Reviews

CD/DVD

2006 Releases

 

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Based on a 5-Star Rating:

 5 - \m/ Fuck Yeah!! (ALL hell breaks loose)                                 
4 - Worth The Crook In The Neck
(Something to headbang to)
3 - Not Bad...
(Get it for the cover & artwork alone)                        
2 - Buzz Bin
(A second hand record store purchase at best)               
1 - The Axe
(After selling their souls, the devil reneged on the deal...download it!)                    

 

Looking for 2008 reviews? Click here.

 

 

Abysmal Dawn From AshesABYSMAL DAWN

From Ashes

Crash Music, 2006

Reviewer: Karma

 

California natives Abysmal Dawn have something to be damn proud of with their Crash Music debut, From Ashes. The foreboding cover just about says it all; this release is deadly and menacing as the music itself is in the vein of old school American death metal with a healthy injection of black metal and a dash of thrash. The appropriately titled intro “Impending Doom” truly sets the table for the next half hour of pure sonic bliss! Vocalist and guitarist Charles Elliot darkens the night skies with his blistering vocals and blazing string work along with other guitarist Jamie Boulanger. The riffs are blistering, funky, and impressive. The rhythm section is just as brilliant with Terry Barajas banging away on the skins and with Carlos Arriola's excellent accompaniment on bass.

 

Producer and newcomer John Haddad (Intronaut) captured the band's live essence on all nine tracks, not an easy feat by a long shot! You have to acquiesce with Elliot that Haddad is “a name people will be hearing a lot of in the future!” The tone is cold but not sterile, crisp, raw, atmospheric, and lively! BRAVO! Best tracks are Music Choice favorite “Blacken The Sky”, “Servants to Their Knees”, “Wicked Impulse”, and “Crown Desire”. From Ashes maybe short in time, (as in 31:00 minutes) but this blackened melodic offering will make a long lasting indelible impression in the corridors of your memory bank! Like a phoenix rising from the ashes, so shall Abysmal Dawn…this band will not only loom in your blackened hearts and souls, but will forge a permanent place in metal history and to think, this is their first album... Now comes the torturous part, impatiently awaiting the arrival of their next evil release!

 

The Acacia Strain The Dead WalkTHE ACACIA STRAIN

The Dead Walk

Prosthetic Records, 2006

Reviewer: Karma

 

The Acacia Strain, have returned to the forefront of the hardcore with their third installment of utter brutality with The Dead Walk. They are in and out within an unprecedented 32:02, this Springfield, Mass collective of five, quickly conveys their gang rape to the senses. It’s rivaling the quickest beatdown in history, full of wall-to-wall viciousness. To hell with a 2x4, TAS’s going balls out with a “4x4” to shove up your anus! The sadistic guitars of both Daniel Daponde and Daniel Laskeiwitz are punishing alongside of the rhythmically orgasmic rhythm section, which is composed, of master skinsman Kevin Boutot and bassist Seth Coleman with the intense and brutal vocal assault delivered by Vincent Bennett.

 

Speaking of Bennett, no one escapes his ferocious lyrical snare, literally! The band is obviously fed-up with bullshit dedicating eleven tracks to relay their venomous message. Justice has been served!! They come out of the chute with an apology-free sucker punch to the face (no puns intended) with “Burn Face” containing lyrics such as “Die in the bed that you made for yourself” to “4x4” with “you dug your own grave; I just helped you fill it in”. Speaking of fill ins “See You Next Tuesday” [sit back and break it down, as in c.u.n.t.] has to be my personal favorite out of all of the cleverly titled “go fuck yourself and die” songs!! On the final and title track, “The Dead Walk”, the bass reigns supreme, and the drum work evokes memories of Cannae’s “Bastinado”.

 

An additional cardboard “wrapper” encases the beautifully packaged CD. Gave artist Paul Romano free reign to go berserk as he definitely pulled no stops with the sinister artwork he compiled for The Dead Walk, especially the last picture on the booklet; it appears from the perspective of an angered soul starring off into the abyss of trees; it’s very Ring like! It’s a path that leads to nowhere, now if that doesn’t sum up a dead walk, I don’t know what would! And speaking of the artwork, are the roses stuffed in the pig’s intestinal track there to signify making the foul eliminations of society smell better or make it more palatable once ingested? Hmmm… On an unrelated note, in the credits, Bennett thanks Albuterol, as well as he should if it keeps him from passing out allowing him to fiercely deliver the way he does!

 

Vigilantes of the universe, The Acacia Strain are the voice for the poisoned. They have put out one fine effort with The Dead Walk. Since “everyone must suffer”, at least we’ll be sent to our graves with some kick ass music in the process! And I leave you with this from “The Demolisher”, “This is a fucking nightmare and no amount of your screaming will ever wake you up”, when anger is dished out like this, why would you want to? HOLLA!

 

All Shall Perish The Price of Existence

ALL SHALL PERISH1/2

The Price of Existence

Nuclear Blast Records, 2006

Reviewer: Thorne

 

All Shall Perish has been one of my personal favorites, ever since their Hate, Malice, Revenge LP. When that release first dropped, the band was trying something different than their peers. All Shall Perish, rather than playing a prototypical style of hardcore or death metal, decided to mix death, hardcore, and grind into a potent and extremely volatile sound. Now, while the deathcore movement is rapidly becoming more and more popular with bands such as Job For A Cowboy, Animosity, and Despised Icon waving the deathcore banner high, All Shall Perish continues to stand at the top of the mountain. As good as the previously mentioned bands are, none of them can hold a candle to the violent abandon of All Shall Perish.

The Price of Existence is a far more mature effort than "Hate, Malice, Revenge" and truly shows that All Shall Perish has not only advanced in terms of songwriting, but also musicianship. The band has crafted an album filled with just as many Gothenburg and Floridian-tinged riffs as it is with absolutely menacing breakdowns that one could almost imagine decimating an entire crowd of emo kids from left to right. Combine all of those with the fact that ever single song has a distinctive personality of it's own, and you've got one of the best albums of 2006.

Ben Orum and Chris Storey have really outdone themselves on the riff front, as stated earlier. These two have written parts for this album that would make any death metal veteran nod with approval, much like the drumming of Matt Kuykendall and the vocals of Hernan Hermida. This is so far beyond anything that others bands of this genre are doing, in terms of technicality and overall brutality as a whole. At one minute, this band could be yanking your entrails over a barbed wire fence and the next, making your head explode with the kind of technical work that puts even Necrophagist to shame. Believe me, no matter how long you've been into death metal, this is absolutely a must-have release for you. I'm still blown away.

 

All That Remains The Fall of Ideals

ALL THAT REMAINS(4.666 Pentagrams)

The Fall of Ideals

Prosthetic Records, 2006

Reviewer: Karma

 

After first hearing a live preview of "This Calling" last year during the Doomsday Tour with Arch Enemy, I will have to admit I was not a fan. Frontman Phil LaBonte's clean vocals were way off during the two shows we saw. Recognizing the potential it was not a big deal, as one would figure they would work the kinks out and that they did, indeed. The rest of the album is light years away from the band’s previous sound; “This Calling” and “Empty Inside” is about as close as you are gonna get to the old sound. Since the successful release of the sophomore effort This Darkened Heart, All That Remains have endured a plethora of lineup changes however this is the tightest the band has ever sounded...so tight the guitars have beefed up to an all new high, to the upper echelon!

 

Now let us tackle the production/recording of the CD shall we. Produced by infamous producer Adam Dutkiewicz of Killswitch Engage at Zing Recording Studios in Westfield Massachusetts. The CD was engineered by Soilwork's Peter Wichers, without any contact with the band...whoa! Suffice it to say, Adam D. strikes again robbing the life-force out of it, leaving it cold and mechanical…like an android, something Dutkiewicz excels in. Bravo, after speaking to Mr. LaBonte during this years' Ozzfest, he stated that it was the exact feel the band was going for due to drummer Shannon Lucas' style, hmmm…CONGRATS, not to mention it pieces the entire puzzle together! Now that the air is clear, the production was weakest link. At times the raw melodic meld turns the band into a Killswitch ATR blend (Killswitch Engage + All That Remains = Killswitch Remains). Don't get me wrong, there is an upside to the production by Adam D.; he stepped his game up a bit, taking a page out of the highly regarded Tue Madsen's game book, giving a boost to the bass of the recently acquired family member Jeanne Sagan. Can you say magnificent, thought you could. No matter how "cold" the production left the CD, on a whole it is still "bravura". Going back a bit to the recording, here's a bit of trivia for you. The band recorded a twelfth track entitled, "Follow" a re-recorded song from Behind Silence and Solitude their debut album but unfortunately does not appear on this particular pressing, better luck for the next go round. Travis Smith (Nevermore, Opeth) breathes the breath of visual life into this effort with his provocative artwork.

 

It is hard to determine what has been the biggest progression of the band...whether it's the massive, yet effortless vocal intensification of LaBonte (clean "This Calling" & "Whispers (I Hear Your)" and his perfected guttural to screams vocalization techniques are best displayed on "Empty Inside" and "The Weak Willed") or the strapping guitars of Herbert and Mike Martin, or the addition of the forceful, dirty, sludgy bass and the precisely devastating drums. Lucas kills on "Whispers", ironic since it is a ballad. It is very hard to just pick one area of improvement! Always nice to see a band evolve together. Bottom line, this album is bound to get the band the level of recognition they've been deserving of since day one! This is one monstrous offering, it may be semi-formulaic but it is so worth the purchase, they did it right! ATR has always been a premier, hard-hitting act so get your ass out there, buy this CD, and treat yourself to a live aural assault of theirs as many times as possible; you'll have absolutely NO regrets!

 

Amon Amarth With Oden On Our Side AMON AMARTH

With Oden On Our Side

Metal Blade Records, 2006

Reviewer: Kate

 

This Viking melodic death metal band is nothing if not consistent varying mostly in production but with that said With Oden on Our Side is of notably higher quality than that of the disappointing Fate of Norns. This album is saturated with Amon Amarth trademarks that some might be over and done with but the band’s energy also comes pouring through.

 

Opening with a quickly paced riff “Runes to My Memory” is one of the more emotional and memorable songs, you can hear the melodic angst and almost desperation in Johan Hegg’s vocals. “Asator” is pure death metal; beginning with an insane riff and backed by Frederick Andersson’s drumming that is purely primal and direct. The meat of this whole album is “Gods of War Arise” and “Prediction of Warfare,” both a little lengthy in storytelling but will keep the listener interested.

 

The clarity and power on With Oden on Our Side has shown how much the musicianship has improved over the years with Amon Amarth. This shows not only that they have been able to survive over the past ten years or so but can come out with one of their top crowning achievements.

 

Amorphis EclipseAMORPHIS

Eclipse

Nuclear Blast Records, 2006
Reviewer: Fox

 

Many Amorphis fans have anticipated this album with bated breath, this newest platter of vigorously tuneful Finnish sounds introducing the talents of new singer Tomi Joutsen, who replaces the band's longtime and much-revered frontman Pasi Koskinen. Often, groups are required to make such changes and for whatever reasoning, the results on this latest achievement stand as being surprisingly positive in consideration of the circumstances. Although Eclipse is an album in which fans will find Amorphis to be much more accessible than ever before, a large amount of the base of the band's sound remains deeply rooted in the recognizable strains of their classic legacy.

 

As one of the first groups to factually combine the death metal style with more commercial sounds, Amorphis has overcome the odds on this refreshingly well-constructed record. While cuts like "Perkele (The God Of Fire)" and "Brother Moon" exhibit a noticeable return to the melodic death metal orchestrations of Elegy, most often the listener is thrust into a forebodingly harmonious musical realm that excels as a combination of the sensations delivered by the group's most recently acclaimed effort, Tuonela and to a much lesser extent, Elegy. Motivated by a strongly persuasive intent to produce vital, engaging modern rock.

 

Over the years, more and more of the Finnish goth sound has penetrated the sound of the group and while Amorphis most certainly reclaims their identity on this stellar disc, that singular, distinct identity is less at odds with contemporary sounds than at any other point in the band's career. Rife with bold, melancholy harmonies, "Two Moons" projects the classic Amorphis style that fans have come to know and love over the years, with Joutsen instantly proving himself to be a worthy replacement for Koskinen. A familiar thread runs through epic tracks like "Leaves Scar" and "The Smoke", while "Under A Soil And Black Stone" delivers a restrained, morose sensation in what is as close to a traditional rock ballad as the Finnish sextet has ever managed.

 

Those who have followed Amorphis since the days of Tales Of A Thousand Lakes will find this latest chapter in the history of the band to be a logical next step. Being nothing short of outstanding, Eclipse is a must-have release that firmly re-establishes Amorphis as being one of the mightiest outfits in today's European metal community. Amorphis.

 

Angel Blake Self-TitledANGEL BLAKE (5.666 Pentagrams)

Angel Blake

Metal Blade Records, 2006

Reviewer: Thorne 

 

That's right, biznitches. I added a new rating! I've been truly worried about my critical output as of late, considering I've been giving good reviews...a lot. I'm not overtly complimentary, believe me. Anyone who knows me personally knows that I am a very brutal person when I don't like a band. Unfortunately, I've been asked to write reviews for albums I like as of late. However, don't worry...your band is still in my crosshairs.  Just wait!

 

However, all joking aside, what I believe we have right here is an early contender for this year's number one album.  Yes, you heard that right. From Marko Tervonen, former guitarist of The Crown, comes Angel Blake.  Now, for those of you expecting something similar to The Crown...don't get your hopes up. There's nothing even remotely similar to that band here, except for Marko's signature guitar playing style. But, if you enjoy the sounds of Paradise Lost right around "Draconian Times" or Metallica right around "The Black Album", you will not be disappointed by this...at all.

 

I'm still blown away at how much I've grown to love this disc.  Raging rocker "Retaliate" opens this up nicely and if it doesn't make you headbang, sing, and explode upon first listen, then I don't know what will.  As stated before, Marko's guitar style is evident upon first listen...or is it?  Honestly, I adored The Crown in such a way that I'd probably know who it was just by listening to him put on new strings...so for accuracy, I'll say that it was I who knew it was Marko on first listen.  But the biggest surprise is vocalist, Tony Jelencovich.  Wow! I always liked Tony's work with Transport League but he sounds simply phenomenal here.

 

"Lycanthrope" is about werewolves, and the mock-howls which translate into a "Whoooooaaaaahhwwhoooaah" at the end of the track are catchy as hell. The next song "Self-Terminate" is a balls-heavy number that I could definitely see shooting to the top of the charts...seriously. And y'know, I wouldn't complain at all!  I mean, here's a band who deserves to be heard by the world!  What's more impressive to me than anything is that Marko played all of the instruments on this album...and very well, for that matter! Crown-drum beast Janne joined the band recently, but I could have sworn it was actually him playing on this album since the drums really remind me of his playing.  The quality of the songs, as I've come to understand, never diminishes. "Solitude, My Friend" is a very melancholic number but it ends with an amazing solo by Marko that's actually somewhat...pleasant.  Hmm.  Go figure.  The piano interlude, "Autumnal", might just be one of the most beautiful instrumentals I've ever heard. I was almost brought to tears while listening to it, and for a soulless demon from the blackened netherworld (a.k.a. a total prick) like myself to say that, you can rest assured IT'S SPECIAL. Tony's voice really shines on the album's next song and first single "Forsaken". This will be a hit...much like every single other track on the album. Mark my words.

 

And from there on out, excluding the cover of "Paint It Black" which is only excluded because I'm not big on covers, all the songs are simply put: Astounding.  Angel Blake is a band I will be watching with great interest for eons to come. Marko Tervonen has crafted, what could and probably will become one of metal's revered classics in the years to come. If you want The Crown, do as I do...listen to the albums. But if you want a truly inspiring album, comprised of material that is dark and melancholic, yet incredibly up-beat and catchy at the same time...buy this...now.

 

Arch Enemy Live Apocalypse ARCH ENEMY1/2

Live Apocalypse DVD

Century Media Records, 2006

Reviewer: Karma

 

Live Apocalypse is an essential piece to complete the fan of Germany/Sweden’s Arch Enemy…and even if you’re not their #1 fan, you still need to run and get a copy as it allows you to get a sneak peek into the inner world of the band. The other piece that makes this a collectible item is the foldout poster coupled with the artwork by Dark Tranquillity’s guitarist and Cabin Fever artist, Niklas Sundin. This 2-disc DVD is jammed packed with two shows, videos, and interviews with vocalist Angela Gossow, guitarist Michael Amott, some hysterical moments with bassist Sharlee D’Angelo (as one could expect any different from him) and even some words from new guitarist, Fredrik Åkesson. It is nice to see ex-guitarist, Chris Amott immortalized on video (in case he never returns to his family…as in the band, too). Another cool feature is to be able to have Arch Enemy perform in your house whenever you want them too and in 5.1 Dolby Surround Sound no less! Having Angela screaming at you it’s like being back at your parents…makes you feel right at home, never homesick!

 

The DVD opens with a live concert the band taped - December 17th, 2004 at the Forum in London, England. This full concert was quite energetic (from both the band and the audience) offering seventeen songs spanning their career from Black Earth to Anthems of Rebellion. Andy Sneap mixed the hell outta this show! The set was composed more of songs from the later years, which rocks all the same. “Heart of Darkness,” “Instinct,” “We Will Rise,” (which was dedicated to the brothers & sisters of metal, Dark Tranquillity/The Haunted as well…awww) and “Savage Messiah” were thee absolute highlights and best songs performed. Of which during “Savage Messiah” the cinematography was particularly stunning with the lightshow as Gossow demanded the crowd to “follow us into hell!”, it also awesome to see this seldom, if ever-performed song! The pit during drummer Daniel Erlansson’s drum solo was brutal. There are even some quick shots of Biffen, everyone’s favorite Swedish tech extraordinaire and even Michael’s beloved Gloomy Bear.

 

Inviting us into the latest chapter of the band’s world, there’s some bonus material on the remaining minutes on disc 1 which features a second show that was filmed live on December 13th, 2005  in Manchester, England at the Academy 2. It contains three songs from the new album, Doomsday Machine, “Nemesis,” “My Apocalypse,” and “Skelton Dance,” and this is really where the viewer gets the chance to see Åkesson show us his all! Of course, Chris laid the concrete/foundation and sometimes, it takes an outsider, Åkesson, to enhance what is already musically evident (as in bringing the songs to life on stage). Another interesting cinemagraphic tidbit was the camera focusing on Sharlee’s usage of pedals. Having said all of this, the bonus live footage show was not as dynamic as the first as Michael’s amp was cranked very high thereby muffling Angela’s vocals, amazingly enough you could hear the rest of the instruments.

 

On to disc 2, which houses videos: “Ravenous,” “We Will Rise,” “Nemesis,” and “My Apocalypse”; a couple of on the road home movies featuring everyone doing “stupid jackass shit”…that only an AE fan would enjoy but will get a hearty chuckle out of all. Interviews/Behind the Scenes is more than informative and entertaining. Angela offers some interesting info on her vocal hygienic routine and the sacrifices she must make in order to keep her voice intact whilst on tour. Unfortunately, serious interview talk time with Daniel, Sharlee, and Fredrik were almost nonexistent. However, in that short amount of time, Mr. D’Angelo does not fail to entertain fold with his comedic monologue about making money in the Industry. Talk time really pays off when the band discusses their respective craft in “Gear Talk”! Offers the fan so much to geek out with the band about whenever the band rolls through your town next go round. The extra added bonus features like the multi-angle live songs “(Selections From The Forum Show)” “Dead Eyes See No Future,” “Bury Me An Angel,” and “Heart of Darkness,” along with the other treasure trove of visual delights will be enough to tide you over for quite some time or until the band puts out another one. Live Apocalypse lives up to the band’s slogan, “Pure Fucking Metal”!

 

August Burns Red Thrill SeekerAUGUST BURNS RED

Thrill Seeker
Solid State Records, 2006

Reviewer: Maggie S.


Adam D. has done it again. He has managed to produce an amazing band and make their amazing sound even more amazing. August Burns Red is composed of 19 and 20 year olds from central Pennsylvania. Three years ago kids this age making hardcore this loud would be overlooked as boys making noise – but the guys in August sound like they've been shelled forever, only to burst out with a unique, heavy sound they'd been plotting for years. The songs on this record are almost ear-raping, the way they sound chaotic and element-ridden for the entire three plus minutes. "Your Little Suburbia Is In Ruins" is an excellent track to start the record off with; pounding and squealing with energy just under vocalist Josh McManness's phlegmmy growls that sound like their coming from the chest of a football player. I adore bands that do this – it seems like the music and the vocals are competing for the loudest sound, yet they keep it organized so it's not just a mess of instruments and screaming. "Speech Impediment" is the second track on Thrill Seeker, and if you read the lyrics while listening to begin to find that they deepen as you go along. A particular line in this song stuck out to me like a sore thumb among the chaos, "Wake up, put your heart where your mouth is".

 

Christian hardcore is a common thing nowadays, and this is not a bad thing at all, but it seems as though they produce some of the more touching lines in heavy music. The song "The Reflective Property" does not hold complete unless you have read the lyrics – unless you're a hardcore kid that's all about the mosh, then you have no reason to brisk through the meaning (haha). "You have all felt it, the emptiness of being alone, Zoloft will not cure it, human touch will not solve it, this black, cold world is potent", it seems like "emo" lyrics, but it's actually truth and this band captures it within all of their screeching and shredding. Kudos to that.

 

Behemoth Slaves Shall Serve EPBEHEMOTH

Slaves Shall Serve EP

Century Media, 2006

Reviewer: Fox

 

Here's a crusher of a collectors item that will be a must-own for diehard Behemoth fans. Featuring a foil-embossed digipak presentation that's complete with full color interior panels, this is a disc that looks badass as hell and sounds even better. Back in '92, the Polish group emerged with a raw style firmly rooted in black metal, but over the course of seven full-length albums their sound has evolved into a hybrid of black and death metal, with the band's 2004 release "Demigod" being their most pulverizing manifestation of undiluted aural evil yet. Behemoth has pretty much turned into the Morbid Angel of the new millennium, utilizing familiar occult concepts in tandem with über-brutal death metal riffing to create a torrential storm of diabolical sonic warfare. Limited to five thousand copies, the EP is highlighted by a wicked version of “Until You Call On The Dark” by Danzig. From the response that Behemoth generated on last fall’s “Blackest Of The Black” tour, it’s safe to say that many Danzig followers are receptive to the Polish illumes’ music so this most excellent cover track makes a lot of sense. Another nod goes to The Nephilim, the post-Fields Of The Nephilim project of Carl McCoy, as the Polish war machine takes on an excellent rendition of “Penetration.”

 

Fans also will enjoy “Entering The Pylon Ov Light”, a maze of squealing licks, relentlessly pounding drums and deep, hellish growls. A tastefully melodic solo overtop a blasting pattern leads into a militant, black march of death as Behemoth once again prove why they are one of the predominant, elite acts in extreme metal today. In there current moment, there is perhaps no band around that manages to sound so fucking evil and so fucking heavy yet retains an identity of their own. Two live performances, “Demigod” and “Slaves Shall Serve”, are culled from last year’s Sweden Rock Festival and each offering does the original justice and underlines the group’s ability to completely kill in a live setting. A bit more low-end would have been nice during these mixes, but of course, it has to sound, “live”, thus the slightly trebled production. The guitars sound a bit more like old Slayer live as opposed to the group’s studio tone and the result is distinctly harsher sounding on the live version of “Slaves.” Nergal incites the crowd with forceful chanting here, building into a blistering crescendo.

 

The EP also includes a video of the title track as a CD enhancement and for those that may have heard this group, but not had the opportunity to see them live or catch any video clips, an awakening is due. Behemoth is a very visual band and this clip does much to give you an impression of what black musical assassination is like as a full package. The evil eye-candy rounds out this whole release, giving the fans a little bit of everything as the group prepares their next hellish audio manifesto. It is well recommended that you rush to buy this one, as it won’t be long before these are all snatched up. Generally, between album EP’s such as this are pure filler and not generally intriguing, however every move this band makes simply fucking slays.

 

Bishop Suicide PartyBISHOP

Suicide Party
Ferret Records, 2006

Reviewer: Maggie S.


Bishop is a Ferret band that many people don't know about, unless you're a huge hardcore fan. When you think Ferret, you think bands like Every Time I Die, ZAO and A Life Once Lost – BISHOP does not explode in flashing lights in your mind right away. That's unfortunate, because they have a very catchy, in-your-face heaviness to them that resembles a combination of Throwdown and Hatebreed. For God's sake, the second track is titled, "xBishopx Basically Owns Your Face". That is awesome. The chorus chants, "You're just like everyone else, you Goddamn fool" over and over to a heavy, hardcore riff. This is the definition of modern, thrashy, straight edge music. At the beginning of the title track, "(Life Is One Big) Suicide Party", vocalist formerly known as Mean Pete [of Remembering Never] screams "I want to live my life, straight fucking edge" and the tenth track, "Ingest", is six lines bashing drug users. Of course, this rubs haters the wrong way and sparks hatred like every other band does with other kids, but a lot of hardcore these days is about straight edge and being in-your-face and Bishop is continuing on this path. Haters beware.

 

Black Label Society Shot to HellBLACK LABEL SOCIETY1/2

Shot to Hell
Roadrunner Records, 2006
Reviewer: Thorne

 

I never thought this day would come.  You see, I'm not exactly the biggest BLS fan on the planet...in fact, I'm not a BLS fan at all.  Now, while I've enjoyed some of Zakk's work such as Book of Shadows and Sonic Brew, I found myself never really enjoying anything else...that is, until I heard Shot To Hell.  Once my cousin (a lifelong BLS devotee) played this CD for me several weeks ago, I knew that there was something incredibly different about this release as opposed to the other Black Label Society releases I'd encountered before.  In fact, I've barely been able to remove this album from my stereo since my cousin played it for me.  This is, without a doubt, one of the best albums I've heard all year and it gets better with every spin...again, something I never imagined myself saying about a Black Label Society release.

One of the major complaints I'd had about the band in the past was Zakk's voice.  I know Zakk's strength is his guitar playing but his voice really made a lot of the older albums very hit or miss with me (most of the time miss) but on Shot To Hell, Mr. Wylde has just come full circle as a singer.  His voice is unbelievably strong on this release and it really adds an incredible vibe to the songs, most notably the ballads.  Now, there are some killer heavy tracks like the ominous "Concrete Jungle", the groove-soaked "Black Mass Reverends" and "Hell Is High" but the strongest point of Shot To Hell is the ballads.  Zakk has crafted some of the most emotional and heartfelt songs that I've ever heard.  Not just from him...ever.

Some of these songs harken back to the Book of Shadows days, such as "The Last Goodbye", "Nothing's The Same" and "Sick of It All".  Each one displays an incredibly moving vocal performance from Zakk, and his trademark guitar solos that have made him famous among shredders since he first debuted with Ozzy long ago.  Zakk's band has also gotten considerably tighter as well.  It no longer feels like "Zakk Wylde and some dudes helping out...".  Black Label Society finally sounds like a cohesive band and once again, it's one of the many factors that makes "Shot To Hell" the incredible album that it is.  I honestly look forward to seeing these guys live when they come around here next...words I never thought I would utter. So, I offer a hand of congratulations to Zakk Wylde on a truly phenomenal album that will most definitely end up in this my Top Ten Best Albums list at the end of the year.  Shot To Hell is the best work that Zakk has ever created and it's just simply an amazing CD that needs to be heard.  Take it from someone who wasn't' even a fan until this release...it's well worth your time.  Here's to you, Mr. Wylde!

