The bloated and enthusiastic teenage reviews are intruding ever more on the concise adult summaries. Good. Fifteen-year-old Dave may be a bit of an idiot, but he generally has better taste. Stop listening to single-one-hour-long-song albums and stick some Green Day on.
Reviews of albums from bands beginning with E, F, G and H, written for dooyoo.co.uk from 2001–2008.
E
The Bees Made Honey in the Lion's Skull
***
Written on 01.07.08
Earth continue to play their Western-tinged drone doom rock on this year's release, but the style has subtly changed since the days of 'HEX' to favour a more bluesy and, overall, more optimistic approach.
The songs are still extended, minimal, repetitive compositions based around seriously sloooooow guitar melodies, but the atmosphere is less depressing and much more uplifting this time round, with only a couple of exceptions in the form of later songs such as 'Omens and Portents II: Carrion Crow' that return to the old, darker style. The piano comes to the fore in 'Engine of Ruin' to add some variety, but this is still essentially an album geared towards hypnotic repetition of simplistic but effective melodies. This is its strength and its weakness.
The main problem here is that the album can be incredibly dull if you're not in the right mood, and the relative absence of sound effects and psychedelic elements compared to earlier albums makes it less atmospheric. Still a nice album to fall asleep to, or to listen through headphones while wandering a desert road in the setting sun.
1. Omens and Portents I: The Driver
2. Rise to Glory
3. Miami Morning Coming Down II (Shine)
4. Engine of Ruin
5. Omens and Portents II: Carrion Crow
6. Hung From the Moon
7. The Bees Made Honey in the Lion's Skull
Edge of Sanity
Nothing But Death Remains
***
Written on 01.07.08
The first album from Swedish death metal legends Edge of Sanity is a modest debut indeed, entirely lacking the progressive tendencies that would characterise the rest of the band's career in varying degrees, and instead serving up some comparatively simple and catchy old-school death metal riffs. While the band doesn't have its own identity at this point, and the lo-fi sound quality is annoying at times (particularly the tinny drums), this is still an enjoyable collection of early death metal songs.
The use of keyboards is perhaps the closest the music comes to 'progressive,' adding a horror film feel, and each song varies between fast and slow sections to keep the listener guessing. 'Human Aberration' contains the most instantly gratifying guitar riff, while other such as 'Maze of Existence' concentrate on slower melodies performed by both guitarists in harmonic unison. There's nothing amateur about this album, especially in the arrangement of the tracks that sees 'Angel of Distress' speeding along and overlapping into the slower 'Impulsive Necroplasma,' but anyone approaching from later in the band's discography may be disappointed by its simplicity.
1. Tales...
2. Human Aberration
3. Maze of Existence (Epidemic Reign, Part I)
4. The Dead
5. Decepted By the Cross
6. Angel of Distress
7. Impulsive Necroplasma (Epidemic Reign, Part II)
8. Immortal Souls
Edge of Sanity
The Spectral Sorrows
****
Written on .07.08
'The Spectral Sorrows' is a natural half-way point between the densely progressive and heavy 'Unorthodox' and the more accessible death metal sound of 'Purgatory Afterglow,' and strikes a nice balance between the two. The melodic quotient is increased significantly, from the slow guitar harmonies and atmospheric sections that pervade almost every track to the occasional clean vocals, culminating in the surprising deviation of 'Sacrified,' a gothic rock song that sounds just like Sisters of Mercy. There's also a punk-influenced song in the form of 'Feedin' the Charlatan,' an effective Manowar cover that doesn't ruin the song with growled vocals as most death covers of classic heavy metal tend to, and melodic interludes in the first and last tracks.
If this is the point at which Edge of Sanity started to move towards a more mainstream sound, it's also the point at which their experiments became less coherent and more prone to failure. There are some excellent moments on this album, memorably the tremolo-picking guitar riffs of 'Darkday' that foreshadow the later sound of Amon Amarth, but a few too many deviations from the death metal sound to allow for complete credibility, particularly with the upbeat drums that often don't suit the songs at all.
1. The Spectral Sorrows
2. Darkday
3. Livin' Hell
4. Lost
5. The Masque
6. Blood of My Enemies (Manowar cover)
7. Jesus Cries
8. Across the Fields of Forever
9. On the Other Side
10. Sacrified
11. Waiting to Die
12. Feedin' the Charlatan
13. A Serenade for the Dead
Advantages: Talented death metal with a nice melodic angle.
Disadvantages: Concessions towards accessibility are mostly disappointing.
Edge of Sanity
Until Eternity Ends
**
Written on 01.07.08
This four-song E.P. was released prior to 'Purgatory Afterglow' containing original material that, according to the band's view, "didn't fit" with their new style. The style here is certainly a fairly radical departure from the band's traditional death metal sound into avenues more melodic and mainstream than they had attempted previously, but despite a few cool guitars here and there, this ends up being a largely unsatisfying and somewhat pointless release.
The title song follows a more traditional rock direction than metal, the deathy style only being maintained by the heavy instruments. The riffs are medium tempo and wouldn't be out of place in a stoner rock band, and the vocals are accordingly sung in a deep spoken word style rather than growled. This song is led by a memorable guitar riff of the type sadly absent hereafter on the release. 'Eternal Eclipse' is a chorus-centric song with clean singing vocals, and almost as a conscious reactionary move, 'Bleed' is a fast, hard and energetic piece of punk-death-metal that sounds forced.
I have no idea whether the final cover of the Police's 'Invisible Sun' compares to the original, but like their earlier cover of Manowar, this sounds very authentic, with minimal conversion to death metal. The harmony singing will be enough to scare away genre purists, and although it's a nice idea, it doesn't really work.
1. Until Eternity Ends
2. Eternal Eclipse
3. Bleed
4. Invisible Sun (The Police cover)
Advantages: Continuing to experiment with melody in the death metal genre.
Disadvantages: Four sub-standard songs.
Edge of Sanity
Purgatory Afterglow
***
Written on 01.07.08
'Purgatory Afterglow' had the potential to be a phenomenal classic of death metal, but sadly Dan Swanö and co. didn't always succeed in their experiments. Continuing the band's advancement towards a more commercially viable sound, this is truly one of the most approachable death metal albums I've ever heard, with songs such as the opener 'Twilight' in particular fusing solid death metal riffs with a catchy chorus and progressive sections, but too many songs fail to impress.
Swanö's vocals are the most noticeable element here, for better and worse. His death metal vocals range from a low growl to a piercing shriek, the two alternating successfully in 'Of Darksome Origin,' but some of his 'clean' vocals are less well managed. The sung and spoken word sections of 'Twilight' work well, but the entirely sung 'Blood-Colored' is a mediocre attempt at death-influenced groove metal, while 'Black Tears' and 'Song of Sirens' respectively flirt with gothic metal and hardcore punk to irritating extents. There are some great ideas here, but too many negatives cancel them out.
1. Twilight
2. Of Darksome Origin
3. Blood-Colored
4. Silent
5. Black Tears
6. Elegy
7. Velvet Dreams
8. Enter Chaos
9. The Sinner and the Sadness
10. Song of Sirens
Edge of Sanity
Crimson
****
Written on 01.07.08
Dan Swanö's forty-minute death metal composition 'Crimson' is far from a masterpiece or inspired extreme metal classic, but it's still perfectly admirable and enjoyable as a bold experiment in progressive metal that avoids the usual pitfalls. This album/song never seems indulgent or showy in the slightest, and makes for a genuinely enjoyable, coherent and varied listening experience for the patient death metal fan.
Comparisons to Green Carnation's hour-long 'Light of Day, Day of Darkness' and Opeth's work around the period are inevitable, especially due to the guest presence of Mikael Åkerfeldt, but I'd say this is a little less accomplished than either, and certainly suffers from over-stretching an idea. The frequency of repeated melodies and sections is a nice touch that maintains the sense that this is genuinely all the same song despite the frequent lapses into different styles, but its main failing is probably that it attempts a little too much, a little too often. Each movement lasts for a couple of minutes before launching into the next, often radically different section, meaning this is quite a bumpy ride.
'Crimson' should, however, be of particular interest to prog fans looking for something a bit darker, and with its sci-fi concept reminiscent of Rush, it's certainly true to the prog rock tradition, even if it doesn't make quite as much of an impact as it would like to.
1. Crimson
Edge of Sanity
Infernal
***
Written on 01.07.08
Edge of Sanity's then-final album with Dan Swanö (he would reform the band briefly for 2003's 'Crimson II') suffers immensely from the very obvious inner turmoil of the band at this late stage, evidenced by the wide gulf between the more progressive songs written by Swanö and the more consciously death metal works of the others. By contrast to the band's earlier work, this can't help but sound like a severely half-assed excuse for an album, as the band goes through the motions and rarely hits on the classic melodies that used to come so naturally.
'Hell Is Where the Heart Is' is a reasonable opener, even if it steals its opening riff from Testament, but after this the album goes rapidly downhill. Songs like 'Helter Skelter' and 'The Bleakness of It All' are nothing but fast and repetitive, tedious death metal, while Swanö's clean vocals continue to be unreliable when called in for the always compulsory gothic metal song that here takes the form of the weak 'Losing Myself.' More successful are the attempts to sound like Opeth, '15:36' beginning nice and moody before ending in a more upbeat manner reminiscent of Edge of Sanity's classic 'Twilight,' but the best song has to be the aptly-named 'The Last Song' with its dark piano opening and slow, haunting melodies, the only song on here that I would really recommend.
1. Hell Is Where the Heart Is
2. Helter Skelter
3. 15:36
4. The Bleakness of It All
5. Damned (By the Damned)
6. Forever Together Forever
7. Losing Myself
8. Hollow
9. Inferno
10. Burn the Sun
11. The Last Song
Edge of Sanity
Crimson II
***
Written on 01.07.08
Seven years after recording the forty-minute death metal epic 'Crimson,' Dan Swanö reformed Edge of Sanity one time only, to record this direct sequel. With very few direct call-backs to its predecessor, added keyboards and a slightly longer playing time of forty-three minutes, this stands proudly apart from the first album as a separate entity, which is probably for the best as its inferior quality doesn't serve to tarnish the enjoyable original.
This isn't a bad album, but it's a little unnecessary, and certainly nowhere near as accomplished as 'Crimson,' even at its messiest points. Swanö re-uses many of the ideas here, but this time the album is handily/annoyingly (delete as appropriate) arranged with each separate movement as a distinct track. This is a hugely pointless exercise that only serves to highlight the repetitive nature of the music, and as each track only lasts for one minute (on average) it's not as if listeners are going to be picking and choosing their favourites to put on their iPod.
My main grievance with this album is the over-reliance on keyboards, something that serves to align this release with modern melodic death metal from the likes of Dark Tranquillity and Soilwork, rather than harking back to the classic nineties. The melodic guitars are also a lot less memorable, and the greatest example of this sequel's comparative inferiority is that the resurgence of the main riff from the 1996 album in 'The Silent Threat' is by far its stand-out moment (exactly the same thing happened when I heard Queenryche's disappointing 'Operation: Mindcrime II'). A nice idea in concept, but flawed in execution, it should still be of interest to those entranced by long songs.
1. The Forbidden Words I
2. The Forbidden Words II
3. Incantation I
4. Incantation II
5. Incantation III
6. Incantation IV
7. Incantation V
8. Incantation VI
9. Passage of Time I
10. Passage of Time II
11. Passage of Time III
12. Passage of Time IV
13. Passage of Time V
14. Passage of Time VI
15. Passage of Time VII
16. Passage of Time VIII
17. Passage of Time IX
18. Passage of Time X
19. The Silent Threat I
20. The Silent Threat II
21. The Silent Threat III
22. The Silent Threat IV
23. Achilles Heel I
24. Achilles Heel II
25. Achilles Heel III
26. Covenant of Souls I
27. Covenant of Souls II
28. Covenant of Souls III
29. Covenant of Souls IV
30. Covenant of Souls V
31. Covenant of Souls VI
32. Face to Face I
33. Face to Face II
34. Face to Face III
35. Face to Face IV
36. Face to Face V
37. Disintegration I
38. Disintegration II
39. Disintegration III
40. Aftermath I
41. Aftermath II
42. Aftermath III
43. Aftermath IV
44. Aftermath V
Edguy
Kingdom of Madness
***
Written on 01.07.08
Edguy were one of my favourite power metal bands until they turned their back on the genre in favour of toilet humour and hard rock, but earlier in their career they produced some of the finest works in the power metal genre. As well as some fairly generic stuff like their second album 'Kingdom of Madness,' which at least sows the seeds for the greatness to follow, from a band that was very young at the time.
