FourteenG Album Reviews 2006 Releases

Album Reviews

2006 Releases

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 to the devil, the devil reneged on the deal...download it!)

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ABYSMAL 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 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 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(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

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

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 (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 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 17^th, 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 on December 13^th, 2005 live In Manchester, England at the Academy 2. It contains three songs from the new album, Doomsday Machine, “Nemesis,” “My Apocalypse,” and “Skelton Dance,” of course this is where we get the chance to see Åkesson show us all he’s got. Of course Chris laid the concrete/foundation and sometimes it takes an outsider enhance what is already musically evident. Another interesting cinemagraphic tidbit was the camera focusing on Sharlee’s usage of pedals. Having said all of this, the bonus live footage is show was not as dynamic as the first as Michael’s amp was up too high and Angela’s vocals were muffled.

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 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 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 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 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 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 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 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

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

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 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 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 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.

CALIBAN1/2

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 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

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

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.

CLAWFINGER1/2

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. Servi