester, NY. Odd Senses was released on February 17, 2009 on Metal Blade Records.

Psyopus Odd Senses

Psyopus. Holy hell. This band might be the craziest band I have ever listened to. Odd Senses is a very fitting album title. The lyrical and subject content on this album is very peculiar. Being somewhat familiar with Psyopus before hearing this album, I had a basic grasp of what I could expect but this album somehow still managed to chock me on my first listen through.

From the out of control time signatures and drumming to the incredible guitar licks to the strange and creepy voiceovers, this album can be a bit much at times. Then, without a moment’s notice there is a track like “A Murder To Child” – a nine minute jazz guitar and violin adventure with no lyrics, and is in a major key (something that is against the rest of the album’s sound). After that is an awesomely hilarious parody track in which, for two minutes it is one plain riff and they lyrics “One way ticket to hell” repeated over and over. For the remaining eighteen minutes of the track things just continue to get more off-the-wall and strange.

This might be the most technically impressive album I have heard in a long time, as well. Amidst all the craziness and non-sensical banter, there are some of the most well-written and performed bass, guitar and drum parts I have heard in a while. If I ever saw Chris Arp (the writer for everything on the album), aka “Arpmandude”, I would bow to him.

Odd Senses is really an album that is brilliant in the way that Primus is brilliant. Incredibly technical playing, lots of strange themes, and you never can be too sure what you’re getting into. Odd Senses is absolutely a must-hear. It really could scar you for life, and you will be sure to end the listen with a fried brain and a lot of confusion. The more listens you give this album the better it gets.

Track picks: “A Murder to Child” and “X and Y”

Overall score: 9/10 devil horns

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Blind Guardian – Imaginations from the Other Side [Retrospective]

Posted on April 2, 2009 | 1 comment

Number 48 on Metal Storm’s Top 100 Albums, number 19 on RateYourMusic’s top albums of 1995, and one of the best power/speed/heavy metal releases for all time. That’s right, you guessed it (or maybe not), Imaginations from the Other Side by Blind Guardian.

blind guardian imaginations from the other side

Every legendary metal band from years past have one album that seems to epitomize and embody that band entirely. Perhaps the most prominent example of this would be Black Sabbath’s Paranoid. For Blind Guardian, Imaginations from the Other Side is undoubtably the album that epitomizes them.

In a year in which the Gothenburg sound was bursting on the scene and seemingly taking over, Blind Guardian (along with Iced Earth and Gamma Ray) delivered their greatest albums. For Iced Earth and Gamma Ray, it’s more debatable, but Imaginations from the Other Side really is Blind Guardian’s magnum opus. Hansi Kürsch delivers his best performance of his career on this album (even including his work in Demons and Wizards). The lyrics are incredible, and take the listener on a grand adventure. Beyond that, he pushes the boundary to the extreme with his vocal power and presence. The heat on his voice throughout this album is simply incredible. André Olbrich is on his game in this effort as well. While he may not be the fastest or best guitarist around, his creativity and writing for the guitar parts is on par with the best in metal – ever. Somehow André found a way to stay true to what power metal guitars were supposed to sound like, but still write something that was not like everything else out there. His solos on the album are absolutely perfect. They are not simply sweeping, blistering solos. They have feeling and emotion, which all guitar solos ideally should have.

Now that I’ve established that the album was near perfect in terms of writing, I want to comment on the production of the album. With such a huge vocalist in power metal, it’s a feat to have everyone in check, and no one getting snubbed for the spotlight. Power metal is somewhat notorious for this, allowing the vocalist to overshadow everyone during the more powerful vocal parts – this only happens where appropriate (and written) for the vocalist to be overshadowing everyone. Aside from the balance of the different elements on this album, the sound of the “choir” (the gang vocals) is the best I have ever heard for a power metal album I have ever heard.

From top to bottom, this album is a masterpiece. It capitalizes on every element necessary for a power metal album, and then some. Full of big vocals, fast guitars, pounding drums, and an epic story line – this is easily one of the most quintessential metal albums of all time.

Track picks: Don’t be a fool. On an album this good, every track needs to be listened to. I will say, though, that the two singles from the album were “Imaginations from the Other Side” and “Bright Eyes”

Overall score: 11/10 Devil horns

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Wolves in the Throne Room – Black Cascade [Review]

Posted on March 31, 2009 | 6 comments

Black Cascade is the third full-length release from Washington-based Atmospheric Black Metal band Wolves in the Throne Room. Official release date is March 31, 2009 on Southern Lord records.

wolves in the throne room black cascade

Wolves in the Throne Room. I know it is often said, but these guys really march to the beat of their own drum. An often dance-y, atmospheric, black metal drum. My experience with WITTR before this Black Cascade was rather limited, but every time I listen to them I think differently about them. Black Cascade is the first album by them I actually listened to completely in one sitting.

After listening to the album for the first time, I thought it was great. Fairly unique and interesting. Upon listening to WITTR’s other two albums, I think less of it. Diadem of 12 Stars and Two Hunters are more on the mark, and it was hard to realize how lacking Black Cascade was without listening to them. This is not to say that Black Cascade is bad. It’s not, it simply doesn’t provide greatness as WITTR once had. Big atmospheric build-ups, danceable beats at times, dark black metal vocals, and slow movements: characteristic of WITTR and Black Cascade, but better executed on previous albums. As you may expect from a sort-of black metal album, the sound is very dry and low, and the lyrics are largely indecipherable – this works well, in the scheme of things, and certainly adds to the “atmospheric” sound.

