Tag Archives: into eternity

Thirteen bands that don’t suck.

To no surprise, there are metal bands that I don’t know, some of which I probably should know (yeah, I can admit it). I am positive you are the same way. While I cannot take some valued one-on-one time to run down a list of metal essentials (you can actually find these all over the ‘net), I can provide you a list with some pretty rad bands you should check out if you do not know them already. If you have heard a band before, but formed an opinion about them already, please feel free to share your thoughts. Think I should have included another band (or two, or three)? Let me know! Anyway, here’s a list, in no particular order, of thirteen metal bands you should know:

  1. The Black Dahlia Murder
    The Black Dahlia Murder are a perfect example of dudes who just get it. Their music is pure metal, and the guys in the band clearly love to do what they are doing, but still have a very good sense of getting done what needs doing. I first heard these guys when Miasma came out, and was not too impressed. I listened to Unhallowed, which is quite a good album. Nocturnal, which came out in 2007, really sealed the deal for me. From start to finish, Nocturnal is pure, unadulterated, metal. Since I first heard that album it has been in constant circulation in my listening habits. It also doesn’t hurt that their most recent DVD, Majesty, might be the best metal DVD I have ever seen. Yet, some people still discount them, and lump them in with all the -core genres out there. Clean your ears out, folks.
  2. Textures
    I first heard Textures a few weeks back on Last.fm Radio iPhone Application. The first song I heard was “Circular” from their 2006 release Drawing Circles. There are only a small handful of bands out there today that I can say truly do their own thing, and Textures is for sure one of these bands. Combining all things heavy and brutal about metal and combining it with all things catchy in extreme music – flawlessly. Naturally, once I heard one song I like, I felt compelled to check out the rest of their stuff. I don’t really care for their first full-length all that much (Polars in 2003), but Drawing Circles and Silhouettes are both amazing albums suitable for the metal fan of all tastes – especially fans of the more progressive stuff. Wish I would have heard them sooner, Silhouettes would have made my top ten of 2008 for sure.
  3. Himsa
    Originally lumped into the “Metalcore” crowd when the scene was emerging, Himsa really did foot that bill with their first full-length, Ground Breaking Ceremony, this was really their last Metalcore album. From there on out, starting with Courting Tragedy and Disaster, the band was full-on Melodic Death Metal (or something awfully close to it). Better with each record, Himsa was one of the best bands on the scene with their 2007 release Summon In Thunder. Unfortunately, that was their last album, as the band officially broke up in mid 2008. With great solos, and great videos, Himsa really were well-equipped to be one of the best metal band of the last couple decades.
  4. Razormaze
    A new and awesome band from Boston (as you can find out from my review of their album I recently did). Amazing live show, played with Revocation before Relapse signed them. This is what metal is supposed to be: awesome, badass, fun, thrashing, etc. I would tell you more, but I covered most everything there is in my review of The True Speed of Steel. One thing to mention, though: at their last live show, the rhythm guitarist/vocalists’ guitar broke, so they continued the set, playing 1-guitar covers of Metallica’s “Seek and Destroy” and Motörhead’s “Ace of Spades” – BAD ASS. The crowd was absolutely insane. Never experienced anything like it in my life. I still don’t really know if this band has some footing and is gaining popularity or not, but I can’t see them staying unknown for much longer (if they are). With a new album on the way, who knows where they’ll go.
  5. 3 Inches of Blood
    Songs about destroying Orcs and mythical beasts from the year 4055, you might not exactly expect to hear what you do from this band. A mixture of all things heavy and thrashing in metal, vocalist Cam Pipes (yes, Cam fucking Pipes is the vocalist’s name), sounds similar to Rob Halford at times, but does so much more on the mic. Every song is big, loud, furious, and balls-to-the-wall. Their most recent album (but not for long) is called Advance and Vanquish, which it most definitely makes its listener want to do.
  6. Arsis
    I am pretty sure this band fits into the “technical death metal” umbrella, but I feel like that doesn’t at all describe their sound. If I had to name their sound, I would say “blackened technical thrash death” if such a thing exists. If it didn’t before, it sure does now, thanks to Arsis. They are certainly technical (James Malone is an expert in the field of shred), and every song is completely unrelenting. Somehow, amidst all of the shred and brutality, this band manages to be catchy (e.g. the chorus of “Maddening Disdain” from 2004’s A Celebration of Guilt). If you have been checking my blog for a while now, you may recall that this band made the top five for my albums of 2008 list with We Are The Nightmare, which is quite a feat considering most Arsis fans thought it was their weakest effort to date (somewhat true). Any fan of the heavier thrash bands, death metal, or extreme metal in general are almost guaranteed to like this band.
  7. Into Eternity