The album is hindered by poor production quality that affects the guitar tone particularly, but most of the elements are still here that make for great Edguy songs, they're just a little unconfident and jumbled in their execution. Tobias Sammet's Angra-style vocals aren't quite up to their later standard and vary very little, while attempts to be more epic in 'Angel Rebellion' and most notably the severely overlong eighteen-minute finale 'The Kingdom' are rather amateurish. This is understandable and necessary however, in order that the band could later move forward with classics like 'Theatre of Salvation.'
This is pure power metal with a nice melodic angle and some catchy choruses, but anyone approaching from later in the Edguy discography, as listeners inevitably will, may be disappointed. Then again, if all they're heard is the abominable 'Rocket Ride,' this could help to steer them on a more rewarding path.
1. Paradise
2. Wings of a Dream
3. Heart of Twilight
4. Dark Symphony
5. Deadmaker
6. Angel Rebellion
7. When a Hero Cries
8. Steel Church
9. The Kingdom
Edguy
Vain Glory Opera
****
Written on 02.07.08
Only a year after the mediocre 'Kingdom of Madness,' Edguy's career takes a huge leap with the excellent 'Vain Glory Opera,' an album that would surely be one of the great classics of German power metal if the band hadn't topped it with the even better follow-ups. The big change here comes in the increased prominence of (synthesised) orchestral elements, supplemented by a whole lot of acoustic guitar and melody in surprising places, but at its core this is simple, fun and incredibly catchy power metal at its best. It also possesses the distinctive Edguy sound that's all too easy to love.
Songs like the fairly epic 'Until We Rise Again' are bombastic power metal in the style Tobias Sammet would later take over to side project Avantasia, featuring memorable guitar melodies and vocal lines, but the best songs here come in the centre of the album, the section I listen to the most. 'Out of Control' is an energetic and wailing song featuring a chorus duet with Blind Guardian's Hansi Kürsch, and is certainly high among my favourite Edguy songs. 'Vain Glory Opera' itself shamelessly steals from Europe in its blaring keyboard melody but is still irresistible, and 'Fairytale' is a great fast and hard song with a nice guitar solo. The album's weaker moments come in the form of the ballads 'Scarlet Rose' and 'Tomorrow,' but the band would never really learn its lesson here.
1. Overture
2. Until We Rise Again
3. How Many Miles
4. Scarlet Rose
5. Out of Control
6. Vain Glory Opera
7. Fairytale
8. Walk On Fighting
9. Tomorrow
10. No More Foolin'
11. Hymn (Ultravox cover)
Edguy
Theatre of Salvation
*****
Written on 02.07.08
'Theatre of Salvation' is one of Edguy's finest albums, the beginning of a classic trilogy that led to 'Mandrake' and 'Hellfire Club' (a trilogy only in as far as they're my three favourites). Tobias Sammet's operatic and symphonic flair reaches its zenith here before exploding into the side project Avantasia to let off steam and allow Edguy to regain a little simplicity, but the distinctive sound benefits this album and doesn't impede its more straightforward moments.
The orchestral elements are more expertly integrated than on 'Vain Glory Opera,' and the songs here tend to be a little more progressive, evidenced by the multiple choruses of the excellent opener 'Babylon,' a song that just seems to keep on reinventing itself until the very end without seeming overbearing. The closing title track perhaps goes a little too far with its incorporation of a choir and extended length, but it's saved by a magnificent chorus that is guaranteed to stay with the listener for a long time afterwards.
Even the token power ballad 'Land of the Miracle' fails to be completely awful as previous ones were, despite being admittedly one of the cheesiest things I've ever heard, and the only real disappointment of this album is that the central section (tracks five to eight) doesn't really stand out, comprising songs that are strong in their own right, but lack any real distinctiveness.
1. The Healing Vision
2. Babylon
3. The Headless Game
4. Land of the Miracle
5. Wake Up the King
6. Falling Down
7. Arrows Fly
8. Holy Shadows
9. Another Time
10. The Unbeliever
11. Theater of Salvation
Edguy
Mandrake
The Joker Smiles
****
Written on 28.09.06
Tobias Sammett’s ambitious side project ‘Avantasia’ provided the Edguy songwriter with an outlet to let off his grandiose epic steam, allowing for 2002’s ‘Mandrake’ to follow a more stripped and laid-back approach that works a lot better as a result. While the young Germans’ most recent album sees them finally stepping over the dreaded Bon Jovi threshold, the older ‘Mandrake’ is fast and fun heavy metal at its most simplistically entertaining.
The longer songs don’t signify a greater degree of progression as much as a tendency for extended guitar solos and chorus reprises, the exception being the reasonably epic ‘The Pharaoh,’ Edguy’s inevitable Ancient Egypt themed song (doesn’t every metal band have at least one?) Divided into three distinct movements, this song flows along as a traditional rock epic, led by the vocals and customary instruments without feeling the need for the sort of additional orchestral and symphonic distractions present on the band’s earlier work. It’s one of the album’s finest offerings, a long song that truly lasts out and keeps the listener entertained, thus following in the footsteps of Iron Maiden rather than Helloween.
The other songs that come in longer than average follow far more simplistic frameworks, and utilise intrusive synthesisers in a blatant attempt to repeat the success of Europe’s ‘The Final Countdown.’ ‘Tears of a Mandrake’ and ‘The Devil & the Savant’ are similar in this way to the band’s earlier ‘Vain Glory Opera,’ but the whole thing sounds a lot more accomplished this time. The choruses are also justifiably fantastic, and the inevitable resurgences towards the end become genuinely eagerly anticipated. You know, if you’re into that whole mellow wailing chorus thing that I clearly am.
The majority of the album follows classic power metal territory, with four- to five-minute speedy anthems led by distinct riffs and featuring catchy choruses. None stand out as particularly unique or ground-breaking, but that’s not really the goal of any album that so unashamedly attempts to revive an ’80s sound in the 21st century. ‘Golden Dawn’ and ‘Fallen Angels’ could easily be Iron Maiden B-sides with a slightly different voice, while the duller ‘All the Clowns’ and 'Save Us Now' follow more of a mellow glam rock pathfinder. ‘Nailed to the Wheel’ attempts something of a heavier sound aided by modern production.
All of these are good songs, but sound so generic and interchangeable as to be easily forgettable, despite the primitivistic enjoyment they could bring to denim-clad Neanderthal metalheads. ‘Jerusalem’ is a different story, and is perhaps the most ambitious song on the album, incorporating unusual percussion and synthesiser techniques and playing around somewhat with structure. It’s not a cover of Blake in case you’re wondering – I have enough of those already. ‘Wash Away the Poison’ and ‘Painting on the Wall’ are the necessary power ballads, the second one being several times better than the first; despite all that unoriginality, I never feel it’s lasted quite long enough by the advent of the sad fade-out.
Edguy would go on to produce a very similar and slightly better album with 2004’s ‘Hellfire Club,’ but ‘Mandrake’ remains one of their best, and could easily have formed a coherent double album with its successor. The eerily frosty cover art depicting a sinister jester type doll thing adds a nice visual topping to an excellent feast of an album that proudly boasts cheese as its primary ingredient. ‘The Pharaoh’ is a pretty great song, and the rest is a whole lot of outdated German fun that really appeals to imbeciles stuck in a time warp like myself.
1. Tears of a Mandrake
2. Golden Dawn
3. Jerusalem
4. All the Clowns
5. Nailed to the Wheel
6. The Pharaoh
7. Wash Away the Poison
8. Fallen Angels
9. Painting on the Wall
10. Save Us Now
11. The Devil & the Savant
Advantages: Excellent heavy metal from excited Europeans.
Disadvantages: It's all been heard before.
Edguy
Hellfire Club
Striking Out From Paradise
*****
Written on 13.01.05
Innuendo-heavy power metal band Edguy formed while still at high school in Fulda, and these crazy young Germans already have an impressive discography behind them. 'Hellfire Club' is their most recent release and made for one of the most enjoyable metal albums of 2004. Edguy have a knack for producing songs that teeter on the edge of cheesy and unlistenable but somehow become instant classics that never grow old. I like them.
THE EDGUYS
Tobias Sammet - vocals
Dirk Sauer - guitars
Jens Ludwig - guitars
Tobias Exxel - bass
Felix Bohnke - drums
Power metal is always a fun genre, but Hellfire Club's perfect grasp of traditional heavy metal from the likes of Judas Priest and Helloween to their more flamboyant European contemporaries Blind Guardian and Stratovarius makes for an album that may not be strictly original, but that brings back the fun side of heavy metal to the fore. Unlike some of the band's previous albums (and Tobias' excellent side project 'Avantasia'), the experimentation on this album is toned down to make way for more straightforward but varied guitar riffs, solos and classic sing-along choruses.
HELLFIRE CLUB
1. Mysteria
2. The Piper Never Dies
3. We Don't Need a Hero
4. Down to the Devil
5. King of Fools
6. Forever
7. Under the Moon
8. Lavatory Love Machine
9. Rise of the Morning Glory
10. Lucifer in Love
11. Navigator
12. The Spirit Will Remain
The album opens with a scream from Tobias: 'ladies and gentlemen, welcome to the freak show!' A nice and polite introduction that promises tragically deformed humans being forced to perform for your perversions (you people make me sick, I hate you all) but delivers twelve ace tracks. I know which I would prefer, how about you?
Originally planned as the title for the album, but later changed for reasons that wouldn't be worth going in to even if I was aware of them, 'Mysteria' is a classic speedy opening anthem that starts the CD as it means to go on with a memorable overblown chorus, the staple of good power metal as well as the fairly rubbish stuff. Along with 'Under the Moon' and the aggressive but inspired 'Rise of the Morning Glory,' this forms the heavier part of the album.
A softer approach comes from the (dare I say it) Bon Jovi-esque power ballad 'Forever' and the orchestral climax 'The Spirit Will Remain,' both of which show a more progressive side to Edguy. The ten minute epic 'The Piper Never Dies' also somehow manages to retain interest throughout, and my mind rarely allows the chorus to leave my head. Get out.
For all this variety, Edguy are at their very best when pounding out a fast and light rocking anthem. 'King of Fools' and the uncompromisingly double-entendric 'Lavatory Love Machine' were released as singles, although 'Down to the Devil,' 'We Don't Need a Hero' and 'Navigator' catch the band at their very, very best. A satisfying and fun album from the boys who brought you 'Mandrake.'
And 'Lucifer in Love' is just a silly interlude thing with the Devil having sex or something. You can't see it, but you can almost imagine, although I don't.
VERDICT
Everything on here has been heard before in some form or another, but 'Hellfire Club' deserves the acclaim it has received within the genre. Fun, fast and incredibly energetic, Edguy are clearly among the leaders of power metal and thankfully seem able to balance overblown artistic expression with fun, crowd-pleasing songs thanks to the presence of side projects. Not everyone's cup of tea, but fans of Iron Maiden, Gamma Ray or anything else that has ever featured rip-roaring verses and classy guitar solos should pick up a copy today.
"And when she asks me what I'd like to eat
I realise the domina feels the same
And I reply: 'What about your pie?'"
- Edguy, Lavatory Love Machine
Edguy
Superheroes
**
Written on 02.07.08
This short release towards the end of 2005 brought my appreciation of Edguy to an end, as they descended overnight from power metal leaders to bland, commercial hard rock imitation act. The excellent album 'Hellfire Club' already hinted at this new direction to an extent, but managed to pull it off without being overwhelmingly cheesy and awful as this one sadly turns out to be.
'Superheroes' itself is a fair song, if you're a fan of Bon Jovi style anthemic rock (which I don't happen to be). The chorus is memorable, if completely derivative, and the main guitar riff is overburdened by shiny pop keyboard so as to completely ruin it. Even worse is the entirely pointless 'epic version' tagged on to the end of the E.P., which replaces the rock instruments with piano and orchestra in a wholly unsatisfying remake.
'Spooks in the Attic' is faster and more energetic, but fails to stand out, and the best thing that can be said about the weak ballad 'Blessing in Disguise' is that it at least manages to be atmospheric. 'Judas at the Opera' seems like a failed attempt to recapture the epic style of old Edguy, and the Magnum cover is merely acceptable. A weak release in every way, foreboding of bad things to come from what was, at the time, one of my favourite bands.
1. Superheroes
2. Spooks in the Attic
3. Blessing in Disguise
4. Judas at the Opera
5. The Spirit (Magnum cover)
6. Superheroes (Epic version)
Advantages: Teaser of the next album avoided the disappointment being too great when it arrived.