Black Cascade, for me, seems like black metal for people who don’t like black metal, and are big fans of the post-rock and post-metal scenes. For anyone looking for pure black metal, or pure atmospheric metal, you will not find that here. You will find some amalgamation of the two (a seamless one at that), and it works wonderfully. For those who are already fans of WITTR this album will be a bit of a letdown; for those who have never listened to them, this album will be a more gentle transition into what WITTR are all about.

Track picks: None. There are four tracks, each at over ten minutes in length. You really have to listen to the whole thing.

Overall score: 7/10 Dvil Horns

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Isis – Wavering Radiant [Review]

Posted on March 26, 2009 | 14 comments

Wavering Radiant is the fifth full-length album by post-metal band Isis. Set release dates are April 21, 2009 for the vinyl version and May 5, 2009 for the CD version – both to be released on Ipecac Records.

Isis Wavering Radiant

Very rarely is it that I find an album that seems to truly encompass what a band has accomplished since their inception. Isis may have done that with Wavering Radiant. I can hear bits and pieces of things very familiar from Oceanic, In the Absence of Truth, Panopticon, and Celestial. The opening riff of the album sounds incredibly like the riff from “Celestial (The Tower)” (which was essentially the album opener for Celestial). Even given the fact that they have borrowed a lot of stuff from their older albums, they still seemed to make it fresh. The amount of ambient and background textures on this album amazes me. They are all incredible, and set totally different moods than I am used to hearing from Isis. One piece in particular is about two-thirds of the way through “Stone to Wake a Serpent” in which there are many layers that give the song a very ghostly and ethereal sound (mainly the piano that sits behind the wall of guitars), this along with the new-found lead guitar textures.

Like every Isis (and post-metal/post-rock) album, every song is an epic adventure lasting of no less than seven minutes, aside from the title track, which is only a minute and forty-eight seconds long. What I assume to be the first single from the album, “20 Minutes/40 Years” might be the best track on the album, and is streaming on the band’s myspace, is truly a musical adventure. It definitely does not break any boundaries for post-metal or Isis, but they really got it right on this track. Whenever music actually takes you places, it can only be a good thing.

For anyone who likes some good post-metal, Isis would be my first choice, and seems to be all but leading their genre at this point. This album can only further solidify them as the most impressively consistent band in the post-metal arena. I think this album rates on the level of anything they have done yet. It is just as heavy, just as atmospheric, and just as amazing.

Track picks: “20 Minutes/40 Years” and “Ghost Key”

Overall Score: 9.5/10 devil horns

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Candlemass – Death Magic Doom [Review]

Posted on March 26, 2009 | 4 comments

Death Magic Doom is the tenth studio album from the Swedish doom metal outfit Candlemass. This is the second album by Candlemass featuring Robert Lowe on vocals (no, not the actor), as opposed to Messiah Marcolin. Death Magic Doom‘s release date is April 3 globally, and is under the Nuclear Blast record label.

Candlemass Death Magic Doom

In the doom metal word today, Candlemass might be king. It is true, doom metal is a bit of a dying breed, but if one band has the ability to change that, Candlemass would be the one. This album is not as much tradition doom/epic doom as their past releases – they have incorporated a lot more elements of standard heavy metal (not a surprise after their last album or their self-titled). This is most definitely not a bad thing. Through the simple addition of more heavy metal styles their music gained so much more power.

Since Robert Lowe stepped in at vocals, it seems, the band has taken a bit heavier sound. It’s unclear whether this is because of Lowe, or because Leif Edling has decided to simply write heavier music (for those who don’t know, Edling does a cast majority of the writing for Candlemass). The only problem is that with the heavier writing, they have forgone some of the more “doom” sounds, and the music has a less dramatically depressed sound (what makes doom metal as awesome as it is). It is clear that this album is the beginning of a new era for Candlemass.

From a production standpoint, this album is spot-on. There are a lot of section with non-standard instruments used, such as a Wurlitzer organ, chimes, bells, etc. Those are the things from epic doom that Candlemass are doing as well as ever. It’s really a tough decision to say whether the vocals from Lowe, however, are better than the vocals from Marcolin. Perhaps technically they are better now, but I’m not sure that anyone could beat the timbre of Marcolin’s voice for doom metal.

For those who are fans of Candlemass, this is a must-have, because they are as good as ever. For those who like heavy metal or doom metal, this is also very much a winner. From top to bottom, there is nothing wrong with this album. The songwriting, production, performance, etc. are all spot-on. Aside from the opening track of the album, though, there are no show-stopping songs on the album.

Track picks: “If I Ever Die” and “The Bleeding Baroness”

Overall score: 7/10 devil horns

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Architects (UK) – Hollow Crown [Review]

Posted on March 25, 2009 | Leave a comment

Hollow Crown is the third full-length release from UK metalcore band Architects. Released on Century Media January 26 in Europe and February 10 in the United States.

Architects Hollow Crown

There have been a lot of things dubbed as “metalcore” in the last decade, but most of it is melodic death metal, or some other bastard child of metal, normally incorporating a break down here and there. Architects, however, are the real deal. This album is as purely metalcore as I think I have ever heard (not by the widely accepted definition). The first track from the album has the ever familiar guitar tone from The Agonist, Derelict, and Strapping Young Lad (these guys aren’t Canadian though, they’re English). Throughout the album, the incorporates things from metal, hardcore, and even post-hardcore (namely the clean vocals that sound straight out of the newer Underoath). They move through many different sounds throughout the album for a metalcore album.

