ABIGAIL WILLIAMS(2.666 Pentagrams)

Legend

Candlelight Records, 2007

Reviewer: Karma

Tempe Arizona’s newcomers and weavers of black metal, Abigail Williams gives a go at it with their EP Legend. No words will be minced here; this is a solid effort but comes up short. Hey folks, there are WORSE bands out there but at least this band had a solid foundation and was going somewhere, up until the band recently called it quits. Then again if memory serves correctly, it is not hard to see why Abigail Williams broke up especially after seeing the band perform live on the Phoenix Rising II tour as they opened for legendary Dark Funeral and Enslaved (also their labelmates). It’s as clear as glass bottomed boat that the current band at hand had a some work ahead of them (particularly the clean vocals like on “The Conqueror Wyrm”), but again, this was their first effort and sadly, their last testament to immortalize their short lived union.

Speaking of the band’s labelmates, it’s obvious the band draws from Norwegian Black Metal and Swedish Death Metal cauldron. The arrangements and instrumentation is very reminiscent of Emperor/Dimmu Borgir, or at least one could say they made a valiant effort as homage to the aforementioned. In the short amount of time supplied, 21-minutes to be exact, Legend draws you in with it’s blackened keys of Ashley “Ellyllon” Jurgemeyer and torturous vocals of lead screamer Ken Sorceron (the true core of the band). The breakdowns throughout the CD are good like on “From A Buried Heart”. The best song off the EP is “Like Carrion Birds” a once heavily rotated song on cable jukebox, Music Choice.

It really is too bad we will never find out how the story would have unfurled with their full-length and if the band would have redeemed themselves, but as it stands, the band sealed their own fate… <<<<<<coffins creeks close>>>>>>> 

APOCALYPTICA (5.666 Pentagrams)

The Life Burns Tour DVD 

Red Int / Red Ink, 2007

What would the soundtrack sound like on our way to the apocalypse? Finland’s export, Apocalyptica. They make their theatrical full-on metal apocalyptic onslaught with the DVD release of The Life Burns Tour, filmed at the finale of a successful run of the Americas in 2006. Best known for their renditions of classic Metallica tunes with the release of1996’s Apocalyptica Plays Metallica by Four Cellos, this trio was considered a flash in the pan. But in all actuality, Apocalyptica have composed and transcribed the most complex scores in metal music history. This is not a fabrication. You may think you may not have the tenacity to sit through over 60 minutes of cello playing but I assure you it will be an enriching, hair-stands at attention type of experience! Anyone who can head bang and still keep time on a cello, gets instant street cred. It’s the law!

Apocalyptica is comprised of a trio of leather bound Archangels with wings dipped in blood. They arm themselves with cellos instead of trumpets and swords. Announcing the inevitable creeping death onto an unsuspecting audience. Main composer, the angelic and graceful, Eicca Toppinen leads the charge accompanied by fellow cellists Perttu Kivilaakso and Paavo Lötjönen. Rounding out the infantry is the fourth touring cellist, Antero Manninen and staple drummer Mikko Sirén. The ambience that embodies this band is nothing short of seductive. All are classically trained and are aptly demonstrated throughout this concert performance.  

This 20/20 Entertainment production was distributed by Red International / Red Ink, is the best videography/documentary my tired eyes have seen in a while. Those of you who have not been fortunate enough to see Apocalyptica in action would greatly benefit by purchasing this DVD. It also includes hard to find videos of “En Vie” featuring Frenchwoman Manu and Rammstein’s “Seeman” with legendary German vocalist Nina Hagen, offering a delectable dialect of the German language. Although an advent fan after viewing the DVD, I found tunes that were embedded in my psyche. Case in point, WGN/WB in the U.S. to now internationally televised vampire avenger Angel series, has an Apocalyptica song as a theme for the show as well as “En Vie” piped in between commercial brakes. Soon to be dubbed an alternative operatic experience, Apocalyptica introduces us to the most complex cello arrangements that would put the most technically astute guitarist on guard. Though smoke machines and 7-foot high skeleton themed thrones are our visual backdrops, Apocalyptica puts on a stage performance that will astonish and awe.

