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>>>>>>> 

AEON

Rise to Dominate

Metal Blade Records, 2007

Aeon has regularly played a straightforward combination of death metal that is a close resemblance to Morbid angel and Deicide, but what makes them different from other bands out there is the professionalism that seeps out of their music. Tommy Dahlstrom possesses a commanding bellow that’s full of volume and presence and Nils Fjellstrom is like a mad scientist behind the drum kit with pinpoint double-kick work and an endless stream of arsenal beat blasts.

There are also some truly mesmerizing riffs from guitarists Daniel Dlimi and Zeb Nilsson on tracks such as “Spreading Their Disease”, “Hate Them”, “There Will Be No Heaven” and “House of Greed”. The only break from their intensity can be heard on tracks “No One Escapes Us” and “You Pray to Nothing” but still manages to contain a good amount evil-fueled aggression.

Aeon is great influence on the death metal crowd with a non-pretentious, no holds barred, head banging album. These guys pull no punches and have no tricks up their sleeves, they’re just out to have a good time and I recommend that you pick up this album now!

ALCHEMIST

Tripsis

Relapse Records, 2007

Hailing from Australia , Alchemist has been constantly warping and experimenting with their sound to bring it to new levels. Dropping their death metal persona, they’ve become more intricate by layering their songs with synths and heavy guitars and creating more melodic songs with depth and complexity. They’ve been overlooked by critics and the metal community alike because of this but I applaud them for their bravery on taking a step forward and making a solid album.

Although they’ve stepped away from death metal, they’re still pretty heavy. “Tongues and Knives” erupts through with savage force, subsiding only for a second, and dives back into the brutality with Adam Agiuss’s sharp, barking vocals not far behind. “Nothing in No Time” follows with a more psychedelic vibe, a nice bass and a catchy groove to it. “Anticipation of a High” follows in suit with the psychedelic guitar playing but “Grasp the Air” comes across with more industrial-type rhythms and good old fashioned heavy metal.

The guitar work is pretty complex on most tracks, going from power grooves to complicated almost hallucinogenic melodies and solos; you’re not quite sure what these guys are going to do next. The bass line is subtle and not overpowering but definitely present which is nice to hear. Tripsis might be hard to digest at first but it’s worth giving a second try to look at what Alchemist is capable of doing!

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 of 1996’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.

APOCALYPTICA

Worlds Collide

20-20 Ent., 2007

I will admit that I’ve never really been a huge fan of, four cellists covering Metallica tunes didn’t really grab my attention and haven’t been interested in what they’ve been doing since, but I was actually impressed by this album. Featuring guest appearances from Slipknot’s Corey Taylor, Rammstein’s Til Lindemann, Lacuna Coil’s Christina Scabbia, Three Days Grace’s Adam Gontier and drumming from Dave Lombardo, all backed up by some very solid music. They’ve managed to take metal and add in some depth and atmosphere to it.

“Last Hope” is one track that really grabs my attention, insane drumming from Dave Lombardo with shredding guitars, violins and cellos that all flow together very nicely. “Ion” has a great groove to it and Christina’s Scabbia’s vocals actually sound better and more interesting on “S.O.S” than she does in Lacuna Coil. Til Lindermann’s German cover of David Bowie’s “Heroes” is an interesting take on the original. Although it’s slowed down a little bit, he puts a much darker perspective on the song. Adam Gontier’s vocals also go well with the music on “I Don’t Care”, offering a little bit more variety than he has to offer with his own band. Apocalyptica’s songwriting and compositional skills have severely improved from the last time I’ve heard them, showing their abilities and maturity over the years.

Not that this album doesn’t have its faults but they pale in comparison to the freshness that’s offered on the album. It’s made me want to listen to some of their more recent releases and see what they have to offer. If you’re looking for something a little more than just straightforward metal then you should get Worlds Collide!

ARISE AND RUIN

Rise to Dominate

Victory Records, 2007

Goddamnit!! Why the fuck does every single metalcore band out there feel that they need to sound exactly the same as the others! With the simple “chugging” guitar riffs and the same monotone shouts with the word “fuck” thrown in almost every fucking line? Do you think it makes you sound like Billy bad-ass or something? Because it really, really, REALLY doesn’t. Not even a little bit.

Don’t get me wrong, it’s not a bad album by any means but it’s SO mediocre. No one track stands out, it’s just one monotone song running into the other that you can’t tell one track from the other. It pisses me off because these boys do have talent but they’re bringing nothing to the plate. Ryan Bauchman’s vocals don’t have any kind of range and gets incredibly boring halfway through the album. On the track, “To the Grind” it sounds like they used some kind of effect to make Bauchman’s vocals sound better and that was actually a nice change. The only decent solo I heard on “The Final Dawn” was during “To the Grind” and it was pretty good. But that was the ONLY one. The drums are the only decent thing on this album, Derek Prince-Cox know how to play them loud and fast. ”End of the Road” has a great drum intro and I think his abilities are highly underused in this band.

This is not the worst album released but it could have been so much better and it’s really disappointing that it wasn’t. I don’t know if they just wanted to get in the studio and make an easy album then they succeeded but if they want to have any longevity in this scene, you need to fuckin step up son!