There are so many time and rhythm changes on this album it makes my head spin. It seems incredibly cohesive considering this fact. All the sections in each song, and from song to song, it all transitions quite well. The best part of the album, however, are the overly hardcore lyrics. Beyond that, and a more interesting talking point, is the guitar work. There are a lot of really great harmonies,riffs, and fills all throughout this album. The other notable piece of this album is the production. I happen to enjoy it, but it’s technically not all that great. There’s a lot of stuff that sort of gets lost in the mix, and it’s all mixed really loud (lots of compression, like everything out there these days sadly). I mean, it works, because this album is clearly meant to be loud, but when the clean vocals are used, it would be nice to have some actual dynamic.

After listening to their entire discography, this band has really got me hooked. It’s a truly brutal album that doesn’t seem to complex or out of the ordinary, but it’s the little things that make this album great. The pinch harmonics, pic scrapes, cool harmonies, unexpected breaks, etc. This album kicked my ass the whole way through. I’m not sure this one will leave my regular iTunes rotation for a while.

Track picks: “Dead March” and “Early Grave”

Overall score: 8/10 devil horns

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Mastodon – Crack the Skye [Review]

Posted on March 23, 2009 | 14 comments

Crack the Skye is the fifth full-length release from Georgian Heavy/Progressive metallers Mastodon. This being their fourth release with Relapse Records. Crack the Skye was released globally on March 24.

Mastodon crack the skye album cover

It’s hard to find words that haven’t already been said about a Mastodon album this far, but Crack the Skye has presented listeners with an even more broad and lofty soundscape to enjoy and talk about that simply commands something new to be said. Having given many listens to each of Mastodon’s previous albums, Crack the Skye is not very surprising in terms of the direction, or the sound really, but the presentation and quality are simply beyond measure. Even the most simple and minute sounds on this album act like monoliths of sound.

Seemingly borrowing a bits of post-rock and post-metal styles, there is a lot of atmospheric textures on this album, “The Czar” showing the more prominent examples of this. They maintain this style without forgoing the Mastodon sound so familiar from Blood Mountain and Leviathan. The more coarse vocal approach has taken a bit of a back seat this time however. Mastodon also have many more angular, “twangy” guitar riffs, like those found in excess on Blood Mountain.

As always, Mastodon are technically brilliant with their instruments, most impressively – Brann Dailor on the skins. Using a veritable cornucopia of rhythms, time signatures, fills, etc. he really shows what it means to be a great metal (and even jazz) drummer. If there was ever a doubt in someone’s mind of the skill level of the members of Mastodon, this album should quite adequately quell the negative comments.

There is no doubt in my mind that this album (and band) will go down to be one of the most important metal acts in this decade. With remarkably well written, played, produced, etc. music Mastodon are bringing back a much needed prestige to the American metal scene. Where Americans were frowned upon for breeding the cancer that was Nu Metal, we have started to now be looked upon in a different light, and this album will only solidify the fact that Americans can indeed make great and pure metal.

Track picks: “The Last Baron” and “Oblivion”

Overall Score: 10/10 devil horns

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Winds of Plague – Decimate the Weak [Review]

Posted on March 20, 2009 | 4 comments

Decimate the Weak is the second full-length album by Century Media band Winds of Plague, their first with Century Media.

Decimate The Weak Winds of Plague album art

For the first time in a long time, I am confused by the contents of a metal album. When I first put on Decimate the Weak I expected to hear a pretty much straight-up symphonic black metal album, then out of nowhere they drop an unaccounted-for breakdown in the middle of a great metal song. Now, this would have not been a huge problem for me if it only really occurred once or twice, but it seems to be a reoccurring theme. I will give the guys a small amount of credit for being “original” and doing their own thing, but at some point should you not take a step back and think, ‘What the hell did we just create?’

There are moments of sheer metal brilliance, and moments filled with brutal breakdowns, but these two things never seem to have a happy marriage. It seems to be a strained coexistence that is, at times, painful for the listener. It is quite clear that Winds of Plague are influenced by a wide variety of bands, from Dimmu Borgir to something along the lines of As Blood Runs Black. It comes to no surprise to me that Century Media would pick these guys up, since they seem to like bands that stretch the boundaries some (see also: Zonaria, The Agonist).

The major problem with the album is that it is simply too short for the bands sound to manifest itself in your brain. With only 10 songs coming in at around 37 minutes (with an intro track of 1:17) it is tough to really gain any momentum when you are clearly influenced by two completely different styles of metal. Toward the end of the album you can finally start to get the sound that they were trying for, but missed the mark through most of the album. Beyond that, most of the lyrics are simply not very strong. The most wildly uninspiring of their lyrics are the more dethcore styled, where they recite things such as “You wanna see us fail? Not today mother fucker!” or “Fuck you! Get the fuck out! My face will be the last thing you see.”

Being that they are still a young band, and this is only their first major release, this band could do great things if they can get a hold on the sound they are looking for. Clearly creative and skilled musicians, once they get the reigns on the beast that is their sound, they might have something great.

Track picks: “Anthems of the Apocalypse” and “Legions”

Overall score: 6/10 devil horns

On a side note: It pains me to say this, but the album art for this album is awful. I love Samurai. Why did you have to have such a stupid album art depicting a Samurai?