    The second Canadian band on this list with an absolute monster of a vocalist (Stu Block in this case). Before 2005, Tim Roth was on lead vocal duties. Both dudes absolutely wail. Need proof? Check this outrageous number. For added effect, he executes it FLAWLESSLY live, which is pretty amazing – always makes me love a band more when they are awesome live. Not really a fan of their latest album The Incurable Tragedy but it has a couple great cuts on it. All five of this band’s albums are at least above par, and all uniquely theirs. Definitely a band for fans of melodic death with a hint of Geddy Lee/Rob Halford.
  8. The Tony Danza Tapdance Extravaganza
    All you really need to understand this are this and this. For those not not in a situation bone-crushing videos at the moment (and for the sake of consistency), I’ll fill you in. TDTDE are a bunch of hick kids from backwoods Tennessee. Because of this, they have become obscenely proficient at their instruments. With lots of hilarious jokes at the expense of hicks, as well as a whole lot of musical chaos, this band is clearly head and shoulders above the rest of their “grindcore” and “deathcore” brethren. Danza II: The Electric Boogaloo does two things: brutalizes you with music, and gives you a second to breathe with hilarious skits of a pissed off alcoholic midget who knows too much about pool. If that doesn’t sound like a good time, you have a poor taste in life. New album soon, I can only hope for record levels of depravity and chaos, as well as hick-ery.
  9. The Faceless
    Upon a first listen, The Faceless might seem like your average, friendly neighborhood technical death metal band – and you might be right to an extent. Through the band’s two albums there are a lot of parts that scream “we’re more than boring tech-death!” – which is spot-on. Especially apparent on Akeldama, The Faceless are both machine-like in terms of skill, and visionaries in terms of technical death metal. Writing catchy and evocative riffs and song structures, this band is clearly aware enough to avoid the “SHRED SHRED SHRED BLAST BEAT” mantra of most technical death metal bands today, bringing new hope to a genre being held together by the likes of Necrophagist. Well, eat it, Necrophagist! The new sheriff is in town, and there isn’t room for the both of you! (just kidding, guys, I love you – bring your friends along if you like)
  10. Derelict
    Yet another awesome progressive Canadian band I have already covered. Yawn. BUT NOT REALLY! For those of you out there who like Strapping Young Lad, Derelict will be right up your ally. (I mean, honestly, who does not like Devin Townsend? Losers. That’s who.) Somehow this band is completely unknown in the US, but have some pretty strong hometown followers throughout Canadialand. Boy do those people like their metal (and breed some amazing bands, too!). Now, I’m not all that up on trendiness, but I really think these Canucks are onto something here. I think Derelict should most definitely be the next big act to come out of Canada. Unspoken Words might be in the top ten greatest metal debuts I have ever heard, it is that good. Now if they can only get working Visas to tour the US so people might actually find them.
  11. Cynic
    Being that I was only five years old when Cynic released their first album, Focus, in 1993, I can’t say for sure how popular Cynic were then. I can say that they are less-than-well-known now, which is a horrible. Focus is a great album, and Cynic’s second album, Traced In Air (2008, long story on the delay) is even better. It took my top spot for albums in 2008, and is an album I strongly believe all the praise it gets and more. Progressive metal at its finest, the album’s only flaw is that it runs too short (only about 34 minutes in total). If you are completely against vocoders and auto-tune, you have to give this album a listen. If you love them, you still have to listen. In no way can anyone ever regret hearing Traced In Air it is so mammoth, albeit a very densely-packed mammoth. Every note on the album is planned out and perfect. Every drum strike even, every nuance just enough.
  12. High On Fire
    Ever wonder what Matt Pike has been up to since his stonerific days in Sleep? Well, he joined another stonerific band called High On Fire. This time, he is making music with a bit more gusto. Think of High on Fire as Sleep, but with a need for anger management classes or some sedatives. Lots of cool tribal drumming and signature Matt Pike riffing and vocals, this band disappoints at no point on any of their three albums. With a very vintage sound, Pike is clearly trying to help with the revolution to bring back good ol’ drinkin’ metal and succeeding. The most amazing part about High On Fire is the incredibly thick sound they have for only being a three man outfit. If you were not living under a rock in 2007, you probably at least heard of all the commotion Death is this Communion got, and rightfully so. If you never listened to them then, you now have no excuse.
  13. Protest the Hero
    Yeah, yeah, I know. Another Canadian Prog Metal band. So sue me. Regardless, this band is way more talented than even the band themselves can handle, causing them to create frenetic hook-ridden, shred-laden, everything-metal that leaves everything in its wake. Coming up with a way to describe Protest the Hero is not hard, but nothing I can say would give these boys the credit they deserve. Sadly, I did not find out about these guys until after I made my Top of ’08 list, of these guys would have rivaled Cynic’s Traced in Air for the top spot with Fortress. An album more memorable than any album I have heard that came from the last decade. PERIOD.