AUDREY HORNE(4.666 Pentagrams)

Le Fol

Phantom Sound & Vision / Indie Recordings, 2007

It's hard to not look upon Norway’s Audrey Horne as a supergroup or super project in this particular case as the band contains members from Enslaved, Sahg, I, Gorgoroth...no need to say more! The band was named after a Twin Peaks character played by Sherilyn Fenn going down in the books as one of television’s most notorious “femme fatales” Audrey Horne. Like the character, the band cranked out another “will be” cult classic with Le Fol (when translated means The Fool). The unsettling cover features an exchange of hands over a blood splattered tarot card from a well manicured, golden ring wearing obviously greedy well off character to a love-sick injured fool. Complete with an ominous figure in the foreground that appears to rush toward the exchange. In which he appears to be too late... This ties in nicely to the music as the listener, you feel like you are on the outside looking in as the mystery unfolds in front of you then it sucks you in and does not release even after the 52:00 are up! You are left slightly ajar as it causes you to reflect on your own life. 

Not sure how AH keeps being lumped in the metal genre just because the band plays it in other bands? Unless my ears are failing me, in which this is a remote possibility; however, not in this instance. The song “Bright Lights” and “Last Call” are about close as it comes. But it’s easier to place them into a post-grunge/hard rock category with strong elements from their other bands; you can definitely hear the Sahg, Enslaved, I connection with some Green Carnation/Communic thrown in for good measure (heard on “Wish You Well”). It is sad to see the infamous King Ov Hell, bassist Tom Cato Visnes depart the band, but before he left at least he lent his touch to this album. The same thing can be said for Enslaved’s keyboardist Herbrand Larsen’s nuances. My only complaint about this masterpiece is how low it was recorded other than that, Le Fol is matchless! 

Le Fol is a slight departure from the band’s amazing debut album No Hay Banda (which refers to a scene from the David Lynch movie  “Mulholland Drive” from the “Silencio bar”) as their current offering is a lot more straightforward and embittered. This powerful album with it's infectious vocal harmonies, catchy hooks and thought provoking lyrics is a clever soundtrack for the 30-something crowd as it covers some pretty hard hitting topics such as dealing with a “mid-life crisis” dealing with high school reunions, resilience to the odds, vengeance, cheating, stalking, chemical dependencies with pill popping to cope with “the pain” to surgical pursuits to obtain perfection. It’s a basic call to pick yourself up from the bootstraps after life has “left you for dead.” The consistent creepy groove of the music will seduce you to the point where on first listen, the poignant lyrics are missed as you are taken over by the soulful and moody vocal performance by Toschie and backing the vocals of guitarist Ice Dale (Arve Isdal).  

This CD is strange indeed as it is worthy to go alongside a David Lynch movie indeed. It takes the listener along for a ride from the radio dial switching opening song, “Last Chance for a Serenade” it sets up the creepy soundscape well with this rocking little number but leaves you with a big fat question mark, as you have no idea where this ride will take you next. You definitely do not see the next song, “Jaws” coming at you (all puns intended), as it’s just funky with some bluesy key work from Larsen. “Last Call” has some awesome chugging metallic guitar work by Ice Dale and Thomas Tofthagen along with a damn good performance by King and a strong drum work by Kjetil Greve. On “Threshold” the bass kick off is absolutely outstanding and the catchy are ensnaring. The lyrics are some of the best on the album, “So bring on your cheap tricks and all of your knives. These blood shot eyes have seen more than one fight. Somebody told you they left me for dead.” Then Toschie whispers, “Call off the search team ‘cos I am still here!” most excellent, then a nifty organ interlude follows with some powerful drum work in tow! The ride then follows an interesting bend in the road as the unexpected ballad “Monster” appears in the portion of the program. Toschie’s vocals wrap you inside the velvety darkness of the song. Ice Dale’s solo is searing! More variety comes with the “circus-esque” interlude song “Afterglow” in which the music beautifully accompanies the turmoil inside the song. “In the End” is a bass driven monster! By the time the chorus hits, the direction of the song changes dramatically into a cymbal filled masterpiece.  

The cleverly written and titled “Pretty Girls Make Graves” is one hell of a rocker. “Bright Lights” starts off so serene then eventually reaches a metallish crescendo worthy of the knife scene in the original Psycho! Toshie’s vocal effects somehow soothes yet causes the hairs on the back of your neck to stand on end. Speaking of psychos, the sweet “Hell Hath No Fury” is one of those catchy numbers where you cannot figure out whether to dance or laugh by the scary story told within. Guitars and bass are searing in this song, “Leave the light on so I know when you go to sleep…” wha? The envenomed hard-rocking “Wish You Well” attacks you feel hell wished upon you like those at the high school reunion! “So Long Euphoria” ends the ride, how apropos! At least the send of is sweet and long coming in at 6:20. It shows their expert musicianship along with Toschie’s vocals bringing it home. “You seem to remember my name now. We have been fighting for years now.” No “blood has been wasted here,” Audrey Horne years from now will remain“a treasure in our lives!” Having said all of that, one cannot help but wonder if the members of Audrey Horne were able to dedicate more time to this the band where it could lead, or would it ruin the magic?! Hmmmm.... At any rate, this “project” is too damn good to remain underground any longer! Outside of seeing their videos, you will probably never see them perform in your city; no matter what you need to possess a copy of Le Fol!