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The Agonist – Lullabies for the Dormant Mind [Review]

Posted on March 16, 2009 | 2 comments

Lullabies for the Dormant Mind is the sophomore release from Century Media metalcore band The Agonist. It’s quite clear from their sound that they hail from Montreal, Quebec, Canada. The album was released February 23 in Europe and March 10 in North America by Century Media Records.

the agonist lullabies for the dormant mind cd album cover art

Given that their vocalist, Alyssa White-Gluz was a contestant on Canadian Idol (like American Idol for Canada, for those who don’t get it), this band has some pretty intense screams and subject matter – on this release particularly. After Only Once Imagined I did not have very high hopes for this band. They were boring and unoriginal metalcore and had very one-dimensional vocals. The only appeal was that the singer was a chick, and a hot one at that (still the only reason I think Lacuna Coil has fans). As you can imagine, a fiery personality such as Alyssa would want to avoid this, and make sure that people know she has chops. She made herself quite clear throughout Lullabies for the Dormant Mind, and brought more of an arsenal than last time. Many of the songs are more progressive death metal, and black metal sounding than the tired metalcore sound they had last time. This is not, however, to say that the approach they have taken has changed all that much. It is still quite clearly the same band.

The first, and most noticeable difference is aforementioned style change, but is not the most noteworthy. The biggest turn off from The Agonist for me was the lack of good songwriting. They had a pleasing sound, and were decent to listen to, but far too predictable. They seemed to have thrown out whatever formula they had been using, and simply went for it this time around.

While not groundbreaking, Lullabies for the Dormant Mind is at the very least fresh and interesting. The biggest barrier for this band, however, seems to be a lack of creativity in the guitar section, as well as the constant over-production. There are so many unnecessary string arrangements laid over the tracks, the most glaringly obvious being in the second track of the album, “…and Their Eulogies Sang Me to Sleep”. Ironically enough, this is the song that most exemplifies how the band really can come together and make some seriously brutal metal (each half of the song is almost entirely different from the other).

The other notable point of the album that I cannot forego mentioning is the a cappella version of Tchaikovsky’s Swan Lake. There is obviously a fair amount of studio magic on the track, and I am not very sure how much of it that Alyssa actually sang, but it came out perfectly. All the harmonies were spot-on, and it sits in just the right spot on the album. Whomever made the call to allow this on the album made a great one.

Given the fact that this is their sophomore release, it’s a good (but not great) one. They have avoided their sophomore slump, and have made great strides toward writing a seriously awesome metal album. If they continue to evolve and refine their sound, they will be unstoppable in a couple years.

Track picks: “..and Their Eulogies Sing Me to Sleep” and “When the Bough Breaks”

Overall Score: 7/10 devil horns

As a side note, the guys over in Derelict opened for The Agonist on the first show of their album debut tour, which would have bean a great show.

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God Forbid – Earthsblood [Review]

Posted on February 18, 2009 | Leave a comment

Earthsblood is the fifth studio album from Century Media thrashcore band God Forbid. This is the follow up to their very strong release IV: Constitution of Treason – an album that received very good reviews, but did not generate a large amount of buzz. Eathsblood released February 16, 2009 in Europe and February 24, 2009 in North America.

God Forbid Earthsblood

In stellar metal fashion, this album opens with a nice piano/orchestral piece to set a very dark, foreboding mood, about :30 into the song, — cue the big distorted guitar chords and melodies. As always, it sounds awesome. The best part about this song is that during the latter half, the guitars are mixed very low, and and shredding all over the place. It’s slightly difficult to hear, but they are there. After setting the mood, we’re back to the God Forbid we know and love (or not love, if you happen to hate the band). It is unmistakable, yet, the execution seems to be a bit more spot on this time. In previous efforts, it was chugging guitars, blistering solos, and the same monotone screams for a vast majority of the album. This album goes with a major direction change in that regard. There are much more varied vocals, with varying levels of heat, and the clean melodic vocals are much improved from previous efforts. The first example of this is :50 into “The Rain”, the second track on the album. This section, however, is just a taste. There are many good clean vocal melodies strewn about the album. Possibly what I consider to be the strongest element to the album.

The second area that surpasses the average God Forbid repertoire are the guitarists. They chose to vary up the structure and style of their solos on this album, most noticeably the solo half way through “The Rain” (there is a lot to be be said about this particular track). Beyond this track, there is little to nothing new from God Forbid. All the same chugging guitar riffs and monotone screaming, which is fine. The song structures are varied, there are some great clean vocal parts mixed in, and keeps attention well.

The next notable song on the album is “The New Clear” — this song is pretty different from the usual God Forbid schtick. This song is plain and simply a metal song, and has a very vintage feel. Guitar solos abound, almost no chugging, no broken rhythms, and this vocals are spot on for classic metal.

The easiest way to tell, for me anyway, that God Forbid are doing something a bit different is to look at the length of the songs. There are only three tracks on the album that top off at less than five minutes, one of those being the album intro. Five tracks on the album top off at over six minutes, including the whopping nine minute long title track, “Earthsblood”.

All in all, this album is fairly spectacular, and will more than feed the aural desires of old God Forbid fans, and I have the feeling they might garnish a whole bunch more fans in the near future.