 

The Bleeding Alarm Beauty in DestructionTHE BLEEDING ALARM

Beauty In Destruction

Immortal Records, 2006

Reviewer: Maggie S.

 

Talk about powerful guitars! That’s what really punched me in the face when I put this record on. The meatiness and orchestra-type loudness of the axes almost take out vocalist Scott Rainone’s voice like liquid cover-up! Speaking of, Rainone’s throaty whines are probably what makes this band so popular in the alternative scene today. The high-pitched, monotonous melody doesn’t pull him out of the ballpark of repetition, but it fits TheBleedingAlarm’s style perfectly. Boy, the rock Canada can give birth too! Haha.

 

There seems to be technicality trapped under simple guitar riffs, granting the band an almost mysterious sound and gives it another tasty layer on top of speedy drums. There’s even some screaming in “Remembering My Romance”! Exquisite. TheBleedingAlarm seems to be a fast-paced band that still manages to fit a lot of musical talent into shorter songs. Tracks like “Extinguish Ignite” which is five minutes and twenty-five seconds are like sugary syrup being poured into your ears; sugary indie syrup. This band’s sound is almost indie like, yet they’re being supported by a very popular label. Should that be considered a gift or a curse? I am not sure, but I like how they sound.

 

The album art is extremely appealing; a young blonde naked, being constrained by thick white ribbons with a questionably alarmed look on her face. It has a fantasy feel to it, which is also apparent in the band’s music. Canada has yet again attempted to rule the world by releasing another beautifully wrapped package of alternative music!

 

Bleeding Kansas Dead Under DecorBLEEDING KANSAS

Dead Under Décor

Abacus Recordings, 2006

Reviewer: Fox

 

Categorically harsh and dissonant, the overall vibe of Bleeding Kansas’ “Dead Under Décor” gives the same impression as scratchy Black Flag record being blasted over the buzzing whine of an industrial table saw. It’s grating, anti-social and often-grungy grooves are quite distant from the sounds of core-oriented music on many occasions. You’ll find no Iron Maiden scales or At The Gates mimicry here, so put the notion out of your head, Bleeding Kansas follow no such trends. Kurt Ballou headed up the production of the album, but before you throw up your hands and cry Converge clone, know that the music of Bleeding Kansas is much more substantially rooted in punk rock in tone and defiantly less chaotic.

 

Often, Bleeding Kansas takes occasion to make a stylistic leap in the right direction, which is, ironically, backward. Drawing from many of the same old school punk rock roots as Refused on opener “Retract The Attitude”, the band appears to embrace the harsh tones that birthed hardcore music more so than the modern interpretations of their peers. The Burbank, California quartet delve into gritty, start-stop staggering during “Right By Your Side”, imposing a torn, bitter presence that ends in a mixture of jagged, Page Hamilton-type chord patterns and anguished, raspy, drawn-out barks courtesy of Ben March. “Feel The Sting From The First Bite” is noteworthy for it’s low-toned, RATM vibe, but when the group kicks directly into a short Zep jam, it becomes clear that Bleeding Kansas has done their homework. Balls-out jams like “Can’t Help You There” proves that the band can kick out attitude-filled grooves at a rapid tempo yet remain immeasurably cool in the process. Meanwhile, the artistic creativity of cuts such as “Cant Help You There” and the clunking, ear-bending sucker-punch of a title track indicates this group is unwilling to make noise for the sake of doing so, instead having a detailed road map that leads to their final, bruising auditory destination.

 

Bleeding Through The TruthBLEEDING THROUGH

The Truth

Trustkill Records, 2006

Reviewer: Karma

 

Seems vocalist's Brandan Schieppati is definitely bitterer than previous installments as The Truth marks the fourth chapter in Orange County Bleeding Through's saga of pistoffedness from betrayal of the heart. "I don't give a fuck" is the lead off for "For Love and Failing" track #1, summing up Schiepatti's emotions as well as setting the tone for the entire CD. Long since stepping away from the hardcore vs. Swedish infused/Cannibal Corpse-esque style, all that remains is straightaway in-your-face, hardcore; the perfect meld of melodic brutality!

 

Overall, this release gets 5 pentagrams (4 for music where as the additional pentagram was given for the astounding black and white artwork). However, I am still not bowled over by all of Schiepatti's clean vocals on all of the songs. The artwork is vile, salient, and arrestingly stylish; it will cause you to stop dead in your tracks! It's as much as an attention grabber as the music is itself. As the saying goes, "the truth hurts" but damn, there are massive chunks taken out of each band member!! The layout is and magnificently psychotic as you are required to turn every other page in a different direction. The back of the CD also features another clever visual, the title track #12 being highlighted. The limited edition includes a compilation of TK signees: Hopesfall, Schiepatti's former band Throwdown, Roses Are Red and even a song "Sweet Vampirious" from BT's previous release This Is Love, This Is Murderous just to name a few.

 

The biggest conundrum is "Dearly Demented". When I first heard the song, I strongly despised it in fact I was down right repulsed by it. I swear I needed a painkiller after hearing this tune. Not understanding my complete revulsion for it but it boiled down to Brandan's clean vocals. His insistent whining on it produces the final touch of disgust. Other than that, it is an amazing song. Perhaps I may come off sounding like the demented one after all of this… It serves those well that suffer from ADHD as it sounds like three songs rolled in one. After some serious analysis, the 5:16 song seeped into my epidermis like basal cell cancer. This is a slippery one; it had attaches itself before the sickness can be contained. Marta's keys are haunting has an 80's feel to it, very Twilight Zoneish or a Gary Numan spin-off. Nick 13 of Tiger Army makes a vocal appearance on this schizophrenic tune. A song that will appeal to the psycho in you!

 

The single "Kill To Believe" is as infectious as a staph infection and is addictive as Vicodin (speaking of painkillers and all). The ballad "Line In the Sand" is actually a reprieve from the brutality. The synth part is very reminiscent of the Kronos Quartet song "Hope Overture" from the movie Requiem of A Dream. Moreover, The Truth reads like a story from front to back: the tale of a young man's heart being ripped by its seams by a cold-hearted ex-lover from confessing about the relationship to stopping the bleeding through in "Dearly Demented" to the stage of utter despair knowing "She's Gone" and being utterly alone in "Tragedy of Empty Streets". Hoping for a small reconciliation in "Return To Sender" to not wanting that either and coming to grips with the matter in "Hollywood Prison" and being at peace with the relationship ending in peril with the final serene instrumental, "The Truth". After you give this puppy a spin, I am sure we will all have divergent conclusions. Here's to hoping Schieppati was able to exorcise his emotional demons through this release. He sure as hell sounds empowered if nothing else!

 

Best tracks "Confession", "Kill To Believe", "The Truth", and "Dearly Demented". Marta's keys are more prominent, drummer Derek Youngsma's playing is tighter than ever, speaking of tight so are the guitars of Scott Danough and Brian Leppke, and bassist Ryan Wombacher shines brightly. Producer Rob Caggiano (A Life Once Lost and Cradle of Filth...) did one hell of a job with the production, recording, and mixing. In truth (for lack of better words), this CD may not be received with open arms at first by all hardcore fans let alone BT fans, however it will grapple unto your senses before long; it is not a disc to be dismissed! The Truth is like a train wreck; you will be too mortified to put this new release down! Make sure you pick up this masterpiece…as they say on the X-Files, "The Truth is out there"!

 

Blind Guardian Twist in the MythBLIND GUARDIAN

A Twist in the Myth

Nuclear Blast Records, 2006

Reviewer: Kate

 

A Twist in the Myth is the next logical step for Blind Guardian and their eight-studio album. It’s more stripped down than “Night at the Opera” but is still slick-sounding and evenly layered. Moving away from lyrics that contained notions of fantasy, hobbits, and middle earth was also a wise move on their part but is still rampant with experimentation. Marcus Siepen and Andre Olbrich are meticulous and full of dynamic solos and riffs.

 

“Otherland” is one of the most intriguing tracks on this album; based on the science-fiction writings of Tad Williams.  The melodic vocals from Hansi Kursch and the unyielding double bass line of Frederik Ehmke makes “This Will Never End” an instant metal classic. “Straight Through the Mirror” is classic Blind Guardian, with sizzling guitar riffs and epic, atmospheric melodies. “The New Order” combines thrash metal with harmonized vocals and brutal drumming to create the perfect middle ground.

 

Some of the experimentation falls flat on A Twist in the Myth it seems like they’re to trying to stretch themselves too far in the synthetic direction, it seems like the keyboards overshadow the guitar in songs like “Carry Blessed Home” and makes it fall a little short of its potential. Plus, the medieval theme has been done and overdone. Let’s all move on to something new shall we? Overall this is a decent effort made by Blind Guardian and they have once again left their signature on the metal world.

 

Bloodlined Calligraphy Ypsilanti Bloodlined Calligraphy

Ypsilanti

Facedown Records, 2006

Reviewer: Thorne

 

Would someone mind explaining to me what happened to this band?  I owned their last release, "They Want You Silent", and was literally floored by the energy and heaviness of these Michigan natives.  And now...this?  On their sophomore outing, "Ypsilanti" named after the band's hometown, it seems that Bloodlined Calligraphy has opted against progression and settled on making an album that is almost identical to their debut.  In fact, it would almost seem that the band (especially lead singer Ally French) has mellowed to a certain degree.  The songs just don't pack the same punch as those on "They Want You Silent" which, to this day, still induces regular pit action at my rare house parties.

 

In fact, vocalist Ally French isn't raging quite as much as she did on that album either.  I don't know what happened between discs, but Ms. French has become somewhat lazy with her delivery.  The passion she once displayed vocally has become a thing of the past, as she now sounds more like someone in late-stage constipation (or as it's commonly known, "The Dave Peters Syndrome") than a hardcore vocalist.  The band has apparently followed suit, as the music contained on this release is so bland and uninspired that I had to force myself to sit through the entire album.  Why?  So I could review it for you, that's why.

 

As far as production goes, this could be part of a problem as well.  Last time around, Mike Hasty (Walls of Jericho) gave the band a raw, battle-ready sound that never let up.  But their new, soft production has really left a bad taste in my mouth and taken away any former sense of brutality this band once possessed.  Overall, just a massive disappointment that I'd urge all of you to stay far away from.

 

Bullets and Octane In the Mouth of the YoungBULLETS AND OCTANE

In The Mouth of The Young

RCA Records, 2006

Reviewer: Thorne

 

Now, when one hears that an album was produced by Page Hamilton of the legendary Helmet, it's naturally expected that the album will be nothing short of killer...correct?  I assumed that, when I received Bullets and Octane's debut in the mail.  Unfortunately, my assumptions were not accurate at all.  Bullets and Octane seemingly makes an effort to rock hard with "In The Mouth of The Young" but their attempts fall flat very quickly and very painfully.

 

As stated moments ago, the band really wanted people to think that this is a loud and dirty rock and roll album but for whatever reason, it ended up sounding more like Nickelback on steroids.  The lackluster riffs contained herein rage along, as much as music of this caliber CAN rage (i.e. a label exec shouting "Look aggressive!" in the background) but in the end, they're still poorly executed and processed to a level of absurd proportions.

 

The vocals remind me of your A-typical radio rock singer belting out songs that would make fans of Staind and Stereomud leap for joy upon first listen.  There's no soul, there's no passion and there's certainly no substance to be found.  This is commercialized Spam for the masses, and is to be taken as such, no matter how many times you listen to it.  So help me, several of these songs are going to be hit singles for this very reason.

 

The only bright spot of the whole album is - you guessed it - the production.  Page Hamilton at least made an attempt to get these guys to sound like a somewhat decent band, but in the end, not even his efforts could save this album.  There's definite potential here for this band to be something more than the label-manufactured swill that they are, but until they reach that potential, I can safely say that I won't have much of a desire to listen to them again. www.rcarecords.com

 

Burn In Silence Angel MakerBURN IN SILENCE

Angel Maker

Prosthetic Records, 2006

Reviewer: Karma

 

Not sure exactly what's in the waterways of Massachusetts, but there’s another band on the horizon of success hailing from America’s burgeoning breeding ground of metalcore, Burn In Silence. Just “Embrace the Plague”!! This surprisingly mouth-watering debut effort is definitely burning hot not soundless by a long shot! I have heard others compare the band’s sound to Fear Factory…well it is so minimal it’s not even worth the comparison! I'm not hearing it! Ken Susi (Unearth) is really coming up in the world of producers! Of course, the production is crisp, the master, Tue Madsen, mixed it! Making this already juicy offering more appealing, Marcus Solo put his foot into it, tricking the layout to mimic a film poster, a foldout from “Prosthetic Films”. I see it now, a new style of art…Red Noir. On the other side is a collage of old, yellowed lyric sheets strategically strewn across a floor with blotches of ink and dried blood on them.

 

When you first pop Angel Maker in, the first song, “Lines From an Epitaph” will throw you for a loop kicking you straight in the gut!  With lyrics like, "Your actions have been the cause of your demise. Stop blaming others; you chose your way to die" Chris Harrell's vocal prowess is wonderfully displayed in this song going from a growl to clean. What's so exciting about this album is that it's hard to believe it's a debut album. Let's think about how much room the band will have to grow and tighten up their already notable unit. The blistering guitar work of Mike Casavant and Alan Glassman is solid, the rhythm section kicks ass too (bass – Max Lavelle and drums – Darren Cesca). Let’s not leave out the electronics wiz/keyboardist, Ben Schulkin, he ties it all in perfectly, like a sharp blade to a guillotine.

 

The best songs are “The Age in Which Tomorrow Brings," “Judging Hope”,  “Embrace the Plague”, “World of Regret” and “Primal Human Pain”. The subjects these angry young men address are wonderful as they speak against the haters in the world, refusing to cave in to the apathy of society and being “plastic”. Listening to every note of this melodically delivered hate-injected sermon makes you want to don your Anarchy patch and rise up!

 

The foundation in which Burn in Silence has built is a rock-solid one. I project “the age in which tomorrow brings” for Burn In Silence will be more promising and way more lucrative than that glorious pot of gold at the end of a rainbow. This band can go into so many endless directions its crazy! Pick this up, immediately! We all need a little sugar to swallow the foulness we are left to deal with on a daily basis…and as Burn In Silence so blatantly points out on Angel Maker leaving us with many a fight anthem, because no one should accept complacency!!!!! Horns HIGH, fellas, HORNS HIGH!

 

Bury Your Dead Beauty and the BreakdownBURY YOUR DEAD

Beauty and the Breakdown

Victory Records, 2006

Reviewer: Karma

 

Once Upon a Time…” oops, this tale is of Beauty and the Breakdown is rather different. Normally when you think of fairytales, you do not immediately associate them with utter brutality, well Massachusetts’ Bury Your Dead’s have done a good job shattering that mythological beast by reaching towering heights with their latest, Beauty and the Breakdown and this is no myth! BYD casts a magickal spell of enchantment over your being. Speaking of spells and whatnot, the dichotomy that coincides between the whimsical titles and the subject matter that lie beneath is astounding; it’s one brutal piece amidst the gorgeousness of the illustrations in its storybook format! Still fixated on themes in name alone, BYD takes this concept a step further from their sophomore release, Cover Your Tracks which was based on Tom Cruise movies; now Beauty and the Breakdown is based on…yes, you’ve got it, fairytales! Going back a bit further for the sake of comparison, once upon a time before the rain and snow, the band released their first full length album You Had Me At Hello; they have graduated since the days of yore with honors stepping up their game to a fevered pitch. The maturation process is unbelievable in regards to their evolution; they are constantly evolving, fearlessly adding new and exciting chapters to their legacy!! The beauty of this album is the breakdown, every goddamn one of them!

 

As far as the CD is concerned, the story commences with the funky moshable opening Chapter I: “House of Straw”, this less than subtle ass kicking which strings you along the “Trail of Crumbs” forcing you to gobble up the subsequent quickly spent 30:02. This album is as the title of the final song says; it is a “House of Brick”, heavier than fuck with LOTS of funk injected within the mortar. The well-placed and timed breakdowns will leave you in a daze. Speaking of funk, I could be tweaking but I swear up and down the breakdown of “A Glass Slipper” has redolent riffs and the synchronization of Sevendust, more specifically “Denial” with “A Glass Slipper” and with “Mirror Mirror” too, it’s got the dust all over it. All of the songs are excellent; it’s really hard to pick a couple out of the handful (plus one in this case of eleven tracks). The lyrics are hard-hitting, no puns intended, as a lot of the subject matter touches on physical abuse, however some of the other lyrics involves "punching back" so to speak; it involves empowerment over seemingly impossible situations. BYD is new appointed voice of the bruised! This CD is one powerful package. Awesome packaging, great tunes...what more could you ask for...oh, a DVD perhaps.

 

Recorded at Audiohammer Studios in Florida producer Jason Suecof (God Forbid, Trivium) did a helluva job; there are no “belles” and whistles or heavy ornation, all that remains is raw and crisp…something Mr. Suecof excels in. Mark Castillo’s bombastic drums were tracked at Morris Sound. Dave Quiggle did the illustrations in the booklet and layout artist, Doublej, tied in the concept of the album beautifully as we are able to view the infamous “fatal” rose that’s enclosed in glass underneath the clear encasement of the CD cover, clever buggers! The instrumental “The Enchanted Rose” is perfect accompaniment to the image.

 

When you sit back and think about it, the actual story of Bury Your Dead follows like a classic fairytale. Through all of their adversity barreling through fourteen band members and a host of other issues (the most recent addition to the fold is bassist Aaron Patrick, in which the bass is boomin’), they’ve come out unscathed, stronger than ever before, and will seemingly live happily ever after with, Beauty and the Breakdown and many more to follow. Bottom line, you’ll be moshing to this one for years to come! You will not be able to stand still while listening to this CD. Better yet, let’s start a new genre, moshcore, and seat BYD at the helm.

 

Caliban The Undying DarknessCALIBAN1/2

The Undying Darkness

Abacus Recordings, 2006 

Reviewer: Karma


The German princes of metalcore are back with another addition to their anthology with The Undying Darkness. A couple of key players got the call a second go round with production duties going to a one Anders Fridén (frontman for In Flames) and Andy Sneap for mixing. After speaking to Fridén earlier in the year, I was stoked…only to be mildly disappointed after hearing the final product. To be perfectly honest, I derive no joy in having these words part from my lips since I am a true fan of the band. One could surmise that the band has definitely come into their own in regards to their sound, but again nothing was overly unique about this particular recording. What was not abandoned is the pop and catchiness that everyone has come to love and expect from the band. This twelve-song collection is good, it just will not boll you over with conviction. There is something incredulous about the entire delivery because there is something missing...I just cannot put my finger on it. “Together Alone” is a tough song to digest; the off timed background vocals of Denis Schmidt are like nails on a chalkboard along with ill-timed breakdowns and time signatures. Overall, the song is nightmarish, singeing the hairs on the back of your neck whilst sending chills up and down your spine. Remember I stated I could not figure out what this CD lacked; well now I do. This CD runs short of the raw passion their previous albums boasted. Now that that the negative aspects have been pointed out, let us now proceed to the positive flip of the coin, shall we?

Many a classic Caliban lick can be found on Undying Darkness with the twin guitar attack by Schmidt and Marc Gortz, on tracks like “I Refuse To Keep On Living…”, “It’s Our Burden to Bleed” (my personal favorite…it’s a catchy number), “My Fiction Beauty”, “No More Second Chances”, and “Song About Killing”. The previously aforementioned song has Fridén written all over it with some very In Flameseque riffs. Another bright spot is the drums of Patrik Grun; he has become more prominent and more of a focus. “Nothing Is Forever” and “It’s Our Burden To Bleed” are like different variations of “Goodbye” especially with electronic/symphonic break contained in “Nothing Is Forever”. One thing for certain is that Caliban is one hell of a live act and no matter how this studio recording turned out, they will win many new hearts and perhaps even the old ones with their explosive and fervent performances.

 

Cathedral Garden of Uneartly Delights

cathedral

Garden of Unearthly Delights
Nuclear  Blast Records, 2006

Reviewer: Erika Kristen

 

Have you ever heard some youngster exclaimed over a Mastodon song 'That's the sickest shit I've ever heard?' You stand there, laugh, and think, 'You've never heard of Cathedral have you?' After a moment of silence you ponder 'Where is Cathedral?!?' They've been tolling away in some English countryside coming up with line like '…As tears of Nebula fill black holes, drowning galaxies of lost souls. This is what Cathedral has in store for you. Yes, I have to go there, but Cathedral's The Garden of Unearthly Delights 2006 release is a welcomed baptism for any heathen that wants to join Doom Metal's congregation. The album is a well-timed release for winter. It has an undercurrent of a mono toned chant. Low guitar chords and bass heavy indeed but truly a delight all the same. You can expect a warm well-rounded recording from this English quartet. 

 

The sheer nature of the lyrics is so elaborate with historical and/or mythical poetry that it hinders the vocal performance. Quite frankly, the lyrics are a mouthful! Lee Dorrian would give vocal trainer Melissa Cross a run for her money. Cathedral is notorious for grand scale lyrical-imagery which is very well thought out if anyone takes the time to read the liner notes. This lyrical process is much appreciated from an admirer's standpoint but to a fresh listener, who does not have the footnotes to Cathedrals' mini-opuses, you have my sympathy. And no, you will NOT be able to sing these songs live. You can try of course but it's better to sit back and enjoy the ride. The arrangements are so overwhelmingly dizzying, that's all you'll be able to do anyway. Even my heart races with each riff build up in pieces like "Oro" and "The Manslayer". The intro alone is enough to posses one to pour some ceremonial glass of…something. "Oro" is a wonderful segue to the epic The Garden featuring French vocalist Lo Polidoro who lures you in blindly with tempting clean vocals before Lee and Leo Smee's bass assaults your eardrums. Radio friendly "Corpsecycle" is a good balance of catchy hooks and a fierce guitar solo by Garry Jennings that should have gone on a bit longer in my opinion but we'll hope for the best for the extended live performance. Brian Dixon feverishly drums in such tunes as Alarm Bells in Paradise. Also, noteworthy is longtime Cathedral artist Dave Patchett, visualizes, and emotes all the sentiments that went into the painting for what is now the cover art of The Garden of Unearthly Delights; he totally doesn't disappoint. Each tune as well as the artwork on this album is truly a spectacle. I'll end with a line from The Garden, Chapter: 9; Verse: Endtyme…Earth became a grave for nature's way; Seeds of decay have grown into today.

 

Celtic Frost MonotheistCELTIC FROST

Monotheist
Century Media Records, 2006

Reviewer: Thorne

Ladies and gentlemen...Celtic Frost has returned from To Mega Therion and journeyed back Into The Pandemonium to share a few more Morbid Tales about The Emperor's Return from the god-awful Cold Lake. In one sentence, I have summed up the career of Celtic Frost. Four recordings of utter greatness...and one of complete garbage. So, what can one expect from the band's first album in close to fifteen years? You can expect the comeback of the year, that's what.

Celtic Frost has returned with the most vile, dark, and bleak album in their history. "Monotheist" is a work of pure genius, combining the heaviness Celtic Frost was known for on "To Mega Therion" and "Morbid Tales" with the dark and sinister atmosphere contained on "Into The Pandemonium". Only, this time the darkness is real. The atmosphere surrounding "Monotheist" is one of cold, ancient evil that many modern bands only WISH that they could attain. Due in no small part to the freezing, yet amazing production of Peter Tägtgren' s legendary Abyss Studios, the sound on "Monotheist" is not of a band trying to reclaim their former glory but rather of a band who knows how to deliver the most uncompromising, yet artistic representations of eternal hatred and suffering in humanity.

From the opening notes of "Progeny" it's clear that the Frost are back to kill us all. Tom Warrior (Gabriel Fischer my arse. Warrior!) still sounds like his old, powerful self but as with any album, it's only the beginning. The song "Ground" is easily the most ruthless I have ever heard Celtic Frost sound. When Tom screams "Oh God...why have you forsaken me?" I literally get chills from the anger conveyed in his voice. There are only a select-few vocalists who can retain that kind of evil throughout the years and Tom Warrior is one of them. Martin's bass comes through loud and clear on this track, which made me very happy. The bass gets left out so often in metal and to hear it so ever-present on a recording such as this is sweet music to my ears.

The material on this album is not the kind of material you put on for constant headbanging, so don't expect it going into your listening experience. To fully grasp the insanity of this release, get yourself in a dark room and put this on full blast. Honestly, the feel behind this release is so otherworldy that even I sometimes can't grasp the unparalleled excellence of it. Be forewarned...this isn't for a happy day.

Celtic Frost proves, without a doubt, that they still have every ounce of their classic venom but with a few tricks up their sleeves to make it even more enticing than before. A job well done, gentlemen. Job well done indeed.

 

City Drive Always Never Stop Moving

CITY DRIVE

Always Never Stop Moving

We Are The People Records, 2006

Reviewer: Maggie S.

 

As I read the press information on The City Drive and listen to the first track, I begin to fear what might happen to this review. They've been said to have a sound resembling All-American Rejects and Green Day. That's all I'm saying, and if you know me this could possibly get ugly. The first track on Always Moving Never Stopping contains a lot of energy and a very catchy chorus. I can't say they're different from the current music scene, but for some reason they seem to move themselves a good distance from any of those other bands without a real explanation. The vocals don't stand above and the musical aspect is average, but when put together they create a perfect MTV band that seems as though they would receive a lot of praise and attention if they reached the ears of millions.

 

Clawfinger Hate Yourself With StyleCLAWFINGER1/2

Hate Yourself With Style

Nuclear Blast Records, 2006

Reviewer: Karma

 

Sweden’s Clawfinger may be the reigning kings of a dying genre, rap-metal, however, with their newest release Hate Yourself With Style, they raise the anchor and the bar! Reactionary is probably one of the better words to describe this explosive release. Unbelievably, this band has been justifiably assaulting the ignorant with their inflammatory in-your-face lyrics since the early 90’s in attempts to wake the blind. Regardless how long the band has been a mainstay, it’s not hard to understand why this band has remained underground for as long as they have. Having an endless penchant for calling people out, they have pretty much assumed the thankless and unwanted position of ambassadors of the forgotten and/or discriminated. Clawfinger is the megaphone of the voiceless. Serving injustices of the world back to the offender is the only way they know how to operate and on this release, it is delivered with the ferocious force of all the might, that of a ten-ton hammer called brutal honesty. Of course, we know when you are brutally honest, not holding your tongue is not the preferred path to win a popularity contest. Having said that, it is a good thing this band doesn’t give a fuck about trifle things of that nature! In their immortal words “Like it, hate it, leave it, take it. What we’ve got is what you’re getting”!