THE AUTUMN OFFERING

Fear Cast No Shadow

Victory Records, 2007

I know that not everything stays the same and it’s even true when it comes to bands. Unfortunately, members come and go but you always hope that the root of their sound stays true. While I wouldn’t say it was a complete turnover but it was a definite change bringing former Hell Within vocalist, Matt McChesney. His vocals never seem completely out of place they never truly gel to the music and it makes the songwriting appear a tad disjointed.

I will give him credit where credit is due and where his vocals worked. Like on the second track, “Castaway”, McChesney’s vocals are impressive as well as his range, going from deep growls to cleanly sung melodies to tortured screams. There is some great guitar work on here as well. “Silence and Goodbye” is one of the more polished tracks but it’s got some great harmonies and I can easily see this being a single. The title track has more of McChesney’s dark growls and gives an evil feeling to the song when the drums come in.

If you’re a fan of the band’s previous work then you probably won’t like this album but if you don’t mind something a bit more commercial then you’ll definitely want to go out and pick this up!

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

Westminster and 5th

I Scream Records, 2007

Reviewer: Kate

Beowülf is an old school thrash/punk/metal band from the early eighties and released a ton of albums until basically founder Dale Henderson was left on his own in the early nineties. They’re now back playing simply structured thrash/punk tunes along the lines of Motörhead meets The Ramones. Not too shabby.

This is punkcore with a little metal mixed in. Good choruses, catchy hooks and some nice nostalgia. The production is a little nostalgic as well. It pretty much sounds like someone mixed this in their parent’s garage which I actually like because it brings me back to the days when I would hang out my friend, and yes, that’s exactly where they would record their music. It was awesome! The straightforward nature of their music makes it easy for them to add subtle elements while not straying too far from their roots.

Beowülf’s no bullshit, “DIY” attitude towards their music will not only appeal to fans from that era but also to new fans on the scene that aren’t looking for anything too technical or complicated. I definitely recommend checking this album out!

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

Relentless Recurrence

Deathlight Records, 2007

The Codex

Frontier Records, 2007

Neuthrone

Candlelight Records, 2007

The Hinderers

Roadrunner Records, 2007

In Darkness Comes Beauty

Firebox 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!”

DARKEST HOUR

Deliver Us

Victory Records, 2007

Reviewer: Kate

Darkest Hour really showcases their sound on this album and was a nice surprise in terms of their progression and focused attention on melody throughout most of the songs. They deliver a level of variety that really hasn’t been expressed on previous releases. They are a tricky group to put in only one genre of metal. Some say they are hardcore, some say they are melodic death metal, some say they are thrash. While they are all influenced in these areas, I hesitate to put one general label on them. They have proven that they know how to evolve with time.

John Henry’s vocals bring in multiple effects on the music. On more aggressive tracks such as “Full Imperial Collapse”, he adds more of a stab of brutality where it needs it and his low growl during the bridge is delivered perfectly. “Doomsayer” has a great acoustic intro with melodic riffing and a powerful chorus that shows the different levels that all members are willing to play. I think he’s learned to control his voice a little more and has a more polished feel to than it has in the past. All aspects of this album are shown here: melody, brutality, and solid rhythms with impressive guitar work. It fills the album well with a dark but beautiful atmosphere.

Their more modern use of vocals and melodic interplay show that these boys aren’t afraid to move in a new direction while staying close to home as not to drive old fans but also bring new ones. I would definitely say to go out and pick up a copy!
 

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.

New England is Sinking

I Scream Records, 2007

Reviewer: Kate

Deathkiller is a band that really doesn’t give a shit about commercial success. In fact through their songs they give a big “Fuck You” to materialism, commercialization, and the obsession with celebrities. Tracks such as “Take Me to Your Bleeder”, “Call in an Airstrike”, and “Fear and Loathing in D.C” give a nod to their political influence from bands such as Rage Against the Machine, Helmet, and Bad Religion.

The attitude is all punk here, many of the tracks last a total of two to three minutes tops with lots of energy.. It’s abrasive and loud but has enough catchy grooves that will get any mosher up and moving. Matt McIntosh’s vocal technique has a style where his singing comes through in his screaming. His words are audible but still contain the rage and malice he has towards society.

Deathkiller is band that probably won’t have a huge fan following and I only say this because their music is too challenging lyrically. This is not a bad thing at all but if you’re looking for something more straightforward it might bother you. I could be wrong, again, look at Rage. Huge! So if you’re looking for aggressive metal with a deeper meaning then this album is definitely for you!

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!

DEMIRICOUS

Two (Poverty)

Metal Blade Records, 2007

Reviewer: Kate

Influenced by thrash legends Slayer, Exodus, and Testament, Demiricous steps things up on their new album Two. Nate Olp’s vocals are raw, aggressive, and fierce and the guitars are thick with groove that is a nice balance with the vocals. The band contains enough originality and diversity that they can’t be accuse of copying their predecessors.