Track Picks: “The Rain”, “The New Clear”, and “Walk Alone”

Overall Score: 9 out of 10 devil horns

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Unspoken Words – Derelict [Review]

Posted on February 17, 2009 | 3 comments

Unspoken Words is the first studio full-length from Montreal metal band Derelict (not to be confused with the other Derelict on Last.fm). Set to be released sometime near April/May. Somehow, the band is still unsigned (boggles my mind, honestly). As far as talent goes, this band ranks among the other Canadian juggernauts of Strapping Young Lad, Into Eternity, Annihilator, Quo Vadis, etc.

derelict unspoken words cd album cover art

Track list:
1. “Machete”
2. “Pirates”
3. “Summoning the Firestorm”
4. “Forth with the Herd”
5. “Polarized”
6. “Xenocide”
7. “The Blood of Life”
8a. “Unspoken Words Part 0: Ripe With Martyrs”
8b. “Unspoken Words Part 1: Demonizing”
8c. “Unspoken Words Part 2: Never Reborn”
8d. “Unspoken Words Part 3: Surrounded by Decline”
8e. “Unspoken Words Part 4: The Names of the Dead”

Derelict‘s sound is something like that of Strapping Young Lad, but their style is much different. It’s very much a melodic death metal style with a hint of progressive thrash. Grinding guitars, angular riffage, pounding drums, and all sorts of other fun stuff.

The album begins with what might be the album’s first single, “Machete”. This song really sets the mood excellently for the tracks that come forth and rip faces off. After the very serious sounding album opener, “Pirates” has a somewhat silly sounding tone to it — that is, until the distorted guitars kick in with a BIG scream. I was shocked at how brutal and brash that they made that melody sound.

The metal train just keep storming along through the next few songs, until the first breath of air at the track “Xenocide” which has a nice acoustic interlude using guitar tones and a style like you would hear from many different songs by Rodrigo y Gabriela. After the minute-long break, it’s back to face smashing.

The first section of the “Unspoken Words” isn’t even really a song, but just a small 40 second long filler track (I honestly don’t really get it, but it passes by fast). Beyond that song, this set of songs really showcase how progressive this band can be, whereas the first section of songs were pretty standard progressive thrash/melodic death songs. The last few songs are a bit more ‘mathy’ in nature, but still seem familiar to the fairly unique style that Derelict has constructed.

For a first full-length effort, this album delivers. I don’t know what it is about Canadian metal bands, but they all seem to have their own things going for them, and it almost always seems to work (namely Into Eternity and Strapping Young Lad) – Derelict is no exception to this. An incredibly strong effort from a band I firmly believe will explode onto the scene when they get signed, go on tour, and actually release this album come springtime.

Track picks: “Machete”, “Pirates”, and “Xenocide”

Overall score: 9 out of 10 devil horns

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Wrath – Lamb of God [Review]

Posted on February 3, 2009 | 1 comment

Wrath is the fifth full-length studio album by southern metalers Lamb of God. Released on February 24th under Epic Records, Roadrunner Records outside of North America.

lamb of god album art

Wrath. There’s a lot of things that have been floating around with album, and there’s been quite a fair amount of buzz (unsurprising since Lamb of God are of the most famous metal bands in the US today). Randy Blythe hasn’t said much about the album, other than it’s not going to be a slacker album, and will be much heavier than recent released by the Virginians.

Wrath is quite clearly and emphatically a Lamb of God album. They have not changed their sound much at all really, but they have stepped it up a notch (or, a few notches from Sacrament). The guys seem to be in tip top metal shape for this effort, and I can really appreciate it.

As far as Lamb of God goes, there are really two “eras” – the early days and the later stuff. The first two albums were really rough and abrasive, and didn’t really have great production. The later two albums lost most of the abrasive sound for more groove riffs and stellar production. Wrath really is a genuine example of the perfect middle ground of these two. Lamb of God have gotten back to the face-tearing, genital-crushing sound they used to have, except it no longer sounds as though it was recorded in a tin can.

The album starts out with a very cliché acoustic guitar part that is okay. From there, they kick in the guitars with overdrive with the heart-wrenching weepy guitars. Just like every other metal album before it (fine, that’s an exaggeration, but we have all heard this a thousand times). While cliché, this is totally different than anything Lamb of God has delivered us before. The track immediately following it is similar, where we get to hear some vocal timbre that Blythe has not used. From the start it is quite obvious they’re taking Wrath in a different direction.

Following the tastes of new stuff are the first singles from the album, “Contractor” and “Set to Fail” – these songs are more up Lamb of God’s alley, and sound like something that could have been lifted straight from As The Palaces Burn or Ashes of the Wake. The rest of the album is still obviously Lamb of God material, but seems to have a bit more attitude and “fuck you” to it.

The last track on the album, “Reclamation” is a great pure metal ending track for an album. The sound of the crashing waves in the beginning/end paired with the down-tuned acoustic guitars is a great sound. A 7:05 epic to close out the beast that is this album, and it is more perfect than I could have ever imagined, employing a lot of interesting guitar work not featured in the rest of the album – from the harmonies to the melodies, it all has a different mood about it, perhaps one of a less aggressive and hateful mood, but more of a depressed yet hopeful mood.

As far as instrumentation goes, Chris Adler is bringing it as hard as ever on this album, and keeps climbing the ranks of metal drummers out there today (still has a long way to go, however – gotta get some speed and more technicality in there). Willie Adler and Mark Morton really aren’t impressing me any more than before, other than the guitar work in “Fake Messiah” – now that’s some good work, boys. Speaking of guitar work, there are some damn fine solos on this album. The best of said solos appear in “Set to Fail” – that solo melts face.

All in all, this album is the best effort from Lamb of God to date, in my estimations. They have finally gotten their sound down, and it feels so natural, as opposed to the forced feel of Sacrament and the practice-session feel of New American Gospel. From start to finish, this album delivers the goods – in a coarse and brutal package. Wrath is right, Lamb of God – you nailed it on this one.