 

Speaking of words, vocalist Zak Tell…how befitting is his last name? Well back to the subject at hand, Tell lyrically injects a white-hot dose of truth serum into the veins of the unsuspecting societal and moral offenders. On songs like “Right to Rape”, Tell spews a venomous proclamation back at a group of Swedish hockey players whom gang-raped a woman and crimes remain unpunished when the group of men were only expelled from their hockey team yet were later exonerated of criminal charges. “Faggot In You” places a mirror in front of the gay bashers pointing the finger of gayness back at the other party. “Hate Yourself With Pride” addresses the fake, the proud, ass kissers,  and the fool hearty. Self-loathing and questioning on are highlighted on “Sick of Myself”…. Amongst the aforementioned, a plethora of taboo subjects is tackled on this offering.

 

As far as the music goes, well it’s not overly exciting nor is it full of smoke and mirrors.  It is what it is, solid music. It contains your basic hard-hitting guitar riffs, bass and drum work. The tracks that stick out the most musically are “God Is Dead”, bassist André Skaug shines as brightly as newly polished battle armor on a clear summer day on the glens; “The Best and The Worst” is amazing, not only is it sonically solid – vocals and instrumentally speaking everything gels well together with this song. It all compliments one another perfectly. Again, it's the lyrics that are really the highlight and the artwork tips it over the edge. Odd imagerist, Fredrik Ödman, who was also responsible for breathing visual disturbances to life on Darkane’s Layers of Lies, Ödman definitely adds to the experience of this CD. Hate Yourself With Style is a revelation, pick this up no matter if you are “into this kind of shit” or not. It would do you some good to open your mind and eyes to a lot of the social ills that befall ALL of our societies that we tend to turn the other way when we should look at the train wreck head on! BRAVO!!!!

 

Communic Waves of Visual DecayCOMMUNIC1/2

Waves of Visual Decay

Nuclear Blast Records, 2006 

Reviewer: Karma

 

Let's dispel of the common myth that all bands which hail from Norway play black metal, case in point, Communic surely doesn't! They have the power to withstand the dark forces of the overly popular genre from their homeland, especially with their brand spanking new release Waves of Visual Decay. Break out the candles while listening to this seven track atmospheric metallic Magnus Opus which averages around seven minutes, a pop. Having said that, Communic’s songs are lengthy, running a hair under an hour, however, it is a stellar example of remarkable musicianship which will make you forget about time. It is an original fusion prog, power, thrash, and death metal. Communic, a trio of multifaceted powerhouses, is comprised of lead vocalist and guitarist Oddleif Stensland, bassist Erik Mortensen, and drummer Tor Atle Andersen have been making waves in the metal community for over eleven years with their respective bands before forming Communic in 2003. In the beginning, the band had the idea of naming the band “CommunicHate” but later dropped the “hate” opting to go with “Communic” instead, a short form for communication/communicate. This band has definitely done an amazing job connecting or communicating, if you will, with all they encounter with this new offering. Waves of Decay speaks to the depths of your soul, kindles a powerful evocative response. In contrast to their debut release, Conspiracy in Mind which stirred up memories of Nevermore, but the bad part of it. Not only with Waves did they transcend their freshman effort but they defined their sound…they seemingly found their niche! If I had to make a real comparison of the “sound” of Communic it would be Green Carnation meets Sentenced vs. Nevermore and Dream Theatre with a little Katatonia thrown in for good measure but again, Communic has found their own crease in time!

 

Waves is so amazing, it needs to be broken into two sections, first entity consists of the superb vocals then the finely crafted music will be discussed. The chilling effortless vocal performance by Stensland will cause the hairs on the back of your neck to stand on end. He should consider giving lessons as best displayed on “Watching it All Disappear” and “Frozen Asleep in the Park” as he breaks into a Rob Halford shrill on these songs. “Watching it all Disappear” is an awesome ballady song which is very reminiscent of “Lullaby in Winter” by fellow countrymen Green Carnation. “At Dewy Prime” is another song where Stensland shows off his sparkly pipes. Lyrically speaking, the band excels at entangling the listener by addressing social ills we are faced today as we are blinded by the media and our own apathy, shoveling in the crap they feed us. One of my favorite lyrics comes from “Under a Luminous Sky” “Those who identify themselves in the locked dimension of the turmoil. Divisiveness so bitter sweet and so cold”…

 

Musically, the band’s usage of hybrid versions of multi-spanned genres is…brilliant! On “Fooled by the Serpent”, session keyboardist Endre Kirkesola really lends his tutelage to the rollercoaster of emotions as you constantly feel the buildup and release of the music. There is an extraordinary amount of ups and downs you will joyously experience, and the whisper to a scream vocals will envelope you. “Under A Luminous Sky” is powerful opener the rhythm section of drummer Anderson and bassist Mortensen hits you like a tank barreling through a brick wall. “Frozen Asleep in the Park”, “My Bleeding Victim” and a Queensrÿche-esque “At Dewy Prime” (with a bass line more sludgy than a sewer pipe) are other excellent examples of the band’s quickly obtained evolved level of fine musicianship. Making a fine decision of going with Jacob Hansen to produce this album as well, the production is crisp as freshly laundered clothes. Visually Anthony Clarkson (Hypocrisy, Exodus, Blind Guardian) strikes gold again with yet another stunning layout.

 

Communic is one of those "adult" metal bands like Opeth, Green Carnation, Nevermore… a band where vocal talents prevail in turns acting as a separate instrument, in perfect accompaniment to the music. Having said that, in the Opeth vein, it takes about an hour for a masterpiece as technical as this to unfurl completely, in which shouldn’t lose the waning attention span of those afflicted with ADHD because there are so many different components that will happily keep you preoccupied. For those that have blessed with patience, the payoff will be even more glorious. Waves of Decay is a very tuneful piece that definitely needs to find a home in your collection as a time honored heavily rotated CD! Make sure to try to get your hands on the limited edition, which features two bonus demo tracks “Conspiracy in Mind” - 07:51 and “Ocean Bed” - 06:40. Here’s to the undeniable power of 3. Takk, takk!

 

Cradle of Filth ThornographyCRADLE OF FILTH

Thornography

Roadrunner Records, 2006

Reviewer: Kate

 

As a fan of black metal, you might be tempted to pass this album over but I assure that Dani Filth and Co. are still rooted in their dark elements and classic horror genre. Dani Filth moves away from is unintelligible, growling vocal style but to me that shows that the band can mature but still in the gothic realm. “Under Pregnant skies She Comes” opens with a great horror soundtrack and the rest of the song is intelligently crafted as well.

 

The album has a lot of catchy melodies and riffs and enough structure in the songs to keep things interesting. “Rise of the Pentagram” is a unique instrumental track that begins with a narration from Pinhead from the Hellraiser movie. It continues with amazing melodic violin passages layered on top of chunky riffs and interesting melodies. “Tonight in Flames” has a really catchy chorus and is a very strong memorable track.

 

Lead guitar has taken the center stage on this album, straying away from the usual array of melodic harmonies and burst into the realm of abundant shredding and guitar outbursts. “The Foetus of a New Day Kicking” shows that Dani Filth can be versatile metal vocalist as his clean vocals appear smooth and pristine. “The Byronic Man” features a guest appearance from HIM’s vocalist Ville Valo, giving the song a nice gothic touch.

 

To have lasted so long, it shows the quality of Cradle of Filth’s music and the loyalty of their fanbase. Some purists might find fault with this album but I’m glad to see that the band can grow and mix things up a little but while still staying true to themselves.

 

Crash Romeo Minutes to MilesCRASH ROMEO (No Pentagrams)

Minutes To Miles

Trustkill Records, 2006

Reviewer: Thorne

 

Morrissey, on his new album, sings a line in which he states "As I live and breathe, you have killed me...you have killed me."  One can only assume he was talking to the heads of Trustkill Records after hearing the debut album from Crash Romeo.  I have heard many bad things in my life...but none quite so vile as this.  Crash Romeo is the kind of band that makes me contemplate going on week-long killing sprees at emo shows around the country, and while I could end the review at that, I will not.  I have enough respect for you, the reader, to let you know just exactly why this album is as horrendous as it is.

 

Now, it might seem like I'm the kind of guy who hates anything melodic whatsoever, but that's not the case.  I actually enjoy Armor For Sleep and as mentioned earlier, Morrissey...but Crash Romeo is not Armor For Sleep and they sure as hell aren't Morrissey.  So, what are they?  Crash Romeo, as I've come to discover, after agonizing sessions with their debut are nothing more than another fashioncore abomination that was signed simply because there are actually people who will buy this...and enjoy it.

 

Who are these people?

 

If there were one ounce of musical integrity to be found within the corridors of this journey into irritating pop rock, I would give the band credit...but there isn't...so I won't.  I listened to this album several times to try and find at least one thing I could say about it that was somewhat positive, but it's simply not possible.  This is bland, boring, and dull beyond words.  The vocals are annoying, the guitars have no backbone and if there's a rhythm section, I certainly didn't hear them.

 

Bottom line...avoid this...like the plague.  I'm truly at a loss for words here. www.trustkill.com

 

Darkthrone The Cult is AliveDARKTHRONE

The Cult Is Alive

Peaceville UK Records, 2006

Reviewer: Thorne


Ok, so you say you like black metal? Good! Do you know who Darkthrone is? If not, then do not even begin to call yourself a true fan of the genre. I hate to sound like an elitist, but honestly, that's just the way it is. For almost 20 years, Darkthrone has been cranking out their own brand of hellacious black metal and with landmark albums like A Blaze In The Northern Sky, Under A Funeral Moon, Transylvanian Hunger, and Panzerfaust, these guys only seem to get better with age. However, when I first heard the advance track of "Too Old, Too Cold" from "The Cult Is Alive", I was as surprised as any Darkthrone fan would be.

The sound on that track, and on The Cult Is Alive as a whole, is very different from anything in Darkthrone's catalog, particularly their last two albums Hate Them and Sardonic Wrath. Gone is the stoner-friendly atmosphere on Hate Them and the steady, black metal pace of Sardonic Wrath. Instead, Darkthrone has chosen to strengthen their battle-tested shield of black metal with the punk influences they also wear proudly on their collective sleeves.

To put it bluntly, this album is the catchiest, angriest, and most attitude-laden album I've ever heard from Darkthrone and with each listen, I become more fixated on it than before. Whereas, Celtic Frost was a major influence on albums past, it seems the boys have looked to Cryptic Slaughter, Motörhead, and Autopsy as influences on this album. The album's first single, and ironically, the band's first ever single "Too Old, Too Cold" is a definite indicator of what to expect here...rip roarin' rock and roll violence.

Nocturno Culto has always been one of my favorite vocalists, but along with Panzerfaust (the most savage black metal vocal performance ever put to tape) this is the best I have ever heard him sound. His vocals on The Cult Is Alive are completely understandable (except for the Norwegian lyrics...well, unless you're Norwegian) but delivered in his typical "I really don't happen to care what you think, you insolent humanoid" style. Somehow, this works perfectly with the music he and Fenriz created here. The punk urgency has only added to the mystique of this band, proving that they cannot be pigeonholed into any particular category while also making for a totally insane black metal attack that demands repeated listens.

I was also happy that Fenriz finally got to sing a track in the form of "Graveyard Slut" in which he delivers a performance that definitely deserved his special twisted touch. As far as song titles go, Darkthrone's definitely gotten weird with them as time has passed (Their last disc featured a song called "Straightening Sharks In Heaven". I'm not even touching that one) but this time around, songs like "Graveyard Slut", "Whisky Funeral" and "Too Old, Too Cold" not only reflect their subtle sense of humor but again...the punk feel of this album.

The bottom line is this. If you're looking for epic symphonies, triggered blasting, polished guitars, and female La La La Dee Da vocals, go pull your Cradle of Filth and Dimmu Borgir CD's off the shelf and do a polka. However, if you're looking for catchy riffs, raw production, hate-filled drumming, and angry blackened Satan-loving vocals, pick this album up immediately and play it at your nearest church function. Watch the believers run in fear...and show some love to Darkthrone, because with this record, they have proven that "The Cult" is very much alive.

 

Daylight Dies Dismantling DevotionDAYLIGHT DIES1/2

Dismantling Devotion

Candlelight Records, 2006

Reviewer: Karma

 

Daylight Dies, a North Carolina collective of five, evokes a plethora of emotions ranging from the beauteous to anger, depression, and happiness. Dismantling Devotion, the band’s sophomore effort to No Reply where newcomer Nathan Ellis’ low and husky vocals are a welcomed addition taking Daylight Dies to the next level. Covering a lot of ground, the band wreaks a lot of havoc on your psyche in 53:55. The band first caught my attention with their single “A Dream Designed” which sent me into a depressive disharmonic of state of bliss! With lyrics like “Throes of regret that course through my mind the pain of careless ways. Divulging thoughts of a dream resigned” This band makes music that delves into your nucleus causing you to reassess your life, especially after listening to “A Life Less Lived”; it helps you to appreciate the progress made in your life thus far. “Sanguine solutions to hope's dissolution. Tomorrow's turmoil tonight carbon mirrors of my yesterdays”…phew!!

 

If forced to compare the bands’ dark multi-layered atmospheric doomish metal instrumentation, it would be a match between Opeth vs. Katatonia. The amount of original guitar riffs of Barre Gambling and Charlie Shackelford are astounding along side of the very talented rhythm section of drummer Jesse Haff and Egan O'Rourke on bass. The velvety melodies are full-bodied and brooding. The entire CD is a spiritual experience introducing you to the dark side without dragons, skulls, and pentagrams but through excellently composed and arranged music. Daylight Dies is a fat-free no cheese kind of band proving you do not have to sacrifice heaviness to give way for well thought out melodies. BRAVO!

 

Candlelight has such a dark and rich lineup of artists; it’s hard to pick a favorite! However, I predict this CD will quickly become one of yours. Do yourself a favor and grab a copy of this; you will be very happy you did!

 

Dead To Fall The Phoenix ThroneDEAD TO FALL

The Phoenix Throne

Victory Records, 2006

Reviewer: Fox

 

While the band’s last album, Villainy And Virtue, gave off a starkly noticeable deathcore impression, the band’s third album, The Phoenix Throne, Dead To Fall has returned to their previous stance, which is more of a hardcore brush with metal than that of many bands termed with the now-slanderous metalcore moniker. Production-wise, TPT is stuffy, with the entire mix sounding as if it were filtered through a pillow before heading off to be mastered. In contrast, to the last record’s punchy, in-your-face mix, this engineering approach causes the band to sound more restrained and much less dynamic. In many instances, it sounds like Dead To Fall is simply going through the motions, offering warmed over As I Lay Dying riffing with a brusque, yet non-threatening vocal delivery courtesy of Jon Hunt. With the muffled tones, snuffing out half of the rhythm section at any given time, the music is somewhat less enjoyable than the band’s previous offerings. Strangely, although the bass, kick drums, cymbals, and vocals are often smothered, the guitar sound is much more pronounced, especially during the melody lines. In combination with these factors, there’s noting that really excites the listener the way a really great record should. At this point, the style Dead To Fall emphasizes is growing fairly tiresome. When considering that there is a massive glut of artists now treading this path, it is required that bands do more to stand out from the pack and unfortunately, such is not the case on this album. Although the completely killer presentation of the CD leads one to believe that they’re in for something really special, the final analysis here uncovers bland, impotent metalcore such of the type that is due for extinction. Uninspiring and unexpectedly lackluster, The Phoenix Throne is one that’s only worth looking into if you’re overly zealous for a particularly bland rendition of an exceedingly tired style of heavy metal.

 

The Phoenix Throne starts off with a kick in the teeth with "All My Heroes Have Failed Me", a classic anthem for the angry youth of today. The production of the CD itself is crisp yet dense and thick with bass and overall heaviness however with all of the moshing potential that this release will undoubtedly illicit it doesn't translate 100% in recorded format. Of course Paul Romano has to be one of the best artists around when it comes to striking layouts and cover art but in this case it overshadows the recorded material. If you are a fan of DTF, The Phoenix Throne is definitely something you need to add to your anthology. If you're not a fan of the band or this style of hardcore/metal, then wait for TPT to hit the buzz bin before purchasing it.   -- Karma

 

Demiricous One (Hellbound)DEMIRICOUS1/2

O-n-e

Metal Blade Records, 2006

Reviewer: Karma

 

Thrash is a long-standing American tradition in metal. An institution that’s tried and true, now from the look of things there are four lads from Indianapolis, Indiana that are willing to carry to torch, their name is Demiricous. They found a way to make it fresh. I was fortunate enough to get an advance copy of One (Hellbound), as this is one thoroughly impressive debut album from these newcomers. How sweet fresh meat!! The album is slated to drop on January 24th of next year. 2006 will undoubtedly be the Year of Demiricous!

 

This CD is pure fuckin’ metal, hatred so deep it’s like a bowie knife up the ass!! Cuts to the bone and slices through the heart of the matter as this is not your everyday, pretend playful bullshit. Demiricous means absolute business. Hell, they got my attention on the first song the cleverly titled, “Repentagram”. Tunes like this tend to have a shelf life of a Hostess Twinkie. The way this song ends makes you feel like your brain is turning inside out. Makes you ask, “what more do I have to look forward to”?

 

Famed producer Zeuss (Shadows Fall, The Red Chord, Throwdown) shined brightly here. This man can draw blood from a turnip in regards to how hard he works his clientele. He is able to tap in to the core of the artist, extracting the purest and rawest form of energy. Reaches places unlike any other; Zeuss has an innate sense in harvesting the rage of the vocalist, channeling it throughout the production. In this case, vocalist, and bassist Nate Olp, vocals are jarring yet pristine. Indigenous to himself, the closest I can draw a comparison is that to Mikael Stanne of Dark Tranquillity but Olp's vocals are darker and muddier. In which the same can be said of the overall production of the CD, it's grimy yet unspoiled.   

 

Love the layout of the CD. It’s no frills and effective same as their songs bare boned. It reeks with the blatant message of “Fuck It All”! Gives rock out with your cock out a new meaning. As soon as open the booklet appears a dedication to our fallen hero, Dimebag Darrell. The anniversary of his death vastly approaches. It’s always nice to see those carry on his memory a year later. The j-card is an extra-added bonus featuring the band inside a booth of a bar underneath a Jack Daniels sign at a table filled with PBR and Iron City beer cans. One member is giving the bird whilst another seemingly inebriated is toasting with an Iron City can over his head as the other two blankly stare into the camera. How apropos! Allow me to raise my horns and glass to you! Cheers and horns! Congrats for making this raw production the way you saw fit and saying fuck the rest.

 

With songs like “Perfection and the Infection”, “I Am Weapon (Out For Blood)”, my absolute favorite “Matador”, eternity awaits this band…or at least a decade. This band was born to raise horns or hell, especially if you take into consideration the final track “Hellraiser”. Judging from this fine effort, they will be raising hell and horns for a very long time to come.

 

The Devil Wears Prada Dear Love: A Beautiful DiscordTHE DEVIL WEARS PRADA

Dear Love: A Beautiful Discord

Rise Records, 2006

Reviewer: Thorne

 

For reasons still unknown to me, Christian hardcore continues showing up at my house...in my mail.  Apparently whomever is sending this doesn't know me at all, or they do know me and find it very amusing.  I can already guarantee that fans of this band and their CD will not find this amusing whatsoever.  First of all, I can handle Living Sacrifice and I can handle Zao, but this is absolutely horrendous.  Is it really even fair to give a Christian band a pentagram as a means of scoring points?  That, to me, seems very wrong on so many levels.  However, I'm rambling and that is something I can't afford to do.  My time is precious, people.

This release is boring, unoriginal, contrived, and the obvious sign of a band with little or no experience on the recording or writing front before this moment.  Littered with songs about the importance of maintaining the Christian faith in times of peril and danger, along with cheesy synths and unbridled complacency in songwriting, Dear Love: A Beautiful Discord is a release tailor-made for Hot Topic shelves and men who wear girl pants.  I'm sorry, but that's just the way it is.  The only saving grace (no pun intended...ok, maybe a little) about this album is the live feeling behind the production.  I could actually see their live shows sounding a lot like the CD, which would work wonders for a lot of bands...unfortunately, the material just really makes me want to avoid their shows at all cost.

Again, this has nothing to do with faith or beliefs...as stated earlier, I love many bands who hold the Christian flag high.  However, I have no preconceived notions of any band before listening to their music...I simply do my job and call things the way I see them.  In this case, I see an incredibly overhyped, untalented group of individuals who couldn't write an original song to save their lives.  But hey, at least they'll go to heaven, right?

 

Dimmu Borgir StormblåstDIMMU BORGIR

Stormblåst MMV

Nuclear Blast Records, 2006

Reviewer: Kate

 

With a career spanning over ten years, Dimmu Borgir is one of the most well known black metal bands in Europe to-date. Stormblåst is a re-release of their third album and it is bigger, louder, darker, and even more intense. It’s not quite fair to compare this to their most recent material as they have obviously improved over the years yet they have managed to add a layer of depth with this re-recording, you can feel the difference in their songwriting, the guitar and bas are even more crushing, the lead vocals even more sinister than before.

 

There are those who highly criticize this re-release saying that it’s not the same as the dark and bitter original version of 1996. I love the original; it is one of the most beautifully frigid and melodically harsh black metal albums from 1996 but the great Silenoz and Shagrath show that they can only improve over time. Not to mention the phenomenal job Hellhammer does on drums; he is ten times the drummer Nick Barker was!

 

“Sorgens Kammer - Del II” is a malicious black metal track that fits well amongst the originals. “Avmaktslave” is an incredible bonus track that shows that Dimmu Borgir can still write strong, old-school black metal. “Alt Lys Er Svunnet Hen,” is greatly improved as it has the fullness that was lacking in the original version. The only disappointment I could find is “Broderskapets Ring,” the haunting melody in the original was completely lost by removing the keyboards and replacing it with guitar that was lost under the distortion of the other instruments.

 

I highly recommend this re-release even if you are a devoted fan of the original, it stays true the bleak compositions and is it a great album by old and new standards. It has definitely earned its spot in my collection.

 

Doro Warrior SoulDORO

Warrior Soul

AFM Records, 2006

Reviewer: Kate

 

What can be said about Doro? She is a goddess, she is a legend, and she has brought metal back to it’s roots and reminds us what it’s supposed to be about with her latest album Warrior Soul. It reminds me of her days with Warlock (if you have not heard anything by Warlock, shame on you!) with tracks like “Haunted Heart” and “Strangers Yesterday” that have solid classic metal vibe to it.

 

Maybe I’m used to the blistering guitar leads of yesterday but I did not hear them enough here, although I will say Joe Taylor is very talented on guitar and there are a couple of exceptions with the metal anthems “Thunderspell” and “My Majesty”, the riffs are very heavy and Doro’s vocals really stand out on these.

 

I also enjoyed the fact that a couple of the songs were in German, “In Liebe Und Freundschaft” and “Ungebrochen” (this one is actually half in English and half in German), both are just really well done. In my opinion, metal fans of new and old should have this in their collection, Doro still reigns as the metal queen!

 

Dream Evil UnitedDREAM EVIL1/2

United

Century Media Records, 2006

Reviewer: Kate

 

We are dealing with old school power metal with a band like Dream evil, even with former member’s guitarist Gus G. and drummer Snowy Shaw leaving and being replaced with Mark Black and Pat Power. Bringing us melodic vocals and restless energy, Niklas Isfeldt is as powerful and domineering as usual, especially with such great tracks as “Blind Evil”, “Eviloution”, and “Let Me Out”. Unfortunately, the rest of the album is nothing more than just average. To give the band credit, they have been very consistent with delivering the similar level of quality and always meets the fans expectations. They remind us that heavy metal is meant to be fun and should not be taken so seriously all the time.

The production on United is very impressive and shows that guitarist Frederik Nordstrom is at the top of his game. Every instrument I crystal clear and leaves enough room for everything else to be heard as well. My only disappointment is that the tracks are fairly predictable and doesn’t leave much room for anything new. Although I would say even the biggest skeptic can’t be helped from being swept up in the rush of “Fire! Battle! In Metal!”

Very few power metal acts have the ability to possess enough songwriting punch to be considered anything more than lightweights. Dream Evil does carry that talent but I hope that they can steer away from the predictability and towards change and more focus. If they can do that, few competitors will be able to keep up with their energy and appeal.

 

Dreams of Damnation Epic Tales of VengeanceDREAMS OF DAMNATION (5.666 Pentagrams)

Epic Tales of Vengeance

Say It In Blood Records / Erika Records, 2006

Reviewer: Karma

 

What happens when you want something so badly you’ll stop at nothing to attain your dreams? You’ll do it yourself and put out your own damn album, well that’s exactly what Dreams of Damnation did! Speaking of dreams or more like a fairytale, the story or road to Damnation in this case were paved with dreams. To be honest, this tale goes back farther than this. Back in the day, a Dark Angel Fan [Loana dP Valencia] saw the very band she idolized more than anything then somehow the fates shined down upon her and she comes to front a band of that which embodied her immense love for metal... Lucky woman! Well she shows the world with her powerful performance that luck may place you in an amazing situation, but only sheer talent will keep you there!

 

This collective resurrected old school Bay Area thrash with a vengeance with the driving force of super dynamic duo Dark Angel’s Jim Durkin on the axe and creative riff maestro and petite only in stature, Loana dP Valencia; this hellcat is a female juggernaut on the mic! Luckily, for all of us she embarked on a personal crusade to “get [Durkin’s] name back in circulation”; well in between her impenitent vocal delivery and Durkin’s barrage of licks, we will be able to sleep better at night knowing a band like this is out patrolling the night skies eradicating their weaker contemporaries. This band carries the torch for all of us who hold historical anger” so near and dear to our hearts. To sum up to seven song wonderment, it leaves you wanting way more leaving you high and dry with reckless abandon! Bottom line: it will be the fastest 27:43 of your existence.

 

The CD starts with the unassumingly sweet yet sinister instrumental “Crimson Vengeance” violently morphing into “Kill For Peace” as this tune kicks in with its technically brutal riffs…then all of a sudden, the iniquitous vocals of Valencia kick in… the result is sheer annihilation! Loana’s admiration and respect for Durkin comes out in every note uttered. She is one hard hitter as well as the entire CD...not one filler!

 

Perhaps we are not “Beyond Salvation” but through Dreams of Damnation’s Epic Tales of Vengeance, they have the power of to redeem us all! Dreams of Damnation is here and poised to not only dominate the scene, but will rule the world before it’s all over and done!

 

Eastern Youth 365-Step BluesEASTERN YOUTH

365-Step Blues

King Record Co., 2006

Reviewer: Maggie S. 3

 

At first I was going to write a horrible review about how much I despised the genre and all around sound of this album, but then I read the little insert inside the CD and learned a lot about it that I didn't know. Eastern Youth is an Asian indie rock that is sung entirely in Japanese, and reflects the emotions and helplessness experienced by youth in the world nowadays. So basically, it's America's emo music translated to another language and played to catchier music. Eastern youth has been around since 1988. 1988. That's longer than most American in general are around, so they must be doing something right. Maybe they can teach our emo bands how to be more successful through their music. This isn't a band I would listen to randomly throughout my everyday routines, but more an album you would pop in when you're home alone and itching for some culture-filled tunes. I don't know how many metal fans actually do that, but Eastern Youth was pretty much made for that sort of listening experience. It's hard to describe the sound they posses – I guess it's similar to many real indie bands (the genre, not the position of a band signed to an indie label) that we have here. As final words – it's unique.