This is a band that although incorporates technically astounding concertos, leaves you wondering were you living under a rock not to be privy to such enticing metal. Over-confident cellist Count Perrtu (key composer of “Path”) unapologetically the rock star of the group, delivers a zealous enthusiasm that is a spectacle in itself. His polar opposite Paavo is very non-rock star but is just as self-assured, keeping the “rhythm section” in check at the same time as leading the concert in a prep rally. “Mr. Cool” a.k.a. Antero, sits upon his throne almost motionless, only giving the occasional smile while offering a full-bodied addition to the sound. After long, it is evident how he got his nickname! Don’t assume they may deliver the mild sounds that, say, wayward Nymphs Rasputina may deliver; expect the kind of sisu that most musicians can aspire to become. They make cello playing seem effortless. Thunderous beats delivered by Mikko keeps the on-looker pumped. He seems very much in his element. When the energy becomes high, then the beats gets even more audious. 

If Metallica had an intro to the death rattle of metal, Apocalyptica is its answer. How befitting because at last press time, Apocalyptica will open for Metallica on July 16^th in Helsinki, a sure to be rude awakening to the metal masters of yesteryear perhaps? Guaranteed to give them a run for their money no doubt. They also perform the mighty Sepultura’s “Refuse/Resist” that will catapult you into a frenzy without a doubt. After 10+ years of much deserved acclaim, Apocalyptica will make their debut on Columbia Records in Fall of 2007. While we anxiously await their next composition, The Life Burns Tour DVD is a must have for the essential Apocalyptica fan.

BEHEMOTH

The Apostasy

Century Media Records, 2007

Reviewer: Kate

Behemoth continues to impress me by being able to push their own boundaries and showing that metal will always have the ability to evolve; they prove this even more with their latest release The Apostasy. The title simply means “to abandon or go against religion” (Yes, I had to look it up), which doesn’t surprise me in any way, given Behemoth’s history of blasphemy (I said blasphemy…..that’s funny) but also made me like the album even more so. Nergal’s vocals are vicious and his lyrics are so well thought out and poetic.

“At the Left Hand Ov God” is one of the most intricately played pieces that I have heard in a long time, from any band that has an amazing fade of middle-eastern mantra chants and tribal percussion. Warren Dane of Nevermore features guest vocals on the track “Inner Sanctum” making it a very interesting and creepy composition with Nergal’s spoken lyrics. The production on this album is absolutely amazing! Overwhelming with brutality but each instrument sounds so pristine that it just blows me away; more metal bands need to record their albums in Sweden!

All in all, this is Behemoth’s most extreme albums and their best. If you have not bought The Apostasy then go do it now!!

Nergal's most “demonic” or darkest composition to date, The Apostasy, enraptures and envelopes you in true blackness as especially with songs like “Pazuzu”. In ancient Mesopotamian mythology was a creature with the very thought filled many with trepidation. This magickal legend had a “deformed head, wings of an eagle, sharp claws of a lion on it's feet and tail of a scorpion. It is the personification of the south-east storm wind, which brings diseases.” Now if this was not research worthy, what is? Then there is the song Germanic titled song “Kriegsphilosophie” once translated means “Philosophy of War”. Can we also hit on the fact that Nergal's genius lead him to incorporate a piano part on “Inner Sanctum” (done by Leszek Mozdzer) which creeps this album out to the über degree along with the usage of trumpets and choirs! Simply put, he outdid himself with the creation of this CD. Pure evil has never sounded so blissful! -- Karma

BIRDFLESH

Mongo Musicale

Candlelight Records, 2007

Reviewer: Kate

Swedish grindcore band, Birdflesh, is pretty damn brutal. The screams, the blast beats, and the heavy guitar slam you in the face and almost leave you for dead. Cramming twenty-five songs into about thirty-five minutes, everything is played at warp speed and that might be a good thing if you have the attention span of a two year old like I do. Every once in awhile they will slow down for a few seconds; but then just dive right back into the insanity.

I’d say their main influence is Carcass which, being a long-time Carcass lover, I surely appreciate but they don’t limit themselves to that one style however. There’s a combination of Slayer-like intros, grind with drum solos, melodic riffs here and there and weird stuff pretty much everywhere.