Though void of any type of ballad or anything like that, I would say that “Blackish Silver” is one of their slower tempo tracks with a drudge-like riff while “Knuckle Eye” is more aggressive it carries a groove that is along the lines of Pantera, showing that they aren’t just a one dimensional band. “Expression of Immunity to God” has almost a punk intro but then breaks into classic Slayer-style riffs and “Language of Oblivion” takes on more of a death metal sound than anything with brutal guitar riffs and savage drumming. “Leprosaic Belief” is a yet another great track that goes back and forth between blistering aggressiveness to catchy hooks with a cool groove in mere seconds.

Demiricous proves that they can stand on their own and deliver a well-crafted intense album thick with diversity. I know a true metalhead can find at least a few tracks that’s worthy of banging their head to!

Metalocolypse: The Dethalbum
Williams Street, 2007

Reviewer: Kate

If you’re a fan of metal then you know of the program “Metalocolypse” that’s featured on Adult Swim and if you don’t then this is something that you absolutely need to check out. The fictional death metal band was created by Brendon Small and consists of vocalist Nathan explosion, guitarists, Skwisgaar Skwigelf and Tori Wartooth, bassist William Murderface, and drummer Pickles. Also, featured guest appearances from the likes of Dimmu Borgir, King Diamond, James Hetfield and Kirk Hammett, and George “Corpsegrinder” Fisher fro Cannibal Corpse. Every episode from the first season contained a new song that Brendon Small re-recorded along with new ones to create The Dethalbum. Small and ex-Death drummer Gene Hoglan are the real thing behind the cartoon band’s music, Small does the guitar, bass, and vocals with Hogan on drums. The songs are very polished with good musicianship and delivered with a brutal death metal tone.

If you’re into the show then you’ll definitely enjoy the album, you’ll recognize some of the songs, but if you’re not, then it’s still a pretty decent death metal album. They’re opening track, “Murmaider”, which is naturally about mermaid murder and “Fansong”, a tune about their deluded little fans are just two out of the fifteen songs that provide awesome combination of roaring growls and 80’s metal. The drumming is really done and has great sound as well as the vocals and guitar but do not expect too much in the guitar solo area.

The only problem you may have is the lyrics, again if you’re a fan of the show then you’ll get it and find them incredibly funny but if not then they might leave you just a tad confused. Another example is “Awaken” where Small screams about the awakening of a Lake Troll and “Bloodtrocuted”, about using one’s own blood to conduct electricity into his enemies.

This is a great album that would work for any metal fan, whether you watch the show or not, whether you watch the show or not, I would say its worth giving The Dethalbum at least one try!

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

Plagues

Rise Records, 2007

Reviewer: Kate

The Devil Wears Prada is definitely a band fans of new metal and metal core could sink their teeth into. They go from being very intense and aggressive to melodic and mainstream without skipping a beat. They have high pitching screams (which honestly, grated on my nerves after awhile), low pitched growls (much better) and melodic singing.

The riffs are strong when they move away from the predictable breakdowns and break into some of the more eighties metal style but probably the strong aspect of the music is the backing keyboards and synthesizer. It adds the creepiness in the parts that it’s needed. I can’t really tell you which songs in particular because they all kind of ran together for me.

Don’t get me wrong, it’s not a boring album but it’s the same path that many bands have tread on before but at least The Devil Wears Prada puts in a few interesting twits and turns where it needs it.

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!

Down III: Over the Under

Warner Group Music, 2007

Reviewer: Kate

There’s always been a level of weariness with Down’s music coming from their blues roots, but with Over the Under maybe because it’s a simple projection of the band’s struggle that has been made public over the years. Phil has restored in himself a sense of confidence resulting in an exploding display of power. Down incorporates elements of Sabbath and Zeppelin as well as their own, creating an original blend of old and new.

The horror of Katrina and the tragic death of Dimebag Darrell looms in Down’s memorable riffs and haunting melodies, it carries strength and emotion. Down knows how to show power but can control it musically and takes us to darker territories that haven’t been explored. Kirk and Pepper push the limits but don’t push it so far that it sounds generic. Songs like “Pyllamid” and “3 Suns and 1 Star” show off the bands thunderous and smoky grooves. “N.O.D” and “Beneath the Tides” carry riffs that would make Iommi himself proud.

Phil’s vocals are what really surprised me, providing a punch in every one of the songs bringing extra drive and melody. “Down III” gives Anselmo a chance to rid some of the burden that’s been on his shoulders for the past years. These guys have been playing music for a long time but they’re still able to create an album with passion and accuracy. People who listen to all forms of metal will love it!

DDP 4 Life

Godfodder, 2007

Reviewer: Kate

Chuck Billy and a group of his closest friends have gone back to their thrash metal roots when they created one of the sickest albums that metal fans have heard in a long, long time. DDP came about from a group of friends that hail from the Bay Area’s Dublin high School and have a bond of friendship that stays true to this day and shows the power that was part of the thrash metal scene. Bands like Testament, Exodus, Tesla, Violence, Legacy, Laaz Rockit and Machine are represented on this project with shredding vocals from Steve Souza and Chuck Billy.