 

Edguy Rocket RideEDGUY1/2

Rocket Ride

Nuclear Blast Records, 2006

Reviewer: Karma

 

You'd be shocked at how fast 60:10 can fly by, well, that is if you're into music such as this. The Germans have had an indefatigable hold on the cloying genre of power metal with the likes of Blind Guardian, Helloween, Rage, Primal Fear, Grave Digger…having said that, Edguy incorporates the serious side of power metal with an injection of comic relief, take a look at the album cover [by Axel Hermann, whom has done artwork for Moonspell, Sodom, and Iced Earth] then of course, there is the song “Trinidad” and the ending to “Catch of the Century”. Not to misrepresent the band, they are not all about fun and games; they take their craft very serious!

 

Obviously, this release could not be compared to its predecessors, as Rocket Ride was my first stop on the journey into the world of Edguy. As a full-fledged newbie, I found this catchy album to be a breath of fresh air from the cookie monster vocals I have found myself absorbed in as of late. At any rate, this CD has all the makings of sheer greatness! The vocals of Tobias Sammet are strong, sweet, and deadly like a body drenched in honey. Sammet undoubtedly has some of the best pipes this side of Mt. Olympus not to mention some very talented musicians that surround the power metal vocal god. The rhythm section (bassist Tobias “Eggi” Exxel and drummer Felix Bohnke) reigns supreme along with some excellent and pristine chord work by guitarists Jens Ludwig and Dirk Sauer. The band re-enlisted the help of Sascha Paeth who previously worked with the lads on the Superheroes EP to produce this project.

 

The CD definitely starts out with an unexpected "bang",  with a sad and depressing little ditty called "Sacrifice"; an 8:00 epic with mid to low tempos from hell! Undeniably, it is a very interesting and eyebrow raising way to start the CD out; the ending goes out with a bang as well complete with a bonus track, "Fucking With Fire (Hair Force One)". The best tracks are “Matrix” where “Eggi” shines brighter than coins at the bottom of a water fountain. The intro is the absolute cheesiest retro throwback but you will be forced to sing chorus long after the song is over, trust me there! Others winners are “The Asylum”, “Superheroes”, “Trinidad”, and “Sacrifice”. The modulation on “Wasted Time” is an added bonus. A blaring negative is the ballad “Save Me”, that’s what I was asking for after hearing it. Not every power ballad is a winner; hey, I may be a chick but I too have my limits! The one thing that can be said is that the song is full of raw emotions. In addition, there is one filler track too many for my liking. Rocket Ride is a myriad or a collection of songs which are not in a storyline format, which may or may not work for the concept freak...(from what it understood) especially the diehards.

 

Ultimately, Edguy is definitely “Fucking With Fire” in the right way. In layman terms, this band is about the blow the hell up worldwide very soon (with the next release) as they have already affirmed and affixed their place in the power metal hall of fame with seven incontestable releases under their belts to prove it.  They were also co-headliner for the fifth installment of ProgPower USA in 2004. Edguy is “loaded and cocked”, poised for global domination! Allow me to end this review with more apropos lyrics: “Make no mistakes, don’t you miss out on the hell of a time”… add this CD to your collection if not for the sheer value of entertainment!

 

Eluveitie SpiritELUVEITIE

Spirit

Fear Dark Records / Season of Mist, 2006

Reviewer: Kate

 

Pagan death metal, that is how Eluveitie would be described but they are so much more than that. There is an abundance of instruments that also includes the Irish flute, uillean pipes, mandolin, violins, fiddles, and bagpipes that brings character and depth to each song. Chrigel Glansman's harsh blends evenly with the instruments and flows very well.

The title track “Spirit” is full of natural sounds that makes you feel like you're walking straight through an old Irish village and gives you an idea of what you're in store for. “Aidu” is a nice showcase of the female vocalists, a pure folk song with melodic vocals that's paired flutes, acoustic guitar and drumming. “The Song of Life” rages into heavily distorted guitar work and screaming male vocals. Contrasting with the soft flute work makes a for a beautiful combination of folk and metal. “Siraxta” is another transition from chanting female vocals to Chrigel's harsh shrieks and it works so well together.


Eluveitie is a band that know how to deliver. If you are looking for metal you will be able to hear it on this album, if you're looking for pagan folk music then you will hear it on this album. Everything is clear and distinct and in perfect balance. If I didn't know that they were from Switzerland, I would've sworn that they were Irish, they're knowledge of Celtic and Pagan culture is refreshing and makes the album even more intriguing.

Pagan death metal has probably now one of my favorite genres, it's melodic and epic and takes you into another realm of music. Not only should you get this album but go see them live as well. They put on one helluva show!

 

Enforsaken Sinners IntuitionENFORSAKEN1/2

Sinners Intuition

Crash Music, 2006

Reviewer: Fox

 

A thrash-injected wall of sinister sound ensues with “Witness To The Fall” as Enforsaken rip through blasting, bitter tones like a whirling dervish. Incorporation of thunderous breakdown sequences, gothic melodies and black metal guitar rhythms further feed the band’s tornado-like sonority, with attention paid to the finer details that make a metal song great. Stephen Sagaia is a sufficiently wicked character, his aggressive approach perfectly complementing the group’s grueling cacophony with the proper balance of evil ambience and distinct phrasing. “Blacklist Assassin” roars with a determined vengeance, while “The Slain” offers a critically brutal introduction, leading to an overpoweringly crushing chug. Often, the group sound like a more multifaceted or diverse Kreator, but hardcore muscle rears its head in the sound of Enforsaken as well, making for a melting pot of sounds that fit together flawlessly.

 

One of the largest drawbacks to the album is its slightly stuffy production, yet the delivery of this overtly brutal crew is nonetheless weighty as a result. Deep growls combined with urgent axework make “Halo Of Ruin” a standout track. The powerful chugging and masterful fretwork here is only overshadowed by an ultra-tight and thoughtful arrangement. It’s difficult to see how any follower of modern metal won’t be able to get into music such as this, Enforsaken have basically every aspect a metal fan could look for, yet still, they manage to keep things very, very dark sounding. Although there are only eight songs here, each provide more than enough entertaining deviations to hold the attention of listeners. If you’re looking for an album that’s unrelentingly heavy and extremely well executed without succumbing to trends or fashion, look no further, this is dark metal at its finest!

 

Enslaved RuunENSLAVED (4.666 Pentagrams)

Ruun

Tabu Recordings (Candlelight Records USA), 2006

Reviewer: Karma

 

Music should be an emotional response, but when isn’t an Enslaved offering? For some strange reason I have been moved to tears, yes, tears by every album I have heard from this band; Ruun is no exception to this rule! Being a fan of this band since I was magickally whisked off onto the Sognefjorden in Norway (or at least in my head) when I first heard “Havenless” off the 2003 Below the Lights CD. How can you forget the beginning chant, "Dei for ifra nord..."? Well this new album is more enchanting, mesmerizing, haunting, and captivating! Through all of its beauty, Ruun is deadly, it will rip you apart like a ferocious hunger stricken wildebeest! As soothing, as bassist’s Grutle Kjellson vocals are, a nanosecond later his voice will rip through your flesh like a ravenous gryphon with his death metal snarls! Speaking of eagles, Kjellson lets out one hell of a shrill at the end of the title track “Ruun”.


Because the album is so cold, Ruun paints a glorious mental picture of the icy Norwegian forests. This album may be deep-seated in its black metal roots but has profoundly and progressively expanded upon itself. The first track, “Entroper” is a trippy yet sludgy rocking little ditty, something you would not exactly expect from this band; then again, the entire CD is this way! The guitar work by Ivar Bjørnson and Arve "Ice Dale" Isdal is killer. Then away we go further on our voyage with “Path to Vanir”; the break in the song is glacially atmospheric, it sets the tone for the rest of the album. Again, “Ruun” is one of those songs that wrap you emotionally with its highs and lows. Herbrand Larsen’s keys are heavenly along with his backing vocals. Now would be as good of time as any to mention drummer Cato Bekkevold; he kills on every track. Let's go back to atmosphere, shall we. The final track “Heir to the Cosmic Seed”, it’s as if you are riding along on the Knórr itself, it’s a Viking black metallers journey down new age alley/Musical Starstreams.

 

If you are the type of person that loves to step outside of yourself when ensconced in music, this CD is for you! Don’t be surprised after the 46:03 journey’s over, to find a Snekke docked outside of your window!

 

Evaline Postpartum Modesty. A Portrait of Skin [EP] EVALINE

Postpartum Modesty. A Portrait of Skin [EP]

Maverick Records, 2006

Reviewer: Maggie S. 3

 

Boy, this EP takes me back to Warped Tour. Evaline is a band of impact, and for being such a young group of boys they really know how to blow their competition away. The opening track on this EP, “La De Da”, is beautiful and powerful, vocalist RJ Perry has an amazingly dynamic voice that is loud and proud for his tiny frame, singing, “Step away from my lips, step away from my throat” with as much melody as a bigtime jazz band singer (I mean that in the most flattering way)! The background chorus and absolutely angelic atmosphere the song creates is what puts them ahead of most bands featured in the alternative scene today. They pound out these songs like they’re the easiest thing in the world, yet you know there’s heart to each and every one of them. The second song on the short EP is “Calm Touch”, which doesn’t let down your hopes for more thirst-quenching music. There is something soothing and touching about the way Evaline plays their tunes that makes you think of an orchestra or some large group of people with instruments playing a soundtrack; but they’re just boys playing rock and roll. Not just boys, but something more.

 

Ever We Fall We Are But HumanEVER WE FALL

We Are But Human

Hopeless Records, 2006

Reviewer: Maggie S. 3

 

Ever We Fall is optimistic emo music at its finest. Unfortunately, it does not stand far enough away from the electric fence where the bodies of other alternative artists lay to avoid getting burned. The vocals scratch at you like a fingernail on cartilage and the musical aspect of it is slightly generic from track to track. Vocalist/guitarist Adam Brazie must have Circa Survive's Anthony Green as one of his influences, because his voice is constantly reminding me of Saosin's ex–and there are one too many copycats of poor Mr. Green, it seems. I have to say the way the tracks are listed - falsely separated by periods while the words are actually divided by the text color - is pretty clever. But it's too bad that that's as far as Ever We Fall's intelligence in 'standing apart' goes. The boys themselves have the talent but have been attracted to that brightly burning light bulb above the electric fence that lured them in too close. Now they're caught in the never-ending tangle of generic music.

 

Evergrey Monday Morning ApocalypseEVERGREY (3.666 Pentagrams)

Monday Morning Apocalypse

InsideOut Records USA, 2006

Reviewer: Karma

 

The initial reaction after the first spin of Evergrey’s Monday Morning Apocalypse was “Va fan” (or “WTF” for the non-Swedish speaker) after the first song, the title track. The CD started out with a bang and ended in a fizzle. I could not believe what I was hearing. MMA is the most radically diverse offering from their previous five-studio and more complex releases. Problem is I judged MMA from a purely prejudicial standpoint. I listened to this CD with my Recreation Day ear and then with my Inner Circle ear; after walking away from the situation for about two months, I was able to reassess MMA for what it was, a pretty amazing piece of work which should solely be judged on an individual basis as is it is incomparable to other releases. It’s like trying to compare Queensrÿche’s Operation Mindcrime II to the original…you just can’t because they are different beasts. However, MMA has enough merit to stand on its own!

 

Monday Morning Apocalypse kicks you in the gut, just not as hard or let’s put it this way; it’s done in a more subtle rock fashion. This can be attributed to the band enlisting the help of producers Sanken Sandquist and Stefan Glaumann (of Rammstein, Def Leppard and Bon Jovi fame). The tried and true Eg fan may be highly disappointed but as many bands progress and move away from their celebrated style, in which any band is usually lambasted for such, people throw fits. Fans want a band to grow but when they do, they bitch and when they stay the same, they bitch...what to do? If I hear one more goddamn time about how much this band “sucks” because they “soldout” or is not the same band we all “grew to love”… Not sure how many times this has been said but, “You can’t please them all” and all signs point towards the band being happy with this release, so what else can one ask for? Tom S. Englund’s vocals are as soulful and more rocking than ever along with his guitar work in accompaniment with other guitarist, Henrik Danhage. Never fear for their shredding has not disappeared, again, it’s just done in a more subdued manner but is ever apparent on “At a Loss for Words”, there’s even a pretty kick ass solo contained in the aforementioned song. There’s a touching piano only song created and performed by keyboardist Rikard Zander that breaks the rocking mode moving the rest of the material towards a darker more bleak/recognizable Evergrey. Drummer Jonas Eklund’s performance is quite stirring especially on the title track, “Obedience”, and “Lost”.

 

The riff in the bridge on “The Curtain Fall” (overall the weakest song on the CD) is reminiscent of the Nocturnal Rites song “Still Alive”. Best tracks are “Obedience”, “At Loss for Words”, “Monday Morning Apocalypse”, and “In Remembrance”. For now many of you may find yourselves “Lost” thinking the “Unspeakable” occurred and being “At a Loss for Words” laying “Still in the Water” hoping a glimmer of the band you once loved and revered is not just a figment of the imagination and will not remain “In Remembrance” hating to see “The Curtain Fall” on their career. Having said that, remember this one phrase, change is necessary; Evergrey did just that! I applaud the band for having the balls to make an album such as this, which pleased them and them alone saying fuck the rest; love it or leave it. Will be interesting to see their next offering and how it unfolds. If you don’t like it, don’t buy it but it; however, Monday Morning Apocalypse will make for a good addition to your anthology. Give this CD a chance!!

Facedowninshit NPONFACEDOWNINSHIT1/2

NPON – Nothing Positive, Only Negative

Relapse Records, 2006

Reviewer: Fox

 

Harsh, lo-fi tones abound on “NPON”, as Facedowninshit parlay a great deal of influence from Eyehategod with the result being foreboding, coarse, doom-sludge with more than enough disparity to seize the listener’s interest. Over the course of seven drawn-out musical beatdowns, Facedowninshit incorporates significantly gruff undercurrents of NOLA-inspired dissonance. During the record’s boisterous title track, the band steers well clear of conventional definitions of melody, instead opting to deliver a sound that is bitterly jagged, discordant and considerably unforgiving. Random, squealing feedback and slow moving, teeth-gnashing reverberations infect “Countless”, a track that is powered by random string scraping and a thick, sludgy riff. A touch of hardcore worms its way into “Ten Strip”, but the band’s propensity for keeping a restrained tempo gives the track a slow motion effect. Overall, Facedowninshit will be most appealing to those who take pleasure in a particularly anti-musical experience. Rough sounds such as the ones that listeners will unearth here are often difficult to swallow, but Facedowninshit provides an admirable antithesis to the plethora of sugarcoated sounds currently accepted as metal these days.

 

Firewind AllegianceFIREWIND1/2

Allegiance

Century Media Records, 2006

Reviewer: Kate 

 

Even the most dedicated fan out there might be disappointed with the fact that Gus G. decided to put his days with Dream Evil behind him but when you hear this album you can tell that he has put himself whole-heartedly into this project. Their latest album Allegiance is the first with the new vocalist Apollo Papathanasio and he has done exceptionally well with Gus’s crafty riffing and well-carried out solos. Apollo almost has a bluesy quality to his voice that reminds me a little of David Coverdale but he can also nail the high notes.

The album will please any power metal fan and the band themselves have no shame in going in that direction. “Till the End of Time” and “Dreamchaser” show that old school metal style as well as the Dio inspired “Ready to Strike”. While “Breaking the Silence” has female vocals [Tara Teresa] and almost a gothic feel to it and shows the band can offer some diversity.

There aren’t too many surprises here but if you are a fan of the 80’s power metal scene the hooks will draw you in and you’ll be able to over the look, if you will, “cheesiness” of some of the songs. All in all this a great effort from Firewind, it offers a lot of range for everyone to be happy with. Gus showcases his shredding riffs but also lets the rest of the band shine as well. I’d say this is their strongest release yet!

 

First Blood KillaforniaFIRST BLOOD

Killafornia
Trustkill Records, 2006
Reviewer: Thorne

First Blood? This is the second time in a week that I've seen a lousy hardcore band steal their name from one of my favorite movies (You're next, Warriors) and while that might not seem like a logical way to start a review, please remember...I am THAT kind of crazy, folks. Aside from my anger about the defilement of John Rambo's good name, I can honestly say that this is one of the most mediocre and sub par hardcore CD's I've had the unfortunate displeasure of hearing this year.

First Blood features in it's ranks Carl Schwartz, who used to be in Terror. I like Terror...but I don't like Carl Schwartz...at least not here. The band's message is one of militant veganism, straight edge living, and your usual hardcore tomfoolery. Now, while I have nothing against straight edge living or vegans in general (Remembering Never, Earth Crisis, and Carcass are welcomed to feast on veggie burgers at my house any time) I get a bit tired of seeing bands with no original way to express their message. To be quite honest, that's my biggest complaint with this release.

Listening to "Killafornia" in it's entirety, it becomes apparent that First Blood is a band that cares more about the message they're delivering than the quality of their music. While there are several good riffs and interesting breakdowns to be found, it's not enough to combat with the other 95% of the album which features excruciatingly boring material and the kind of vocals that make me wonder if Carl Schwartz was sitting on a toilet motioning for some Correctol during the making of this CD.

I've got nothing against hardcore...I've got a big problem with bad music though...and this is most definitely some of the worst I've heard. Lame through and through.

 

Folly Resist ConvenienceFOLLY

Resist Convenience

Triple Crown Records, 2006

Reviewer: Maggie S. 3

 

Folly is one of those bands I don't understand. It's not a bad thing in any way, but their odd and unique song titles (like "Brooks Wuz Here" and "Odds>Even"), insanely jumpy riffs and Five Minute Ride-style screaming is pretty overwhelming. The good thing about this is – they are different. Not entirely and it's probably not the most original thing in the world, but Resist Convenience could be a foundation for an amazing, developing genre of music with some extreme name like screamo-jump-riff-core-with-surprise-singing. Well, maybe not that. Anyway, Folly is just funny. They produce fast-moving music without too much empty space and without making too much noise. How talented is that? It's like if you took one hundred of their musical influences and blended their bodies into one fruity smoothy of hardcore awesomeness. Okay, enough similes – Folly has a very modern brutality. On the other hand, tracks like "The Wake" that are slightly slower and more focused on a reggae and clean-vocaled tone show just how out-there this group is (yes, I made up a word). By out-there, I mean in that wide, often un-touched field of new music. Like taking a cold shower, Folly wakes you up; replacing freezing droplets with ear-splitting riffs that wake you with a smile.

 

Full Blown Chaos Within The Grasp of TitansFull Blown Chaos1/2

Within The Grasp of Titans

Ferret, 2006

Reviewer: Thorne

 

Full Blown Chaos has been one of my favorite bands for quite a while now.  Ever since I first witnessed these guys opening for Superjoint Ritual in 2003, I've been a convert to their violent, volatile, and venomous hybrid of extreme metal and hardcore. Within The Grasp of Titans sees the band following up their Stillborn debut, Wake The Demons with a mature, focused, and downright vicious recording that makes their early material almost pale in comparison.  The band have fully embraced their love for metal and aside from the breakdowns, this really is a 100% metal recording.

 

The Eric Rachel production is a far cry from the somewhat sterile Zeuss production found on Wake The Demons and gives the band a much-needed boost in their burly NYC metal sound.  Drummer Jeff Facci's drum sound is like something straight out of the Floridian scene of the early 90's (Think Deicide, Cannibal Corpse, etc.) and Mike Facci's guitar is equally devastating.  In fact, I remember Mike saying how he was hoping to record his guitars "old school".  I guess he got his wish, because the sound is the best it's been since the "Prophet of Hostility" EP.

 

Vocalist, Ray Mazzola brings a newfound energy to the songs as well.  His personally motivating lyrics about strength through the toughest life situations have only gotten more personal and even more impacting.  Musically, the entire band has come full circle with their songwriting abilities.  Each song has it's own identity and brutal personality and in the end, that's more than I could ever ask for in this genre.  Full Blown Chaos have proven themselves to be the underappreciated titans of this genre once again.

 

The Funeral Pyre The Nature of BetrayalTHE FUNERAL PYRE

The Nature of Betrayal

Creator-Destructor Records, 2006

Reviewer: Karma

 

Being on the burning black metal kick from hell as of late, The Funeral Pyre’s The Nature of Betrayal was a welcomed retrieval from the mailbox! This second offering by this California based band is a sure fire winner, burning as bright as a pyre itself. Sorry, couldn’t resist! The CD starts as sweet and as innocent as the act itself, and then all of sudden screeching bloody vocals of John Strachan kick in. The melodeath black metal venom is like mercury coursing through your veins. You can feel the pain and anguish contained in his vocal delivery.

 

The Nature of Betrayal will not lead the fold of its genre, but this CD grabs you by the jugular, leaving you with little or no choice to pay attention. Imagine Bleeding Through dripping with black metal and blast beats d’jour with some Black Dahlia Murder thrown in for good measure! The breakdowns are devastating with the blackened keys work by Daniella; the complexly layered guitars by Jimmy and Nick are rich; the rhythm section’s pretty special too with Adam Campbell on bass and the blast beats from hell which emanate from Alex, slays! The one minor ding is the production, it’s low but then again it adds to the overall allure of the band. I can quickly imagine how FP would sound with Erik Rutan or Peter Tägtgren behind the console! What a tasty treat that would be!!

 

Love the CD layout, which was assembled by the work of Gustave Doré; coincides very well with the devilishly embittered music. As the back of the j-card shows us crows staring off into the distance, you cannot help but wonder how this band will progress over the coming years because they have the potential to lead their flock into the abysmal dawn taking a seat upon the throne in their “Eternal Reign”. Grab the shovel, and add more coal, The Funeral Pyre will light up your world with their noxious mix of black metal under the light of the crescent moon! Pick up a copy today! www.creator-destructor.com

 

Goatwhore A Haunting CurseGOATWHORE

A Haunting Curse

Metal Blade Records, 2006

Reviewer: Thorne

 

Louisiana's black metal juggernaut, Goatwhore, has been lamenting the praises of Satan and tearing down all that is holy for many years now. Beginning with their incredible debut, Eclipse Into Ages of Black, Goatwhore set a new standard for fierce American black metal by incorporating elements of punk and thrash into the already volatile mix of blasphemy and chaos. The band's next album, "Funeral Dirge For The Rotting Sun", was still evil in every way but instead of the frightening carnage of their debut, the music turned towards a more atmospheric and doom-laden direction. Then...Hurricane Katrina happened. The band's beloved New Orleans was destroyed, and coupled with vocalist, Ben Falgoust, being seriously injured in a van accident, it seemed Goatwhore was cursed.

However, the aptly titled "A Haunting Curse" has proven that if anyone is cursed, it's not Goatwhore...but rather, the unlucky souls that happen to cross their musical path. This is an album that, in my humble opinion, has redefined the definition of American black and thrash metal. Goatwhore has released an onslaught of absolutely epic proportions and recorded an album that will be remembered for years to come as a classic of the extreme metal genre.

The songwriting is much like the chaos of "Eclipse" but tighter and more lethal than before, due in large part to the always-massive production of Erik Rutan. Rutan's production has beefed up the sound of this band in ways I never thought possible and was a major factor in the insanity of the sound as well. Zach Simmons, the band's new drummer, has also added to the insanity of the band. His drumming is relentless, pissed off, and filled with an almost punk-like attitude that brings the band's punk influences out even more. Ben Falgoust has emerged from his accident a stronger man and an even stronger vocalist. In all the years I've listened to him, whether it be in Goatwhore or Soilent Green, I have never once heard him sound as fucking powerful as he does on this CD. Falgoust's roars sound like something born from the bowels of hell it's self and serve as a perfect mouthpiece for the sometimes cryptic and menacing lyrics that run amok on this release.

Sammy Duet's riffs recall every influence from Venom and Slayer to Mayhem and Gorgoroth, and make for very interesting songs in the long run. Stand-outs like "Alchemy of The Black Sun Cult" and "In The Narrow Halls of Confinement" rage like nobody's business, yet still contain much of the dark atmosphere found on the band's last release. Diversity is the key to success and A Haunting Curse is filled with more diversity and more emotion than most black metal coming out today, especially in the United States. One only has to wonder what the devastation of Katrina, injuries, and label chaos did to increase the violence contained in this release...one can only wonder what the band will have to go through to make a worthy follow-up. These questions will soon be answered, but for now, the only question that matters is "Is 'A Haunting Curse' worthy of the praise it's been given by yours truly?" The answer...hell fucking yes.

 

God Dethroned Toxic TouchGOD DETHRONED

Toxic Touch

Metal Blade Records, 2006

Reviewer: Kate

 

It doesn’t seem to be that God Dethrones has lost any of their identity even after new bass player Henk Zinger and new guitarist Isaac Delahaye came onto the scene. Quite the contrary it seems that the band has made a powerful statement with “Toxic Touch”, musically they’ve evolved and have stepped up to the plate. They’ve slowed down the pace a tad, amped up the melody giving this release a more gothic/melodic death metal sound.

Emotionally they’ve gotten even darker with tracks like the opener “Hating Life” where the lyrics state, “I hate this life, I have paid my dues, I don’t see the light, so I won’t stick around”. Some of the even more brutal songs on here are “Macabre World”, “Typhoid Mary” (probably the longest track on the album), and “Wings of Pestilence” is one of the best death metal songs on this album.

Like I said before, God Dethroned may have slowed the pace down but there is still plenty of brutality to go around. The songs are catchier with a little bit more groove and fewer blast beats. Delahaye and Sattler’s guitar work are impressive and expand to simpler thrash riffs to more complex solos. Sattler’s vocals are aggressive and his songwriting contains a good amount of depth.

This might disappoint some diehard fans out there but this album opens up to a wider group of listeners out there. I wouldn’t pass up this album by any means!

 

Gojira From Mars to SiriusGOJIRA1/2

From Mars To Sirius

Listenable Records / Prosthetic Records (USA), 2006

Reviewer: Karma

 

Grant it, when you think of France, the last thing that pops to mind is a metal band; however, through Gojira's heavenly cosmic offering (or third release), From Mars To Sirius, it will undoubtedly cause one to look in the general vicinity of the country once again...at least for the metal community, that is! This four-piece is comprised of brothers Duplantier Joseph & Mario, Christian Andreau and Jean Michel Labadie. As Joe handles vocal and guitar duties coupled with the bad drumming ass Mario on the skins, this has to be the tightest familial connects I have heard in a minute. Joe also did the cover for the album; talk about the ultimate DIY band! When you know what you want, why not do it yourself?! Not to leave Andreau or Labadie out, they contribute heavily to this damn-near matchless effort. It's a little over one hour (67:00 minutes to be exact), believe you me, there's something for everyone on this CD!