Disadvantages: Weak reinvention as hair metal band.
Edguy
Rocket Ride
**
Written on 02.07.08
I'm not a fan of Edguy's career move from power metal to hard rock, but I'll credit this album with containing a few decent songs in the new style, even if it still hurts to hear Tobias Sammet fall so disastrously from his previous height at the top of his game. The direction here owes much to half-hearted toilet humour and eighties hair metal, and the band no longer concerns itself with writing finely tuned songs.
'Sacrifice' is a long-winded but reasonable opener with a memorable enough chorus, but very little else. The same could be said for 'Rocket Ride' and 'Superheroes,' which are led by guitar riffs that are simple but lacking the charm of the band's usual standard. 'Return to the Tribe' and 'Out of Vogue' are the only fast songs, but still not really power metal, and the token poor ballad comes in the form of 'Save Me.' The album lacks distinctive or classic material, and its influences are all too obvious, culminating in 'F**king With Fire' which owes its guitars to AC/DC and its chorus to Bon Jovi. I'm not terribly excited about Edguy's future releases.
1. Sacrifice
2. Rocket Ride
3. Wasted Time
4. Matrix
5. Return to the Tribe
6. The Asylum
7. Save Me
8. Catch of the Century
9. Out of Vogue
10. Superheroes
11. Trinidad
12. F**king With Fire (Hair Force One)
Einherjer
Native Norwegian Art
****
Written on 02.07.08
Einherjer were one of the more creative bands in the Viking metal genre, retaining a distinct, well-produced sound incorporating orchestra and piano and a very unusual style of guitar playing indebted to the folk tradition. The vocals are performed in gruff singing rather than the more typical growls, and indeed the black metal elements that underpin much Viking metal are all but absent even in the rare faster songs such as 'Burning Yggdrasil.'
The keyboard is a little distracting to the sense of ancient atmosphere conjured here, but the use of orchestra is superbly done, reminiscent of Therion in its more full-blown moments. This is predominantly slow-to-medium-paced epic metal based around the guitar, and the longer song lengths allow each piece to stand strong. The music is still heavy and loud without being overbearing for those less fond of extreme metal, with a convincingly thunderous sound suited to the apocalyptic Viking themes.
1. Wyrd of the Dead
2. Doomfaring
3. Hugin's Eyes
4. Burning Yggdrasil
5. Crimson Rain
6. Howl Ravens Come
7. Draconian Umpire
8. Regicide
Einherjer
Blot
****
Written on 02.07.08
Einherjer's final album prior to their amicable disbanding sees something of a return to their roots as a more black metal influenced band, principally extending to the resurgence of rasped vocals and drum blast beats. The album sounds a little overproduced which weakens the effect of the drums, but this was perhaps necessary to accommodate the sound of the orchestra, which is used excellently here, more rooted in the bass and brass end than higher strings.
Opening instrumental 'Einherjermarsjen' paints the perfect historic Scandinavian scene, even if it sounds a little too much like video game background music, and after this the album is led by strong, repeated riffs that unfortunately tend to be a little over-repeated. The quantity of tracks also means that the songs tend to blur together a little more with less individual character and little variation, but there are still a few notable exceptions, especially the faster 'Wolf-Age' with its great guitar solo and the melodic 'Ride the Gallows' that makes effective use of a choir.
1. Einherjermarsjen
2. Ironbound
3. Dead Knight's Rite
4. Wolf-Age
5. The Eternally Damned
6. Ware Her Venom
7. Hammar Haus
8. Starkad
9. Ride the Gallows
10. Ingen Grid
11. Berserkergang
12. Venomtongue
Electric Wizard
Electric Wizard
****
Written on 03.07.08
The first release from Dorset's drug-fuelled doom metal band Electric Wizard is less distinctive than their later works, more directly derivative of the classic doom tradition pioneered by bands like Black Sabbath in the seventies, but still applying a more modern sound with production trickery. These songs are long, sloooow and heavy, crawling along with frank disregard for musical convention, though lacking the effective wall-of-sound approach of subsequent releases.
None of these songs really stand out apart from the atmospheric instrumental 'Mountains of Mars,' but this is still a high quality album of stoner doom, with some blues-influenced guitar solos and a nice vocal performance from Jus Osborn, even if he hasn't quite found his voice yet. The emphasis on reverb and feedback effects is deliberately alienating to the faint-hearted and aids the atmosphere immensely, while doom fans should enjoy the more overtly Sabbathesque songs such as the band's fantasy-themed title song.
1. Stone Magnet
2. Mourning Prayer
3. Mountains of Mars
4. Behemoth
5. Devil's Bride
6. Black Butterfly
7. Electric Wizard
8. Wooden Pipe
Electric Wizard
Supercoven
***
Written on 03.07.08
Anyone who was put off by the stoned sound of 'Come My Fanatics...' should steer well clear of this strange little E.P., which comprises two long songs of growling feedback and crunchy, warbled guitar riffs for thirteen and eighteen minutes respectively. This seems like a release aimed directly at existing fans, but unfortunately goes a little too far as Electric Wizard try too hard to sound like Electric Wizard.
There's only a very basic and gradual evolution in these songs, certainly not what may be expected of such lengthy compositions (even if the music is played at a significantly slower tempo than the average band). They're both distinctive enough, 'Burnout' being a little more bluesy than the blaring 'Supercoven' with its loud chorus, but I can't help feeling that four songs of half the length would have been more satisfying. 'Supercoven' features some surprising guitar solos towards the end that mark the album's only real change in speed, but this is all perhaps best viewed as an experimental release.
1. Supercoven
2. Burnout
Advantages: Extreme stoner doom for the seriously stoned.
Disadvantages: Alienating.
Electric Wizard
Dopethrone
*****
Written on 03.07.08
'Dopethrone' is simultaneously Electric Wizard's finest offering and one of the defining albums of modern doom metal. Making no small display of the band's orientation towards drug worship, this isn't permitted to take over the music or lyrics to a ridiculous extent (not like the work of Bongzilla for example), but it would still prove immensely satisfying to like-minded listeners (I imagine).
Jus Osborn's vocals are now more distorted, adding to the slightly inhuman and synthetic atmosphere, and the guitar riffs are actually fun and memorable for once, a little reminiscent of Cathedral (though their extremely stoned take on the story of Hopkins, Witchfinder General is less instantly gratifying than Cathedral's version). Songs merge together to grant a sense of continuity, but still stand apart and individual, and although this is a pretty extreme example of stoner doom, I'd still recommend it to curious newcomers. It's only in the final song that the growling tone of the down-tuned, infinitely distorted instruments actually starts to turn the stomach.
1. Vinum Sabbathi
2. Funeralopolis
3. Weird Tales:
... i) Electric Frost
... ii) Golgotha
... iii) Alter Of Melektaus
4. Barbarian
5. I, The Witchfinder
6. The Hills Have Eyes
7. We Hate You
8. Dopethrone
Electric Wizard
Let Us Prey
****
Written on 03.07.08
There wasn't really anywhere left to go after 'Dopethrone,' thus Electric Wizard decided to turn backwards a little, back into the realm of easily digested guitar riffs and less overwhelming distortion. This album is fairly easy to listen to, at least by comparison, though song lengths in excess of nine minutes with very little in the way of internal deviation require a patient listener.
The sound is still authentic doom, heavy on the bass guitar with blues-influenced guitar, and if anything the performance is even angrier here than before, particularly in the form of Jus Osborn's vocals in 'We, the Undead' and the heavier, grittier 'The Outsider.' Most of the songs will inevitably flow together before the listener develops familiarity with the album, and only 'Night of the Shape' offers something very different with its haunting keyboards over a relatively upbeat drum beat, an effective change from the norm just when the norm was starting to get a little old.
1. A Chosen Few
2. We, the Undead
3. Master of Alchemy
... a) House of Whipcord
... b) The Black Drug
4. The Outsider
5. Night of the Shape
6. Priestess of Mars
Electric Wizard
Witchcult Today
*****
Written on 03.07.08
A conscious throwback to the early days of doom rock and psychedelia, even evidenced by its cover art, 'Witchcult Today' is a perfect reimagining of the early seventies through a seriously distorted present-day filter. Many of these songs wouldn't sound out of place on the first Black Sabbath album, but carry an extra burden of severe heaviness that penetrates right into the listener's internal organs and reduces their lifespan significantly with each listen. But it might just be worth it.
While the band's earlier classic 'Dopethrone' didn't seem to have been written and composed so much as condensed out of bong smoke on the CD's surface, this album feels more relaxed and concentrated, with songs of varying lengths and an effort being made to play catchy, memorable guitar riffs and choruses. Jus Osborn's voice now resembles a sixties psychedelic singer, which works excellently against the bass-heavy, heavily-distorted guitar riffs, and the clichéd tribal touches in songs like 'Black Magic Rituals & Perversions' lend a great Hammer Horror atmosphere.
1. Witchcult Today
2. Dunwich
3. Satanic Rites of Drugula
4. Raptus
5. The Chosen Few
6. Torquemada 71
7. Black Magic Rituals & Perversions
... i) Frisson des vampires
... ii) Zora
8. Saturnine
Elend
The Umbersun
****
Written on 03.07.08
I'm a little out of my depth here, reviewing an apparent 'metal' band that refuses to display any traces of the genre by this point in their career. Elend's fourth album 'The Umbersun' is more accurately a neoclassical album, rooted in the classical tradition with the dynamic aesthetic of a modern film soundtrack, supplemented by angry spoken word narrating a tale of Lucifer in incomprehensible French (except, perhaps, to the French).
This is no symphonic metal band combining rock instruments with a supplementary orchestral backdrop, and not even a perfect fusion as happens on rare occasions with bands such as Haggard and Therion. Rather, this is a full-on orchestral assault that combines tranquil beauty and blaring aggression often within the same movement, utilising a large band and choir to their full extent. These songs are long and intricate, but often become a little dull as the action fades, requiring more patience than the average rock fan is experienced at demonstrating.
1. Du tréfonds des ténèbres
2. Melpomene
3. Moon of Amber
4. Apocalypse
5. Umbra
6. The Umbersun
7. In The Embrasure of Heaven
8. The Wake of the Angel
9. Au tréfonds des ténèbres
Elend
A World in Their Screams
****
Written on 03.07.08
Elend's most recent release is another enjoyable and dynamic neoclassical album, one that avoids tedious repetition by striking an intriguing balance between melodic, classical beauty and blaring, electronic ugliness. This balance is shifted significantly towards the former, with only 'Ondes de sang' and the synthetically screaming 'Borée' crossing over into electronic territory.
This album apparently forms the third part of a trilogy, but as the lyrics are all in French, it's a tale entirely lost on me. The band utilises an impressive male and female choir and a large complement of classical musicians, while the rock end of things is only held up by a drum beat pervading most of the songs. The album makes interesting use of silences without resorting to minimalism, and is rarely ambient, occasionally going (deliberately) too far in the layering of instruments.
An experienced classical music scholar would doubtless have more technical bones to pick, but for me it's a fine modern classical album, even if it's a bit of a shame to have no idea what it's about.
1. Ophis puthôn
2. A World in Their Screams
3. Ondes de sang
4. Le dévoreur
5. Le fleuve infini des morts
6. Je rassemblais tes members
7. Stasis
8. Borée
9. La carrière d'ombre
10. J'ai touché aux confins de la mort
11. Urserpens
Elis
Griefshire
****
Written on 04.07.08
Written and sung by Sabine Dünser and released shortly after her untimely death, 'Griefshire' ran the risk of being overrated to the extreme in a Kurt Cobain manner, but fortunately it lives up to expectations of being an above-average gothic metal album.
Dünser's vocal performance is pleasant, especially when singing in her native German in tracks two and five, but her support from growled male vocals in 'Beauty-and-the-Beast' style still feels like an overused gimmick of the genre, a contrived means to balance the songs between light and darkness without having to put in the effort musically. The instruments are all fairly standard, the guitar mainly being there to define a rhythm, but there are still some nice solos scattered throughout.
There's an enjoyable degree of diversity in this album, even if it takes fairly obvious forms. 'Remember the Promise' is a bit faster and more energetic than the rest, while 'How Long' and 'Forgotten Love' are both standard ballads, but excusable and indeed relevant thanks to the conceptual story linking the album together.