Some of my favorite titles on here are “Crocophile”, “Mongoloid Wannabe”, “Arabian Jesus”, and “Whirlpool Whiplash”. If you can have a sense of humor about your song titles, that’s awesome in my book. After hearing these songs, I almost want to see them live just to see if they would have the same type of stage performance as GWAR would. With a name like Birdflesh, I’d be disappointed if they didn’t have the same crazy antics. If you’re looking for something not so serious but still want that grind sound then this is the band for you. I’d say at least give them a chance just to appreciate the goofiness of Mongo Musicale.

Thrash Metal

Candlelight Records, 2007

Reviewer: Kate

Neuthrone

Candlelight Records, 2007

DARK TRANQUILLITY(4.666 Pentagrams)

Fiction

Century Media Records, 2007

Reviewer: Karma

Dark Tranquillity, reigning Lords and co-founders of the Gothenburg Sound, are out with Fiction their eight entry to their ever impressive anthology. Considering the band’s career spans back close to twenty years (1989 to be exact), they’ve had ample time to hone and refine their collective masterful skills in which during that timeframe, the band’s lineup has virtually remained the same. During of which, the band’s music has not dramatically deviated from their earlier days. Going a little further with this concept, the band has concretely settled into a more modern and evolved sound with their current offering branching out from their previous highly touted 2005 release, Character that catapulted them way ahead of their contemporaries. However, no matter how many revolutions the current offering spins in my collective CD players (innumerable at this stage) this puppy still falls a tad short. Overall, the album seems to serve as a stepping-stone into the wonderful evolutionary process. The force, drive, and spirit this band is known and loved for is still present…it’s just hard to put a finger on what’s truly missing. The song “The Mundane and the Magic” solves the conundrum at hand! Mundane = “Focus Shift” (which shockingly enough was the bands’ first single) but if you take the song for face value, their focus does shift…and Magic as it being a melodious and haunting journey.

Fiction definitely contains some noticeable differences or visible kinks in the evolutionary chain from its predecessors as outlined as such. Martin Brändström’s keys are not as prominent as in prior albums (but his role is remains tantamount to the full DT package) they seem to blend in a lot more with the guitars of Niklas Sundin and Martin Henriksson. Not taking anything away from Mr. Brändström as he rules on “Terminus (Where Death Is Most Alive)”, “Empty Me”, “Inside the Particle Storm”, and “Icipher”. Something else that’s not overly abundant is the guitar solos! Next in line, bassist Michael Niklasson work is a skosh more buried than usual. Just to interject, the distinctively powerful and haunting vocals of fireball Mikael Stanne are as evocative as ever but you may ask where this is leading, right? As we still are on the differentiation soapbox, shockingly enough Stanne dusts off his clean vox, which have not utilized since the Projector days, on two tracks “Misery’s Crown” and “The Mundane and the Magic” in which the latter features female vocals (but that song is simply amazing). Last but not least Sudin solely created a song by himself “Inside the Particle Storm”, this song is definitely different from the others and is quite rousing. Again, the bands’ focus shifts!

Now that the question marks are out of the way, let’s move to greener pastures, shall we? With Fiction, the band paints dark, luscious, barren atmospheric landscapes in the only way they know how; it rings throughout the entire CD especially with the closing US track, again, “The Mundane and the Magic”. And how could they not with Tue Madsen at the production helm? Visually Sundin breathes more life into the project with more of his stunning artwork. Other highlights lie with the ever-precise and highly underrated drummer, Anders Jivarp, especially with the way the CD starts out with “Nothing to No One” displaying some fancy blasting and drum work. Something else that completes this song to the über degree is the shining moments where Niklasson breaks through the wall of guitars. It must be nice to be this free to be able to explore the “darkside” of self and turn it into a musical format without following any set rules coupled with the fact that their label gives creative license to do what they want to.

We arrive to the same conclusion, anytime a band grows or deviates ever so slightly from previous releases, fans squabble. No artist will ever please their audience 100% of the time and as it stands Dark Tranquillity is more than pleased with Fiction and that’s is truly the bottom line here folks! If you are a hardcore fan of this Swedish collective, Fiction will send “shivers down [your] spine [and] will haunt [you] to the end of [your] living days and nights!”

Count Me In

Bridge Nine Records, 2007

Reviewer: Kate

Death Before Dishonor likes their hardcore old school style with lots of fast songs, simple chords, guitar solo here and there and occasional gang shouts in the background. Not being a huge fan of hardcore myself, I actually found myself liking this album. For music that’s supposed to be underground the production on Count Me In is top notch; all instruments sounds well-balanced and crisp.