Well, that is that, folks. Thirteen bands to get your metal on with. Did you already know them? Let me know your thoughts! Weigh in on the high praise I give to these bands. I encourage “heated debate” – it is the easiest way to find out what you love and hate.

Also, any great bands you could add to the list would be rad, since I’m always on the hunt for new and great metal.

Horns to the heavens and beers to the mouth, kiddies! \m/

[Note: I commend you if you actually made it through this post. That was a lot of shit.]

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The Heaviest Matter of the Universe Awards 2008

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.

Interview with Michael Romeo of Symphony X (4/4/08)

So, I know it’s a bit late to be posting something like this, but I found it kicking around my computer and realized it had not been posted anywhere. So, here she is:

Interview with Michael Romeo of Symphony X (Guitarist) – 4/4/2008

On a night at the Middle East (downstairs) in Boston where Symphony X was on the bill with Epica and Into Eternity , I sit in the dressing room/lounge area, waiting with my photographer for Michael Romeo . After a couple of minutes of listening to muddled sound checks, in walks Mr. Romeo, guitar-waving, half open silk shirt-wearing Michael Romeo. At first, I was unsure what to think, until he opened with the words: “Hey there, Michael Romeo. Jordan right? What magazine are you with?” So, I gave him a little preface, and we were off to the races.

[Jordan Munson] – So, we’ve got an interview here with Michael Romeo of Symphony X. So, first off, where did you get your name for Symphony X?

[Michael Romeo] – Where did we get the band name? Uh, well, the keyboard player, me, and the original bass player would pretty much jam in bands in high school. Well, me and the old bass player did at least. We got the keyboard guy later. And we decided to put this band together, and uh, we were writing songs and everything – not even thinking about a name. We didn’t even bother ‘til we had to, when one day we were like, ‘Oh, shit, we don’t even have a name’. So, we started kicking around some names, and to be honest, it didn’t even take much thought. We were more worried about the music, we were more worried about what we were doing. So, you know, the music we were coming up with had the keyboard thing and the guitar, and some classical elements, so the word ‘Symphony’ came up and, so the dramatic thing, you know? So then, somebody said ‘Symphony X’ and we were like, ‘yeah, that’s cool’ it is that kinda thing, and the ‘X’ is the unknown and all the other stuff we do. And so that’s what it was, We didn’t put too much effort into it, and we just went back to writing tunes.

[JM] – So, I read on your biographies that you guys have so many influences, like classical, progressive stuff, some metal and rock stuff back in the day, so do you find it hard to play to all of those influences?

[MR] – Eh, well not really. I mean every album that we do before we start we kinda talk about the direction of the record, you know? With the new record it was more like, let’s go back to some more metal stuff, the real stuff, like [Judas] Priest and [Iron] Maiden and Ozzy and all that stuff. So then for every album we do have a direction. So there wasn’t a need to have any other kind of influences except what is best for the song. And when we were talking about this record we wanted to have more metal tunes and more riffs and guitar-oriented kind of things but at the same time have some of the orchestral stuff you know, like the intro, so there’s a little classical influence on that thing, but you know, it’s a metal tune. It’s always different and you use what you need.