 

Buckle up your seat belts and prepare for a hell of a ride as From Mars To Sirius packs a powerful intergalactic punch as the twelve emotive, evocative tunes haunt your psyche…only if your “mind is alive” and are willing to allow yourself to take in the infinite possibilities which surround you. Be prepared to “make passage for souls [to] awaken”! This band does a stellar job in taking simplicity to another realm! What’s overwhelmingly original about this group is their spin on the overly used/bastardized formulae, the pitfalls that exist in every facet of metal today! The only formula this album follows is the utterly appealing spaces or instrumentals that occur betwixt every other song or so. The album itself is doomy Cult of Luna (“World To Come”) vs. the apocalyptic Darkane vs. Meshuggah meets Strapping Young Lad (vox and music alike sans the psychotic chaos best displayed on “Heaviest Matter of the Universe”) vs. Mastodon vs. Voivod meets labelmates Yakuza (“Ocean Planet” and the trippy yet surreal “Flying Whales”) with a dash of Dew-Scented’s Leif Jensen and Gorefest (“Backbone”) thrown in for good measure. Somehow, plethora of cross generalization begat this collective meld of extraordinary, extraterrestrial-esque dark and velvety star-filled works of art. Now that was a mouthful, and just to think, that does not even begin to scratch the surface!

 

The best songs are “Ocean Planet” which perfectly sets up the cosmic playfield, otherwise known as the rest of the album, “Where Dragons Dwell”, “Flying Whales” and “Heaviest Matter of the Universe”. The planets definitely aligned with Gojira’s new release From Mars To Sirius as it inarguably has to be one of the better independent releases of the year; giving headbangers an enormous reason to throw their horns high! Kind of makes you want to dip a little further in the French scene (no puns intended re: food) to see what else turns up…even though it's obvious they are light years ahead of their peers! Merci beaucoup!

 

La Muerte by GorefestGOREFEST1/2

La Muerte

Nuclear Blast Records, 2006

Reviewer: Karma

 

Put away the young, ill, and infirmed, Holland’s Gorefest is back!! The old adage of good things comes to those that wait seemingly ring true in this case especially after an eight-year hiatus. The dead or Gorefest in this case has resurrected itself with the release of La Muerte which just so happens to translate into death in Spanish. Now on to unearthing (or analyzing) this CD, as far as the story goes for the cover art, vocalist/bassist Jan-Chris de Koeijer uncovered an old school painting (done by MID) whilst changing residences. Now that the units’ older, they undoubtedly have more appreciation for the arts as well as valuing each other’s existence and by de Koeijer and lead guitarist Boudewijn Bonebakker repairing an age old long forgotten rift. Gorefest revivifies old-school death metal, which goes along well with the concept of the painting.

 

The dead’s newly appointed spokesperson (as in Jan-Chris) on the opener “Music For the Masses” belts out, “I have music for the masses” in which that they do indeed! Jan-Chris’ vocals are reminiscent of Napalm Death’s Mark "Barney" Greenway yet soulfully grittier. De Koeijer’s bass comes through matchlessly; the crunchy/sludgy guitars of Bonebakker and Frank Harthoorn are a pleasing accompaniment not to mention the excellent drum work by Ed Warby. The best bone crushing tracks are follows: “Exorcism”, “Rogue State”, “When The Dead Walk The Earth”, and “La Muerte”.

 

Along with a few final touches by rising star producer, Tue Madsen [HIMSA, The Haunted, Witchery, Mnemic] at Antfarm Studios, Jan-Chris and the boys poured their blood, sweat, and tears into this release via these thirteen tracks. La Muerte is a passionate team effort that strikes the listener with the envenomation of a black widow. One will require an “Exorcism” after hearing this recording to remove its deliciously evil spirit that will so pleasingly linger in your memory and ears afterwards. This CD will undoubtedly be an instant cult classic for many an eon!

 

Grave As Rapture ComesGRAVE1/2

As Rapture Comes

Century Media Records, 2006

Reviewer: Kate

 

You can tell that vocalist Ola Lindgren is still running the show with his thick riffs and blasting roar and it all still works with the new album As Rapture Comes Grave is one of the few bands that are still surviving from this era with exception of maybe Dismember. This album may not be as good as some of their earlier releases but it compares favorably to “Back from the Grave”. This album features more of a mature and polished sound and often technical style.

There’s no doubt that “As Rapture Comes” is brutal from beginning to end but shows Grave’s signature niche on tracks such as “Through Eternity”, “By Demons Breed”, and “Epic Obliteration” with achingly slow gloom and doom and pure force and aggression. To further drive the point home Grave covers an old Alice in Chains song “Them Bones”, by adding double bass to make it their own.

This album might not have changed anything in the scene of death metal but it does put a new spin on their sound while still staying true to their roots. Constant death metal growls, neck-breaking riffs and blast beats cover this album from start to finish and should leave any metalhead with a smile on their face!

 

Greeley Estates Far From Lies

GREELEY ESTATES

Far From the Lies

Record Collection, 2006

Reviewer: Maggie S.

 

Greeley Estates – Warped Tour’s brand new showcase star. They bring out the core in emo. How many times do you think you’ll hear someone say that in your lifetime? Taking the weird of scene kids by storm with their (I believe) debut full-length Far From The Lies, Greeley Estates really have to work hard to prove themselves different in today’s alternative music scene. The album begins with the track “The End of All We Know”, which actually starts with vocalist Ryan Zimmerman screaming, “Is this the end of all we know” in a style that is loud and sounds almost painful for his throat. Greeley manages to somehow mix in a blender dancey and hardcore riffs; it is uncommon, but tricks your ear into believing it is something new due to Zimmerman’s unique and shaky screeches. Monotonous background singing adds an even more odd element, but it fits into the puzzle somehow.

Track 3 is the band’s “well known” single, “Life Is a Garden”. Every time I heard Greeley come up in a conversation of chattering girls, it was usually about this song or the video that goes with it. I wasn’t sure why until I heard the song itself. It’s amazing. And I can’t believe I just said that. Zimmerman uses clean vocals a lot in this song, and it might sound whiney to the average ear drum that been bleeding with too much mediocre emotive music: but his lyrics make his voice more dynamic. The chorus sings, “Somebody should’ve told you nothing comes easy, and somebody should’ve told you that there’s no guarantees” in a melodic, harmonic, Heaven-sent way. That may be a little bit over-reached, but for some reason I feel like they deserve the praise for realizing there is a thirst in the world for originality.

This band’s style is not so totally friggin’ awesome and Zimmerman’s vocals aren’t oh my God the best I’ve ever heard, but they’re true to themselves and everyone else in their music, and that places them head and shoulders above those who are just trying to impress.

 

Grigori 3 ExileGRIGORI 3 (3.666 Pentagrams)

Exile

Dark Star Records, 2006

Reviewer: Karma

 

I believe Ofra Haza has been reincarnated in the form of a blonde, industrial vocal goddess, Gwen Bartolini who just so happens to be the front woman for Chicago’s Grigori 3. This CD is definitely something to get ‘yer ass in to all the while with your fists flying in the air! Exile is a synergistic workout able to fuel the most lethargic. “Visions” featuring vocals from Chicago's Deconstruct’s Jewell is a catchy little number; it’s strange time signatures will ensnare. “Awakening” truly is that as Bartolini shows off her vocal prowess something fierce as she sings in Latin and again on “Defende”. Guitarist Ray R. Wise really shines on “Kindred”. The smoke clears a bit with a Siouxsie Sioux-esque/Danielle Dax ballad entitled “Silently Breeding”.

 

Break out the black roses, Grigori 3 shall haunt the airwaves faster than we think! It’s time to “Think Me Wicked”! “The hour grows near” indeed as Exile will definitely uproot the band from the Midwest Underground Industrial Metal scene in which they dwell. With her commanding vocal presence and delivery, Bartolini proves women do belong in this Industry, in front of the mic! It is not hard to see why the band has received rave reviews from Outburn Magazine and other well known outlets. This album is a true gem with his heavy electronic magnification, not to mention a great addition to your ever-growing collection! www.GRIGORI3.com

 

HammerFall ThresholdHAMMERFALL

Threshold

Nuclear Blast Records, 2006

Reviewer: Matt Nadbrzuch

 

Threshold is the newest offering from the AC/DC of power metal: HammerFall. What I mean is that you can pretty much predict what a new HammerFall album will sound like but you can also predict that it will be enjoyable nonetheless. (You might also say that Cannibal Corpse is the AC/DC of death but I digress...) Threshold is a solid slab of ultra-manly power metal. This is the kind of stuff you listen to while eating a huge slab of meat and swilling mead. The album is anchored for the most part by a mix of mid-tempo riffing reminiscent of classic metal such as Judas Priest and Dio. One will not find the speed of more aggressive power metal like Dragonforce or even Blind Guardian here. Solos are kept simple and often simply follow the chorus melody. Fans of blinding-fast fretboard noodling will be disappointed. If you’re an old-timer who thinks metal ended with the advent of thrash this is the album for you.

 

Lyrically we have the usual power metal tropes of war and valiantly triumphing over adversity. Nothing wrong with that but there’s one song in particular I must mention: "Howlin’ with the ’Pac". This track seems to describe the band as a group of Templar Knights roaming around causing havoc. Again, nothing wrong with that but the ridiculous delivery turns the song into pure kitsch. Example: "Nothing can stop us, no time to catch some z’s". Wow, that sucks. Reminds me of Slaughter’s classic "Up All Night, Sleep All Daaaaay!"

 

HammerFall as a group are actually pretty kitschy but in a good way. Wow, I think I’ve discovered a new metal sub-genre: KITCH METAL! (Manowar anyone?) Despite that minor quibble, I give Threshold a triumphant four pentagrams!

 

Haste the Day Pressure the HingesHASTE THE DAY

Pressure the Hinges

Solid State Records, 2006

Reviewer: Kate

 

Haste the Day was hit with one of the hardest transitions that a band could face by losing their lead vocalist, Jimmy Ryan in 2005. But their back now with a vengeance and a new lead vocalist, Steve Keech. With vocals that range from a high piercing screech to a low power growl, Keech sets himself above that status quo of hardcore. Haste the Day demonstrates their flexibility with their breakdowns and different stages of song structure.

The title track, “Pressure the Hinges”, is their standout track on this album. From clean vocals to double-bass growls it features pretty much everything the band has to offer. “Stitches” is something unlike the band has recorded before and provides a nice break from the ear-piercing screams, if only for a little while, before returning for another round of brutality. “Chorus of Angels” has a nice goth-rock approach with chunky grooves and industrial riffs.

“Janet’s Planet” combines a combination of flowing guitars, thunderous drums and a haunting melody that states “Walk me to the desert and leave me/ I’ll dig my way home”, definitely puts chills up your spine. “The Minor Prophets” provides a nice balance of melody progressive heaviness with inspirational anthems that are a call to the soul.

This album is an example that Haste the Day is perfectly capable of dealing with change. If you are a fan of hardcore metal I would highly recommend picking this album up!

 

The Haunted The Dead EyeTHE HAUNTED 1/2
The Dead Eye
Century Media Records, 2006
Reviewer: Erika Kristen

The Haunted made me do it again! Dammit!!! This album is very comfortably, commercial. I’m sure I’ll be flogged for that… I mean that most sincerely, with no negative connotation whatsoever! The Dead Eye will disturbing lay indelibly on your brain. This album may very well be The Haunted’s pinnacle album in their career to date. To understand what The Haunted is about is to open you to, The Dead Eye. It is a tight organized recording indeed. The production is NEAT. So if you’re looking for insanity, check out their live gig! Producer Tue Madsen has branded yet another emotionally frantic, highly energetic marvel. Recorded in Denmark @ AntFarm Studios, The Dead Eye is a much more mature album. Even if the titles of this album sound like the higher Arcane in a tarot deck, they lay out a finely woven fabric. The clever little buggers left the official release at 13 songs. I squealed like a bitch from sheer excitement over the DVD version had more singles on it not to mention extra mixed media incentives.

This journey is a scary little trip but you crave to understand, going down every corridor on this album. Vocalist Peter Dolvings lyrical content weighs very heavily on your chest. He takes you through not so sane feelings of doubt, loathing, paranoia, self-reflection and strife. Peter sings on this album. No, I’m not kidding and yes, it’s quite good! The control in his voice is startling. I’m sure Peter doesn’t see himself as any Pavarotti but by having command of his range is no small task.

“The Premonition” opens like a funerary march down the Nile. The Haunted bravely unleashes the fury and lets us ride “The Flood”. Guitarists Anders Björler & Jensen’s offered a hypnotic gritty chant that instantly demands iconic riffing stature. And before you can even catch your breath, you’re swept away by the next track. You know that little thing called “The Swedish Sound”? Welcome, “The Medication”. Sure to be a second track release. The vocals on "The Crowning", with its ever-present anguish, made me stop in my tracks after hearing the harmony that Peter was belting out. Peter eloquently explains the tricks that the mind plays. Reminding us that it can always be worse than you know.

Honorable mention goes to Jonas Björler's booming crunchy bass in “The Fallout”. A Nine Inch Nails alternative, I am an industrial music junkie from way back. It’s quite stimulating for a metal band to be so melodic in its production. “The Fallout” is a wet dream in that respect. "The Medusa"’s frantic tribal riffs reminiscent of Alice Cooper, lends segue to Per Möller Jensen’s jazz influence; showing up with drum rolls familiar to the ear and poised to awe. It left me with the uncomfortable stench of over medicated hocus pocus, lulling you into a false state of normalcy. While “The Failure”s guitar lead leaves you wanting more, surely it’ll be a perfect segue to an open jam session during a live gig. The placement of guitar solos at the end of tunes are inventive and stimulating. Reinventing such guitar arrangements can prove to be morphed into. ‘I will hurt you ever so carefully.’ An ala Sgt. Pepper-nightmareish-acid trip down the foxhole indeed! With every release they become more and more…creepy [shiver]. Relentlessly, The Haunted asks the question, ‘Don’t you want something real?’ and The Dead Eye is as real as it gets.

 

Heaven Shall Burn Deaf to our PrayersHEAVEN SHALL BURN

Deaf to Our Prayers

Century Media Records, 2006

Reviewer: Matt Nadbrzuch

 

Ah yes, Deaf to our Prayers, the new album from Deutschland’s own fantastic fivesome Heaven Shall Burn. This album is not a huge departure stylistically from Antigone, the band’s first release on Century Media. It is a departure, however, from by-the-numbers American metalcore. Deaf is a blend of Gothenburg-style death metal with barking hardcore vocals and rhythmic breakdowns. This is obviously nothing new. The album mixes these elements in a refreshing mix, however, and ups the brutality level.

 

We do not see the standard snarling-verse, melodic-chorus, snarling-verse, breakdown, a possible solo, verse and chorus. Repeat for every song on the album. On Deaf, the hardcore bark remains with shades of melo-death added for flavor. Tremolo-picked, darkly melodic, riffs dominate throughout. Breakdowns are present but are used with class as opposed to being forced into each song even when they feel awkward.

 

This album is recommended for fans of death, melo-death, and yes: hardcore. This band, along with country mates Neaera, are breathing life into metalcore’s bloated corpse. Godspeed mein Freunden. 

 

Heavy Heavy Low Low Everything's Watched Everyone's WatchingHEAVY HEAVYLOW LOW

Everything’s Watched, Everyone’s Watching

Weatherman Records, 2006

Reviewer: Kate

 

Ok, I’m not gonna pretend like I know too much about this band because honestly I don’t and I don’t want to lead you the wrong way by pretending I’m an expert here. With that being said Heavy Heavy Low Low sound like they are on the verge of a complete breakdown which is probably pretty common. Robbie Smith who just sounds like he’s in pain half the time with high-pitched shrieks, slurred growls and gasping growls is what mostly consists on Everything’s Watched, Everyone’s Watching.

With that also being said, they do know how to play their genre pretty well. What genre is that you ask? Well, it seems to go back and forth between angst hard-core and technical metal. The sludge-like bass riffs gives the tracks an intense beat, the drummer knows how to rock the double bass and the guitars give crushing breakdowns.

“Mall Nutrition” is probably my favorite songs with riffs that get you pumped up and a catchy punk-rock chorus. “Kids, Kids, Kids” is also a great one which would make you want to get up and move around when played live. “Texas Chainsaw Mascer-Uh” is probably one of the more grind-influenced tracks on here with crushing guitar riffs that come spewing out.

 

This is not something I would normally listen to but it is a very solid release with a lot of great energy, though a little scattered at times. I would say that you would not regret picking this album up.

 

 

Hell Promise Aim For HellHELL PROMISE 1/2 Pentagram

Aim For Hell

RocketStar Recordings, 2006

Reviewer: Karma

 

Lately metalcore has not won the favor of the masses, as a matter of fact, it can almost be compared to disco; it’s a dying unappreciated breed. Well, we have another band to emerge on the scene, Seattle’s Hell Promise with their new full-length debut on the rising label, RocketStar Recordings entitled Aim For Hell. This manifestation comes equipped with friends in high places however, it is still not enough to save them from fiery pits of the hackneyed as Johnny Pettibone, Himsa’s vocalist, not only lends his vocal and writing talents for “Venom, Vice, and Valor” but he also co-wrote six other songs. In Memoriam’s Caleb Duerr also heavily lends his writing and musical proficiencies to this project.

 

It’s metalcore without melodies, now please explain how this happens! Unlike the well written press release, this unimaginative "offering" lives up to its promise of a “non-stop brutal beat down” but in a negative sense as it fails to offer much else. Again, my ears must be broken or something but perhaps the indiscernible “perfect harmonies” were lost in translation through the muddy and insipid vocals of Brian Johnson. Further exploring Hell Promise’s musicianship, in between Johnson and other guitarist, Jimmie Wagley, they do manage to bang out some no nonsense straightforward heavy riffs with credible solos, yet it comes off as banal. Nate Baker’s bass work gets lost in the dense wall of sound in addition to the contributions of Frank Barrera on the drums. Even though you can make out the double bass kicks and cymbalry, you tend not to care as you are made to wade through too much of the sonicly displeasing muck. Aim For Hell does seem to pick up for a hot minute from tracks seven to ten. For every positive is one and a half negative point thus the back handed compliments.

 

Again, according to the bands’ press release, Hell Promise’s prime directive is to “annihilate and tear apart everything we hold sacred” because indeed, there is “nothing nice or pretty about this album or this band” … AMEN! No truer words have ever been uttered! So the question would be, why bother? As it stands, Aim For Hell is a major disappointment then again the artwork tells the tale before you even crack open the plastic on the CD. The artwork features a skull (which to me represents all the bands abusing the ears of this already over saturated genre) looming over a barren wasteland with the listener being the clichéd dead cattle head that was bored to death from the endless bombardment of recordings such as this. Since the band’s all about being brutal then allow the truth to be delivered in the same unrelenting fashion. To Aim for Hell is in the wrong direction don’t you think? It’s aiming way low…so if that was the intent, the band’s mission was well accomplished! Hell Promise indeed aimed for hell!!

 

Helmet MonochromeHELMET

Monochrome

Warccon Records, 2006

Reviewer: Thorne

 

It truly surprises me sometimes when truly great records get bashed by most of the general public. Every single review I've seen for Helmet's new album, "Monochrome" has been less than favorable for the band...and after hearing the album, to say I'm perplexed would be a very large understatement. I've been listening to Helmet since I first got my grubby little paws on a copy of "Meantime" about 5 years ago, and after gathering every single one of their releases since then, I can truthfully say they've never disappointed me, save for "Aftertaste" even though it still had a few quality numbers.

When Page Hamilton, Helmet's founder and frontman, announced the plans for "Monochrome" I was elated. I had enjoyed the band's comeback album, "Size Matters" a great deal but the excitement Page seemed to have about "Monochrome" led me to believe that this would be the best Helmet album since the band's classic "Betty" release...and it is. I take issue with many reviewers and fans who have dissed this album, when in fact, it IS the best album they've done since their golden age.

Returning to their roots in almost every single way, even bringing back producer Wharton Tiers, the man behind the ferocious sound on "Strap It On" and "Meantime" Helmet has delivered an album worthy of a spot next to all of their classic releases. "Monochrome" rages from start to finish with the same unbridled intensity that made Helmet household names in the golden age of alternative metal (and yes, there WAS such a genre, so save your complaint e-mails for someone who cares).

Page's voice, of course, has matured with age and the same visceral screams he once delivered disappeared long ago...but the man can still sing. Page is still as angry as he was when Helmet first debuted and on tracks like "Swallowing Everything", "Bury Me" and "Gone", that's more than evident. It's actually scary to hear a few of these tracks, just because of how vintage they sound. I'm not even kidding when I say these could have appeared on Helmet's earlier albums, and that's not a diss towards Helmet either.

For someone who loved Helmet's earlier work, it's nice to hear Page continuing to make hard-hitting music that keeps up with that tradition but also injects a modern twist to things. Page's guitar tone has always been the stuff legends are made of, and for some reason, it's still as abrasive and mammoth as it was in the long ago. The band's new blood, drummer Mike Jost, also does a major part in bringing back the golden sound of Helmet. I liked John Tempesta, but Jost SOUNDS like Helmet's drummer...not a metal drummer. That's not to say Helmet isn't metal (I mean, Christ...look at the name!) but just a different kind of metal than Tempesta was used to.

Jost and bassist/guitarist Chris Traynor give this album one hell of a backbone and never once let up with the sonic assault upon the listener. "Monochrome" is taking some heat from critics and from fans, and I honestly don't understand why...this is a phenomenal album and another great chapter in the history of Helmet. Kudos, brothers.
 

HIMSA Hail HorrorHIMSA

Hail Horror

Prosthetic Records, 2006

Reviewer: Karma

 

Oh hell, Seattle’s HIMSA is back with a vengeance with Hail Horror their long-awaited follow up to the 2003 release, Courting Tragedy and Disaster. It took a minute for me to get into the aforementioned release; however, their latest offering blows all previous projects out of the water, without a shadow of a doubt. Gone are the days of the overt Swedish Metal influences, they have found a way to amalgamate their musical inspirations rolling them into their own peerless vision…out pops this pièce de résistance. No longer will the band struggle to find their own sound; they carved a niche into the mountain of metal, inventing their own. Perhaps the home sweet hellcoming of guitarist Sammi Curr now back to the creative fold offering the ways of the world he acquired underneath his belt since his departure. Sensing a good segue here, now is as good as time as any to talk about reason for the three year lull betwixt releases. Between the sleight of hand and a cruel twist of fate, an “ex-member” stirred up a world of shit delaying the release of the album by six and a half months. Due to litigation etc., it left a vacated spot in which an elated Curr happily filled resuming his duties on axe, returning to his musical family. Once the smoke cleared from within, this impenetrable force forged ahead to produce the album of their lives! For this challenged hard luck collective, albeit weathering storms of monsoon like proportion may have always been the HIMSA way; well, may this be a distant memory, a thing if the past!

 

Hail Horror is a devilish treat from start to finish; flowing like hot molten lava down a mountainside picking up speed and obliterating all it encounters. On the anthem-filled first track, "Anathema", the tolling of the bells sets a dark tone for the rest of the CD. You know you are in for something special with the scorching riffs, hard edged in your face vocals from Johnny Pettibone, double bass kicks…damn! After this pleasant assault on the senses, “Sleezevil” comes in with Pettibone’s vocals immediately ripping off your backside accompanied with an infectious rhythm section of founder and bassist Derek Harn and drummer Chad Davis alongside of the dual blistering guitars of Kirby Johnson and Curr to boot! The journey continues, on to the next two tracks (my personal favorites) “Pestilence” and “Wither”. “Pestilence” will undoubtedly be a HIMSA classic for many moons to come. It has that “Kiss or Kill” feel to it. Without regard, it kicks you in the gut repeatedly, weighing in at a hefty and justifiable 5:08. We now move on to the emotionally charged “Wither”. Lyrically speaking, it’s about the fear of Pettibone losing someone close to him without being able to say goodbye. Ironically enough, his worse fears happened as “Wither” was written prior to his grandfather passing last summer whilst the band was on tour in the same city. Through his amazing vocal performance, you can feel the pain as the music encapsulates the agony filled torturous soundscape bringing grief to the forefront in a multi-tiered presentation. The up-tempo of CD comes to an immediate halt as the song begins with a slow and deliberate melodious intro to a blazing middle only to return to the slower side of things, the darker side; Harn shines brightly on this track. “Wither” is unlike any other song in the history of this band! Moving along, we have the powerful wall-to-wall guitar riffed “Wolfchild” to the next gritty track, “Seminal” which has more bite to it than a half-filled carafe of chewy six-hour piping hot java or a handful of No-Doze. This song will cause your heart to race or could trigger a panic attack! The next two songs do not let up, it’s a full on metal assault, one toxic concoction! The CD closes with “Send Down Your Reign”, this pretty much says it all, doesn’t it?!

 

Now the music portion has been discussed, let’s move onto the layout and the CD itself (which is CDDC or CD text enabled), shall we? Dark art is the unambiguous focus by master artist Stephen Kasner. Up close, the cover features two faces close in proximity with intertwined tongues resembling the medical symbol (a caduceus) minus the staff. Then again, if you look at the cover from afar, the two figures blend in creating what could be misconstrued as a uterus with an intrauterine device in place. The title of the CD’s scrawled across in the right spot to bring into focus that evil will not plant itself…okay, I can go on forever theorizing. Gotta love artists that makes wheels of the sick and twisted turn. In the middle of the booklet you’ll find the new HIMSA logo over an ominous horizon… It speaks volumes to me, denoting this band can indeed weather any storm. On the back of the booklet is another piece of disturbing art, this time it appears to be a horn or bell with confetti or snakes coming out of it. Look at it a little more closely and “the clapper” or metal part of the cylindrical object is not made of metal but of two humanlike feet with serpent-like creatures jetting out of the bottom and wrapping around one of the feet…wow, and this is suppose to mean…?

 

Seattle continues to make virginal offerings to the gods of music; I mean really, how else can you explain this phenomenon? HIMSA is not the new kid on the block by any stretch of the means; they have been wrecking the ears of the unsuspected since the late nineties. Only now have they separated themselves from the endless fold of “others”. So for all of you who decided to ignore this band in the past, it is high time for you take notice, the “Dominion” of HIMSA hath officially commenceth thyself. The melodies and riffs on this CD will continue to haunt more than any spook-filled cemetery! All hail the mighty HIMSA!

 

The Human Abstract NocturneTHE HUMAN ABSTRACT1/2

Nocturne

Hopeless Records, 2006

Reviewer: Karma

 

In accordance with the definition itself, Nocturne is full of “dreamy, contemplative character and song-like melody” but there is nothing “slow” about it. Managing to release one eclectic debut, California’s The Human Abstract definitely have something to be proud of. This band lies between the funkery of Ill Niño intertwined with the math metallery of Between The Buried and Me vs. the punk tones of AFI. After listening to “Crossing the Rubicon”, it is a perfect example of the AFI connect with vocalist’s Nathan Ellis deliverance which is very suggestive of Davy Havok’s clean vocals; it’s easy to see how the quirky song wound up in heavy rotation on the metal channel on Music Choice. Nocturne is a contrast between the honeyed and harsh that best display the excellent musicianship of this collective of five. The Human Abstract built all twelve tracks around the concept controlled and calculated chaos in which the music structure complex featuring multi-layered composition touching on romanticism, especially with the instrumentals “Sotto Voce” and “Desiderata”.