The album contains 13 furious tracks and clocking in at 28 minutes, Death Before dishonor throw in more of a metal and early punk influence making the songs sound catchy and aggressive. The melody is more present and unexpected throughout and the breakdowns are bigger and more furious.

Death before Dishonor go above bands like Hatebreed, they know how to write hardcore anthems and you can hear it on tracks like “Break Through it All”. The combination of aggression and melody make this album memorable and will make its way to the top of the hardcore league! 

DEADSOUL TRIBE

A Lullaby for the Devil

InsideOut Records, 2007

Reviewer: Kate

Deadsoul Tribe definitely knows the meaning behind the word diversity. Devon Graves is brilliant when it comes to writing music but it can be a hit or miss situation when it comes to the listener. Change can always be a good thing but I’m not sure I would say it’s the same things as growth. What might seem “cutting edge” to one might appear to be unnecessary and possibly even a step backwards to another.

“Psychosphere” is a heavy, industrial track with low, guttural graves that is a change from Graves usual warm vocals. “Goodbye City Life” sounds like a medieval battle cry with an almost military beta and pounding drums, one of the best tracks on the album. The miss on this album is “A Stairway to Nowhere”, it’s simple and repetitive and the only thing that stands out are Graves vocals and I don’t think that is enough to the save the song, as good as they are. “Further Down” is a haunting track with some good harmonies that might bring Alice in Chains to mind when you hear it.

I give major props to Graves for doing his own thing and not worrying about what others think about his music. If anything, you cannot put this band into any kind of stereotype. This album is an experiment to take on the less melodic and rougher approach, which may leave some scratching their head when it’s over; but give it a few listens before completely dismissing it. You just might get it.

DEEPFIELD

Archetypes and Repetition

In De Goot Recordings, 2007

Reviewer: Karma

South Carolina quartet Deepfield is out with their catchy and riveting debut Archetypes and Repetition on In de Goot Recordings. Talk about solid, this collection of twelve songs takes you on an unforgettable journey. The only “complaint” or eyebrow raiser is that the production by Skidd Mills and Paul Ebersol made it too pristine for this dirty, grit raunch and roll band! Mills and Ebersol have also worked with the likes of ZZ Top, Saliva, and a “myriad of Memphis blues practitioners.”  The amount of soul this band produces is astounding. Singer/guitarist Baxter Teal III’s voice is infectious and the music will get under your skin like a tick and leave you spent…but this is meant in a good way! The lyrics are just as clever as they are! Talk about memorable, I never thought I’d be happy to sing “Happy as a pig in shit”…but you just wait; you’ll do it too! Then there’s “Into the Flood” “I wanna write my name into your flesh. I want to be in love with myself again”. This CD transcends the unexciting normalcy of the hard rock genre that many will attempt to pigeonhole Deepfield into; this band is poppy as well as rockin’. There’s something that everyone can sink their teeth into and or will appreciate. There are even some country elements that are found on the “Fall Apart”; of course you can never go wrong with a sure fire thing, the ballad, “Your Forever” and “Dreams”! They both rock hard!!

Archetypes and Repetition is filled to the brim with dark sing-along-songs. Robert Montgomery did an excellent job with the coverart as it paints a bleak picture which coincides with Teal’s lyrics (hate to revisit) and through the band’s delivery along side of Teal’s vocals, they make the darkside seem bright and sunny. In “The Silence” Teal challenges the “validity of religion”… a song that would appeal to the death metal crowd, see guys, it’s would appear that this would be a cross-genre related subject. It would even behoove you to step out of the shadows of your inverted crossed comfort zone and try something new because when music is good, it’s good! Now if your virgin emo Christ lovin’ ears will singe if exposed to expletives (then you should not be on this site) but you may want to back away from this CD too. And just think, they’re not even trying to be bad boys!

Deepfield strikes a melodious chord in my dark heart of metal! For any band that not only attempts but also nails an En Vogue song, “Don’t Let Go” ranks high in my book. Oh my god, are those my panties? Somehow they magically fell off and hurdled themselves towards the band? Well this is all said in the good name of fun and pure energy felt from this collective! Pick up a copy today, it will be a welcomed change of pace from your normal regime!! Okay, need to get back to another dose of DevilDriver!