1. Tales from Heaven or Hell
2. Die Stadt
3. Show Me the Way
4. Brothers
5. Seit dem anbeginn der Zeit
6. Remember the Promise
7. Phoenix from the Ashes
8. How Long
9. Innocent Hearts
10. Forgotten Love
11. The Burning
12. A New Decade
Eluveitie
Ven
**
Written on 04.07.08
Eluveitie's first official release shows a lot of promise, but is still only an ever-so-slightly trumped-up reworking of their demo recording. A metal band with a heavy emphasis on folk, this is at least a little different from the norm, and unlike most folk metal releases that supplement the fairly straightforward metal performance with flute flourishes, the rock instruments take a distinct backseat here, partly thanks to the poor production job that relegates them to little more than a fuzz at times.
Flutes and pipes are the primary instruments in roughly half of the E.P., with only 'Ôrô' and 'Druid' being full-blown metal songs with growled vocals and folk instruments still in the foreground. As the production quality weakens the effect of these more extreme sections, not to mention the fact that they're pretty generic anyway, it tends to be the shorter instrumental tracks that hold the most interest, where the elements strike more of a balance.
1. D'Vêritû Agâge D'Bitu
2. Uis Elveti
3. Ôrô
4. Lament
5. Druid
6. Jêzaïg
Advantages: Interesting dominance of folk instruments.
Disadvantages: Brief, and the metal performance is uninspired.
Elvenking
Heathenreel
****
Written on 04.07.08
Elvenking's debut is one of the best examples of folk metal I've ever heard, bringing a superb foresty flavour to what would otherwise be fairly standard, yet still enormously fun power metal. This Italian band clearly has its precedent in the classic metal tradition which allows for some great guitar work and an evolving sense of song structure comparable to Iron Maiden, but it's the folk elements that stand out the most, and they're not merely restricted to the occasional guest appearance by a flute or violin.
Every one of these songs has a folk core, whether it's in the melody of the chorus or the guitar playing, and even the heavier, thrashier offerings such as 'White Willow' can't escape it entirely. This presents a problem if the listener isn't so into the folk elements, but the solution there is to merely avoid this completely and check out something safer by Blind Guardian. The songs do become a little too similar as the album continues, with only the acoustic ballad 'Skywards' and the short, fun 'Hobs an' Feathers' breakings things up.
1. To Oak Woods Bestowed
2. Pagan Purity
3. The Dweller of Rhymes
4. The Regality Dance
5. White Willow
6. Skywards
7. Oakenshield
8. Hobs an' Feathers
9. Conjuring of the 14th
10. A Dreadful Strain
11. Seasonspeech
Pictures at an Exhibition
Prog Nerve
***
Written on 28.09.05
Combining classical and electronic instruments was still something of an innovation in 1971. Pink Floyd’s 20-minute symphonic extravaganza ‘Atom Heart Mother’ had built on the Moody Blues’ efforts in the late sixties, then Emerson, Lake and Palmer, at the time a fresh and original presence in the musical world, took this idea a little further.
Their live performance of ‘Pictures at an Exhibition’ takes Mussorgsky’s famous composition – specifically the popular orchestral arrangement by Ravel (Mussorgsky’s original was written for piano) – and adds the keyboard talents of Keith Emerson, the vocals and guitars of Greg Lake and percussion by Carl Palmer.
Released in 1972 at a budget price, this was an affordable way for a curious public to introduce themselves to ELP and react with a disgusted frown or a thoughtful ‘hmm, I like what you did there. I think.’
PICTURES AT AN EXHIBITION
1. Promenade (Mussorgsky)
2. The Gnome (Mussorgsky / Palmer)
3. Promenade (Mussorgsky / Lake)
4. The Sage (Lake)
5. The Old Castle (Mussorgsky / Emerson)
6. Blues Variations (Emerson / Lake / Palmer)
7. Promenade (Mussorgsky)
8. The Hut of Baba Yaga (Mussorgsky)
9. The Curse of Baga Yaga (Emerson / Lake / Palmer)
10. The Hut of Baba Yaga (Mussorgsky)
11. The Great Gates of Kiev (Mussorgsky / Lake)
12. Nutrocker (Kim Fowley, arranged by Emerson / Lake / Palmer)
‘Pictures…’ is Mussorgsky’s most famous and recognised composition, with the possible exception of the hellish ‘Night on a Bare Mountain.’ The opening horns of ‘Promenade’ will unfortunately be remembered by some as the opening theme to Rik Mayall’s unimpressive sitcom ‘The New Statesman,’ while ‘The Hut of Baba Yaga’ and ‘The Great Gates of Kiev’ were spectacularly synthesised in the bestselling early 90s computer game ‘Frontier.’ Mussorgsky’s music attempts to express his feelings about a number of paintings in a gallery, the tone and content of which can hopefully be understood through these pieces. The recurring ‘Promenade’ is the theme of the visitor, moving between the pictures at the exhibition.
Obviously fans of Mussorgsky’s seminal work, ELP present the Promenade in its untampered orchestrated version, while the orchestrated ‘Hut of Baba Yaga’ is played faithfully, but overlaid with increasingly hasty electronic playing from the trio. Vocals are an interesting if distracting addition, most notable in the uplifting ‘Great Gates of Kiev’ that concludes ELP’s ‘Pictures’ set.
Not all of Mussorgsky’s ‘Pictures’ are represented here, attention being directed towards the aforementioned Baba Yaga and Great Gates as well as ‘The Gnome,’ ‘The Sage’ and ‘The Old Castle’ in the first half. Gnome and Castle are taken over by Emerson’s impressive keyboards, while The Sage becomes an unexpected acoustic piece from Lake.
The set closes, after a huge appreciative uproar from the crowd, with the band’s rendition of Tchaikovsky’s Nutcracker (renamed ‘Nutrocker’), itself apparently based on a piano reworking by B Bumble and the Stingers ten years earlier. Although it lacks the atmosphere maintained through the rest of the set, this is a fun (if irritating at times) display of Keith Emerson at his best.
VERDICT
Released after the well-received ‘Tarkus,’ ELP’s Pictures at an Exhibition is a lot of fun, especially for fans of classical music and progressive rock. Some will see it as superior to Mussorgsky, others will track me down and slaughter me for even suggesting that such blasphemers could exist. Now commonly available only as a full-priced CD, rather than the cheap novelty it once was, Pictures could be seen as more arrogant and pretentious than its original intention – a memorable addition to ELP’s first tour.
The sound quality is far from excellent, owing to the fact that this is a live album from the early seventies. Although the instrumentation is near perfect, Greg Lake’s voice isn’t up to the standards of studio recordings. The band later recorded a portion of this set in Dolby surround sound on their otherwise disappointing ‘In the Hot Seat’ album, but taking this as a live addition to a prog rock collection, it’s not all bad. Who knows: Modest Mussorgsky might even be proud.
Nah. But I like it.
Advantages: Entertainment for fans of either school of music
Disadvantages: Imperfect sound quality, short length, extortionate modern prices
Emperor
****
Written on 04.07.08
Emperor were one of the defining bands of Norwegian black metal, and 'In the Nightside Eclipse' was their first full-length recording after several equally iconic shorter releases. Blasted with atmospheric keyboards and tremolo-plucking guitar riffs creating a desolate wintry soundscape, this is seen as a classic of the genre by many, and probably as a load of treble-heavy screaming noise by others. But what do they know. Actually, that's partly accurate.
This is a harsh album first and foremost, and the melodic elements that are certainly present are only ever secondary. Samoth's guitars rarely deviate from the wall of sound approach, and it's only Ihsahn's keyboards that pioneer the symphonic element. There's very little variation here to the untrained ear, but increased familiarity with the album will reveal its nuances, such as the steady, almost doom metal riffs of 'Beyond the Great Vast Forest' and the increased melodic quotient of the excellent 'The Majesty of the Nightsky.'
1. Intro
2. Into the Infinity of Thoughts
3. The Burning Shadows of Silence
4. Cosmic Keys to My Creations & Times
5. Beyond the Great Vast Forest
6. Towards the Pantheon
7. The Majesty of the Nightsky
8. I Am the Black Wizards
9. Inno a Satana
Emperor
****
Written on 04.07.08
Opinion seems to be divided among fans whether Emperor's first or second album captures the band at its best (with most unanimously agreeing that they spiralled downwards after this point). There's a distinct difference between the comparatively eloquent, melodic clarity of 'Anthems to the Welkin at Dusk' and the frosty growl of its predecessor 'In the Nightside Eclipse,' and for its greater variety and more approachable sound, I've always favoured this second effort.
Right from the start, this album refuses to be pinned down as typical second-wave Norwegian black metal. 'Alsvartr' is led by slow and atmospheric melodies from the guitar and keyboards with rasped vocals delivered in a spoken word style, before 'Ye Entrancemperium' explodes into the familiar black metal sound, albeit with much higher and clearer production values than was typical for their contemporaries. The keyboards still reign dominant in this album as they did on its predecessor, the difference being that every instrument now stands apart from the rest with greater clarity.
Along with Dissection's 'The Somberlain,' I'd recommend Emperor's 'Anthems' as a great introductory album to black metal for bold newcomers, less off-putting than some of the more hardcore releases but more authentic than the popular bands such as Dimmu Borgir.
1. Alsvartr (The Oath)
2. Ye Entrancemperium
3. Thus Spake the Nightspirit
4. Ensorcelled By Khaos
5. The Loss and Curse of Reverence
6. The Acclamation of Bonds
7. With Strength I Burn
8. The Wanderer
Advantages: Varied and accessible black metal.
Disadvantages: Lacks authentic atmosphere of its predecessor.
Emperor
IX Equilibrium
***
Written on 04.07.08
Emperor's third album was the point at which Ihsahn started to take over, Roger Water style, playing most of the instruments and spearheading pretty much the entire direction of the music, which frequently seems to be going nowhere. An album full of incoherent ideas, this isn't so much progressive as stubbornly chaotic for the sake of it, but it still works in a way.
This is a fairly intense album, with ferocious, tangential guitar riffs and other black metal staples such as harsh vocals and drum blast beats, but Emperor introduce enough intriguing melodic elements to keep things varied, from the clean electric guitar of 'Of Blindness and Subsequent Seers' to the sombre violin opening of 'Decrystallizing Reason.' At times, this album comes perilously close to being an overly random noise, possessing volume without feeling or direction as tends to happen with bands like Dimmu Borgir, but there are still enough memorable riffs and songs to allow the album to stand strongly apart.
1. Curse You All Men!
2. Decrystallizing Reason
3. An Elegy of Icaros
4. The Source of Icon E
5. Sworn
6. Nonus Aequilibrium
7. The Warriors of Modern Death
8. Of Blindness and Subsequent Seers
Advantages: Original sound.
Disadvantages: Experiment isn't entirely successful.
Empyrium
A Wintersunset...
****
Written on 04.07.08
Empyrium's first album is a classic of folk metal, of the rare variety that doesn't end up sounding irritatingly upbeat. While this doesn't quite possess the melancholy gloom of their second release, 'A Wintersunset...' sounds like an incredibly effective and atmospheric attempt to capture the essence of nature in its various forms, communicated through folk-inspired melodies and a prominent synthesised orchestra. This album has all the grandeur and beauty of a soundtrack, without any of the tedium.
The slow pace and mournful atmosphere should appeal to doom metal fans, but the harsh black metal vocals that crop up in places do sound a little out of place against the sweeping orchestration, and are probably the album's main failing merely for sticking out so much. The guitar and keyboard melodies are memorable enough for this to become a firm favourite after a single listen, and the sound quality is just about perfect: polished enough to discern the orchestration and keyboards, but not over-produced to spoil the raw effect of the guitars.
1. Moonromanticism
2. Under Dreamskies
3. The Franconian Woods In Winter`s Silence
4. The Yearning
5. Autumn Grey Views
6. Ordain'd to Thee
7. A Gentle Grieving Farewell Kiss
Empyrium
*****
Written on 04.07.08
'Songs of Moors and Misty Fields' is the aptly-titled second album from Empyrium, one that continues to conjure pastoral images albeit this time with an added degree of sadness. The combination of heavy metal with folk almost invariably ends up sounding positively jolly, as is the case with Finntroll and folk-power bands, but Empyrium have succeeded in breaking this barrier and using the natural, archaic instruments (and synthesised equivalents) to create a genuine mournful and elegiac atmosphere in these long, slow songs.
There's enough variation between the tracks for each one to stand out, the possible exception being 'Lover's Grief' which sounds rather like an inferior version of the previous song, and the tone varies also, the first substantial song 'The Blue Mists of Night' leading with a comparatively bouncy and energetic guitar melody reminiscent of Opeth. The rasped black metal vocals now sound more coherent thanks to the louder performance all-round, but the predominant style is still clean, folk style vocals, here supplemented with effective use of male choral vocals.