[JM] – So, I noticed all of your albums have their own distinct “flavor” like your last two albums have been themed about epic poems. Do you plan on doing this in the future, making themed albums?

[MR] – Nah, nah, it’s like we’ve been there and done it kind of thing, but it’s cool, though; it’s cool to write like that. Writing more like, for me anyway, you kind of have a direction, and with the material you have something you want to say. So, it is kinda cool, and it is easier for me as a musician, to say, ‘Oh, yeah, we’re gonna do this Paradise Lost thing’ and it’s gonna be the theme of the record, not a concept thing, we’re not gonna say you know, ‘the devil’ and that kind of thing, or try to tell some cheesy story but you know it is more about good and evil and betrayal, an revenge and that stuff so it kind of paints a picture of the music. The riff’s dark, and maybe some choirs, but we kind of did it already, so maybe next time on to something else.

[JM] – So, you’ve compared yourselves to the Pink Floyd’s and the Rush’s of back in the day, being really progressive and pushing the genre. Do you see yourselves down the road, say, 20 years still making records and touring?

[MR] – Well, we’ve been touring for about 12 years now, or something, 13 or whatever the hell it is. I mean, yeah, as long as we’re still passionate about it. You know, and I think we will be, we love what we’re doing. I mean, we don’t think about shit like that. You just have to think ‘Do we feel like doing this?’ or writing, does it do something for you? That’s all that matters.

[JM] – So how do you feel about the Europe tour you just finished up, like, do you think it went well?

[MR] – Yeah, it was good. Everything always gets better I think. You can seethe progress. Doing tours with bigger bands definitely helps. We did Gigantour here with Megadeth and then we went do do our own thing and you could see more fans and its the same thing in Europe. I mean, we always did well in Europe and Japan anyway. We just did a tour with Dream Theater over there, so going back now it was like, oh yeah, there’s a lot of new fans, a lot of new people coming in, it’s always good. And plus, we’ve been touring for a while and the albums were out, there before anyone else in Japan, so we already had a head start. Here we’re trying to catch up a little.

[JM] – How do you feel about the progressive metal and power metal genres these days?

[MR] – I always just look at it as metal, you know? Cause there’s so many bands and sometimes if you try to break it up too much in all the little sub-genres it’s like, like, to me I just look at it as the whole metal thing. We’re all kinda in it together, whether prog metal, or death metal, or whatever hell else there is, it’s our thing and like [Iron] Maiden and any other thing, yeah it’s different, but I try to look at it as a whole. Because then you have Rap and all this other garbage, but the metal thing is our thing. But, yeah, you see a lot of the bands that are doing the metal thing doing well. And you see bands like [Iron] Maiden coming back, and Heaven & Hell, Dio, you’re seeing stuff. I see a lot of younger kids at the shows, kids with the ‘Led Zeppelin’ t-shirts, you know? They’re just finding out about this stuff. It’s cool man.

[JM] – So, for some standard interview questions, do you have any songs that are your favorite to play live?

[MR] – I think I kind of have some favorites, and we’ll try to get ‘em in the set, but usually when we work out a set we try to find the overall set that feels good,you like the flow, we’ll be able to start strong, and maybe come down and play a few mellow songs, and some rockers at the end. We always want some kind of a flow. At that point, it doesn’t matter favorites or not. Whatever song is good. You know, and there are some nights too, where you see the crowd reaction and you know, like, maybe we’re not gonna play this tonight, but what the hell, and the reaction is great, so we’re like ‘shit we gotta play this song more often’. It’s just like we kinda know which one to throw in there. And some we’ll just try. We always try to break it up, too, tonight we’ll play some stuff tonight that we didn’t play last night or whatever.

[JM] – I gotta ask, do you have any crazy stories from the road?

[MR] – {Laughs] There’s just so much, so it’s like… To be honest, it’s not lately either. In the beginning a lot of stupid shit happened, we were young and reckless, we were not… smart about shit, you know what I mean? Doing stupid shit. I think now we’re pretty mellow, we’re pretty comfortable with everything, I mean, there’s always stupid shit that goes on, but there’s not one stories that’s just like ‘My god’ you know? We’re pretty normal dudes, we’re pretty … not too out of control. But we know when to put the reigns on, you know?