 

The Human Abstract went to the right production team to help their cause by enlisting the help of producer Jamie King (BTBAM, He is Legend), mixing the effort was Eric Rachel (Every Time I Die, Atreyu, War of Ages) and mastered by Alan Douches (Mastodon, God Forbid, Converge). Weighing in at 46:44, Nocturne is a thought evoking process from beginning to end. The layout and concept design by Aaron Marsh heightens the cerebral experience. The melancholic and original instrumentation of The Human Abstract will hook you with it’s reflective nature.

 

I Between Two WorldsI1/2

Between Two Worlds

Nuclear Blast Records, 2006

Reviewer: Karma

 

Stumbling across this band was probably one of the best things that ever happened to me as this CD serves as a reconnect to black metal and beyond. As far as a mini-history of the band: I (a.k.a. Abbath’s I) is a conglomerate of six (6) legendary Norwegian musicians [Abbath (Olve Eikemo) ex-Immortal; Ice Dale (Arve Isdal) of Enslaved & Audrey Horne; T.C King (Tom Cato Visnes) of Sahg & Gorgoroth fame; and Armagedda on drums ex-Immortal; including lyricist Demonaz, ex-Immortal] because they wanted to, not because they had to…there is a compleat difference… and it shows but this is how the tale of Between Two Worlds began. What else can be said about this album for the exception of it stopping short as a modern day black metal n’ roll wonderment? The production is superb and chilling, every instrument sounds larger than life as this tour de force is “Far Beyond Quiet” [in which song is a tribute to Quorthon], it features some of the most infectious licks by Ice Dale and Abbath himself. King seems to be the sovereign ruler over the bass and Armagedda is masterful on drums. Oh, let us not forget Abbath as a vocalist, he adds a lethal element to the mix. There’s not one bad track on this album; it is quality through and through. It’s moody and explorative as this group of musicians is able to discover a brand new realm they are unable to investigate within their other bands, lucky for us to be able to go along for this ride.

 

Demonaz’s lyrics cover subject matters like the uninviting grimness of the world; battles and cold…imagine that coming from a band that hails from Bergen! However, the melodious songs are imaginative and suggestive as you can feel the ice coursing through your veins, chilling you to the very core as you taken on a journey through the ages. “We pass away not alive nor dead. Souls are sleepless eternally…” This gem comes from the song “Shadowed Realm” which only makes an appearance on the bands’ limited edition run (of only 1,000 CDs) also featuring the “Outro” and one helluva number “Bridges of Fire”. It’s “All majestic, all divine” and quite possibly, maybe the best tracks off the album next to “Curse We Are”, “Battalions” and “Storm I Ride”.

 

The ubiquitous I “knowing the wisdom of all dark and light” is the bridge Between Two Worlds. You’ll be hooked after the first listen and once this band has taken over your aural senses, lighting your soul ablaze; it will be futile to resist! “Respect the force”! www.i-metal.net

 

Ihsahn The AdversaryIHSAHN

The Adversary
Candlelight Records, 2006
Reviewer: Thorne


Once again, the master has returned to impart his wisdom and musical brilliance upon us all. Ihsahn was once the frontman for black metal's greatest band, Emperor, and after several years spent in his experimental band Peccatum, he has finally returned to the genre that his music helped to define. The Adversary is a powerful, emotional, and spellbinding extreme metal album that easily ranks as both one of the best albums of 2006, as well as one of the most amazing albums in Ihsahn's career. Every ounce of this man's soul has been poured into the creation of this record, thus enhancing the already phenomenal atmosphere surrounding this release.

"Invocation" opens like something straight out of Ihsahn's Emperor days and, as the title suggest, invokes the spirits of long ago. The black metal riffing of "IX Equillibrium" is ever-present, along with Ihsahn's legendary screams and clean vocals highlighting this phenomenal track's power. "Called By The Fire" is equally impressive, sporting an epic chorus and soundscapes pulled straight from Ihsahn's experimental days. "Citizen" opens with a ferocious blastbeat and is a total throwback to the more violent-natured material of Ihsahn's past...though, by a black metal fan's standards, that is sweet angelic music to the ears.

"Homecoming" is not only the most emotional song on the record, but it's probably one of the most emotional songs I've ever heard in all my years of living...seriously. As Ihsahn openly reflects upon his younger days of black metal godhood, one cannot help but me moved by it. The next track, "Astera Ton Proinon" is a slow, grooving number that alternates between beauty and brutality throughout. However, this is a sharp contrast to the next track's very open Mercyful Fate influences, in which Ihsahn switches between his trademarked screams of anguish and falsetto vocals! Is there anything Ihsahn CAN'T do?

"And He Shall Walk In Empty Places" begins like something straight from the In The Nightside Eclipse era of Emperor, while yet still maintaining the beautiful melodies Ihsahn has crafted on this release. How someone can take something diabolical and make it so ceremoniously magical is beyond me...and yet Ihsahn never fails in this department. "Will You Love Me Now?" is another solid song, and yet the final track "Pain Is Still Mine" is quite possibly the most appropriate closing track I've ever heard for an album. Following in the shades of Iron Maiden and Metallica, Ihsahn closes his first solo release with a track more epic and bombastic than any of those before it.

Ihsahn has once again proven himself to be a musical genius with The Adversary. The one thing I've failed to mention, however, is that in some strange way these tracks are all autobiographical in a sense. This man, who rose to underground adoration with Emperor and proved himself to be an incredibly versatile musician with Peccatum has now come full circle in proving to all of the musical world that he is, without a doubt...untouchable. Outstanding work.

 

Insomnium Above the Weeping WorldINSOMNIUM

Above the Weeping World

Candlelight Records, 2006

Reviewer: Kate

  

It’s easy to see why Insomnium has been compared to such bands as Dark Tranquility with melodic guitar riffs and haunting melody that captures the early sound of Paradise Lost and Swallow the Sun and played with a captivating fashion that won’t ever leave you bored.

Above the Weeping World is a journey into the darkest corners of the world and the two minute opener, “The Gale” sets the precedent, letting you know that nothing happy will be coming out of your stereo. “Mortal Share” brings melodic guitar riffs that show how diverse Insomnium can be. “Drawn to Black” and “At the Gates of Sleep” carry heavy instrumental passages before diving into the aggressive vocals of Niilo Sevanen.

This band has always walked on their own path when it comes to their music and able to give their own personal touch. Above the Weeping World is a very diverse album that’s polished to perfection. Not only are they able to improve from one album to the next but also raise the bar for future releases. When it comes to new talent in metal, Insomnium is definitely leading the pack.

 

In Flames Come ClarityIN FLAMES

Come Clarity

Ferret Records / Nuclear Blast Records Europe, 2006

Reviewer: Thorne

  

Ok folks, I'm gonna be perfectly honest with you.  I was not expecting much from this album at all.  In fact, to even say I was expecting SOMETHING would be a stretch.  In Flames, you see, used to be one of my favorite bands back in the day.  When I was a wee lad, the sounds of "Colony", "Jester Race", "Whoracle" and pretty much all of their back catalog were always welcomed in my house.  The album "Clayman" was welcomed too, but to a lesser extent.  Don't get me wrong, it was a good album but I didn't think it matched up to "Colony" and it's severe ownage. Then..."Reroute To Remain". 

 

Um...what's this?  That's actually a question I'd like an answer to...what was that?  Now, while certain people on this site whom shall remain nameless were jumping for joy and doing cartwheels around their living rooms whilst listening to this record, my friends and I who had grown up with Gothenburg's finest were appalled.  I took one listen to this album, and immediately chucked it out into the road in front of my house.  I was hoping they'd somehow redeem themselves with the next album, The Soundtrack To Your Escape, but as luck would have it...they didn't. In fact, much to my dismay, Soundtrack was even worse than Reroute.  Gone were the blazing guitar melodies and Gothenburg production I adored.  Instead, I was given computer sounds, horrible singing, simplistic guitar wankery, plastic drum sounds, and god-awful songwriting.  So, to say my faith in these guys had faded away would be an understatement.  When "Come Clarity" was released, I just looked at it and shook my head.  Unfortunately, I couldn't let it go.  I had to...listen.  I had to see if maybe, there was a chance In Flames could redeem themselves...and much to my surprise...THEY DID.

 

Gothenburg's finest have returned with their best record since Colony, ladies and gentlemen.  The sheer bliss I experienced when putting this album on for the first time would have to be seen to be believed.  From the opening notes of "Take This Life" two things are apparent.  1) The production gayness remains.  2) The guitars are BACK!  The second outweighs the first by incredible amounts.

 

I still miss the guys' old production but I missed the roaring harmonies and melodies even more and they're back!  They're back!  As far as everything else goes, I'm equally pleased. Anders Fridén's vocals are the best I have ever heard him sound.  His clean singing has improved so much it's ridiculous, and even his screams seem to have gotten more passionate.  And surprise, I can hear the bass!  That always earns points in my book, and so does a good drum sound...and while I'm not crazy about the current drum sound (Once you've heard their older stuff, you'll understand) I can appreciate it much more than that of "Soundtrack To My Boredom".

 

As far as songs go, the guys have returned to the up-tempo insanity they're known for.  "Take This Life" is a perfect opener and set the pace, while "Leeches" is quite confusing in that I don't know whether to furiously bang my head...or dance.  The highlight of this album, however, is the song "Dead End" featuring Swedish songbird Lisa Misovsky.  Her voice just owns this track and it's a perfect compliment to Anders’ brutal screams (Never thought I'd utter the words brutal and Anders Fridén in the same sentence again, but oh well).  To say Come Clarity has made me a happy lad would be an understatement.

 

In Flames...welcome back to metal.  Welcome back.

 

Inhale/Exhale The Lost the Sick the SacredINHALE/EXHALE

The Lost, The Sick, The Sacred
Solid State Records, 2006
Reviewer: Thorne

 

I knew...so help me Satan, I knew when I first got this CD what I was in for. Is there some particular reason people keep sending this shit to my house? It's apparently not enough that I wasted a good percentage of my life fighting Otep trolls on messages boards, getting in fights with the local Christ-core bro union (All of which I won, with a little help from the man downstairs...my penis, not the devil) and cursing the local fashioncore scene with unparalleled rage. Now, I have to spend the rest of my life on this planet reviewing CD's by a god-awful (no pun intended...ok, maybe a little) band from this scene that has the same name as one of my favorite Nasum albums. May Mieszko rest in peace and not be offended by this absolutely heinous abomination to music.

Look, I'm not taking this review very seriously. You can see that very clearly. Well, if you're wondering why, listen to this band...listen to this album. I take my review as seriously as I take this band...did I mention this album has literally been the BEST coaster I've ever had? No amount of Samuel Adams cold bottle sweat has dripped onto my fine coffee table for months because of this one. You know what to expect here...don't fool yourself. Travis Wyrick's sleek, glossy, mistake-free production, melodic guitar lines and testicle-free vocals comprise one of the most uneventful, useless recordings in Solid State's history...which is saying a lot. Generic metalcore with a HEAVY HEAVY emphasis on guilt-tripping believers and non-believers to the foot of the cross to pay homage to stick man is what Inhale, Exhale aims for...and boy howdy, did they ever succeed! Now, if you'll excuse me, I must return to my Gorgoroth.

 

Into Eternity Scattering of AshesINTO ETERNITY

The Scattering of Ashes

Century Media Records, 2006

Reviewer: Matt Nadbrzuch

 

I first heard Into Eternity when their first album on Century Media, Dead or Dreaming, dropped in 2002. I was immediately impressed by the bands instrumental proficiency, vocalist Chris Krall's soaring vocals, and the album's seamless integration of various metal sub-genres. Following 2004's Buried in Oblivion, the group has returned with The Scattering of Ashes. The band have taken an already impressive blueprint and progressed it even further. The first thing that made an impression on me were the vocals. New vocalist Stu Block utilizes a variety of vocal styles including melodic "clean" singing, Rob Halford-esque high-pitched singing, generic metalcore-esque grunting, old-school death metal growling, and black metal-esque shrieking. There's probably more I haven't caught on to. If anyone has found any others, let me know.

Instrumentally, the album is also a whirlwind of ideas. We have off-kilter prog-metal passages, thrashy sections, and black metal-inflected numbers complete with tremolo picking and blast beats. There is even an acoustic piece which intros the track "Surrounded by Night".

As far as negative aspects go, the black and death-inflected vocals did absolutely nothing for me. While I do not abhor such vocals completely, the passages in which they were utilized became simply noise for me. Actual singing imbues a piece of music with real personality while growling and whatnot deadens it. I also felt as the band has become more and more ambitious, the actual musical product has not lived up to this ambition. While each song is constructed of a variety of styles, they do not always coalesce well. It sometimes seems as if the different sections are simply thrown together as opposed to flowing smoothly into each other. Let's slow down on trying to impress everybody and focus on songcraft, huh, fellas? Another sticking point for me is the production of Mr. Grant Hall. While the production is obviously competent here, it brings nothing extraordinary to the table. Considering the amount of pure technical and vocal mastery on display here, I would have liked the production to add a certain effervescence to the proceedings as opposed to simply being serviceable.

Methinks mixer Andy Sneap should have had more of a say in the proceedings as he has previously produced very powerful-sounding records for bands such as Kreator and Exodus. While I've actually written more about the negative aspects than the positive, this is still a very good record. To sum up, I'd give this album 4 stars *whoops, pentagrams*. EVIL!

 

It Dies Today SirensIT DIES TODAY

Sirens

Trustkill Records, 2006

Reviewer: Karma

 

For starters, if you are expecting Buffalo, NY’s It Dies Today’s sophomore album, Sirens, to sound anything like the Caitiff Choir, you are sadly mistaken. Like with MANY of the bands of this time, the follow-up record is more commercially appealing whilst maintaining a sense of their previous heaviness. It Dies Today’s Sirens is not an exception to this growing trend. “Reignite The Fires” is about as close as you’re gonna get to the old IDT sound. The band has grown in new directions, their musicianship has developed immensely as a unit: vocalist Nick Brooks clean vocals are strong; Steve Lemke’s bass has to be cranked to eleven, good for them; one can never tire from the sounds of an awesome bass player! The guitars of Mike Hatalak & Chris Cappelli are great, just wish they along with drummer Nick Mirusso had more…uummph or this album plainly put just had more balls! Where as Sirens will not set off an alarm of originality, but it is pleasing to the ears, I am sure It Dies Today will be plastered all over the radio in 2007, so prepare yourself!

 

Katatonia Great Cold DistanceKATATONIA1/2

The Great Cold Distance

Candlelight USA, 2006

Reviewer: Fox

 

Long an underrated act, Katatonia begs for widespread recognition with their latest collection of detached, ethereal modern rock tracks, The Great Cold Distance. While most fans are split over whether the band’s prior studio effort Viva Emptiness or the much loved Last Fair Deal Gone Down is the band’s hallmark achievement, this album should serve for most to become a tiebreaker of sorts, drawing elements from each of those excellent records while adding an even more mechanical mood of melancholy that will make this record a big hit with fan’s of the band’s second, more rock-oriented era. The group’s music is indeed, more commercial sounding than ever, meaning that it’s polished, well-executed and skillfully produced. It’s a crime that Katatonia have not yet been able to achieve a major radio breakthrough in the United States, but tracks such as the deeply personal “My Twin” further illustrate that Katatonia has what it takes to connect with American listeners.

 

Although the band’s music is a bit frosty, their smooth melodies remain deeply intriguing and the group’s ability to craft a memorable hook is rock solid. Tracks like “Deliberation” and “Follower” emphasize a hollow feeling that should be familiar to followers of the group. Combining this sort of emotion with impassioned, almost scientific introspection during “July” achieves a numbing effect, causing the listener to become further immersed in a musical downward spiral that becomes all-encompassing. Drifting into an otherworldly chorus with grace and assertion, this cut should be considered as one of the most well put together and engaging songs on the album. While The Great Cold Distance relays often repressed emotion, its deeply progressive modern rock stylings have certainly shown Katatonia to be masters of moody, bleak rock. Ideally, the group would make an excellent opener for either Tool or Opeth and judging by the great success each of those bands enjoy, it’s safe to say that Katatonia are next in line for major-scale acceptance.

 

Lacuna Coil KarmacodeLACUNA COIL

Karmacode

Century Media Records, 2006

 Reviewer: Thorne

 

I only became a Lacuna Coil fan last year, when a friend of mine played Comalies for me.  I was absolutely taken with Cristina Scabbia's voice and the melancholic, yet catchy sound that the band displayed.  Over time, I came to really enjoy them, and the day I saw Karmacode in the store I didn't hesitate to pick it up.  So, was this album a worthy follow-up to Comalies? In many ways, yes.  And in others, no.  As far as material goes, the Italians have crafted some of their most memorable songs to date and found a great production sound that sounds very streamlined and mainstream, yet still very indicative of the band's heavier sounds.  As far as songs go, I can't honestly think of a bad one on the CD.  From the opening number "Fragile", to the first song released off the album "Our Truth", all the way to "The Game" this is a solid record with no real bad qualities at all.  However, the few things that do upset me about this album upset me in a major way.

 

First of all, before I state my biggest complaint about this disc, know that I say it not as a male...but as a lover of Lacuna Coil's music.  Cristina Scabbia has one of the best voices on the planet.  Plain and simple.  Amy Lee can bow to this woman right now, as far as I'm concerned.  So why then, with an amazing singer like Cristina does this band continue to prominently feature Andrea Ferraro?  I'm not being mean, I'm simply stating facts!  Ferraro could be the nicest guy in the world for all I know, but simply put, Cristina's voice is what makes this band come alive.

 

On "Fragile", I fully awaited Cristina to come out swinging but unfortunately myself and several other fans I know (two of which are females, thus defeating the "Josh Is A Typical Guy and Only Hates Andrea Because Cristina Is Hot" hatemail I will likely receive for these statements.) had to wait on the chorus to hear our beloved Cristina's incredible vocal work.  However, the next three tracks "To The Edge'", "Our Truth" and "Within Me" make this wait well worth it.  On "Within Me", Cristina absolutely shines like she has never shined before and it will literally make you stop in utter awe of how beautiful this sounds.  I'm still shocked by it, even now.

 

So, this is a short review, but it's to the point...and many short things have made good points...Danny Devito, for example.  However, if you can get past the totally unnecessary vocals of Andrea Ferraro and the sometimes pop-laden production, this is an album you are sure to enjoy. 

 

Lamb of God SacramentLAMB OF GOD

Sacrament

Epic Records, 2006

Reviewer: Kate

 

Lamb of God have shown that they can evolve with the best of them with their last few albums and have proven that even further with the latest release, Sacrament. Randy Blythe’s vocals have improved substantially over the years; his enraged bellow is instantly recognizable but not moving too far away from his comfort zone.  Guitarists Mark Morton and Willie Adler deliver sharp and crushing riffs; bassist John Campbell contributes a low, thick rumbling undertone and Chris Adler’s venture to god-like status is pretty much complete.

 

“Again We Rise” is an example of true musical excellence; it has to be heard to be believed. “Redneck” is a catchy tune that pays tribute to early Pantera. “Blacken the Cursed Sun” is a solid entry with a heavy, melodic chorus and layered vocals. Sacrament is cleverly put together and the production is meticulous and pristine. As well as the songwriting and contribution by all of the members. You’d be hard-pressed to find a better metal album released in 2006.

 

Ligeia Your Gift Is Your GhostLIGEIA

Your Gift Is Your Ghost

Ferret Records, 2006

Reviewer: Karma

 

Ferret Records’ newest signees Ligeia, may have a brand new album out, Your Ghost Is a Gift, but it is no prize. No puns intended but this CD sounds like a rehashed version of labelmates Remembering Never especially from the Women and Children Die First era! On many tunes, you would think it was a reincarnated Mean Pete Kowalsky but in this life, the vocalists’ name is Keith Holuk. The upside is that the music is quite powerful; you can inarguably hear the rich choruses, the occasional melody, classic breakdowns coupled with a strong metallic backbone supported by heavy riffs and drum parts. Mind you, this offering may be balls out BUT it fails to boll you over with originality! Sad to say but a plethora of bands have done it prior, and in some cases better. Nice thing is the average age of the band is 23, so there is plenty enough time for these young men to eventually establish their own sound. In addition, speaking of sound and Industry affiliates, the band enlisted fellow Massachusetts dweller, Unearth guitarist/producer, Ken Susi to produce the CD along with Phil LaBonte, All That Remains’ frontman lending his vocal prowess on the disc making a guest appearance on “Makin’ Love to a Murderer”.

 

There are some admiral qualities about Ligeia, as in is their DIY ethic. They practically handled all of their own affairs prior to one fateful show the band played with Nora thus meeting Ferret head, Carl Severson; shortly there after Ligeia’s life took on a radical life altering change. Another strong positive about this band is their ability to crank out some thought provoking songs dealing with some relatively heavy issues. Particularly the most impressive tracks are “I'm Sorry Your Ugly”, “Swollen Eye View”, and “The Blackout”. “I'm’ Sorry” tells the tale of drug abuse as in from an angry observer’s point of view looking on as a friend commits the largest error of their life. “Are you satisfied with the whore you have become? You face the end. It’s like you’re already dead” Then we have “The Blackout” debunking social myths the media paints for females which damages their self worth by dictating how they should look or act in order to gain social acceptance. “Swollen Eye View” deals with domestic violence, what is quite eye opening is “You kiss the knife that slits your wrist”. Overall, the lyrical content found on Your Ghost serves a wakeup call to the weak.

 

Ligeia are obviously old souls encased in young bodies; they possess a lot of heart and maturity when it comes to their lyrical content. One can expect this band to be around for a long time. It will be interesting to see how the band matures and develops their identity, music wise, in the near future. In the meantime, Your Gift Is Your Ghost will serve as a foundation for which the band will formidably be able to build upon.

 

Light This City Facing The ThousandLIGHT THIS CITY1/2

Facing the Thousand

Prosthetic Records, 2006

Reviewer: Karma

 

Bay Area’s Light This City’s Facing The Thousand junior effort emerges ahead of the fold of the densely thick and dead landscapes of melo-death boredom as a laudable tale of awe for 2006. Vocalist Laura Nichol furthers the burgeoning movement of brutal kickass female fronted bands and like a select few of her counterparts, Nichols slaughters! There is nothing girlie about her vocal technique that can be best compared to a vulture (ironically enough, like the one on the cover of the album) picking away at your mortal flesh, ripping you to shreds. It is wicked evil, especially with her chilling “duet” with The Black Dahlia Murder’s Trevor Strnad on “Fear of Heights”. She seems like a nice enough girl but I sure as hell would not rumble with her in a dark alley!

 

You hate to compare the band to melo-death Swedish death metal bands like ones we are more than familiar with but, the riffs on “Cradle for King” wreaks of Sweden! The anthemic beginning of title track “Facing the Thousand” lays the groundwork for the rest of the album. Twin guitar assault from Brian Forbes and Steve Hoffman on “City of Snares” is toe curling; of course, I would be remiss not to mention the devastating drum work of Ben Murray. The deadliest tracks are “Facing The Thousand”, “Fear of Heights”, “Exile”, “City of Snares” and “The Unwelcome Savior”. The layout design by Mario Garza mimics the creepy and embittered/fed up lyrics, which run rampant throughout the CD.

 

With an average age of 20, and being on album #3, you know this band will easily stand ahead of the fold waving their bloodied flag of excellence especially with Facing the Thousand. Fuck lighting the city, they will takeover the world!

 

Moneen The Red TreeMONEEN

The Red Tree

Vagrant Records, 2006

Reviewer: Maggie S. 3

 

Many have not heard of Vagrant Record's Moneen. If you're a fan of clean vocals, you need to give them a listen. Let's start with the artwork – it's entirely red, black and white with maroon trees printed throughout the case (obviously taken from the title) and 'Moneen' scribbled in shaky cursive on the cover. It's original and to the point, like the group's music. The starting track, "Don't Ever Tell Locke What He Can't Do", is explosive and dripping with playful, instrumental technicality, the vocals sounding similar to, but not exactly like, many artists in their genre. The song repeats the lyrics, "You try to say we can't, yes I can" several times during the track and somehow they create a very uplifting sound that pours into your ears like warm honey. Moneen has a professional yet passionate tone to them that comes natural rather than putting forth too much effort; you can tell as the CD progresses, making music is exactly they live for.

 

With titles like "If Tragedy's Appealing, Then Disaster's An Addiction" and "The Song I Swore To Never Sing" most kids would automatically jump to the assumption that the band is 'emo'. Since emo is short for emotional – yes, Moneen fills their tracks to the brim with life experiences, toils and triumphs. But somehow, with so many people having the same lessons in life, the band molds the winning combination of lyrical and musical skill that is The Red Tree. In the center of the album's sleeve, printed over a white landscape of sand-like snow and trees, is "Life. Tragedy. Disaster.", and on the last page under a photograph of footprints is "I want to Remember...". I've always been a fan of bold messages and homemade phrases tucked inside of sleeves, so this definitely gained points since a portion of the CD revolves around tragedy and the facts of life. There is something about Moneen that lifts them up and above the swirling abyss of repetitive music and song topics, and into the heavens of originality. Keep an eye on this band; they are destined to blow competition out of the water.

 

Mower Not For YouMOWER

Not For You

Suburban Noize Records, 2006

Reviewer: Fox 3

 

Buzzing, industrial-strength anthems and medium-tempo rockers with major headbanging appeal form the backbone of “Not For You”. Mower lays down fifteen tracks of wildly varied metal sounds on this record, resulting in a listen that offers plenty of surprises along the way. At certain points, the songs Mower spits out are so different from each other that you might believe that you’re listening to a compilation of artists, this being the major downfall of the album. Surprisingly, this record was released via Surburban Noize, the imprint administered by Kottonmouth Kings. One way in which rock is quite different from rap is that a certain consistency is required in rock music, whereas the vocals are in the spotlight on rap albums, with a rock band, the overall sound of the songs is more apt to be the focus of listeners. If you put three different tracks from this record over the airwaves, fans would likely believe that they were listening to three different bands. What’s the upside? The music rocks, delivered with a brash, bullish presence and a flair for abrasive intensity. “American Psycho”, “Look Away” and “Zone” each shine as the record’s highlights. Although Mower often appears as trying to be everything to everyone, there’s a lot of great music here to sink your teeth into and those who enjoy a diverse musical appearance that is tempered with a metal edge should find this one to be worth a listen.

 

My Dying Bride A Line of Deathless KingsMY DYING BRIDE1/2

A Line of Deathless Kings

Peaceville UK Records, 2006

Reviewer: Karma

 

Does it get any “blacker” than this? The Lords and Lady of Doom, My Dying Bride, are back from the dead resurrecting themselves (as well as their career) with their ninth studio release, A Line of Deathless Kings. Living in the UK, it's easy to understand the source of their inspiration as they have excelled in writing about gloom and despair since their formidable years (1990 to be exact). Vocalist Aaron Stainthorpe accompanied by the expert musicianship of MDB layers this gothicly blackened masterpiece which will be just in time for their release date here in the States on Halloween, how apropos! The CD was mixed at the famed Chapel Studios in Lincolnshire then mastered at Abbey Road Studios in London. With all of this history, it is not hard to see why MDB is such a laudable institution; it is nice to see their legacy continue in such grand fashion.