DEVILDRIVER

The Last Kind Word

Roadrunner Records, 2007

Reviewer: Sharita

When Dez Fafara was the lead singer of now disbanded nü-metal band, Coal Chamber, people probably doubted that he could do something different and actually succeed; well if you did, let me join him in giving you the proverbial middle finger salute! Dez, along with bassist Jon Miller, guitarists Mike Spreitzer, Jeff Kendrick, and drummer John Boecklin have followed up Fury of Our Maker’s Hand with one of this year’s best The Last Kind Words.

This disc is hard hitting and shows the California quintet is not a flash in the pan. From the first song “Not All Who Wander Are Lost” till the last song “The Axe Shall Fall”, Dez and company grab you by the throat and kick your ass on every track. His bruising vocals are just one of the reasons that this album should be on continuous play in your iPod. Even though Dez vocals are maiming, the album is dare I say catchy in many spots. Songs like “Clouds Over California” and “Head On To Heartache (Let Them Rot)” might be a little less deafening than others but if you consider that a weakness then you are sadly mistaken. “Monsters of the Deep” and “Burning Sermon” continue the brutal assault leaving all who try to emulate their style searching for answers.

The guitar work by the aforementioned virtuosos Kendrick and Spreitzer is highlighted in all tracks and bassist Miller just follows the lead of drummer Boecklin’s assault on your eardrums. It’s a wonder why these gentlemen are so underrated when it comes to the top players in the industry.

Usually with bands or singers in any genre they are pressured by the expectation of putting out a better album each time and because of that they fail miserably; Devildriver hasn’t done that. From their first self-titled effort to the classic Fury of our Makers Hand, all the way to The Last Kind Words they have given metal fans everything we expect and more. This album is not only one of 2007’s best, it just might be the best of the year. Look out metal world make way for the new kings of the NWOAHM! ALL HAIL!

DevilDriver has arrived, Last Kind Words shows the peak in level of maturity for this collective as they have define and personified their sound. The progression of their musicianship has been astounding especially with songs like "Monsters of the Deep", by far the best on the album. Miller is larger than life on this track...bravo...now allow me to cease with my "Tirade of Truth"! -- Karma

In Sorte Diaboli

Nuclear Blast Records, 2007

Reviewer: Thorne

This is one of those CD’s that still continues to blow me away with every single listen. I’ve been a fan of Dimmu Borgir ever since I first got a hold of For All Tid long ago, and even though they released a few less-than-stellar albums during the late 90’s and early 21st Century (Spiritual Black Dimensions and Puritanical Euphoric Misanthropia) part of me had always had a sneaky suspicion that one day, I would finally see the Dimmu Borgir I know and love re-emerge. Well, my prayers to the one with horns finally came in handy, as In Sorte Diaboli is the heaviest Dimmu Borgir CD in years. This is the kind of album the band always had the potential to make, but that potential was never realized until now.

The members that make up this band (Shagrath, Silenoz, Galder, Mustis, Vortex, and Hellmotherfuckinghammer) are the tightest musicians Dimmu has ever had. When I found out that the whole band wrote this album as a collective unit, a lot of things began to make sense about this release. In the past, most of the riffs were composed entirely by Silenoz and while Silenoz is a killer guitarist in his own right, it was always easy to tell that he alone had composed said riffs. This time around, I hear elements of Silenoz AND the band's other guitarist, the mighty Galder (Old Man’s Child) in the mix. The cold, precise and speedy guitar lines Silenoz made famous are now intermingled with Galder’s sense of groove and atmosphere. Vortex and his bass can also be heard quite prominently in the mix, along with the same epic clean vocals he put to good use in Arcturus. And speaking of vocals, Shagrath is BACK! The frog/Abbath hybrid we've heard on the last two CD’s all but disappeared and Shagrath’s old school black metal roar has returned, much to the great satisfaction of yours truly.

I don’t believe the band has ever put Mustis to work quite like they did with this release. After all, this is a concept album and I knew things were going to end up being epic...just not THIS epic! The opening of “The Serpentine Offering” baffles my mind because all of it was composed over a 3-day period by Mustis on computers and his keyboard. As stated before, the whole Freddy Nordstrom production is absolutely brilliant and brings this album to the forefront much like a feature film. The other element I must mention...above all else...the incredible drumming of Hellhammer. This man has always been a beast, and on In Sorte Diaboli he gives the drum performance of his life. If you’re looking for nothing but blast beats and ferocious double bass, go somewhere else. Of course, this CD features PLENTY of that, but this time around, the band took their time and wrote great songs instead of what was expected of them by the black metal elite (a.k.a. goat sodomy and forest walks).