The first thing hat impressed me are the cover tunes of the bands three biggest influences, Motorhead, UFO, and Thin Lizzy. The cover of Motorhead’s “Iron Fist” is straightforward and true while the Thin Lizzy cover “Cold Sweat” show the contrasting vocals of Billy and Souza, killer leads and guitar solos show the guitar talent in this section. UFO’s “Light’s Out” is sped up and played in true bay area thrash metal style and makes for one hell of a killer remake.

Some of the original tunes like “R.I.P” is old school metal that favors early Anthrax and Suicidal Tendencies, “Pigs in Hollow” show that Souza’s vocals still rule and delivers and evil shrill on “Unnatural Causes”. “Mentally Unstable” is one of my favorite tracks and shows the contrasting vocals between Souza and Chuck Billy. Billy’s vocals are the harshest of his career and the guitar work is the best on the whole album.

This is one of the most surprising albums in a long while, this is something that belongs in any true metal head’s collection.

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.

ENSIFERUM

Victoruy Songs

Spinefarm Records, 2007

Reviewer: Kate

I have to say that Ensiferum is one of the bands that have led me into obsession with Viking metal, folk metal, and pagan black metal. Especially if you're Finnish, if you're a Finnish pagan black metal band, I love you. I truly do. With that being said, my unbiased opinion is that this album kicks some serious ass. The intro is a truly epic and bombastic beginning that is mainly instrumental with chanting in the background and then rips open with ferocity and aggressive black metal vocals. They sing about traditional and heathen topics that hark back to the olden days and are supported by music that makes you want to raise your mug of ale into the air and sing along.

“Deathbringer from the Sky” is a very strong track that engages the listener and has you feel like you're headed straight into a battle scene from Braveheart. “Ahti” is a great single and one of the strongest tracks on here with great chant along chorus and atmospheric keyboards supplied by Emmi Silvennoinen. “One More Magic Potion” has a nice combination of folk music and aggressive metal that gives a traditional sound while still able to keep a modern edge to it. They keep the traditional vibe going with “Wanderer” that is very mellow beginning but continues on with a great guitar riff and some great vocal work from Petri Lindroos and Markus Toivonen. “The New Dawn” erupts with a fierceness and crushing guitar riff. The epic closer “Victory Song” never wanes or drags even though it clocks in at about ten minutes, it keeps you enticed and wanting to hear more until the very end.

Ensiferum seems to be doing stronger than ever before and Petri Lindroos is a welcome addition to this lineup, he brings a strong presence and seems to be exactly what the group needed. Victory Songs is a great album that will be needed to your collection so you take it along when your with a group of friends at the local pub!

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!”

Nuclear Blast Records, 2007

Metal Blade Records, 2007

Reviewer: Sharita

JOB FOR A COWBOY

MACHINE HEAD (5.666 Pentagrams)

Holy Shit! Where the hell have these guys been and what the hell have they been doing? Whatever it is, it’s definitely working for them! While they are a technical band; Martriden bring out their death metal style (along with some black metal influences) with natural ease and have made a mark for themselves where a lot of up and coming bands couldn’t. The material is amazing and incredibly produced; Dave Otero (Cephalic Carnage) is a fucking genius and I have to say that band and producer churned out an awesome first effort.

Summer of Wolves

Prosthetic Records, 2007  

Reviewer: Kate

The Minor Times has some good and dandy ideas that catapult themselves past the somewhat generic hardcore out there but still play it safe in order to appeal to the most traditional of hardcore heads while enticing the post hardcore fan through technical guitar riffs and electronics. Like “This is the Blues”, a surprising twist with a Nine Inch Nails influence that show that these boys have a little more repertoire than they’re letting on.

With venomous throaty malice spewed forth, contrasting bass lines and hard-hitting drumming, The Minor Times has almost an organic nature to their aggression. At their slowest, they remind me a little of the hardcore combo Sick of it All. It’s rough around the edges and doesn’t really expand beyond their boundaries but it’s a solid release. It lacks some identity to really establish themselves but there is a hunger from them that hints that there might be more than meets the eye. Hardcore fans won’t be disappointed by The Minor Times, I would definitely advise to go out and get yourself a copy!

MITHRAS

Passenger

Reviewer: Kate

Mnemic knows how to combine modern metal and industrial grooves, keeping it heavy and vicious at all moments. They carry elements of bands like Meshuggah and Fear Factory and still keep their own unique spin on the tracks. New vocalist Guillaume Bideau is amazing; he has a strong melodic voice and knows how to pull angry screams and growls at the same time.

The brutal guitar riffs of Mircea Gabriel Eftemie give the album an even greater sense of the savagery that Mnemic has to deliver. “In the Nothingness Black” is a song that shows a vision of greatness with the rumbling guitar and double bass drums that make you convulse while listening. “Meaningless” could be called their most commercial track but it penetrates through with power, thanks to an extremely well-done job on production. “Psykorgasm” is accompanied by Napalm Death’s Shane Embury and ex-Carcass member Jeff Walker and is an amazing track.