 

A Line of Deathless Kings comes out of the cobwebbed lined chute with ravens cawing and madly ranting with the first track “To Remain Tombless”. The second track, Stainthorpe’s velvety vocals on “L'amour Détruit” are quite reminiscent of the master of the macabre and fellow countryman, Peter Murphy. It’s a pleasant surprising to see the band leave the growls of death metal vocal at the door until the mesmerizing sixth track kicks in, “Loves Intolerable Pain” which will undoubtedly be a tried and true MDB classic; the vox are deeply penetrating! The agony experienced is intense. “One of Beauty’s Daughter’s” is a dark and masterful song with some of the best keys (Sarah Stanton) and drums work (by sessions drummer John Bennett) I have heard in a doom/metal song in a long time.

 

No pun intended with “The Blood, The Wine The Roses” but do not break out the red wine or line their coffins with black roses quite yet, MDB’s career is far from over! With the release like this opus, My Dying Bride has the rest of eternity to make of us mortals a slave to serve underneath their undying reign, A Line of Deathless Kings!

 

Norma Jean RedeemerNORMA JEAN

Redeemer

Solid State Records, 2006

Reviewer: Thorne

 

What the hell happened to Norma Jean? Mind you, I've been following this band since their very first full length under this moniker, along with their subpar beginnings as Luti-Kriss, and this has to be one of the most disappointing things I could even imagine right now. How does a band go from making brutally crushing, yet epic releases such as Bless The Martyr, Kiss The Child and O God, The Aftermath to making a standard noisy bro-core record? I should have known from the moment Ross "Bizkit" Robinson was named as producer to this release that things were going to be heading downhill.

First of all, the blistering edge and ferocity that Norma Jean once had is all but gone. The abrasive guitars have been given a lovely little nu-metal shit shine, to make them fall right in line with every single other band in this genre. I really can't stress the point enough to you people, when it comes to just how much I miss the work of Matt Bayles (Mastodon, Uphill Battle) while listening to this album. This is a polished, clean, and absolutely bland affair that has left a foul taste in my mouth since I first heard it. The instruments have no soul to them, they have no feeling, and the raw power that once existed inside of this band is dead...officially.

The vocals on this release have traveled a dangerous and unforgiving road towards Pussyville, USA and especially when you compare them to O God, The Aftermath. As with every other damn element on this release, the ferocious nature and power behind them is just...gone. Even the songwriting has suffered a horrible fate here. There really isn't a single stand-out track among this forgettable collection of pointless, meaningless music for people who will buy it based on the name of the band alone. If any of those people read this review before purchasing this, hear me loud and clear when I tell you that the Norma Jean you know and love is just not active anymore. They've been replaced with five guys hoping to catch a ride on the fame train, forgetting the sound that made them who they are, and fooling themselves into believing that worthless music and pathetic clean vocals can make a good album. Redeeming? Not this one.

 

Novembre MateriaNOVEMBRE1/2

Materia

Peaceville UK Records, 2006

Reviewer: Karma

 

From their 2002 release Dreams d'Azur, the Italian trio, Novembre are back in the spotlight with their sixth album Materia; a luscious landscape with a heavy atmosphere! Novembre's sounds is hard to put a handle on. However, if you had to describe them the it would be a meld of HIM vs. Sentence with the originality of France’s Gojira or dare I breathe the band’s name Katatonia in another review? Well it’s all true!! Despite the glaring references and comparisons to other bands, Materia is nothing short of majestic as it is able to stand on its own merit any month of the year! There is something undeniably beautiful about all of the sorrow this band emits! The intense melodies make this album a real gem maintaining its sense of heaviness without relying on a tonnage of death growls. Do not get the wrong picture here this is no bubble gum album by any stretch of the means! It may be rich in melody, but it rocks harder than expected. Coming in at a little over an hour (1:08:01) any fan of the hard side will find something appealing about this release!

 

The passion contained within guitarist/vocalist Carmelo Orlando’s voice is astounding. Every track is about as different from one another as an apple is to a dinosaur with the one common thread of melancholic tone that drips from each track. To add to the chain of inventiveness, many of the tracks such as “Gepetto” are beautifully sung in their native tongue. I nearly fell over my chair when I heard the familiar intro to “The Promise”, it took me back to the days when music was music; it made me well up. Only a band this talented could land a cover of Arcadia! The title track “Materia” is just as emotional and serves as an amazing anchor to the CD itself. Travis Smith (All That Remains, Nevermore, Opeth) wakes up this offering even more with a child overlooking an abysmal factory cloaked in fog...talk about leaving things up to the imagination; it definitely causes the mind to wander. The artwork is the perfect tie in to the music, allowing your thoughts to run rampant. In closing I have one last thing to say: May the Deities bless Peaceville for signing this band!

 

One Many Army And The Undead Quartet 21st Century Killing MachineOne Man Army and The Undead Quartet

21st Century Killing Machine

Nuclear Blast Records, 2006

Reviewer: Thorne

 

He's baaaack.  Johan Lindstrand, former vocalist of my favorite band The Crown, has returned with One Man Army and The Undead Quartet. For those of you that go into this expecting a Crown clone better prepare yourselves.  While not going in the same direction as Marko Tervonen's Angel Blake and Magnus Olsfelt's Stolen Policecar, Johan Lindstrand has indeed separated himself from The Crown's sound quite a bit on this release.  Of course, his incredible signature vocals still remain but in this band, Johan's writing all the lyrics.  For those of you that know the man, you understand what a thrill this is.

 

The songs on "21st Killing Machine" are 100% Johan Lindstrand stylistically.  His unique and entertaining personality comes through in every song, and it makes this a very enjoyable yet brutal listen.  One thing I'm really pleased with is how One Man Army is bringing back mid-paced metal songs.  Of course I love blasting, but it's nice to be able to steadily bang my head to a song and sing along.  And thankfully, I can sing along to every song on this CD.

 

The Doc has also assembled a great band to comprise "The Undead Quartet".  Each one of these gentlemen contributes a very stellar performance on this release and none of the songs sound the same.  Every track has a different personality of it's own, complete with pounding drum beats, riffs that groove like nobody's business, some unbelievable bass lines (yes, you can hear the bass!) and of course, Johan's signature roar that defined The Crown for so many years.

 

Now, Johan will define himself in One Man Army and The Undead Quartet.  While I'll always miss The Crown, it's comforting to know that the guys are still playing in absolutely killer bands...this is no exception.  For a truly quality metal album, pick this up.  I can guarantee you won't be disappointed.  Cheers, Johan!

 

Protest The Hero KeziaPROTEST THE HERO

Kezia

Vagrant Records, 2006

Reviewer: Maggie S.

 

Kezia. It sounds like an expensive brand of clothing, or a sour mixed drink. It's actually a CD containing some of the most explosive combo tracks in modern music. Protest the Hero pieces together clean vocals with double bass, vicious riffs and shrieking that resembles cockatiels attempting screamo. You might be thinking, "Wow, that probably sounds like everything else". I'm sorry to inform you that it almost does, but it's saved by singer Rody Walker's amusingly unique vocal style. It's whiney and wide-ranged, yet it somehow avoids becoming an annoyance. The lyrics are something different Though it is late and I'm having trouble reading, quite a few of the songs strike me as being slightly religious or spiritual, especially the second track titled, "Heretics & Killers". The song itself is probably my favorite; it begins with a choppy, heavy guitar riffs before breaking into acoustics, then returning to that same hardcore rhythm. To be honest, if you can pull off clean, alternative-type vocals over this kind of heaviness why still sounding good, you already have more skill than most artists in your genre.

 

Protest the Hero is basically a gift basket wrapped in a ribbon of pure talent placed on the porch of a million listeners' ears just as this genre is rising. And they're lucky; it's their vocals that set them apart the most, which is very rare in music nowadays. Their album art also spikes with originality. The cover and sleeve are littered with darkly contrasted, wilting flowers and the lyrics are typed out as if from an old-fashioned typewriter. Protest the Hero is the whole package, but may only satisfy listeners that can take in the hardcore sound as well as the lighter vocals.

 

Raunchy Death Pop RomanceRAUNCHY1/2

Death Pop Romance

Lifeforce Records, 2006

Reviewer: Fox

 

Although these Danes switched vocalists with the induction of new shouter Kasper Thomsen and the exit of one Lars Vognstrup, fans of Raunchy can consider the group to be that much more formidable as a result. It is a rarity that a band can effectively swap frontmen without a major backlash yet Raunchy proves that they’re suitably up to the task with broad soundscapes and aggressive sensibility on tracks such as the hooky “Phantoms” and “The Cruse Of Bravery”, a real nail-biter featuring a crisp, deadly main riff.

 

Although the band’s songwriting remains mostly predictable, top-quality production and talented performances soften trend-sniffing arrangements. Structuring songs in order to achieve maximum dramatic impact is one thing, but the best songwriters avoid repetition and patterns more frequently than you will uncover upon listening to this record. An A+ is due for the bright, punchy tones offered during solid bashers like “Abandon Your Hope”, the mix is tight and quite redoubtable. But upon listening to tracks like “Remembrance”, it must be noted that chugging on the low register guitar strings for measures on end is not only unoriginal, overdone and unthoughtful, it can become downright irritating if taken in without the proper frame of mind. If As I Lay Dying or any of the countless similar acts that have invaded metal like a supernatural strain of flu were major Faith No More fans, they would probably sound a lot more like Raunchy. Unfortunately, the big hooks don’t always save “Death Pop Romance” from being yet another speck on the pimply face of metalcore. Does this album have merit? Yes, “Live The Myth” and the aforementioned “Phantoms” come off as being detached enough from the stereotypes at times. Further maturity and a willingness to further develop their own identity would be recommended, but if you have been living under a rock for the past five years, this still might be something that’s new to you.

 

Remembering Never God Save UsREMEMBERING NEVER 1/2

God Save Us
Ferret Records, 2006
Reviewer: Thorne


Ok, now most of you who read my interviews, profile, and know me personally can attest to the fact that I'm an absolute devotee to death metal...and yet, I'm here reviewing a hardcore album? Has hell frozen over? Actually...it has not. You see, Remembering Never isn't just your run-of-the-mill hardcore band. They are, in fact, the single most violent, outraged, and absolutely devastating band I've heard from this genre in at least 5 years. Now, while I enjoyed moments of their last album Women and Children Die First, I thought that overall it could have been a more cohesive and flowing record. Well, everything I wanted to be different about that record actually IS different on God Save Us.

Now, if you go into this album expecting flowery songs about junior high crushes and the joys of punching floors (anyone who's ever been to a hardcore show in the last 6 years will get that joke) then you better be prepared for the visceral onslaught that awaits you. It's not often that I'm actually frightened upon first listen of a CD, but in this case, I was. First off, "Con Artist" is the single best anti-religion song I have ever heard from a band such as this (maybe anywhere). As vocalist, Mean Pete screams, "The guilt you carry will not insure your place in heaven!" you are inclined to do one of two things...accept it as the gospel truth or run for your life. Honestly, I think Pete is the single most intense hardcore vocalist I've ever heard. When this guy screams his lyrics, you know that he is being as real as it gets with you. And while I don't always agree with his opinions, I am willing to consider each one especially when they are presented in such an intelligent and realistic fashion. For example, the lyrics on "Slaughterhouse Blues" openly condemn the eating of meat and even though I enjoy my place on the top of the food chain, the song made me consider my actions for a split-second. And honestly, I enjoy music like this for reasons such as that one. I find a lot of satisfaction in a band that can musically eviscerate it's listener and at the same time, cause the listener to truly consider their actions...even if, like myself, it's just consideration and not actual change. And finally, parents even get some love on a brutal recording! One of the most heartfelt moments of the whole album is the song "Selma" which Pete penned about his mother. During the song, he actually screams "I love you!" Now, if that's not original, what is? And if you don't believe me, there's an explanation for the song's meaning (as with all the tracks) and believe me when I say, it will definitely bring a tear to your eye, no matter how Edge or Tough you think you are.

I was also happy to know that Remembering Never chose to work with Zeuss on this record...but oddly enough, this is the second record I've heard in quite some time that doesn't sound like Zeuss' work. The production here has the the Zeuss guitar tone and the drum sound but it all sounds a bit more raw than normal and in this case, that's a good thing. Regardless, the guys have never sounded better and it's a perfect companion to the insanity of the songwriting.

And speaking of songwriting, as stated before, the band has really changed things up for the most part. The songs all flow together and don't feature those somewhat annoying stop-start parts that were highly prevalent on Women and Children Die First. And even the breakdowns are more vicious this time around! I am an absolute sucker for a good breakdown and this album is full of them! If this doesn't make you move, it means one of two things. One, your Hawthorne Heights CD has gone unplayed for far too long or two...you're Stephen Hawking.

The bottom line is this: God Save Us is, in my opinion, the hardcore album of the year and I honestly don't know that anything that comes out this year will be able to top it. Cheers to Remembering Never for a job well done and for creating what will no-doubt be considered a classic in hardcore in the decades to come. God Save us, indeed.

 

Roses Are Red What Became of Me

ROSES ARE RED

What Became of Me

Trustkill Records, 2006

Reviewer: Maggie S.

 

The harmony on this album starts with the cover art and continues through the entire CD itself. Two hands holding a portrait while standing on a beach at dusk, the picture portraying the same beach, but at midnight. Nothing chaotic, nothing frightening, just like Roses Are Red's music on this record. What Became of Me is rhythmic and calming alternative music with a strangely familiar vocal style provided by Vinny Minervino. The lyrical masterpiece on this album is what the hardcore kids might call emo, and they're arranged in such a way that you not only see through the writer's eyes, but you feel you've been through the same thing at some point in your life. "I've been alone all this time/I've seen the daylight in your eyes/Through your eyes I've learned to see again" from the track "The Last Time (Come With Me Tonight)" is a line that any young adult can recall on if you've felt that way, finding someone you loved in midst of a tragedy. Quite a few tracks on this record include the words "lonely", "alone" and "waiting" which is probably a reflection of events and struggles that have gone on in Minervino's life during the writing of this album, seeing as the point of view of the lyrics are so personal. It's a hard topic to explain, the loving, desperate, confused message of the words in these songs. If you think you can decode the hieroglyphics, pick up a copy of What Became Of Me and admire the cover's masterpiece, lyrical skill and musical talent of Roses Are Red.

 

Satyricon Now DiabolicalSATYRICON

Now, Diabolical

Century Media Records, 2006

Reviewer: Thorne

 

Satyricon, for those of you who don't know, are legends in the global black metal scene.  They were one of the original bands in the first wave of Norwegian black metal, along with Mayhem, Emperor, Immortal, and the almighty Darkthrone but throughout the years, Satyricon has always remained one of the most innovative and original bands of the genre.  With their groundbreaking Nemesis Divina album, the band attained worldwide recognition which would serve them well with the release of their next two records, the face-meltingly brutal Rebel Extravaganza and the apocalyptic VolcanoVolcano displayed a new side of Satyricon.  Rather than continuing with the insanity of Rebel Extravaganza, Satyricon reverted back to the roots of black metal with an album that blended pure, diabolical evil with an intense rock and roll energy that made the songs both catchy and menacing.

 

Now, Diabolical continues in this path and the songs here are not only more in the vein of black metal's rock and roll heritage, but they're also some of the absolute darkest that Satyricon has ever written.  As I discussed with a close friend of mine, there's definitely a very subliminal feeling within this release that displays darkness even more sinister than it's predecessor.  With that darkness also comes a surprising feeling of accessibility as well.

 

Now for all of you currently jumping up and down in your spikes and panda paint at the mere usage of the world "accessibility" with "black metal", hear me out.  This, in no way, means that Satyricon have taken the route of Cradle of Filth or Dimmu Borgir...it just simply means that they know how to make black metal very listenable.  Satyr's vocals have never sounded better, and every word he says comes through incredibly clear.  This is very nice because not only can you bang your head, you can sing along too.

 

Frost's drumming, as always, does not disappoint.  There's a reason this man is recognized as one of the best drummers in black metal and Now, Diabolical will do nothing but re-enforce that fact.  This is not as chaotic as his work on Nemesis Divina or The Shadowthrone but it's definitely up there among his BEST work.  Frost's rhythms flow perfectly with Satyr's necroharmonic (I invented a word.  Deal with it) guitar lines and riffs.  The chemistry between these dudes has always been phenomenal, but Now, Diabolical makes that chemistry come more alive than ever before.

 

Once again, Satyricon has delivered nothing but the most true-to-form and passionate black metal this planet has to offer.  My hats off to both Frost and Satyr for a truly memorable album filled with quality songs that any fan of metal should be able to appreciate...and if they don't, they've missed the point entirely. www.satyricon.no

 

Saxon Dogs of WarSAXON1/2

Dogs Of War

SPV Records, 2006

Reviewer: Fox

 

“Dogs Of War” is no means as groundbreaking as the band’s earlier catalog, nor is it as sonically mature as the band’s latest effort “Lionheart”, with this re-release bearing much more in common with bands like Molly Hatchet and AC/DC than much of the group’s output. Somewhat of an experimental venture into hard rock territory for the band, this release was eschewed by many Saxon fans upon its original release in 1995, a time when interest in this sort of music was at an all-time low. However, with rock sounds being more prevalent than ever in 2006, this revised offering indicates that it may have been a bit of an injustice to write Saxon off in the mid-nineties. Tracks like “Hold On” show wizened songwriting that might be a bit patterned, but is executed with raw talent nonetheless. Vocalist Biff Byford’s talent as a vocalist has often been underrated over the course of his career and he proves here that he can pull off a solid pop metal track just as well as the next guy. Bluesy, Jimmy Page inspired guitar work in sprinkled throughout the record, with a great mix leaving Byford front and center, yet giving the other musicians plenty of room to breathe.

 

American fans of eighties metal for the most part never really warmed up to Saxon and “Dogs Of War” was clearly an impassioned attempt to appeal to a mainstream rock audience that, in those days, no longer appeared to exist. The group’s return to a more metallic sound proved to be welcome, but this album, featuring very solid tracks like “Don’t Worry” and “Walking Through Tokyo” should satisfy any hard rock lover’s appetite.

 

Scar symmetry Pitch Black ProgressSCAR SYMMETRY(3.666 Pentagrams)

Pitch Black Progress

Nuclear Blast Records, 2006

Reviewer: Karma

 

When I first heard Pitch Black Progress, the second creation by Sweden’s Scar Symmetry, I was the only person who didn’t get it. I was soooo not into it! In part, the splitting of a billion tracks was a huge deterrent in me placing it in the “To-Do” pile for review. Having said that and after retrieving it from the desk drawer some odd four months later, it’s not as bad as I once thought it to be…however Symmetric in Design still ranks higher in this band’s quickly growing anthology. No matter what it’s still a mixed bag of emotions. The title track “Pitch Black Progress” and “Oscilation Point” à (“The Eleventh Sphere”) both sound like a rehashed Symmetric outtakes. “Mind Machine” sounds like a Soilwork song, sans Strid! Did I like anything about this CD? Absolutely! Believe it or not more than just the artwork (in which Anthony Clarkson did an amazing job on Exodus, Communic, Hypocrisy).

 

The one thing that can be said is that the band has retained its catchiness, like “Slaves of the Subliminal”, it’s more catchy than the Avian Bird Flu. Vocalist Christian Älvestam’s vocals are more deep and guttural than ever before; it is abysmally draped in pitch-blackness! Drummer Henrik Ohlsson is superb, hoorah for blast beats, bassist Kenneth Seil reigns supreme on this song. “Dreaming 24/7” has a sweet poppy feel to it with the grating vox, it’s a sweet paradox with interesting time signatures. “The Kalidoscopic God” is still an awkward song with it’s dulcet melodies and strange time sigs; it’s enough to give listener an aneurysm, but in a good way. On “Retaliator” the psycho vocals are very reminiscent of The Haunted’s Peter Dolving and there is a killer guitar solo on there as well. It’s a damn good song!

 

Pitch Black Progress is relentless in brutality and melody and serves well for those afflicted with ADD, for others; it is a different breed of the NWOSDM and no matter what it is well worth the listen. However you slice it up there’s something for everyone on here you just have to take the time to absorb it all…

 

Seven Witches Second War In HeavenSEVEN WITCHES1/2

Second War In Heaven

Crash Music, 2006

Reviewer: Fox

 

Crash has seen fit to capitalize on the attention surrounding the latest Seven Witches album by reissuing the band’s older material. Unfortunately, the band’s previous incarnation just can’t measure up to the current lineup, with scant highlights to be found on “Second War In Heaven.” Guitarist Jack Frost’s shredding is blistering yet clumsy and the complete cheeseball vocals of Bobby Lucas may be talented from a technical standpoint, but he often sounds amateurish and during his worst moments, just plain silly. Emphasizing themes that were worn out by Sabbath and Dio in the early eighties, Seven Witches certainly give a good try at what might be considered as the most traditional brand of metal, yet “Camelot” and “Nightmare (The Devil Inside)” often sound like really bad Sanctuary, with a thin production doing little to help matters. The record does; in fact, sound like it was recorded in the eighties, technologically speaking, with the exception of Frost’s leads, which seem oversaturated with effects in comparison to the rest of the mix. With the interest for this type of music in the US being quite mediocre, “Second War In Heaven” winds up leaving similar sentiments. It’s apt to be of interest to die hard Seven Witches fans, especially those looking to learn more about the group’s history and the progression behind their current sound, but most metal fans will find this reissue to be lackluster at best.

 

Derek Sherinian Blood of the SnakeDEREK SHERINIAN

Blood of the Snake
InsideOut Records, 2006
Reviewer: Thorne


Let the record show that I hate Dream Theater...and most progressive bands for that matter. Now, while I do enjoy Yes, Rush, and the like, you must remember...they were the originators. They were in no way associated with the kinds of bands that seems to be getting deals and releasing music on labels like InsideOut nowadays. But more on that later...right now, we shall discuss Derek Sherinian's newest release, "Blood of The Snake". This album was filled with several foreshadowing surprises...most of which were contained in the album's second song.

In fact, both stars I am giving this release are based solely on the track, "Man With No Name" which is surprising because the song's vocals are handled by Zakk Wylde...a man that I am not a fan of. However, on this song (as well as the entire new BLS album) Zakk's vocals, riffs, and solos are simply phenomenal and give the song a very epic, yet rocking feeling...and it's really a shame that the rest of the album couldn't follow in this path. In fact, it didn't even come close to following in that path.

This, quite simply, is the kind of music you can find on PBS late at night. It's very technical and filled with a lot of amazing virtuosity, especially from Mr. Sherinian and his wide variety of guests (Billy Idol, Slash, Yngwie, etc.) but none of the songs really have a distinctive feeling of their own and end up coming across as a massive musical wanking session gone horribly wrong. The use of Kenny G-esque sax parts at several points on the record didn't exactly help matters either, if you know what I mean.

The bottom line is this: If you like Zakk Wylde, download "Man With No Name" because it's honestly some of his best work ever. If you like Derek Sherinian, get this album. If you don't...just avoid it...please.

 

Sick of It All Death To TyrantsSICK OF IT ALL

Death to Tyrants

Abacus Recordings, 2006

Reviewer: Thorne 

 

The definition of hardcore, in this day and age, is rather sketchy. With bands like Comeback Kid and This Is Hell calling themselves hardcore, it's easy for music fans to get confused. However, with "Death To Tyrants", the veterans and undisputed kings of the genre Sick of It All, have done everything in their power to get rid of this confusion. What you hear on this album is hardcore in it's angriest and purest form. This is the kind of music that made hardcore a household name in the 80's and 90's, back when the music had more of a message than "Be clean and wear women's pants." Now, while I will make it a point to state that this is pure hardcore, please understand it doesn't sound dated and it doesn't reek of desperation like so many old school bands of this day (excluding Agnostic Front and Madball, who still release quality music) but instead, it carries the feelings of old school hardcore...just with more meat. Part of that "meat" comes from the production of Tue Madsen. Tue is a definite favorite here at FourteenG and there's a reason for that.

With "Death To Tyrants", he has taken Sick of It All's patented New York City Hardcore sound and beefed it up to a level that's just mammoth beyond words. But let's not give all of the credit to the producer...the real stars of this album, as always, are the band. This record is the most inspired and vitriolic offering I've heard from Sick of It All in a long time, offering attacks on the greed of corporations, the Bush administration (always a popular topic in metal these days) and society's injustices in general.

Musically, the band doesn't deviate from the sound that solidified their reputation in the hardcore world, but they have definitely improved as musicians. The material is finally as strong and cohesive as the band's playing, and vocalist, Lou Kohler, proves to the hardcore poseurs of the world (This means you Jamey Jasta) that he's still the king of this vocal style. And with this album, Sick of It All prove once and for all that they are, without a doubt, the reigning kings of New York City Hardcore.
 

Silent Civilian Rebirth of the TempleSILENT CIVILIAN1/2

Rebirth of the Temple

Mediaskare, 2006

Reviewer: Karma

 

So you claim you’ve had it up to your eyeballs with the same old-same old in Metalcore? Hang on to your asses because we have a band for you! Los Angeles based Silent Civilian is here demanding your full and undivided attention as their brand new debut release Rebirth of the Temple would dictate. At the helm of SC is one Jonny Santos, former frontman for Spineshank as he joins forces with the bass and backing vocals of one Austrian import Henno coupled with the drumming prowess of Chris Mora. Well folks he’s back with a vengeance as this four-piece collective has produced an eye awakening effort that shies away from the extremely popular stylings of Spineshank.  Realizing the potential of the band, producer Logan Mader (Soulfly, Machine Head) got the band into the studio to cut three tracks before signing on fulltime, completing the project along side Santos as he helped to co-produce the endeavor.

 

Going back to Mr. Santos, I immediately recognized his voice after seeing a snippet of the band’s first single “Funeral” on a trailer during Headbangers Ball; I was eager to hear the CD. The intro “Call To Arms” is an amazing pre-cursor for what is to come. I have always been fond of the intro, now more than ever before. This particular intro really sets the table for an unexpected dinner guest! Rebirth then goes into full swing with “Funeral”, believe you me, this puppy doesn’t let up past this!! Let me tell you in advance, it’s a long one as it weighs in at 1:04:55 (that’s one hour, four minutes, and fifty five seconds), but it never fails to entertain with the creative song titles (“The Song Remains Un-Named”, “Dead To Me 2006”, “Live Again”) down to the performance aspects. Santos’ wonderful vocal performance and credible guitar playing are enhanced by second guitarist Tim Mankowski’s expertise. There is some damn good bass work by Henno and some hard-hitting drum work by Mora. Hanno and Santos reign supreme with their rich vocal harmonies as best heard on “Bitter Pill”. The chorus is haunting; you’ll find yourself wanting to listen to the song over and over again.