Track picks: “Set to Fail” and “Broken Hands”

Overall score: 9/10 devil horns

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Evisceration Plague – Cannibal Corpse [review]

Posted on January 25, 2009 | Leave a comment

Evisceration Plague is the eleventh studio album from Buffalo (New York) natives Cannibal Corpse. The album release date is February 3, 2009 on Metal Blade records.

Cannibal Corpse Evisceration Plague

Having been a fan of Cannibal Corpse for a long time now, I was EXTREMELY satisfied with their last release, Kill. Alex Webster has been quoted as saying “In Cannibal Corpse, our goal has always been to try and make each new album we record our heaviest. That goal was a bit more challenging this time since we were extremely satisfied with our last album Kill, but we knew that by working with producer Erik Rutan at Mana Recording Studios again, we would be able to start at that same level of heaviness and take it even further. Now that we can hear the finished product, I would say we’ve been able to achieve this goal, and I think our fans will agree. ‘Evisceration Plague’ has the best guitar sound we’ve ever recorded, and the entire band has never played with more precision and power. We can’t wait until you all get a chance to hear the album in early 2009, because we think you’ll be as happy with it as we are.”[1]

Now, I can’t say that he’s entirely right, but this album is definitely close to on par with Kill. It has the same crushing riffs that Cannibal Corpse always employ, and they have simply more finely tuned the sound for this album.

Straight from the first crushing track of the album, “Priests of Sodom”, this album is overpowering. It’s an all-out aural assault, really. This is not to say, however, that it is difficult to listen to. This album is simply made to sound huge. More big and loud than you can imagine. 10,000 marshall stacks loud. The greatest part about the production is the mere fact that no clipping occurs, all of the instruments are balanced, and it is not tiring to pick out each band member in the mix – until you get to the mini guitar solos. The small guitar solos featured on the album are somewhat buried. It appears that burying guitar solos a slight amount in the mix is becoming slightly more prevalent in the heavier, more brutal, styles of death metal (this includes, of course: Deathcore, Brutal Death, etc.). In terms of the “guitar sound” Alex mentioned, it’s true. The guitar sound on the album is fantastic. The rhythm guitar is absolutely crushing, and the lead guitar is crunchy, and sounds great in the shredding moments of the album.

In both Evisceration Plague and Kill the lyrical content has been a bit different than the lyrical content that Cannibal Corpse once had. It is easiest to see this by simply looking at the titles of their songs and albums. In their last two efforts, Cannibal Corpse have used less “Gore Obsessed” (sorry, could not help it) themes are less graphic. Still as brutal, but a little more serious.

Overall, Evisceration Plague is a good album – not great. It is a typically good release from Cannibal Corpse, almost their best to date. There was nothing overly awe-inspiring about the album, but is one hell of a listen.

Track picks: “Skewered from Ear to Eye”, “Unnatural”, and “Priests of Sodom” (it was hard to choose only three)

Overall Score: 8/10 Devil Horns

[1] CANNIBAL CORPSE: New Album Title, Track Listing Revealed – Nov. 3, 2008

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The Heaviest Matter of the Universe Awards 2008

Posted on January 21, 2009 | Leave a comment

So, I thought it might be cool if I came up with a bunch of superlatives for metal albums in ’08 to showcase more than just my top ten. So, for those who don’t know what a superlative is, you most likely had nothing to do with a high school yearbook. They’re like awards that you give to people in your class, like “class clown” or “best smile”, etc. These will be music/band related ones. I hope you enjoy!

Bests:
Vocals: Iconoclast – Heaven Shall Burn
Drumming: Planetary Duality – The Faceless
Shredding: Awaken the Dreamers – All Shall Perish
Newcomer: Relentless – Brother Von Doom
Production: Awaken the Dreamers – All Shall Perish
Lyrics: The Way of All Flesh – Gojira
Comeback: Traced in Air – Cynic
Style Change: Scream Aim Fire – Bullet for my Valentine
Name (album): Lost in the Sound of Separation – Underoath
Name (band): This is Exile – Whitechapel
Album Art: Twilight of the Thunder God – Amon Amarth
Album opener: “My Will Be Done” from The March – Unearth

Worsts
Production: Death Magnetic – Metallica
Style change: Midheaven – The Human Abstract
Lyrics: Scream Aim Fire – Bullet for my Valentine
Name (album): Love and Other Disasters – Sonic Syndicate
Name (band): Scream Aim Fire – Bullet for my Valentine
Album Art: The Incurable Tragedy – Into Eternity

Mosts
Overachieving (bad): Midheaven – The Human Abstract
Overachieving (good): We Are The Nightmare – Arsis
Controversial: All Hope is Gone – Slipknot
Brutal: This is Exile – Whitechapel
Shredding: Zero Order Phase – Jeff Loomis
Overrated: The Incurable Tragedy – Into Eternity
Disappointing: Overcome – All That Remains
Erratic: We Are The Nightmare – Arsis
Technical: obZen – Meshuggah
Surprising (bad): Overcome – All That Remains
Surprising (good): Dreamer – Haste the Day
Progressive: Traced in Air – Cyinc
Complete: Holographic Universe – Scar Symmetry

Leasts
Surprising (bad): A Sense of Purpose – In Flames
Surprising (good): Motörizer – Motörhead
Technical: Torn – Evergrey
Shredding: This is Exile – Whitechapel
Controversial: Watershed – Opeth
Progressive: Motörizer – Motörhead
Complete: Torn – Evergrey

Miscellaneous
Album of the year: Traced in Air – Cyinc
Single of the year: “Vacuity” from The Way of All Flesh – Gojira
Riff of the year: at about 1:10 of “Servants to the Night” from We Are the Nightmare – Arsis
Guitar solo of the year: at about 1:23 of “Awaken the Dreamers” from Awaken the Dreamers – All Shall Perish
Interlude of the year: “Memories of a Glass Sanctuary” from Awaken the Dreamers – All Shall Perish
Fastest: Ultra Beatdown – DragonForce
Biggest wannabe: Shogun – Trivium

So, yeah, that’s what I have come up with. Let me know how you feel! Got some you think I should add or change? I’d love to hear the criticism.