Mnemic will never fit the mainstream metal play list and that sits just fine with me. They have found a niche that has a circle of listeners that are truly dedicated to metal and will appreciate this album for the masterpiece that it is!

NAGLFAR1/2

The Harvest

Century Media Records, 2007

Reviewer: Kate

Naglfar is yet another powerful force to be reckoned with; hailing from Sweden Naglfar hands us another slab of hellish black metal that is essential for any true metalhead to have. The follow up to 2005’s Pariah; Harvest has a dominant presence and is one of the most extreme releases in 2007. I was really impressed with Kristoffer Olivius’ vocals, while on Pariah his vocals seemed a little underpowered; he really stepped up on this CD and delivered a dynamic performance with brutal force with tracks like “Into the Black”, and “The Ways of the Rope”. Bringing in elements of black and death metal, he still retains a good sense of melody. After replacing former vocalist Jens Ryden, it’s good to see that fans have welcomed him as the new vocalist with horns raised high.

Guitarists Vargher and Nilsson pay tribute to all things dark and unholy on this album that allow them to deliver varied tracks that switch from entrancing speed to all out savagery without missing a beat. “Feeding Moloch” is one of the fastest pieces on this album with incredible guitar work.

Naglfar brings in an eerie and spine-chilling element to Harvest; making it memorable for black metal fans everywhere. These guys are full of twisted rage, venomous fury and creative energy and are not afraid to show it!

NAPALM DEATH

Punishment in Capitals

Armoury Records, 2007

Reviewer: Kate

Recorded in 2002 at the London University Union, Punishment in Capitals has finally made its way over to the states to bludgeon our ears with twenty-eight brutal tracks. The music on here reflects Napalm Deaths ability to play raw, fast, and furiously. Most of their music from the late 90’s is not displayed here but a good chunk from their debut album Scum and 2000’s  Enemy of the Music Business is represented. The talent of the late and great Jesse Pintado is also represented here. Falling victim to liver failure, Pintado left us way too early, he’s an amazing musician and will be in the hearts of metalheads everywhere.

The fact that they did this all in one session proves that Napalm Death is not willing to compromise their philosophies, as this also was a benefit for The Huntingdon Animal Cruelty Campaign that battled against the Huntingdon Life Sciences Laboratory in the United Kingdom. This album is a perfect representation of the band’s long career and awesome career, more than worthy addition of being in any Napalm Death fan’s collection.

The great Nile return to us with their follow up to Annihilation of the Wicked. Not only with a new label, but a much more aggressive sound. If you can imagine Obituary and Morbid Angel coming together then you can only begin to imagine what Nile sounds like.

Ithyphallic is one of the death metal records of this year. Some stand out tracks are “Eat the Dead” and the epic ten minute, “Even the Gods Must Die”, but this not only a technical masterpiece with an Egyptian theme to it but it’s something that you can find the ancient kings banging their heads too!

Karl Sanders continues to deliver with his phenomenal, blistering delivery and tremendous low gurgles. The lashing riffs, the spitting vocals, ad slow-rolling sludge, it’s all there and done majestically. This is something that any true metalhead needs in their collection as it is a true deliverance of brutality!
 

Out of the Dark is the second compilation that celebrates the 20th anniversary of Nuclear Blast. Out of the Dark is more on the heavier and aggressive side compared to the earlier release of Into the Light which was on more of the gothic metal end of the spectrum. Peter Wichers, formerly of Soilwork, wrote and played the tracks you hear on the album and also recruited drummer Dirk Verbeuren of Soilwork and Henry Ranta, formerly of Soilwork, to participate as well as several others to lay down vocals.

Out of the Dark does surprisingly well with keeping a level of consistency and delivering a variety of vocalists that are in the same realm of metal. You never really know what to expect when it comes to a compilation and this one delivered very nicely. Peter Wichers also did a great job with structuring each song to highlight the musicians’ strength and talent.

The album begins with “Dysfunctional Hours” a track that features Anders Fridén from In Flames and he really steps it up on here with aggressive vocals and perfect melodies. “Schizio” is another track with some great vocals from Hypocrisy’s Peter Tägtgren and awesome guitar work from Peter Wichers as well. “Cold is My Vengeance” is another example showing that Peter understands of the vocalist’s strength and power. “Devotion” is hands down one of the most death metal tracks Wichers has ever written and is accompanied by the scorching vocals of Wintersun’s Jari Maenpaa.

My glass is raised for a toast to the array of musicians and vocalists who came together and contributed the more than worthy material that’s on here and an extra note of respect goes towards Peter Wichers to be able to craft each song and make them ideal for each individual musician. It doesn’t get any better than this album with the stellar talent that’s on here. Happy Anniversary Nuclear Blast!