Like I said before, this is a conceptual release and each song fits the different part of the story that it’s meant to represent. The story, one I can relate to quite well, is about a holy man in the middle ages that loses his faith. One can tell that even though the character in this story is fictional, Silenoz put a good deal of personal experience into the character's way of thinking (He handled the lyrics this time around once again) and his eventual attitude on Christianity. The bottom line is that if you’re looking for true black metal...look elsewhere...and I'm sure the band would say the same thing. However, if you’re interested in the best album of Dimmu Borgir’s career and one of the best metal CD's of 2007, this one is perfect for you. Share their sacrifice!

ECHOES OF ETERNITY1/2

The Forgotten Goddess

Nuclear Blast Records, 2007

Reviewer: Kate

The Forgotten Goddess blends heavy metal with traditional gothic elements; giving it the intensity of mainstream metal but the vocals of French-Canadian Francine Boucher puts a nice twist on the songs and gives the album a new perspective. Her relaxed technique is one of the largest factors in the atmosphere of the band’s music.

Brandon Patton takes the instrumental reigns subjecting your senses to both melodic and complicated guitar work.

There are several tracks that stand out on this album, “Voices in a Dream,” and the title track being two of them. The instrumentation is excellent but it is in these tracks that Boucher has her most powerful performance. Patton’s lyrics aren’t very strong but with Francine’s vocal efforts it doesn’t matter too much as her voice enhances the listening experience. “Expressions of Flesh” is another track that has some heavy riffs making the track headbanging worthy.

A few flaws that I could find was that the songs as a whole could use a little variation and the members need to stretch themselves out a little bit more. A little less attention on the vocals, a little more on the guitar work, and a better mixer on the board would be nice. The vocals were way too loud in the mix and it pulls your attention away from the rest of the band. Despite these small flaws, The Forgotten Goddess is surrounded by heaps of potential. If you’re into gothic metal or even if you are fans of bands such as Into Eternity or Dream Theatre then you will definitely appreciate this album.

ENTOMBED

Serpent Saints: The Ten Amendments

Threeman Recordings / Candlelight Records, 2007

Reviewer: Karma

As vocalist LG Petrov poses the following question, “What’s in your blood”? Obviously, this CD taken from the song in the same vein, “In Your Blood”. Sweden’s self-proclaimed “Serpent Saints” Entombed have once again opened their twisted “Ministry” to their faithful minion with their ninth studio release…and as it stands with this most phenomenal release, their congregation will continue to grow by leaps and bounds. These “Masters of Death” n’ Roll have been making music as far back as one can stretch the recesses of their memory banks (1989 indeed was a very good year)! Talk about a band that has not changed (for the exception of those uncertain years in the 90’s with releases like Same Difference; To Ride, Shoot Straight And Speak The Truth…when longtime fans thought their heroes had taken leave of their senses for the “experimental” side…). Since retrieved from that brief trip from planet Bullshit, Entombed has consistently put out some amazing music, this new release being no exception to the rule or to their amazing legacy!

Entombed went deep in their roots digging deep in their archives conjuring up spirits of past albums like Left Hand Path, Wolverine Blues, and/or Clandestine. Serpent Saints marks the first album with drummer ex-Misery Loves Co., Olle Dahlstedt, whom replaces longtime member Peter Stjärnvind. Guitarist Alex Hellid outdoes himself as this particular album contains the most funky/chunky chords and riffs ever written in their history whilst Petrov growls with his ever-distinctive grunts. Bassist Nico Elgstrand is most excellent and really shines on “When in Sodom”. There is one song that stands out of the pack, “Amok”…the lyrics are a tad bit on the cheesy side and musically is a little awkward but is a calling card for the condemned as it outlines the portrayal of the “damnation of the cursed”. Asides from the aforementioned “snafu”, this has to be one of Entombed’s finest releases to date. Once bitten by Serpent Saints its musical venom will seductively course through your veins. “…now it’s in YOUR blood!”