1. When Shadows Grow Longer
2. The Blue Mists of Night
3. Mourners
4. Ode to Melancholy
5. Lover's Grief
6. The Ensemble of Silence
Empyrium
****
Written on 04.07.08
With their third album, Empyrium took the bold leap into acoustic folk territory, entirely abandoning their metal elements and risking alienating their previously loyal fans. Fortunately, this band excels at the folk style, as can be heard on the previous albums which essentially apply rock instruments to a folk foundation, and this stands strong as an equally valid album rather than a one-off attempt, such as Ulver's 'Kveldssanger' or Borknagar's 'Origin.' Unlike most metal bands incorporating folk elements for diversity, there was always an equal balance in Empyrium's work, and eradicating one of the elements could have led either way.
The album still uses keyboards, but abandons the rock instruments and rasped vocals in favour of a traditional approach, though the guitar melodies are still recognisable as the same band. Without the overbearing, doomy atmosphere, this lacks the sorrow of the previous album, but is still incredibly atmospheric, and the shorter compositions should also make it more appealing to those whose attention spans previously deterred them from the band's work.
1. Where at Night the Wood Grouse Plays
2. Dying Brokenhearted
3. The Shepherd and the Maiden Ghost
4. The Sad Song of the Wind
5. Wehmut
6. A Pastoral Theme
7. Abendrot
8. Many Moons Ago...
9. When Shadows Grow Longer
Ensiferum
Iron
****
Written on 05.07.08
Ensiferum's second album is faster and heavier than their first, but this also invites unavoidable comparison to the bands whose sound it mimics, most expressly their fellow Finns Children of Bodom, Norther and Kalmah in its use of harsh metal elements over a classic speed metal tempo. Most songs are fast, energetic and a little upbeat, though without the over-enthusiasm of Finntroll, and the guitar work is excellent, leading to numerous memorable guitar melodies and highly enjoyable solos, but I can't help feeling that the acoustic folk elements sound out of place and even a little on the amateur side.
The production quality is crystal clear, which does serve to rob this of some of its atmosphere but at least allows every nuance to be properly heard, and there's a greater degree of variation than on the first album, with songs 'Tale of Revenge,' 'Lost in Despair' and 'LAI LAI HEI' becoming progressively slower until finale 'Tears' abandons metal altogether.
1. Ferrum Aeternum
2. Iron
3. Sword Chant
4. Mourning Heart
5. Tale of Revenge
6. Lost in Despair
7. Slayer of Light
8. Into Battle
9. LAI LAI HEI
10. Tears
Enslaved
Blodhemn
****
Written on 05.07.08
The final album of Enslaved's early career, to speak broadly, is a slight disappointment after the magnificent 'Eld,' simply because it doesn't advance the Viking black metal sound in any way. With higher production values, this remains as intense and heavy as the older albums with added volume, but the discordant riffs end up sounding a little too similar to Emperor for the band to retain much individuality here.
The songs are less varied, most falling back onto simplistic black metal foundations and others attempting diversity through contrived and ultimately unsuccessful means, most notably the rasped spoken word approach and screaming guitar solos of 'Ansuz Astral' that don't really fit in. 'Urtical Gods' has the energetic pace of punk which keeps this album lively, but it's only really the more substantial finale 'Suttungs Mjod / Perkulator' that's in any way comparable to this album's predecessor, with its more thoughtful and eloquent take on things.
1. Audhumla: Birth of the Worlds
2. I Lenker Til Ragnarok
3. Urtical Gods
4. Ansuz Astral
5. Nidingaslakt
6. Eit Auga Til Mimir
7. Blodhemn
8. Brisinghamen
9. Suttungs Mjod / Perkulator
Enslaved
Monumension
****
Written on 05.07.08
'Monumension' improves upon its predecessor 'Mardraum' and helps define Enslaved's progressive black metal sound, while still retaining some of the folk elements that would be absent later on.The biggest difference here is the complete or partial absence of extreme metal elements in numerous tracks, as 'Hollow Inside,' 'The Sleep' and 'Sigmundskvadet' owe more to the classic prog rock tradition, and end up sounding more like something Pain of Salvation might do than the band that released 'Frost' a decade earlier.
Many songs feature psychedelic elements reminiscent of Pink Floyd, certainly not as full-blown as those found in Subterranean Masquerade's work, but still potentially something to alienate the black metal purists (but what do they know). This is a great album that boldly experiments with combinations that shouldn't really work, and occasionally don't, but in attempting to spearhead several genres at once, the band reveals its comparative weaknesses in some areas.
1. Convoys to Nothingness
2. The Voices
3. Vision: Sphere of the Elements - A Monument Part II
4. Hollow Inside
5. The Cromlech Gate
6. Enemy I
7. Smirr
8. The Sleep: Floating Diversity - A Monument Part III
9. Outro: Self-Zero
10. Sigmundskvadet
Enslaved
Isa
***
Written on 05.07.08
'Isa' is the only album Enslaved have released in their turbulent and creative career that I would consider something of a disappointment, if only in comparison to their usual high standard. Reinventing their approach to black metal with every album or two, it was perhaps inevitable that one would fall through, and while 'Isa' isn't bad by any means, it's distinctly average in its ideas and execution.
The songs don't all sound the same, but each one is led by a dominant guitar riff or melody that is repeated a little too often, while gimmicks such as a repetitive keyboard thrum effect show up far too often, perhaps in a contrived attempt to create a sense of coherence across the tracks. 'Lunar Force' is driven by a tremolo-plucking riff that's fun for a couple of minutes before it starts to lose its charm, and 'Ascension' only stands out for being a little slower than the rest. 'Return to Yggdrasil' features melodic sections seemingly for the sake of it, and the final (significant) song 'Neogenesis' feels overlong and lacking in good ideas, despite some enjoyable guitars.
1. Intro: Green Reflection
2. Lunar Force
3. Isa
4. Ascension
5. Bounded By Allegiance
6. Violet Dawning
7. Return to Yggdrasil
8. Secrets of the Flesh
9. Neogenesis
10. Outro: Communion
Enslaved
Ruun
****
Written on 05.07.08
Celebrated at the time as a landmark release in progressive extreme metal, Enslaved's 'Ruun' isn't really all that special or innovative, but is still an improvement over the comparatively dull 'Isa.' Most songs are fairly slow paced and full of melodic moments owing more to prog rock than black metal, while almost pop elements prevail in some of the accessible riffs to songs like 'Entroper.'
There aren't any weak moments here, but at the same time, few songs really scream out for attention. The opener is intriguing with its heavy bass presence and alternation between growls and clean singing, 'Path to Vanir' is slower and evolves into a gloomy acoustic song by the end, and the title song is a great example of mellow black metal, which some may have previously seen as an oxymoron. The only real disappointment with this album is that for all its purported attempts to be different, the songs do end up sounding largely the same.
1. Entroper
2. Path to Vanir
3. Fusion of Sense and Earth
4. Ruun
5. Tides of Chaos
6. Essence
7. Api-vat
8. Heir to the Cosmic Seed
Enthroned
Tetra Karcist
***
Written on 05.07.08
Enthroned's latest album is a little too self-consciously 'dark,' over-using gimmicks such as monk chants that start out sounding convincingly haunting, but later lose their power. This Belgian band takes a fairly standard and unsurprising approach to black metal, and is either blessed or cursed with high production values depending on the listener's preference for clear, hammering guitars and drums or the fuzzy warble of the lo-fi black metal old-school. This album loses some of its atmosphere through the clinical accuracy of the instruments.
Nornagest is the new vocalist here, but he really doesn't make any kind of grand entrance, sounding the same as every other screaming black metal singer. The album is saved by the guitar work, which erupts into solos and lead melodies with enjoyable regularity, though the riffs themselves tend towards extreme repetition, more concerned with maintaining rhythm than anything else. The most interesting songs here are the few that deviate from full-pelt black metal, such as the slightly slower 'The Seven Ensigns of Creation' with its tremolo-picking leading riff that I would have liked to hear more of elsewhere, and the interlude 'Deviant Nerve Angelus' that starts out as a standard, uninspired keyboard break, but evolves into an impressive mini-instrumental.
1. Ingressus Regnum Spiritus
2. Pray
3. Tellum Scorpionis
4. Deviant Nerve Angelus
5. The Burning Dawn
6. Through the Cortex
7. The Seven Ensigns of Creation
8. Nox
9. Vermin
10. Antares
Entwine
Fatal Design
***
Written on 05.07.08
'Fatal Design' is an incredibly obvious album of gothic metal for those who enjoy their music being predictable. Yet another Finnish band mixing light metal elements with eighties gothic rock and glam, Entwine don't stand up to the leaders of the genre primarily because their sound is so generic and lacking in character.
Mika Tauriainen's vocals are a little more gravelly than those of other gothic metal singers, but this doesn't lend an extra punch to the music, which is still based around medium-speed guitars. Each song is cut to a radio-friendly length and based around overly repetitive choruses, which obviously isn't a bad thing in itself, but does become a little tedious and grating over time, as most songs are lacking creativity.
The only song that really stands out as different is 'My Serenity,' led by odd funk melodies reminiscent of nu-metal, while more obvious contrived differences come in the obvious power ballads that clinically bisect the album at its half-way point and finale.
1. Fatal Design
2. Chameleon Halo
3. Out of You
4. Surrender
5. Oblivion
6. Twisted
7. Insomniac
8. My Serenity
9. Break Me
10. Curtained Life
Ephel Duath
The Painter's Palette
***
Written on 06.07.08
This Italian band is certainly innovative in its approach to metal, but the ambition isn't entirely supported by the quality of the finished product. Most grating for me are the distinct traces of metalcore evident in the alternation between screamed and sung vocals, handled by two different singers which just smacks of a lack of ability, and the unnecessary anger spoils songs such as 'The Picture' that would otherwise be fairly enjoyable in a more mellow manner.
The most interesting element for me is the use of saxophone, which avant-garde metal bands have been experimenting with to various degrees of success since John Zorn started collaborating with hardcore musicians in the early nineties, and although it works well in the hectic 'The Passage' and the slower songs later on, it isn't as convincingly done as in something like Subterranean Masquerade. Even the hardcore elements seem like an inferior version of Kayo Dot's work, and Maudlin of the Well before them, making this a distinctly average release from Ephel Duath that I admire for its creativity, but can't appreciate on its musical merit.
1. The Passage (Pearl Grey)
2. The Unpoetic Circle (Bottle Green)
3. Labyrinthine (Crimson)
4. Praha (Ancient Gold)
5. The Picture (Bordeaux)
6. Ruins (Deep Blue and Violet)
7. Ironical Communion (Amber)
8. My Glassy Shelter (Dirty White)
9. The Other's Touch (Amaranth)
Epica
Consign to Oblivion
****
Written on 06.07.08
Epica's second album is a more satisfying effort than their first, taking a more severe approach to orchestral metal that comes close to the sound of Therion, though without that other band's mastery. With Simone Simons' pleasant singing voice making songs such as 'Dance of Fate' and 'Another Me - In Lack'ech' more accessible as potential singles, and her soprano style working similarly effectively in 'Force of the Shore' when pitted against male growls, this album gets everything right, but still fails a little due to the necessary restrictions of the rock instruments drowned out by the symphony.
The interlude tracks and longer finale 'Consign to Oblivion' demonstrate a real affinity with Hollywood film soundtracks in their dynamic orchestration, comparable to Basil Poledouris, but even for all its ambition and flair, this still isn't the most effective incorporation of orchestra into heavy metal that I've heard, the aforementioned Therion being miles ahead, and even bands such as Virgin Steele being competitive.
1. Hunab K'u (A New Age Dawns - Prologue)
2. Dance of Fate
3. The Last Crusade (A New Age Dawns - Part I)
4. Solitary Ground
5. Blank Infinity
6. Force of the Shore
7. Quietus
8. Mother of Light (A New Age Dawns - Part II)
9. Trois Vierges
10. Another Me - In Lack'ech
11. Consign to Oblivion (A New Age Dawns - Part III)
Equilibrium
Turis Fratyr
****
Written on 06.07.08
Equilibrium's debut is a great album of folk metal in the roughly-defined Viking style, albeit this time focusing on the band's native German ancestry and mythology. The music is frequently fast and heavy in a speed metal style, complimented by keyboards that add the all-important folk element but occasionally go a little too far and become grating, as is the case in 'Widars Hallen.'