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The Heaviest Matter of 2008

Posted on January 20, 2009 | 8 comments

So, before I list them, I just want to say that this is my personal list of what I liked them most in 2008 for metal. Sure, there will be things on here that you think shouldn’t be, and some missing. Give me a break. I can’t listen to everything, and this is my list. If you don’t like it, go make your own damn list.

So, here’s how it will work. I’ll count down from ten to one, giving a few words about each selection, and my favorite track from the album. Then I’ll give the release date and label of the band.

10. Relentless by Brother Von Doom released September 23, 2008 (Deathcote)

Brother Von Doom Relentless

These guys are easily my favorite newcomers onto the scene this year. This album rips from start to finish, blow after blow, filled with blistering and brutal guitar work abound. Track pick: “Eater of Days”

9. Zero Order Phase by Jeff Loomis released September 30, 2008 (Century Media)

Jeff Loomis Zero Order Phase

One of the only pure instrumental albums I can listen to for hours on end, and the only one that is metal. Though this album quite prominently showcases Mr. Loomis’s guitar prowess, it’s never overwhelming – quite a feat in my book. Track pick: “Race Against Disaster”

8. Twilight of the Thunder God by Amon Amarth released September 30, 2008 (US) (Metal Blade)

Amon Amarth Twilight of the Thunder God

This album is quite easily the pinnacle of Amon Amarth’s work for me. It exudes the very essence of metal and vikings from start to finish, and has what I consider to be the best album artwork of the year. Track pick: “Tattered Banners and Bloody Flags”

7. Watershed by Opeth released June 30, 2008 (US) (Roadrunner)

Opeth Watershed

I don’t think I really need to say more than this: It’s Opeth. For those who don’t know, listen to them. You’ll get it. This isn’t their best work, in my opinion, but it’s close. Track pick: “Heir Apparent”

6. Awaken the Dreamers by All Shall Perish released September 5, 2008 (Nuclear Blast)

All Shall Perish Awaken The Dreams

This is the third release from ASP, and their least brutal. Technically, I think it is their most complete album to date, and edges out The Price of Existence by a very small margin. Chris Storey shreds many a face on this album, and is quite worth checking out if you like deathcore with a TON of crazy guitar work. Track pick: “Awaken the Dreamers”

5. obZen by Meshuggah released March 7, 2008 (Nuclear Blast)

Meshuggah Obzen

Best metal drummer out there: Thomas Haake. It’s quite apparent what he can do on this album. A culmination of older and newer Meshuggah. This is by far the most rhythmically complex album of the year, and has been pulled off nearly flawlessly. Track pick: “Bleed”

4. We Are The Nightmare by Arsis released April 15, 2008 (Nuclear Blast)

Arsis We Are the Nightmare

This is the epitome of what technical death metal should be. They rip through all sorts of styles on this album; flawlessly, might I add. This band keeps getting better and better it seems. Track pick: “Servants to the Night”

3. Iconoclast: Pt. 1 (The Final Resistance) by Heaven Shall Burn released February 5, 2008 (Century Media)

Heaven Shall Burn the Iconoclast part 1 the Resistance

This album is pure intensity. The vocals are demonic and spine-chilling. Could be a contender for best production in metal for 2008. Track pick: “Endzeit”

2. The Way of All Flesh by Gojira released October 14, 2008 (Listenable/Prosthetic)

Gojira the Way of All Flesh

Breaking onto the scene this year, the fourth album by Gojira is a MONSTER. They have a pretty unique sound and style, one that drags you in and stomps onto your head until the album’s over. Then you come back for more. Track pick: “Toxic Garbage Island”

1. Traced in Air by Cynic released November 25, 2008 (Season of Mist)

Cynic Traced In Air

Now, I’m sure a ton of people will agree with my decision to drop this beast at #1, but this album is incredible. It is less brutal and intense as the rest of the albums on the list, but is ground-breaking. Unique vocals, wonderful instrumental work. This album reminds me a lot of Rush and Pink Floyd, but with a few extra dashes of metal blended into the mix. Track pick: “Integral Birth”

So there it is. My list of top metal in 2008. Let me know what you think!

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Iconoclast: Pt. 1 (The Final Resistance) – Heaven Shall Burn [Review]

Posted on January 20, 2009 | Leave a comment

Iconoclast is the fifth full-length studio album from German Metalcore/Melodic Death Metal band Heaven Shall Burn. The album was released on January 28/February 5, 2008 on Century Media.

Heaven Shall Burn the Iconoclast part 1 the Final Resistance

First off, I want to comment on how absolutely awesome this album art is. One of my favorite styles of album art, and looks sort of like the cover art for Roorback by Sepultura (though it’s a bit of a stretch). Awesome work, whomever you are. I’ll look in the liner notes eventually to actually check the artist’s name.

Anyway, on to the music. As an album, this one is in the top ten metal albums of 2008 for me, easy. As with many of the bands I review here, this was my first taste of the wonderful german musicians. From start to finish, this album blew me away. I immediately went out and purchased the rest of their albums. Well, went to Amazon.com anyway.