OBITUARY1/2

Xecutioner's Return

Candlelight Records, 2007

Reviewer: Kate

Obituary is one of the highest ranked and most respected death metal bands that are still worshipped by metal heads everywhere and our hopes have been high with this long-awaited album; can I say that it beats 2005’s Frozen in Time? Yes, hands down. Can I say that they delivered to their full potential? Unfortunately, I have to say no, they did not. Don’t get me wrong, I love Obituary, I have for years, and this is a perfectly good death metal album but it’s really not much more than that. When they slow down to their drudging crawl with tracks like “Bloodshot” and “Evil Ways” that is when they are at their best but with faster cuts like the 3 minute opener “Face Your God” it is just dull bashing that covers up the guitars. John Tardy really cleaned up his style vocals-wise; they’re not the raw, guttural vocals that were Obituary’s classic trademark. From what I could hear of Ralph Santolla’s (Deicide) guitar work it is very skilled and added dimension to some of the simple songwriting but his solos seem to be lacking direction. It seems like he tries to do some kind of melodic guitar harmonies and goes against the grain of the songs.

There are a few great tracks that pay tribute to their old school days of doom and sludge that head bangers always liked about Obituary. “Evil Ways” is a great song with a catchy, heavy riff and that’s short enough to keep your attention. “Feel Your Pain” is another great one that you can tell is heavily inspired by the awesome Celtic Frost; it is a deep demonic sound and with Tardy’s vocals it just adds to the madness.

If you were going to go out and buy only one Obituary album to get an idea of what the band is like, this would not be the one. They have put out some great albums Like Cause of Death and Slowly We Rot and those are the ones you should purchase to get a good idea of the true meaning of metal.

ONE MAN ARMY AND THE UNDEAD QUARTET

Error in Evolution

Nuclear Blast Records, 2007

Reviewer: Kate

Johan Lindstrand, former vocalist of The Crown, delivers an ironclad album along with the rest of One Man Army and the Undead Quartet. Adding heavier and more memorable riffs than their last release, 21st Century Killing Machine, this band has proven that they are unholy soldiers that stand up for all that is metal.

Error in Evolution is pretty much a sequel to their previous release except with more guts, more power, and is even more sadistic than ever. “Mine for the Taking” is an ode to old school thrash and pays tribute to bands like Megadeth and Slayer. “Knights in Satan’s Service” is classic with the chanting of “Kiss-Kiss-Kiss” in the background. “The Sun Never Shines” has the metal fury that doesn’t compare to the band’s debut album with brutal guitar riffs from beginning to end. The cover of “The Man Behind the Mask” by Alice cooper is a killer death metal version that is definitely a must hear.

One Man Army know how to deliver a purely venomous thrash metal album but still have fun and not take themselves to seriously. They also show their love and appreciation of the metal masters such as Morbid Angel, Kreator, and Overkill. The old school appeal will bring a smile to any headbanger’s face. I believe that One Man Army will soon have their own following of loyal listeners.

Pantheon I

The Wanderer and His Shadow

Candlelight Records, 2007

Reviewer: Kate

Being from Norway and having a former member from 1349 I suppose I did have certain expectations of Pantheon I and sadly none of them have really been met. Not to say that this band is not talented, they are very talented but nothing really shined through on this album. One of the biggest problems is the monotony and the inconsistency of the songs. The addition of a cellist did add a little bit of melancholy and coldness to their songs but unfortunately, the style did not really deliver in the way I was hoping.

Take “Chaos Incarnate”, it has some of the best lyrics on the album but the drums are being repeatedly bashed over your head; the same goes for “Origin of Sin”. It’s like they trying to be loud just be loud and it’s not working. “My Curse” is a great track but it is dragged out for way too long, though the strings at the end do leave a nice, creepy feeling to it. The one solid track is “Where Angels Burn”; the cello is in the background and you have to listen for it but it sounds really sweet and carries the song well.

There are some positive attributes to The Wanderer and His Shadow and it does seem like they are not afraid to experiment with their music. If you’re a fan of My Dying Bride and Enslaved then you will definitely appreciate this album.

Poverty’s No Crime

Save My Soul

Inside Out Music, 2007

Reviewer: Kate

After taking a four year break since releasing 2003’s The Chemical Chaos, the German progressive metal band Poverty’s No Crime are back are re-energized and have a brand new album out. Save My Soul has a lot in common with their past release but is a bit on the darker and heavier side; unmistakably though this a progressive metal album through and through.

Along with being progressive Save My Soul is a well-balanced melodic album to boot with an even keel of guitars and keyboards; both get plenty of exposure on each track. Some tracks are very atmospheric with heavy guitars and soaring vocals and choruses while others are a little more reserved with acoustic passages and vocals that reflect the mood of the song.

The only negative I can say about Save My Soul is that while there are many catchy songs there are some that aren’t that memorable and don’t really engage you while listening. Still there is more positive than negative on here and Poverty’s No Crime is a solid progressive metal band that is worth giving a listen to. I highly recommend you check them out!

Prey For Eyes

Metal Blade Records, 2007

Reviewer: Kate

The Red Chord’s musical efforts has received much criticism in the past which probably has put a lot of pressure on them but with their latest release The Red Chord comes through with a fantastic effort. The strength of Prey for Eyes is definitely in the songwriting and the memorable riffs that are stacked up one on top of the other. Making these technical songs very catchy and memorable, many different influences of metal flow through each song and create a very diverse soundscape. “Prey for Eyes” and “Send the Death Storm” have an eerie, dissonant sound to it. While “Midas Touch” explores a very atmospheric territory. This album holds a lot of dynamics, sharp harmonies that cut through epic riffs.