For the most part, this is fairly predictable but fun folk metal in the style of Ensiferum, as fast songs like 'Wingthors Hammer' are balanced by slower offerings such as 'Unter der Eiche.' The album is at its best when combining the synthesised folk elements with the metal in a truer fusion rather than acting as a parallel, and this reaches its height in 'Nordheim,' before finale 'Wald der Freiheit' abandons the metal side of things altogether and proves that the band would still have what it takes as a neofolk outfit.
1. Turis Fratyr
2. Wingthors Hammer
3. Unter der Eiche
4. Der Sturm
5. Widars Hallen
6. Met
7. Heimdalls Ruf
8. Die Prophezeiung
9. Nordheim
10. Im Fackelschein
11. Tote Heldensagen
12. Wald der Freiheit
Esoteric
Metamorphogenesis
****
Written on 06.07.08
Birmingham's Esoteric are one of the more impressive funeral doom metal bands, a genre pioneered by the likes of Thergothon who took the already crawling pace of traditional doom metal and stretched it out to new extremes of glacial tedium. Unlike boring drone bands such as Sunn O))) who merely sustain notes for far longer than the average human attention span permits, Esoteric use the slower pace to their advantage in creating an engulfing, wholly depressive and somewhat alien atmosphere.
These three songs are slow and demanding of the listener, but possess enough internal variation to keep them interesting. They become increasingly shorter as the album continues, from seventeen to fifteen and finally eleven minutes, and are some of the most haunting and hypnotic compositions I've ever heard. That said, this is only an album for a specific mood, and one that could very easily bore the listener to tears if played inappropriately. The distorted effect of the vocals and fuzzing guitar riffs are incredibly sinister, and balanced out by elegiac guitar melodies and effective use of sparse keyboards in the ambient sections.
1. Dissident
2. The Secret of the Secret
3. Psychotropic Transgression
Advantages: Haunting funeral doom metal that won't bore the patient listener.
Disadvantages: Third song is too similar to the second.
Estatic Fear
A Sombre Dance
*****
Written on 06.07.08
One of the most distinctive and compelling doom metal albums I've heard, Estatic Fear's second and final album is essentially the project of Austrian Matthias Kogler, the only remaining original band member who drafted in guest musicians and a female singer to record his magnum opus. A heavily symphonic album, this is one of the most effective combinations of rock instruments with orchestration that I've ever heard, one that never goes over the top to spoil its sombre, pastoral, historical atmosphere, and perhaps the closest you can get to true Medieval metal (however much of an oxymoron that may be).
Each song flows perfectly into the next, and all possess enough internal variation for the album to work as an epic and beautiful musical story. The metal itself never feels overbearing, despite approaching an impressive degree of heaviness in Chapter II and others, and the dual guitar melodies that lead the way in most songs are instantly gratifying and memorable. Even gimmicks such as the thunder and rain that pervade Chapter II contribute excellently to the atmosphere, whereas on other albums I would consider them cheesy and unnecessary.
1. Intro (Unisono Lute Instrumental)
2. Chapter I
3. Chapter II
4. Chapter III
5. Chapter IV
6. Chapter V
7. Chapter VI
8. Chapter VII
9. Chapter VIII
10. Chapter IX
Advantages: Perfectly composed and executed symphonic doom metal.
Disadvantages: Twinkly keyboards are slightly irritating in Chapter VIII.
Eternal Tears of Sorrow
A Virgin and a Whore
****
Written on 06.07.08
'A Virgin and a Whore' is the fourth album of Finland's Eternal Tears of Sorrow, and a fine work of melodic death metal that stands out in an increasingly generic and stagnant genre. With its generally slower tempo and emphasis on keyboards bearing a sound reminiscent of early video game music, this isn't necessarily going to appeal to fans of Dark Tranquillity, In Flames or the other Gothenburg bands, but it's still a varied and enjoyable album, if somewhat lacking on the technical front.
'Aurora Borealis' is almost a doom metal song with its slow, rhythmic riffs and drawn-out melodic guitars, and while it doesn't have the same instant gratification as the more energetic 'Heart of Wilderness' and 'Blood of Hatred,' it's a fantastic opener that established a great atmosphere. 'The River Flows Frozen' is similarly effective and even more varied, beginning with acoustic work and ending in a piano outro with plenty of guitar harmonies in-between, and even those normally averse to death metal may find elements of these songs surprisingly soothing.
1. Aurora Borealis
2. Heart of Wilderness
3. Prophetian
4. Fall of Man
5. The River Flows Frozen
6. The Last One for Life
7. Sick, Dirty and Mean (Accept cover)
8. Blood of Hatred
9. Aeon
Evergrey
****
Written on 07.07.08
Evergrey are one of the more distinctive progressive metal bands, achieving a recognisable sound of their own rather than merely following in the footsteps of the big genre names such as Dream Theater, Tool or Fates Warning, though comparison to the latter is occasionally relevant. Their early albums were fairly dark and sombre offerings of prog metal infused with power metal elements, and 'Solitude Dominance Tragedy' is a highly enjoyable album that will appeal to those who enjoy the less showy prog metal of bands like Pain of Salvation.
Tom Englund's vocals are the stand-out element of the band, and may also be the make-or-break aspect, due to the level of melodrama. The other instruments don't stand out quite as much, but the prevalence of keyboard adds a haunting atmosphere, while chugging guitars in songs like 'She Speaks to the Dead' and the more energetic 'Nosferatu' maintain the inertia. The band has a flair for ballads that is perhaps at its best on this album, 'The Shocking Truth' being reminiscent of Kevin Moore's 'Space Dye Vest' composed for Dream Theater in its voice samples, though the later ballad 'Words Mean Nothing' is more typical and a little dull as a result, saved only by sweeping keyboards.
1. Solitude Within
2. Nosferatu
3. The Shocking Truth
4. A Scattered Me
5. She Speaks to the Dead
6. When Darkness Falls
7. Words Mean Nothing
8. Damnation
9. The Corey Curse
Evergrey
In Search of Truth
****
Written on 07.07.08
I've always been frustrated that this album comes so close to being a prog metal classic, but is held back by the prevalence of frankly rubbish ballads. Evergrey have an excellent grasp of atmosphere, and songs frequently indulge in slower, more melodic sections to balance out the heavy riffs elsewhere, but the ballad songs 'State of Paralysis,' 'Mark of the Triangle' and 'Different Worlds' push this to extremes of boredom.
With that major gripe out of the way, this is an otherwise excellent work of progressive power metal, drowned in keyboards that add an epic flair and intersected with spoken word sections narrating the story of the central character's paranoia over his suspected alien abduction. Many songs are instantly memorable, from the somewhat poppy chorus of 'The Masterplan' to the effective use of piano in 'Rulers of the Mind' and the solo in 'Watching the Skies,' and with its generally steady pace the musicians make the few faster sections all the more effective.
1. The Masterplan
2. Rulers of the Mind
3. Watching the Skies
4. State of Paralysis
5. The Encounter
6. Mark of the Triangle
7. Dark Waters
8. Different Worlds
9. Misled
Evergrey
***
Written on 07.07.08
Evergrey's 2006 release is largely a disappointment, lacking the epic scale and lyrical intrigue of their earlier works in favour of a more accessible and tightly edited direction that ultimately fails to impress, topped off with a meagre production job that kills the impact of the guitars and makes this more of a rock album than heavy metal, especially disappointing considering how Evergrey were previously one of the heavier bands playing in this style.
The chorus of the opening title song is particularly offensive in its obvious theft of seventies pop-rock, and most songs end up sounding very generic, with only the contrived weird vocal stylings of 'Still in the Water' making that song stand out a mile, at least in its first half. One saving grace of this album is that the band finally seems to have ceased relying on ballads, with only the finale 'Closure' being a true ballad led by a dull piano, and the earlier 'In Remembrance' opting for slow metal rather than full-blown power ballad.
1. Monday Morning Apocalypse
2. Unspeakable
3. Lost
4. Obedience
5. The Curtain Fall
6. In Remembrance
7. At Loss For Words
8. Till Dagmar
9. Still in the Water
10. The Dark I Walk You Through
11. I Should
12. Closure
Exodus
Bonded by Blood
***
Written on 07.07.08
'Bonded By Blood' is widely hailed as a thrash metal classic, but viewed outside of the hype it's actually a rather standard offering. As a thrash debut it fares better than Metallica's 'Kill 'Em All' but doesn't come close to Testament's 'The Legacy,' and its punk energy and repetitive riffs make it distinctly average.
Paul Ballof is the star here, his alternately shrieking and yelling vocals summing up the aesthetic and ideology of the genre, but the other performers seem to be too comfortable in their niches. Songs such as the title track are led by enjoyable guitar riffs that begin to grate after a while due to the repetition, and there's very little variation between songs, the notable exception being 'Metal Command' which sounds more like classic heavy metal indulgence.
The somewhat weak mid-eighties production values mean this isn't particularly hard-hitting no matter how loud you play it, and although it's pretty fast at times, it's certainly no Megadeth.
1. Bonded By Blood
2. Exodus
3. And Then There Were None
4. A Lesson in Violence
5. Metal Command
6. Piranha
7. No Love
8. Deliver Us to Evil
9. Strike of the Beast
Faith No More
The Real Thing
So Groovy it's Out of Sight
***
Written on 20.05.04
...Whatever that lyric means. Having written a large number of reviews on heavy metal albums I have recently begun to branch out and explore different types of music. You may argue that Faith No More are an established band that are still within the rock genre, and I would answer that I'm not that brave yet; their blend of almost Chili Peppers-style funk in the vocals and rhythms, and some of the best guitars I've ever heard, led me to pick up this album for a bargain price.
THE BAND
Faith No More were one of the most influential and best-selling rock bands of the late eighties to early nineties, and this was their first hugely successful album, featuring what is considered to be the classic line-up.
VOCALS - MIKE PATTON
Patton, formerly of Mr. Bungle, is a very talented vocalist who sings in a fairly high register that never overpowers the music. As I'm not completely used to him I find he can get annoying at times, but his range is evident on tracks such as 'Zombie Eaters'; he is often considered to improve with the band's later albums.
LEAD GUITAR - JIM MARTIN
What a guy: Jim Martin's solo in 'Epic' sounds like electrified metal harnessed by a master axeman, or something. His obvious talent shines through in instances such as this, but most of the time he is content to stick to more straightforward driving riffs to keep the tracks flowing. This is a bit of a shame, although Jim later left the band to pursue other avenues that I will have to check out.
DRUMS - MIKE BORDIN
Since Faith No More disbanded in the nineties, Mike can often be found filling in for prominent bands when their drummers are unavailable, such as Korn. Bordin has perfect timing, but is essentially used to drive the tracks along, rarely getting any opportunities to show off the extent of his talents in this album.
BASS GUITAR - BILLY GOULD
The funky nature of this album means that there is a large amount of bass presence, certainly more than in many other rock albums, and Billy Gould is highly skilled at playing both subtle and leading bass lines.
KEYBOARDS - RODDY BUTTOM
This odd-named guy lends an extra touch to a number of tracks, but is mainly used to introduce some atmospheric elements.
THE MUSIC
1. FROM OUT OF NOWHERE
This is an upbeat, fast track that leaves nothing to the imagination regarding the style of this album. Patton sings in a high voice that adapts to the quite basic melody, and this is a very straightforward song without any breaks or solo sections that isn't particularly interesting.
"Obsession rules me-
I'm yours from the start
I know you see me-
Our eyes interlock"
2. EPIC
One of the band's most well-known songs, this was the only track I had previously heard and it contains one of my favourite guitar sections in history, earning Jim Martin the distinction as one of my favourite guitarists. (He was in Bill & Ted's Bogus Journey too, which may impress about one person reading this). Quirky funk-rap style vocals in the verses and some great singing in the chorus make this my favourite track on the album, and the piano outro is a pleasant ending. Not quite an epic although the length makes it very manageable and suitable for radio play, but anyone who appreciates a good high guitar needs to hear that solo.
"You want it all but you can't have it
It's in your face but you can't grab it"
3. FALLING TO PIECES
Beginning with a bass beat, this is a great song for Billy Gould and his four-string as it relies less on guitar riffs than the norm. Patton's vocals are a little irritating in this, especially as they seem too sing-song at times (or like a very nasal woman), but it's a track that's grown on me and is suitably different from what I normally listen to. Nice use of keyboard accompaniment in the second half also.