I’ll touch on the few things this band do wrong on this album first.

… Oh wait, I can’t really find anything. There are no actual “flaws” in this album. I’ve heard people complain about the “Static X-esque” dance part of “A Quest For Resistance” but I don’t see the upbeat rhythm a problem at all. I personally like it, and think it fits in quite well with the album.

Now, since there’s not really anything I can see that they did wrong with the album, there are some things that weren’t perfect, and there were a few things that were done impeccably.

The single best part of this album is the vocals. Marcus Bishchoff has found one of the coolest recorded vocals I have ever heard. A majority of the vocals on the album are recorded twice. Once with Marcus screaming in a high or low tone, and the other the opposite. The vocals sounds to visceral and dark. They can be spine-chilling at times. In the first vocal parts of “Endzeit” it is quite easy to tell that this is happening, and it works to perfection.

The next best part of the album are the lyrics. They are a bit cliché in subject matter, but are incredibly well written. Take this excerpt from “Joel”:

“A preacher in a palace, deriding Luther’s fight
jugglers rise to icons, fiddlers playing saints
selling hope and warship mammon
blindness, fear, delusion – their intrinity
as you have paid the price, welcome to paradise”

From song to song, this album delivers on all fronts. Each song as intense as the last (excluding the interlude toward the end of the album, “Equinox”), and never once do I get bored listening to this album. I don’t even skip the interlude when I listen to the album. Because of the way the album ends, on two separate instrumental tracks, the latter being more intense and unresolved, I always find myself wanting to listen to the album again. Now, many people might fins this as a problem, but I love the idea. It’s absolutely brilliant to end an album on a slightly unresolved note (hypothetically) to keep the listener’s attention. “Atonement” is filled with such build up, such power, and such dissonance it always leaves me wanting more, even though I an never unsatisfied. There have been very few albums that have truly brought out my inner music glutton, this being one of them.

So, this is a great album. Perfect? Of course not, don’t be silly and naive. This album has hooked me, however.

Track picks: “Endzeit” and “Joel” – “Atonement” gets an honorable mention.

Overall score: 10/10 devil horns

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underOATH – Lost in the Sound of Separation [Review]

Posted on October 17, 2008 | 1 comment

Lost in the Sound of Separation is the sixth full-length studio album from the Solid State/Tooth & Nail act Underoath (or underOATH, or UNDERØATH). THe album was released September 2, 2008 (Us/Canada/Japan). The lineup for the album is the same as their last two releases, Define the Great Line and They’re Only Chasing Safety. This is another band that also falls in the horribly mundane and vague category of Christian Metalcore. The band has also been considered to be a post-hardcore band. In my opinion, the band floats in the grey area between the two genres.

Underoath Lost in the Sound of Separation

As with a few other reviews I have written, this is the first album I really sat down and listened to by Underøath. I did eventually listen to them, but this was their first of their albums I had been exposed to.

Upon my first listen, the album is sonically one of the best I’ve ever heard. There is simply no way to compare with this album in terms of the sound output. Take away what the music is and whether you like it or not, the production values on this album are perfect. Period. This is al album to be listened to with a nice pair of headphones, and deserves something far better than poorly compressed .mp3 file as you would get from say, the iTunes Music Store? Get yourself a nice pair of headphones and listen to this on a good vinyl setup if possible. It really is an experience.

Anyway, on to the music itself. Although I had not heard any full albums by Underøath before, I have herd songs. I sort of knew what to expect, but I had sort of discounted this band (regrettably) as another crappy screamo band, but with a little extra heavy. I was sadly mistaken. This band is a gargantuan band in terms of their musical performance. Great lyrics, and vocals that make me feel. Few voices I have ever heard have really spurred real emotion in me. Throughout Lost in the Sound of Separation I felt sadness, anger, hope, empathy, and so many more emotions. The rhythms and guitar melodies are always fresh, exciting, and interesting. The drummer doesn’t seem overly talented from what I heard on this record, but he sure as hell gets the job done.

The songwriting on this album is flawless as well. It feels like a gapless album when listening to it (well, other than the break between “Desperate Times, Desperate Measures” and “Too Bright to See, Too Loud to Hear” – that’s pretty obvious). The album really isn’t gapless, however, that is just how well put together the album is. Of course, they had to put the one song on the album that people who don’t like brutally heavy and raw music could enjoy… *cough cough* “Too Bright to See, Too Loud to Hear” *cough cough* Although it’s a good song, I wish that Underøath could just get rid of the soft, melodic songs they just stick into the albums. I guess it worked on the other albums, but it feels out of place on this album. At least it is at the end, and does a decent job at bringing the album to a calm, along with the last song (“Desolate Earth: The End is Near”). In my personal opinion, I would have been personally 100% content if the album had ended at the last note of “Desperate Times, Desperate Measures”.

The last thing I want to address is the album artwork. Now, is it just me, or does Underoath always have the best album artwork? I don’t have the slightest clue about what this album art is all about, but it’s awesome. There’s also no way to discount the album art for They’re Only Chasing Safety or Define the Great Line.

All in all, I absolutely love this album, and it is one that every fan of raw, heavy music should OWN. Yes, own as in BUY. If not only because the album is great, then buy it for the opportunity to get the “golden ticket” that allows free passage to every Underøath show form now until forever.

Track picks: “Only Survivor Was Miraculously Unharmed” and “Desperate Times, Desperate Measures”

Overall score: 9.5/10 devil horns

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