 

Despite the splendor, there are some major drawbacks with Rebirth, #1) the plethora of cheesy cheering samples on back-to-back-back songs. Trust me, one is enough! #2) one too many filler songs towards the end. #3) the borrowed drum styles of Killswitch Engage. But despite the snags, it’s a winner! The best tracks are “Call To Arms”, “Funeral”, “Bitter Pill”, and “Live Again”.  The bottom line is if you are a fan of Trivium, God Forbid (funny since GF had the song “Force Fed” first), or Spineshank even, then pick this CD up. “Rising above the ashes of his past” Jonny Santos is definitely “Live Again” reinventing himself into a new incarnation, the embodiment of Silent Civilian. As rising stars on the metalcore scene, Silent Civilian possesses all the right components and shall go far in this Industry!

 

Suidakra CaledoniaSuidakra1/2

Caledonia

Armageddon Music, 2006

Reviewer: Kate

 

The definition behind Caledonia is the Latin name that was given by the Roman Empire, meaning “wooded land” or a poetic name for Scotland. The album is about the ancient tribe of Scottish Picts and their battle against the Roman Empire. Suidakra show off their Scottish pride throughout the whole album; with tracks like “Highland Hills” that open with a crack of lightning; raindrops, and bagpipes that give way to acoustic guitar in the intro. They also return to their black metal roots with some Viking folk metal thrown into the mix. The vicious and harsh vocals by Arkadius mixed with cleaner vocals by Marcel Schoenen set the music free and adds another dimension to the album.

 

The Scottish vibe keeps going and there is some amazing acoustic guitar work on here but when it’s time to turn up the volume Arkadius definitely knows how to shred with the best of them. “Ramble” is an awesome instrumental piece followed by a full-fledged assault called “Dawning Tempest”.

 

Suidakra hit their creative side on this album and Caledonia is a triumph that they should be proud of. If this evidence of the bands capabilities then I will be looking forward to seeing what’s in store for us in the future! I highly recommend picking up a copy; you will not be disappointed!

 

Slayer Christ IllusionSLAYER(4.666 Pentagrams)

Christ Illusion

American Recordings (Warner Bros. / Wea), 2006

Reviewer: Karma

 

In 1983, Slayer released their first full length album, Show No Mercy, twenty three years later upholding the true tradition of thrash, “Fucking Slayer is back” and they are ready to “spread the violence everywhere” ready to “asphyxiate the world” with their tenth studio masterpiece Christ Illusion! Plainly put, “embrace the rebirth” of the Second Coming of Slayer! Rising from the ashes from the disappointing release God Hates Us All, Slayer hath redeemed thineselves in the fiery pits of darkness by delivering a non-stop thrash fest with 38:29 of relentless ass-pounding hits complete with devious, venomously clever anti-Christian/religious lyrics to boot, leaving all particularly the bible thumpers in a bloodbath! This new offering will continue to haunt chapels for a many of year to come. Dave Lombardo, as in the original drummer unlike any other, returns to the fold and is definitely the piéce de résistance. Not to dismiss drummer Paul Bostaph [of Exodus fame as he filled in on the skins during two separate stints 1994-1996 and again from 1997-2001] ever, but Lombardo fits like a nail in a coffin! Since I am going back into time with history lessons and whatnot, John Dette did an infinitesimal live stint on drums with the band from ’96-97 too. However it’s sliced up, it is so awesome to see the original lineup immerse themselves in their roots.

 

Going a little further into the History of Slayer into their extensive chronological anthology, let’s unearth another golden oldie for the sake of comparison shall we? Christ Illusion is the best thing this band has done in sixteen years since their Seasons of the Abyss release, without doubt! The kick off song “Flesh Storm” is the best indicator of that period; it is the best hate-injected home welcoming one can get…“as it tears into the skin” like a plethora of tiny shards of razor sharp “shrapnel”. Having said that, this album does seem to fall into a classic Slayer formula of replicated riffages but no matter how you look at it, this is a real defeater of all doubters!! Again, enough cannot be said about Lombardo. Guitarist Jeff Hanneman has the sweetest solo this side of Hades on “Flesh Storm” (a hellacious way to start the CD). Other ace guitarist and primary lyricist Kerry King’s horns burn the brightest shade of red on “Skeleton Christ”, “Consfearacy” and “Catatonic”. “Black Serenade” and “Supremist” reign supreme (it’s called BLAST BEATS)! Of course, I shall take this opportunity to touch on the subject matter of the aforementioned song and to clear any racists notions. According to King and I quote, “I like to fuel the fire as much as anyone. It's Slayer, it's controversy. The kids get it. People who write us off…obviously don't get it…The song to me is about an individual that I made up. And his way of thinking is that, 'No one is good enough to share this planet with me and I'm not going to be happy until I annihilate all of them…”  “Eyes of the Insane” is one funky little number that vocalist/bassist Tom Araya wrote with some killer trading-off solos from King, Hanneman, King, Hanneman…you get the picture. Arya’s voice and bass playing have honestly stood the test of time!!

 

Producer Josh Abraham (Velvet Revolver, Staind, Atreyu) was able to extract the pure essence of the band, enhancing their readymade raw, dead, and hot sound but it still has executive producer Rick Rubin’s slayeriffic stench all over it! The cover art by seasoned Slayer cover artist, Larry Carroll (Reign in Blood, South of Heaven & Seasons in the Abyss) is just as devastatingly effective as the music. This time Carroll went a step further to dazzle the world of metal. With a mixture of mediums, he used a 4x4 section of wood to create the cover for Christ Illusion. It’s the complete package of pure, unadulterated BLASPHEMY…you know, one of the biggest things Slayer has been dubious for. Old Slayer fans will undoubtedly have their lips poked out about something, however, despite its impurities, there is something to thrash the hell of EVERYONE! Pick up a copy, you too will sing, “I can’t stop because it’s so hypnotic”!

 

Soil True SelfSOIL1/2

True Self

DRT Entertainment, 2006

Reviewer: Fox

 

Rarely can a group change vocalists and keep the same band name without it seeming as if you’re listening to a entirely different band altogether. Fortunately, for Soil, new belter A. J. Cavalier does a fair job of making the grade, his fashion fitting in neatly with the Chicago-based hard rock act’s beefy rock sound. Although this is the most understandable difference in comparison to the band’s past, “True Self” is also a bit more streamlined than SOiL’s previous works. It’s obvious that the band is shooting for commercial acceptance with this record, but songs like “Pick Me Up” and “Forever Dead” still possess enough toughness to be greatly appealing to fans of artists like Drowning Pool. Studio vet Ulrich Wild mans the console here and though the mix is very smooth, it’s not the type of in-your-face production that these songs actually deserve. Long-time followers may be on the fence as to whether tracks like “Hear Me” and “Pick Me Up” are solid rock accomplishments or phoned-in attempts at appealing to as wide an audience as possible, but either way, it’s hard to deny that SOiL can perform modern rock in a competent fashion. Middle-of-the-road, only slightly aggressive and for the most part, quite predictable, “True Self” is not going to blow your doors off, but it’s a good enough album to attract a decent amount of attention nonetheless.

 

"Fight For Life" is the first song that grabs you, it will sink it's hooks into you. Definitely will appear on radio stations and will ring in the ears of the unsuspected for many years to come. After that song's over, the rest of the CD just warbles on without you really noticing, until it's off. Then all of sudden you are overcome with the urge to play it again. Burton C. Bell appears on "Forever Dead" as guest vocalist. One thing that can be said is SOiL is definitely true to their sound, true to themselves...and that's all that should matter!  -- Karma

 

So They Say Antidote for Irony SO THEY SAY

Antidote for Irony
Fearless Records, 2006

Reviewer: Maggie S.

 

In a time of repetitive, mediocre alternative bands, it’s hard to find a group that stands above the rest. Unfortunately, So They Say might not have the potential to do so. With not so unique vocals and a somewhat simple sound, they don’t have very many elements that set them apart. The starting track, “In Love Memory Of” is a mixture of melody and light rock, which carries on through the rest of the record without much other change. They have a nice style, but other bands have gotten there first; thus they aren’t awe-inspiring. “Good-Bye” has a faster beat with more of a punk edge, but still the vocals lack the harshness that original punk does. The ending track, “A Beautiful Plan”, wraps up the album with the same repetitive sound as the beginning track, but with a more atmospheric tweak and twanging guitar strings. Overall, So The Say is a band for those who enjoy a group which are only worth a few listens.

 

Stavesacre How To Live With A CurseSTAVESACRE

How To Live With A Curse

Abacus Recordings, 2006

Reviewer: Thorne 

 

More like "How To Live With An Unhealthy Obsession With Helmet". Stavesacre has done all but rip off that band on their "How To Live With A Curse" recording. Considering the rest of Abacus' catalog, it's quite puzzling to me as to why they'd allow something like this to even make it onto record shelves across America. Not only is this a blatant RIP-OFF of Helmet, it's not even a good rip off! Helmet released ONE bad album and that album was "Aftertaste". Unfortunately, that's the album Stavesacre chose to copy.

If you think I'm harping on this or that I'm just not educated enough about the band to make other claims about their atrocious sound, take a good listen to "How To Live With A Curse". I guarantee that every single one of you will be singing my praises at your next social gathering, for steering you clear of popping this CD into your stereo unit, thus resulting in the mass exodus of your friends with musical taste. Rambling? Yes I am, thank you. But back to Stavesacre...this really wouldn't be an album I'd have a problem with if the band had strived for some sort of originality. Instead, they've released material that is both bland, uninspired, and that sounds incredibly lazy upon repeated listens. It seems as though no effort whatsoever, sans the actual recording of the music went into this release. The band sounds like they dialed in their performances and...truly, this is just bad music.

Bottom Line: If you have cash and enjoy boring music, get this. Otherwise, avoid it like the plague.

 

This Is Hell SundowningTHIS IS HELL

Sundowning

Trustkill  Records, 2006

Reviewer: Karma

 

Long Island’s This Is Hell is keeping the rebellion alive with their punkish attitudinal hardcore debut disc on Trustkill Records Sundowning. You’ll never know just how fast 28:32 passes by until you listen to this CD. In any other context Sundowning would be considered a cock tease, by the time it really takes off so is the CD…talk about leavin’ you high and dry! At least the build up does lead to a pleasurable payoff. The relentless vocals of Travis Reilly mirrors the musical backing of the band; they are quite complimentary of one another.

 

The packaging is just as unprocessed as the music itself, who knew rudimentary would be such a positive connotation! With matte finish, the cover features an emblazoned rising moon or maybe you are peering through the eyes of another...either way this particular borough which overlooks New York City is obviously having an infestation of bats flying about with blood driplets pouring from the once majestic skyline with the twin towers in tow. On the inside of the rough booklet is a huge black bat which seemingly matches the looming amount of fervor as the band does. When you remove the CD you'll find the inlay features a black widow of sorts which one can take it as it's waiting for you to ensnare you in its web...well again, this CD will definitely hold you at bay for its duration.

 

No stranger to the touring circa, This Is Hell has shared the stage with the likes of Every Time I Die, Bane and a plethora of others, now the band has a disc to add to their legacy. Dean Baltulonis of the No Warning and Sick Of It All fame produced this CD. There are many pleasant surprises lurking around every on this project, like the two instrumentals, "4.8.05" and "8.27.05". The best songs off the CD are "The Absentee Ballot", "Permenance", and "The Polygraph Cheaters" which hopefully is a portend of things to come as it shows another side of the band a melodic yet angrier than the other offerings. Sundowning will definitely make a welcomed edition to your collection. Give it a spin; without a doubt, you will feel the same.

 

Threat Signal Under ReprisalTHREAT SIGNAL1/2

Under Reprisal

Nuclear Blast Records, 2006

Reviewer: Thorne 

 

I don't know what it is about the Canadians, but their ability to craft brutal heavy metal is absolutely astounding. Threat Signal is the latest testament to the determination of our friends from the North to craft dominating metal, while still maintaining a certain degree of individuality and originality to place them above the continuous deluge of bands in this day and age. Threat Signal combines powerful extreme metal foundations and structures with symphonic, melodic elements. While many bands fail with combining brutality and melody, Threat Signal somehow manages to mix both styles in a way that will appeal to the most hardened underground metal fan as well as the average music listener in general.

Christian Olde-Wolbers has certainly proven himself to be an excellent producer as well, giving Threat Signal a thick, crunchy sound that never lets up. However, during the melodic moments, the sound works perfectly as well giving those moments such a grandiose feeling. To be honest, there isn't a single subpar song on this release but there are also no stand-out tracks. However, I believe that with time to grow, Threat Signal will most definitely develop a fine art of writing quality songs and once that happens, there will be no stopping these guys.

 

Throw The Fight The Fire Within EPTHROW THE FIGHT

The Fire Within EP
Throw the Fight Publishing, 2006

Reviewer: Maggie S.

 

Straight out of Minneapolis comes THROW THE FIGHT! A four track EP that they have been working to release forever has finally been completed, an EP that is all talent, all heart and all rock. It kicks off with “Left Here”, which would be the perfect radio single if this band was hauling home silver records, an extremely melodic, in-your-face song that shows off vocalist Paul Kreuger’s amazing vocal skill. I do not know his exact age, but I know he is young and I know having this sort of range in vocals is astonishing. I can’t even think of a singer he sounds like. That has to mean something. “Our Horizons” is the second track on the EP, and the beginning is a bit slower and without the explosive introduction of the first song. Once it gets going, again you’re slapped in the face with Kreuger’s dynamic talent. “Endless Struggle” continues the epic sound the Minnesota rocker’s produce, tearing at your ear drums like steel claws of pure rock. Yes, I said it. They are not hardcore, they are not black metal, they are not emo – they are pure rock with some pretty meaty riffs and they are cementing their foundation in this fast-paced world of kids slaughtering each other for the ears of anyone willing to listen. The Fire Within is a small package, but it is bursting with juicy music. I wonder how their debut will taste.

 

Thyrane Travesty of Heavenly EssenceTHYRANE

Travesty Of Heavenly Essence

Candlelight USA, 2006

Reviewer: Fox

 

Thyrane continue to build upon a black metal model, allowing symphonic elements to penetrate into their sound, yet never failing to focus on the band’s true spine — blistering, blackened thrash metal. Rarely taking cause to let up from delivering blasting bombardment, bold imperial atmospheres, and wall-of-sound rhythms, the Finnish foursome bashes out “Parasites Of Submission” with forbidding perseverance and vicious assurance. “Decay Of Christian Empire” settles into a groove-oriented dark march, while also adding scalar harmonies to give the song plenty of depth. Whether cruising along at a rapid pace, as during the title track, or focusing on more atmospheric elements, as during “Lost In Reflection”, Thyrane stays on target with the goal of the personification of aural wickedness being prevalent in the group’s furious barrages. Blastmor does an excellent job at accenting the intense assaults with drawn-out barking and adept guitar acrobatics. During “Divinity Under Will,” the vocalist’s snarling venom acutely reflects the aggressive nature of the group’s brash instrumentation. Although “Travesty Of Heavenly Essence” is well-recorded, it’s near-mistake free delivery will be of interest to those who appreciate advanced symphonic black metal, while some NSBM followers may doubt the professional approach this band takes to sonic devastation, one thing is certain. This suitably boisterous quartet is most assuredly worthy of a closer look.

 

Torture Killer Swarm!TORTURE KILLER

Swarm!

Metal Blade Records, 2006

Reviewer: Karma

 

Finland’s Torture Killer minus Chris Barnes [Six Feet Under fame] have one funky, sludge latent, technically blissful CD on their gore soaked hands! On any normal day the incessant mention of skulls, torture, murder, and cannibalism especially on one recording would result in an instant guffaw, however if truth be told, there is nothing laughable about Swarm! by any stretch of the means. To be brutally honest, I have NEVER been a fan of Barnes' strangling garbage disposal vocals until now, talk about a vast improvement not to mention his vocals finally fit in somewhere. Barnes’ vocals are the icing on the cake or nail in the coffin in this case since we are discussing metal imagery and all. When I first heard “Forever Dead”, I was in another part of my house and was instantly bowled over. Unfamiliar with the music but as soon as I heard the unmistakable vocals I was confused because it was enjoyable. I ran into my living room to discover it in fact was Mr. Barnes that was “singing”. After that, I was hooked on the CD. Now as far as that song goes, "Forever Dead" starts out as a violent maelstrom of twin guitars from Jari Laine and Tuomas Karppinen and battery behind the drums by Tuomo Latvala with the thunderous bass of Kim Tornianen. The song concludes with a rich, unexpected dreamy yet deadly ending. It's as infectious as the bubonic plague was back in its heyday!

 

The story of T-K is rather an ironic one, a modern day Grimm's Fairy Tale. The band began as doing cover tunes of SFU for which the name of the collective spawned from as well. A little while later they branched off with their own material, was signed to a small label… blah, blah, blah… now as the rest of the text book fairy goes, it seemingly took a scenic route into the Poppy Fields before finding the Yellow Brick Road. After several year of uninterrupted bliss, the band had undergone some personnel changes and lost their singer; Barnes' curiosity was piqued after seeing the recognizable name in print. When he found out the band was in need of a frontman he contacted them offering his services. The rest as they say is history who ever would have thunk that Barnes would have fronted a band that began covering his songs. Talk about coming full circle.

 

Staying true to their old school roots but unafraid to branch out into new territory, Swarm! is the perfect meld of old school death vs. groove metal. The cover art fits the aforementioned motif and is just as brutal as the songs themselves. Goremeister Wes Benscoter [Vehemence and Cattle Decapitation] gores the viewer out depicting a horde of flying insects exiting the gaping stomach of the decaying mummified remains of a barbed-wire bound body amid a pile of skulls. Best tracks are of course “Forever Dead”, “Swarm” the semi instrumental, “A Funeral For The Masses”, “Multiple Counts of Murder”, and “Obsessed With Homicide”. This is a definite must add for the collection! Horns high, men!!

 

Devin Townsend SynchestraDEVIN TOWNSEND

Synchestra

Inside Out Records, 2006

Reviewer: Kate

 

One thing about Devin Townsend is that he is a complex human being and none of his albums are the same and “Synchestra” is no exception to the rule. The album starts out with a very warm and mellow track “Let it Roll” that offers rich textures and the charm of a Scottish folk song and clean vocals that would make any fan stop for a second and make sure that this actually Devin’s work. The second track “Hyprgeek” takes off where “Let it Roll” finishes with an ear-piercing scream, distorted keyboards and abolishes with a wall of sound, it gives an indication of what to expect from the rest of the album.

“Triumph” is one of the best tracks on the album and features former band mate Steve Vai. You can tell that Devin put a lot of thought and work into this song and sings with conviction and a sense of urgency that pulls the listener in. “Vampira’s” a really catchy track that has “Hey, hey” gang vocals in the background and a great guitar riff that makes the song a keeper. “Sunset” is a peaceful track that would be perfect for sitting back, relaxing and yes….you guessed it….watching a sunset. “Notes from Africa” picks things up again and build with another wall of sound and great vocals but ends with the tranquil sound of water that makes the ending of the album perfect.

Devin Townsend has really opened himself up on this album, more than he has before. Every song flows perfectly into the next and it’s one of those albums that if he tried to do again, it couldn’t be matched. A pure and genuine album that makes a bold statement in today’s world.

 

Twelve Tribes Midwest PandemicTWELVE TRIBES

Midwest Pandemic

Ferret Records, 2006

Reviewer: Thorne

 

I'll admit that I enjoyed the band's last release, The Rebirth of Tragedy, on several occasions and found it to be a decent album, with a few flaws that made it less enjoyable than it could have been. Oddly enough, all of my problems with that album have completely vanished with the band's new album, "Midwest Pandemic". Instead of going in a more melodic direction, like many figured they would do, the band has written a far more energetic, heavier, and relentless album this time around. Midwest Pandemic rarely lets up with its aural assault on the senses, save for the same melodic moments that its predecessor featured. In a way, that's what has always made this band unique in my eyes. They have no problems mixing brutality and melody, like many of their peers.

At any given moment, Twelve Tribes can switch from a crushing breakdown to a melodic sing-a-long part and never once have it sound awkward or misplaced. However, as stated before, the melodic parts are most definitely few and far between. This release carries much more substance and a much angrier sound than the last one, which is most definitely a promising quality. Bolstered by the raw and uncompromising production of Andreas Magnusson (Scarlet, The Black Dahlia Murder), Twelve Tribes delivers an abrasive piece of social commentary on the state of our country and how the real problems lie within our society...not outside of it. The vocal attack on this release is scathing and the music accompanies it to absolute perfection. This isn't for the faint of heart, and it's not for the close-minded. If you enjoyed the band's last release, but like myself, felt it could have been better, this should satisfy you.
 

Unearth III In the Eyes of FireUNEARTH

III: In the Eyes of Fire

Metal Blade Records, 2006

Reviewer: Karma

 

When Unearth ripped the faces off all of the unsuspected with The Oncoming Storm in 2004, we all expected bigger, badder, and bolder than shit but who knew it would be this grand! But truly, what can one say after having survived “This Glorious Nightmare” from freshly listening to the band’s third studio offering, the monstrously amazing In the Eyes of Fire? It rendered me wordless, which is probably not a good thing for a reviewer…now I am made to speak of the experience! This CD comes about as close to capturing the band’s enormous amount of energy they exude on stage. There’s not one flaw in this CD; it’s beyond compare! The layout is as rich as the production itself; it is the total package.

 

Unearth have not only come into their own with In the Eyes of Fire, but they have perfected their sound. The entire band have stepped their game up, if possible! When guitarist Buz McGrath and Ken Susi begin to play, without a doubt, you know who the hell it is! Trevor Phipps has never been so angry; his vengeful vocal performance is astounding. The machine gun drumming by Mike Justain is unparalleled; he has to be one of the most underrated drummers around. Bassist John Maggard comes at you like a freight train especially on “So It Goes” and “Big Bear and the Hour of Chaos”. The production (Terry Date) is superb, pristine, and clean. These seasoned vets have a massively coiffed and polished offering ready to knock the air out of your lungs. Hope you didn’t think I was kidding when I said I was speechless, nothing I can say will give this CD justice! Bottom line is III: In the Eyes of Fire = COMPLETE AND UTTER OWNAGE!

 

The Killer In You CD: Tribute To The Smashing PumpkinsVARIOUS ARTISTS1/2

The Killer In You: A Tribute to the Smashing Pumpkins

Reignition Recordings / Law of Inertia, 2006

Reviewer: Karma

 

The now defunct Smashing Pumpkins (Chicago's reigning kings of rock) just may be one of the most influential bands in rock/emo to date so much so eleven bands recorded eleven tracks in their honor on Reignition Recordings The Killer In You. Stay tuned as this label also has designs on another tribute compilation; next target à Black Flag entitled Black on Black, which should be available sometime in early parts of 2006 according to the word around the campfire. Something that I found utterly interesting is the CD itself was available through digital download providers on November 1st 2005 via iTunes and on the 15th to other digital purveyors such as MSN Music, Karma Download, Napster, Starbucks, Liquid Digital Media, Yahoo… I mean how cutting edge is this considering the actual street date is not until January 31st of 2006. Finding technology fascinating, I am amazed that with all of the pre-mediated marketing ploys that no one thought to make it  CDDC or CD text enabled. Then again, making the compilation available in advance will guard the label against hackers that love to leak a release well before the due date. Oh by the way, people WILL purchase recorded material if the release is good no matter what regardless if it was leaked prior to the due date or not!

 

Now here is a question for the masses, what is the purpose of a tribute album asides from the obvious, respect and appreciation for the artist at hand and perhaps profit to the outfit who produced it? Why cover a song if it sounds exactly like the original or in some cases even worse? In the case of this particular tribute album, the majority of the songs sound like the Smashing Pumpkins for the exception of Hopesfall's rendition of "Eye" and Vaux's remarkable cover of "1979". Overall, this album is a good effort. The package is stylish and chic yet clichéd. On the jacket, the title of the CD is scrawled in crimson lipstick on a mirror in a stark white naked bathroom paired with a half naked torsoed man with his back to the camera. When you open the booklet, the lower section of the half-clad gent is highlighted in which he appears to be a skosh dirtied but the unembellished white towels that hang immediately to his right on the rack are attractively puzzling! The back of the CD gives us a classic cheesy crotch shot with a semi-close up of the Mother Mary or some other sort of religious icon on the belt buckle. Talk about irony or perhaps the artist, Cory Kilduff's attributed stroke of genius stemmed from Alfred Hitchcock or something. Either way The Killer In You is a visually appealing piece. Here's how the CD breaks down music wise:

 

  1. Roses Are Red "Cherub Rock" – Not a bad song…not a great one either but Vinny Minervino's vocals are really good.

  2. A Thorn For Every Heart "Jelly Belly" – The biggest thing that stood out were the keys and drums, they sounded amazing.

  3. Poison The Well "Soma" – At 6:00+ minutes, it's a sleeper…as in a bit of a bore. The vocals of Jeffery Moreira don't grab you by the balls in the same way the instrumentation does. In short, the vocals almost clash with the music.

  4. Emanuel "Mayonnaise" – Great rendition, matchless, very tuneful.

  5. Armor For Sleep "Today" – Ben Jorgensen's raspy vocals reign supreme on top of the excellent guitar work by Jorgensen and PJ DeCicco.

  6. Hopesfall "Eye" – More bass (Mike Tyson) driven than the original if that's a possibility. Jay Forrest's vocal performance unfortunately was not as strong as it could have been.

  7. A Static Lullaby "The Everlasting Gaze" – Wasn't bad however rather ineffectual.

  8. Vaux "1979" – More somber and moodier than the original. Finally a song that radically differs from how the artist recorded it. Score!! Just to think I was never a fan of the actual song.

  9. 32 Leaves "Zero" – Good song, very pleasing to the senses.

  10. Murder By Death "We Only Come Out At Night" – What a gorgeous song!

  11. Eighteen Visions "Quiet" – Great song, complete. Perfect ending to the CD.

 

This CD may not have started off with a bang but it sure ended up as such. The Smashing Pumpkins should be proud as in any band should be in this position of such high regard. Pick up a copy and make your own assessment.

 

Underworld EvolutionVARIOUS ARTISTS1/2

Underworld: Evolution

Lakeshore Records, 2006

Reviewer: Fox

 

Less of a gamble than many soundtrack records, the heart of this record resides in the attention given to emerging artists. The biggest surprise of the soundtrack is a half-hearted “Washing Away Me In The Tides” by Trivium. It’s easy to see why this track was left off of the original version of the band’s stellar Ascendancy album. It just doesn’t measure up as a Trivium song and furthermore, is not very representative of what we can expect to hear on the group’s next record (which is to be delivered later in the year). Rare tracks always add value to an album, however and the worst Trivium song is still easily better than the best from many groups. Interestingly enough, Lacuna Coil return with a fantastic track from the band’s forthcoming “Karmacode” album, “Our Truth.” In a word, this group is amazing. Excellent production, catchy songwriting and the oh-so-alluring voice of Christina Scabbia ensure that Lacuna Coil will be one of the breakout bands of 2006 and this cut will easily top many radio playlists in anticipation of the new record’s release.