"The plot thickens every day And the pieces of my puzzle keep crumblin' away"
4. SURPRISE YOU'RE DEAD
Surely the best title, the song's pretty cool too. The unison shouting matches the more aggressive riff well, and makes this more of a metal track than some of the others. Coming in at only 2:27 it's a nice addition to the CD, although the lyrics are pretty daft.
"The hatred I bestowed
Upon your neck with a fatal blow"
5. ZOMBIE EATERS
Surprisingly less of a horror theme than the last track, this is a soft ballad that evolves into a galloping rock anthem after two minutes. Patton demonstrates his vocal range on this one, and although I don't often like ballads I really enjoy the heaviness of the rest of it.
"I like to make a mess
I laugh at your distress"
6. THE REAL THING
The title track is an eight-minute affair, much more deserving the title 'Epic' than the earlier track. All instruments are used to their full potential here, and some really great guitar rhythms make this another of the more metal tracks, sounding similar to classic Metallica in places. There is enough progression to keep the song interesting throughout, alternating between the chugging rhythm with staccato vocals, and more sombre sections in this condemnation of drug abuse.
"It's like the pattern below the skin
You gotta reach out and pull it all in
And you feel like you're too close
So you swallow another dose"
7. UNDERWATER LOVE
Beginning with some very eighties keyboards, it's clear that this is a more commercial track aimed at radio play, but it doesn?t feel out of place. One of my least favourite tracks as Mike's voice grates a little, and the quite bland keyboards overpower all the other instruments (although there is a great bass presence), but it's suitably placed after the dark nature of the previous few tracks - one of the funkier ones.
"Liquid seeps into your lungs
But your eyes look so serene"
8. THE MORNING AFTER
This song has a great drum beat that sets the pace, and the guitar presence is back where it belongs. Great use of quiet, almost orchestral keyboards from Roddy Buttom and more good vocals from Patton - who I have often become used to by this point - but I'm biased in favour of this song as it has some guitar solo action from Jim Martin. The end of the song is very fast and energetic as well, which is always a great touch.
"Is this my blood dried upon my face?
Or is it the love of someone else?"
9. WOODPECKER FROM MARS
This instrumental is a distinctive track, although with a name like that it would have to be, and it seems that everything goes here. It begins with an Eastern-inspired melody before the main guitar kicks in with a fantastic driving riff that sounds very reminiscent of thrash bands of the time, notably Metallica and Slayer, but isn't too heavy to break out of this album's style. I don't miss Patton?s vocals, and if 'Epic' wasn't such a classic song this would certainly be my favourite offering from the album as it is far deeper and more experimental than the rest, again highlighting the talents of Jim Martin.
10. WAR PIGS
The band's successful cover of one of Black Sabbath's most popular early songs, I much prefer this version in spite of how murdered I may get by Sabbath fans. The sound quality of the instruments is obviously infinitely clearer and I was never a huge fan of Ozzy Osbourne's screechy vocals so I'm fairly indifferent to Patton's recreation of them here. A good track that sounds a little out of place, as covers mostly do, but an interesting song to recreate.
"Generals gathered in their masses
Just like witches at black masses"
11. EDGE OF THE WORLD
I do not like this song. In fact, I would go as far as to say I hate this song. Not that it's inherently terrible, just really not for me. This track is an anti-climactic piano jazz-esque song without any rock elements and as such may prove popular with less metal-oriented fans, but isn't my cup of tea.
"Hey, little girl
Would you like some candy?"
VERDICT
Mike Patton is not one of my favourite vocalists, and I much prefer some of his later efforts where he utilises a deeper singing voice, but in terms of musical skill and fun this is a great album. 'Woodpecker From Mars' is a fantastic instrumental, and there is a perfect balance of funky, heavy and melancholy tracks to appeal to most music fans.
The band's follow-up album, Angel Dust, is considered hugely influential and certainly offers chances throughout for the excellent musicians to show off the full range of their talents, but it is a little too experimental for me (and for the record buying public it turns out). It has been commented that Faith No More were ahead of their time and I think this is largely true; 'Epic' precedes the rap-rock bands that unfortunately dominated 2001, although in terms of the funk and thrash metal influences it's clear that this comes from the late eighties. This album is enjoyable, fast, fun, thought-provoking and, most importantly, groovy.
Faith No More
Angel Dust
Heron on Crack
****
Written on 11.06.07
Faith No More’s second album with Mike Patton was the first on which his strange influence became a driving force, deviating vastly in many cases from the previous huge-selling alternative metal release ‘The Real Thing’ as the band explored more unusual, experimental territory more in the vein of Patton’s side-project Mr. Bungle.
Many of the songs, particularly the singles towards the beginning of the album, stick to the highly influential funk metal sound that they had pioneered in the late eighties along with the likes of the Red Hot Chili Peppers, while some of the later songs expand on the hip hop influence of ‘The Real Thing,’ making this album largely, and sadly responsible for the rap metal boom of the late nineties, which now thankfully seems to have slumped again. I can’t imagine any other situation where I would be recommending an album favoured by Fieldy, the maize-field-haired gangsta bassist from Korn, but the impact of ‘Angel Dust’ has been far reaching to all sections of alternative metal, particularly some of the large progressive metal bands, and Kerrang! magazine has rated it the most influential album of all time (presumably in the world of alternative rock that Kerrang! pretends it caters for).
This wild mix of styles may appear, on first listen, to divide the album into complex and remedial sections to appeal to different breeds of listeners, but closer examination reveals that the depth of this material spans the majority of the disc, introducing subtle background nuances and changes of direction even in the more commercial sounding songs. This isn’t true for the entire album however, as songs like the white-trash piano song ‘RV’ are fairly easy to take at face value. Later versions of the album, and the one commonly available today, closes with the band’s popular cover of the Commodores’ hit ‘Easy,’ which provides some necessary easy-listening relief after the crazed likes of ‘Crack Hitler’ and ‘Jizzlobber.’ The guitars on this album vary between heavy metal and melodic pop-rock, and unfortunately move away from the centre stage they took on the previous album, unfortunate because this would be Jim Martin’s last album with the band and he could have had a more impressive swan (heron?) song than this.
1. Land of Sunshine
2. Caffeine
3. Midlife Crisis
4. RV
5. Smaller and Smaller
6. Everything’s Ruined
7. Malpractice
8. Kindergarten
9. Be Aggressive
10. A Small Victory
11. Crack Hitler
12. Jizzlobber
13. Midnight Cowboy
14. Easy
After a heavy riff that lasts for a few bars, ‘Land of Sunshine’ belongs almost completely to the clunking rhythm of Billy Gould’s bass. Patton’s vocals alternate between a kind of crazy shouting and a more accessible clean singing voice in the chorus and most of the verses, a style he uses on all the songs the band intended to make money from as singles, and despite this accessibility this song does go beneath the surface largely due to the keyboards of Roddy Bottum. This minimalist synthesiser sounds very eighties, but provides a nice ‘falling’ or cascading effect that sounds mock-classical. There’s a very brief guitar solo, but it’s kept very short and sweet. Both this and the next song particularly, ‘Caffeine,’ were written while Patton was depriving himself of sleep, presumably with the intention of seeing what it did to his ability to write songs. Oddly, these are some of the more restrained pieces on the disc, though ‘Caffeine’ is more hard-edged, based more on loud guitars and pounding drums to create not so much a dreamy atmosphere as one in which the listener tries to become relaxed, but is prevented from doing so, fitting to Patton’s experiment. There are some real hardcore-style screams hidden in the mix a little towards the end, perhaps passing unnoticed on first listen, and Patton sounds very angry, in a funky, Chili Peppers way, throughout.
‘Midlife Crisis’ is one of the most approachable songs, and the one most similar to the previous album, lacking most but not all of the weirdness of this one. The song begins in a minimalist soundscape of light percussion and quiet synth, as Patton whispers the lyrics, before picking up volume in the uplifting choruses. The guitar sounds noticeably stilted on this song, perhaps wary of alienating non-rock fans on the radio, and is forced to chug along in the background even in the louder sections. The problem with this song, which is otherwise pretty great, is its repetition and lack of new ideas, as pretty much everything has been heard after the first minute, leaving repetition until fade-out the only course of action. The afore-mentioned ‘RV’ follows, and this angry, depressing ditty spoken in a harsh white-trash old man voice always makes me picture a guy sitting out on his porch. It’s not as bad as some of the country-influenced stuff Metallica would later indulge in for the ‘Load’ and ‘Reload’ albums, being an obvious joke and stab at certain aspects of America, and in a way sounds like that raving, drunk Q.C. from ‘The Fast Show,’ particularly as only his final words are very clearly legible amidst the general murmur. The piano melody is in waltz time, and there’s quite a nice guitar hidden in the background for most of it that’s possibly influenced by rockabilly or something equally hillbillyish. This song is well placed on the album, providing some nice relief and interrupting the flow a little without having to be something terrible and distracting like a piano love song. No, trailer park yokel is what I like.
After this relief comes perhaps the most challenging part of the album, and my favourite (if we are to assume, as I do despite obvious evidence to the contrary, that the album can be divided into sections). ‘Smaller and Smaller’ is the first song to properly make use of Martin’s guitar abilities, sounding almost Arabian in places though not enough to be clichéd, and dominating in the wordless chorus. Patton’s vocals are similarly at their most freestyle, overlapping and elusive and culminating in an echoed screech reminiscent of black metal, again hidden a little in the soundscape in the same way as the screams in Pink Floyd’s ‘Careful With That Axe, Eugene.’ A quieter psychedelic section ends the song, led by light drums, and a short solo finishes things off. This was never going to be a single, but it characterises the album well. ‘Everything’s Ruined’ initially threatens to be a ballad with Bottum’s soft piano intro, but remains more energetic despite the lack of guitars in all but a few sections, filled in with the piano melody. This is a great melodic song with a catchy chorus, catchy enough to be ripped off by Dream Theater for their 2001 album that, to be fair, steals ideas from all the big bands in the alternative scene, with the guitar soaring overhead and the bass providing a great rhythm without sounding clunky and funky this time.
With ‘Malpractice,’ one of the few songs never played live, aggression returns. Patton alternates between shouting and singing, and unleashes another of those black metal screams, while Martin plays a really discordant solo that hurts my ears. It’s very bleak and loud, taking more influence from hardcore than heavy metal however, and takes time out to play what sounds like a lullaby or child’s mobile, perhaps inspiring similar but more gaudy conceits in the music of teen angst bands like Slipknot to imply child abuse. Appropriately, ‘Kindergarten’ follows, and the album again alternates to a more melodic song, as well as starting to introduce the hip hop elements more prominently. Patton’s near-rap vocals don’t ruin the pleasant atmosphere of the keyboards and guitars, and are mostly modulated to a deep, masculine singing in the choruses.
The pattern continues with the next two songs: the deliberately confrontational song about gay oral sex, ‘Be Aggressive,’ which is suitably aggressive despite being based on sixties organs and seventies funk, certainly the height of funk on this album while also including the only real, extended guitar solo, and the contrastingly pleasant sounding ‘A Small Victory’ which begins with a beautifully melodic guitar and seems to finally crack this melodic song business that the previous two even-numbered tracks didn’t quite manage. With the guitars doing their soaring thing, taking a little time out for a squeaky Primus / Rage Against The Machine style solo, this song really belongs to the vocal deviance of Patton, who sings the verses pleasantly, scats a little in-between verses (basically opening his mouth and letting some sounds come out, despite the song’s lyrics about keeping your mouth shut), and even introducing some Michael Jackson sounding ‘woo’ bits towards the end. There appears to be more to this song than at first meets the ear, but it’s mainly just some sound effects in the background. This is one of my favourites, and certainly the peak of the album’s softer, feminine side.