Into Eternity – The Incurable Tragedy [Review]

The Incurable Tragedy is the fifth studio release from Canadian Progressive/Power/Melodic death metal band Into Eternity. The release dates are: August 20 in Europe and September 2 in the US/Canada.

Into Eternity the Incurable Tragedy

At 38 minutes and 52 seconds, being 12 songs long, one could not call this a long album by any stretch of the imagination (granted, it still beats punk and grindcore albums in length). The thing is, this album doesn’t need to feel longer. It has so much going on within it, 39 minutes is plenty.

First off, I want to discuss that this is another one of those “theme albums” that you have heard so much about. I must admit, I have a soft spot for theme albums, but I am always quite skeptical. Most theme albums turn out to be boing, cheesy, cliche, etc. There are but few theme albums that turn out great [Leviathan by Mastodon is a shining example of this, themed after Moby Dick]. Into Eternity’s newest album really is none of these. It is tough to think of a metal album as a theme album if it’s theme is death, disease, etc. as this album’s theme is supposed to be. Quoting an interview with blabbermouth.net, “The incurable Tragedy was inspired by the deaths of [Tim] Roth’s two best friends, brothers who succumbed to cancer within two months of one another.” While I am not trying to take away anything from the fact that this indeed is a theme album, it would really not be too far-fetched to say that this deals with pretty normal subject matter for the genre they are in.

The second thing to address, and easily the most noticeable, is the incredible musicianship on this album. As always, Into Eternity delivers on all fronts as far as performance goes. All those long years (about 11 years now) of constant touring has really paid off in this department for the band. Each performance only gets better. Roth’s guitar work is above and beyond, and the vocals, as always, are enormous. Arguably the best vocals in the business are found in Into Eternity’s music (check out Stu Block’s wail, and tell me it doesn’t blow you away – you won’t, unless you’re lying of course). The new addition to the overwhelming musicianship are the interludes found on this album that were in very short supply on previous efforts, these interludes being the “Incurable Tragedy” series. THese are very ballad-like songs that follow the same general melody, then the weepy guitar chimes in, followed by the big vocals. These interludes are the emotion that this album needs to keep the “theme” in tact. Overall, the instrumentation is over the top and out of control in most cases. They tug on the reigns here and there just a little to keep the whole thing from just plain running away from them.

The biggest weakness of this album is quite easily it’s lack of originality. As I have discussed in previous reviews, this can be a double-edged sword. It helps some bands while it hurts others [sellout v. classic, losing fame v. evolving/improving]. In this case, it hurts the album a little bit, because the sound that Into Eternity has always had is not very cohesive, and changed pace quite often, with the pieces of each song jutting out. Trying to put together anything with this band is like having only square blocks to put into only round holes. Because they have so many influences, and play in so many styles, it gets to be a little much at times, and the dramatic and fast switch of styles and sound certainly adds to the fact. I happen to enjoy what it is they do, but it is a point in which deserves heavy criticism and notice. It is very much a love/hate point of discussion.

Because of this style, it is really tough to create a very cohesive album with your less-than-cohesive songs. Think of it in the way that grindcore is. Grindcore is typically all songs built section by section, with no real chorus or repeated sections, just stacking riffs and breakdowns end to end until it is a series of stuff that the band thinks sounds good. In a less extreme way, that is what Into Eternity’s sound is like. Because of this, the first couple of listens are sort of tough until you get used to what is going on, but then it quickly grows on you. The first instance in which I heard Into Eternity, I simply had no words to describe what I had just experience, none good nor bad – I was utterly speechless and confounded, sonically and aurally assaulted. THe more I listened, though, the more I love it.

All in all, the album is great at what it is good at, and awful at what it is not good at – typical over-the-top album style.

Track picks: “Diagnosis Terminal” and “Prelude to Woe”

Overall Score: 5/10 devil horns

I suggest you give it a listen just to experience the pure sonic power and diversity that this album brings to the table. Overall, it’s nothing spectacular, but does provide moments of excellence. It’s worth a listen for the absolutely bonkers melodic vocals, but little else.