The Red Chord has sharpened their sound to a cold, calculating fashion and it works for them. Guy Kozowyk’s roar sounds better than ever, Clients set the blueprint for today’s generations of heavy bands and Prey for Eyes have set the bar even higher.

RIDE THE SKY

New Projection

Nuclear Blast Records, 2007

Reviewer: Kate

First, I have to say that I am impressed with Ride Sky by trying to do something new and inventive than the ordinary power metal album. But their mistake was balancing out the composition of each instrument. The guitar seems like it’s struggling to come to the surface and when it does it sounds forced, playing a supporting role to the annoying keyboard melodies that were to overpowering. Some of their more experimental tracks like “Endless” and “Black Cloud” are more pleasing to the ear.

“Silent War” comes along nicely and “Heaven’s Eye” definitely grabs your attention but “The End of Days” is too poppy for me and doesn’t deliver anything special. This album is also something that might take three or four times to listen to get into. There are some clever hooks and melodic passages that have you groove along with the album but it’s not anything that I haven’t heard before.

New Projection also delivers a dark edge that listeners will enjoy and involves little twists and turns that makes you sit and try to figure out the different depths that are in the tracks. I did enjoy this album to a point but I like I said before, it’s not anything I haven’t heard before. New Projection is decent and worthy of picking up and giving a listen. If your fans of Masterplan or Xsavior then you will enjoy Ride the Sky.

ROSE FUNERAL

Crucify.Kill.Rot.

Candlelight Records, 2007

Reviewer: Kate

Five guys from Ohio belt out a blast-heavy, death influenced metal core album; unfortunately, it’s not really anything more than that. The title track is only two minutes with a bizarre intro that fills up most of the song, lyrics that are comprised mostly of the album title and an abrupt ending. It sounded like they were at band practice and decided to leave the song as is. Not every song sounds like they’re just going through the motions; the vocalist does have a great style that goes from shrill black metal vocals to a deep guttural, raw growl. The guitars also have a nice, biting tone to them but the drums need a lot of work. The thin sound sucks most of the atmosphere out of the album and the bass guitar is barely present.

“Dawning the Resurrection” is a nice soft spoken track that adds some variety as well as “Intereo Dui” that is a nice, spacey track with spoken word in the background. These are very talented musicians with good ideas but I was disappointed that they didn’t put forth more of an effort to make this album stand out.

There’s nothing on this album that’s been done terribly but it all has been done. Several times, so when I was done listening to it I had no real positive or negative reaction to it. Just a sense of indifference to this average album; I’m hoping that future releases will have a little more punch than this one did.

SAMAEL

Solar Soul

Nuclear Blast Records, 2007

Reviewer: Kate

Returning to their metal roots, Solar Soul is a lot heavier than their experimental album “Reign of Light.” I wouldn’t call this a full return to metal; there is still a dominant gothic/industrial presence in the mix but still carries some black metal influences. Vocalist/guitarist, Vorph, has the same spoken-word style as the vocalist from Rammstein does. “Promised Land” and “Valkyries New Ride” are by far the strongest tracks on Solar Soul and the most metal. With just enough keyboards incorporated, they bring some crunching metal guitar riffs and vocals.

The production on this album is not too badly done, instruments are balanced out evenly, and Vorph’s hoarse and raspy vocals are brought to the center of attention. “Quasar Waves” is a cool middle-eastern track with some sitar mixed in and projects a spacey, astral atmosphere to it. I like the fact that political issues have made their way onto the album.

I’m not sure I would say that Solar Soul is completely my cup of tea. It’s entertaining to say the least but possibly a little too commercialized for my tastes. I do appreciate their efforts though and will keep it in my collection to give it a few more listens.

SIX FEET UNDER (No Pentagrams)

3 (THREE)1/2

The End is Begun

Metal Blade Records, 2007

Reviewer: Kate

3 INCHES OF BLOOD

Fire Up the Blades

Nuclear Blast Records, 2007

Reviewer: Kate

THIS MOMENT1/2

Star Parallel

Uprising Records, 2007

Reviewer: Kate

TO THE LIONS1/2

Baptism of Fire

Reviewer: Kate

ZORA

Demo, 2007

Reviewer: Kate

The brutal death metal band, Zora, hails from southern Italy and includes members P. Pascale on guitar and vocals, Tato on bass, and A. Di Meco on drums. Zora screams their message in a manner of aggression and hatred throughout their 6 track demo CD which would make any headbanger happy but they also show ability on the more technical level that shows they have room for diversity as well.

“Tsantsa” is one of my favorite tracks on here that is a reminder of old Cannibal Corpse but also is approached with such precision and clarity that it’s able to execute its brutal force just perfectly. “Violating Code” is another great one that has some nice time changes and tempos and where the guitars join up with the rhythm section and bring it in all together with great structure and still holding on to their aggression.

Undisciplined Violent Aggression is more than just a decent album, it’s filled with power and force but shows that these musicians know how to play their instruments in a more intricate and technical manner, these guys are on their way and will soon be a force needed to be reckoned with!