The final ‘section’ of the album (alright, I’ll admit there doesn’t seem to be that much of a pattern. I guess it’s more down to my listening habits of this CD that I tend to play the songs in groups of four) begins aggressively and ends calmly, though it’s a gradual and interesting process. ‘Crack Hitler’ is one of the weirder songs on the album, fading in slowly with the bass playing what sounds like a techno rhythm, and with Patton joining in after a while speaking in tongues, through distortion that sounds like a police radio. This song is split into two styles, which repeat in tandem: the first is a soothing keyboard melody backed up by a nice rhythm section, and the other is a louder, roaring crowd chant led by Martin’s thrash metal guitar riffs. Faith No More’s direct influence on modern prog band Pain of Salvation is especially evident here, as pretty much the entire PoS discography sounds like this song. Faith No More takes its own influence from elsewhere however, with Patton attempting a heavy metal style ‘woah-oah-oah’ section towards the end, similar to the sing-along incentive added to pretty much every Iron Maiden hit single, and a Black Sabbath ‘War Pigs’ style air raid siren to boot, a song the band covered on their previous album. The distastefully titled ‘Jizzlobber’ is one of the more disconcerting songs on the album, perhaps even more so than ‘Smaller and Smaller,’ ‘Malpractice’ and ‘Be Aggressive’ combined, opening with weird, indeterminate sound effects and moving on to a keyboard melody influenced by classic horror films. The vocals are all over the place, sometimes distorted and sometimes even singing quite pleasantly and legibly, but becoming more tortured and screamed towards the end. Martin’s guitars are at their most ‘metal’ here, executing a real headbanging thrash riff and making quite a lot of noise that is nevertheless usurped in the end by the rising sound of a church organ played by Roddy Bottum, far more grand sounding than ‘Be Aggressive’ ever managed and threatening to end the album on an unresolved note of tension and emotional confusion. Fortunately, it’s not quite the end; ‘Midnight Cowboy’ is an instrumental cover of the theme of the film of the same name, of which I know nothing, and is truly grand sounding, conjuring a barren vista with its simple accordion melody joined by drums and far quieter guitar and bass for a few pleasant, if unremarkable minutes, followed by the Commodores cover which is pretty much the same as the original, and not really to my taste.
It’s clear that ‘Angel Dust’ wasn’t exactly what the record label had in mind as the follow-up to the massive selling ‘The Real Thing,’ but its unique oddness, still tinged with enough pop rock to make it sell, still captured the attention of the record buying public, perhaps more so in this country than its American homeland after the success of the single ‘Easy.’ It’s refreshing to see such a strange and bold album on a major record label, but it was perhaps inevitable that Faith No More’s album would be released no matter what the product was, as the band was a fairly hot potato in the early nineties. If arranged differently, perhaps across two discs, it’s clear that tracks 3, 4, 6, 8, 10, 13 and 14 offer a more pop-oriented and, in most cases, easy listening experience (the final pair particularly), while the other half comprising tracks 1, 2, 5, 7, 9, 11 and 12 are more for the hardcore- or metal-oriented fans willing to try something a bit different, and more rough at the edges.
When dissected in this manner, ‘Angel Dust’ becomes easier to digest, but also loses some of the chaotic charm of the listening experience, when anyone playing the album in company is required to feel a little fearful as each song fades out, just in case the next will offend or arouse suspicion from bystanders who would prefer a watered down Red Hot Chili Peppers release with none of this rubbish shouting, jumping around business. While Faith No More fans tend to cite this album as the band’s creative peak, I remain more fond of the simplistic funk-metal enjoyment of ‘The Real Thing,’ which has a similar blend of soppy pop-rock and cacophony, but with far more emphasis on Jim Martin’s great guitar abilities, not utilised to their full here and never to surface again. This is one of those albums that will mostly be bought nowadays off recommendations that ‘it’s one of those albums you have to own,’ which is silly considering the vast amounts of rip-offs it has spawned that could just be bought instead, but ‘Angel Dust’ always manages to stand out a little from my ridiculously vast CD collection for its specific charm and Mike Patton’s bizarre take on the whole thing, leading me to the conclusion that this must be some sort of flawed but long-lasting classic.
Advantages: Intriguingly, disconcertingly varied collection of myriad styles.
Disadvantages: Jim Martin's guitar is sadly under-used on these final performances.
Falconer
Falconer
***
Written on 08.07.08
Although nowhere near my list of favourites, it has to be said that Falconer are one of the more distinctive power metal bands, incorporating a folk influence in their guitar and vocal melodies and refusing to follow several staples of the genre, most notable the typical wailing vocals which are replaced with Mathias Blad's smooth folk croon.
Falconer's first album is a little heavier and more traditionally power metal than their later works, and has always sounded to me like a lighter version of the melodic death metal sound played by bands such as In Flames, albeit without the growled vocals. This is a distinctly Swedish sound that refuses to be nailed to a specific genre, but once the album hits its stride it soon becomes clear that Falconer is a band of minimal ideas, each song sounding much the same as the last.
There isn't a great folk influence here, only really rearing its head in the lead guitars of songs such as 'Mindtraveller,' and Stefan Weinerhall's guitar work is never particularly inspired.
1. Upon the Grave of Guilt
2. Heresy in Disguise
3. Wings of Serenity
4. A Quest for the Crown
5. Mindtraveller
6. Entering Eternity
7. Royal Galley
8. Substitutional World
9. Lord of the Blacksmiths
10. The Past Still Lives On
Falconer
***
Written on 08.07.08
Falconer's second album is subtly different from their debut, following a largely more melodic approach and incorporating folk elements a little more substantially, though the old problem of each song sounding exactly the same still presents an issue.
Mathias Blad's singing will doubtless appeal to many, but in each song he varies from impressing me to annoying me intensely, most evident in the move from the catchy chorus of 'Decadence of Dignity' to the irritating, somewhat nauseating verses of 'Enter the Glade.' This is quite an issue, as Blad's vocals are easily the centre of attention throughout the album, maintaining its steady, medium tempo even when the rhythm tries to speed up to a fast gallop in songs like 'For Life and Liberty.'
'Lament of a Minstrel' is an attempt to bring in a truer folk sound, but one that pales in comparison to the work of other bands whose take on the mixed genre is much more effective (Elvenking or Moonsorrow for example), and each song ends rather abruptly and unsatisfyingly, feeling a little lacking.
1. Decadence of Dignity
2. Enter the Glade
3. Lament of a Minstrel
4. For Life and Liberty
5. We Sold Our Homesteads
6. The Clarion Call
7. Portals of Light
8. Stand in Veneration
9. Busted to the Floor
Falconer
Northwind
****
Written on 08.07.08
After a few disappointing albums with a different singer and a different style that I've thus far managed to avoid, Falconer returned to form with their 2006 release 'Northwind,' giving very little sign whatsoever that any time had passed since their sophomore 'Chapters from a Vale Forlorn.'
This is a better version of that sound, partly because there's simply more material on offer, even if it still sounds largely like the same song repeated again and again. The dual guitars of Stefan Weinerhall and Jimmy Hedlund are a nice touch that was lacking from the older albums, and adds a classic heavy metal sound to the lead melodies and solos, but additional touches such as the synthesised string sections behind some songs are so subtle as to be hardly noticeable.
'Northwind' itself is fairly unforgettable in its archaic, Greensleeves-style vocal melody (whether this unforgettable nature is a good thing or not depends on the listener's preference), but no other song remains as memorable. 'Legend of the Lore' is an example of a good acoustic folk song, while 'Long Gone By' is a much duller acoustic ballad.
1. Northwind
2. Waltz With the Dead
3. Spirit of the Hawk
4. Legend and the Lore
5. Catch the Shadows
6. Tower of the Queen
7. Long Gone By
8. Perjury and Sanctity
9. Fairyland Fanfare
10. Himmel så trind
11. Blinded
12. Delusion
13. Home of the Knave
14. Black Tarn (instrumental)
Falkenbach
****
Written on 08.07.08
Falkenbach is another intriguing one-man black metal project, as German musician Vratyas Vakyas performs all the instruments and vocals himself. This lends a certain amateurish quality to the lo-fi sound, which only makes it all the more appealing to me.
Filled with apocalyptic, Wagneresque black metal riffs saturated with polished keyboards and folk-influenced lead guitar melodies, this is great Viking metal for fans of Bathory, Månegarm, Tyr and the rest, and still possesses its own unique sound, though not one that can ultimately live up to the genre leaders. Vratyas includes some slightly gimmicky but still effective samples, opening the powerful 'Galdralag' with distinctly Bathory-style galloping hooves and the slower 'Heathenpride' with a hooting owl, and as expected there's the occasional switch to acoustic guitar and folk instruments.
Perhaps the album's most interesting experiment is the wood pipes played over the warbling black metal of 'Asum Ok Alfum Naer...,' which is a sound I've never heard before.
1. Galdralag
2. Heathenpride
3. Læknishendr
4. Ultima Thule
5. Asum Ok Alfum Naer...
6. Winternight
7. ...Into the Ardent Awaited Land
Falkenbach
****
Written on 08.07.08
The second album of Vratyas Vakyas' Falkenbach project takes the Viking metal sound of its predecessor to the extreme, abandoning some of the black metal but at the same time introducing new, jarring elements that upset the finished article. These songs are longer on the whole, though not necessarily more 'epic,' and are all quite slow, lacking the thunderous energy of the previous album, and although the nostalgic atmosphere is created very well in songs like 'Baldurs Tod' and the introduction of '...When Gjallarhorn Will Sound' particularly, the reliance on keyboards keeps it disappointingly in the present-day.
My largest issue with this album is Vratyas' alternation between a clean, chanting style of vocals and black metal rasps, the latter of which tends to sound out of place. Even worse is the frequent use of vocal distortion that delivers passages as if Vratyas was some sort of robot from a 1970s version of the future, sounding more like the kind of dumb gimmick Dimmu Borgir might do, and counting as a significantly failed experiment in an otherwise impressive album of Viking metal.
1. ...When Gjallarhorn Will Sound
2. ...Where Blood Will Soon Be Shed
3. Towards the Hall of Bronzen Shields
4. The Heathenish Foray
5. Walhall
6. Baldurs Tod
Fates Warning
Awaken the Guardian
****
Written on 08.07.08
Fates Warning were one of the forefathers of progressive metal in the eighties, and 'Awaken the Guardian' catches them at a time when their sound was still distinctly rooted in the 1980s heavy metal sound, albeit with a focus on experimentation. The sound is comparable to Iron Maiden around that time, with the even more extreme vocals of John Arch carrying off some impressive and very high melodies that will doubtless repel as many listeners as they attract.
Unusual time signatures keep listeners on their toes, but unfortunately the album fails to be gripping all the way through, and becomes fairly repetitive by the half-way point. Some songs stand out for various reasons, from the melodic vocals of 'Fata Morgana' to the acoustic introduction of 'Guardian' and the distinctly Maidenesque finale 'Exodus' that sounds a more complex version of that other band's epic finales such as 'To Tame a Land,' but prog metal fans approaching this album through the praise of its die-hard fans may leave slightly disappointed.
1. The Sorceress
2. Valley of the Dolls
3. Fata Morgana
4. Guardian
5. Prelude to Ruin
6. Giant's Lore (Heart of Winter)
7. Time Long Past
8. Exodus
Fates Warning
Perfect Symmetry
***
Written on 08.07.08
'Perfect Symmetry' marks Fates Warning's crossover from progressively-minded heavy metal band to full-blown prog metal act, retaining the classic metal influence in the guitar solos, dual lead harmonies and the occasional riff (such as the Helloween style guitars of 'Static Acts,' the most traditionally metal song on here along with the shrieking 'The Arena'), but otherwise defining its own impressive, though rather repetitive sound.
Ray Adler's vocals sound distinctly like Geoff Tate of Queensrÿche, which can't help the band's case for individuality against that genre competitor, but the keyboards of Kevin Moore (also playing in Dream Theater at the time) create a great atmosphere that the rest of the music sadly fails to completely fill out in a satisfying way.
The album is spoiled by a few too many slow songs and ballads, but is otherwise still a relevant and enjoyable entry in the progressive metal canon, and one of its formative works.
1. Part of the Machine
2. Through Different Eyes
3. Static Acts
4. A World Apart
5. At Fate's Hands
6. The Arena
7. Chasing Time
8. Nothing Left to Say
Fates Warning
A Pleasant Shade of Gray
**
Written on 08.07.08
If 'Perfect Symmetry' was a little dull and repetitive, 'A Pleasant Shade of Gray' is among the most tedious progressive metal albums I've heard, though still one that has its moments. What sets out to be the band's magnum opus ends up failing in many respects, the twelve songs that listeners are invited to view as sequential movements of a single fifty-three-minute song actually being more truthfully revealed as separate and largely unrelated tracks containing very few ideas, that might as well have been given individual titles.
Kevin Moore's keyboard overture in Part I is instantly memorable, though sounds a little derivative of eighties horror film themes ('A Nightmare on Elm Street' in particular). This song is perhaps the best here, as it works excellently as an introduction to set up what would ultimately fail to be achieved thereafter, concluding with Ray Adler's haunting oration. After this, the album flirts with weak industrial rock in Part II before giving over to a few too many ballads in Parts IV, V and VI consecutively, and after this the album never really recovers. This isn't even massively experimental, and the listener's patience is never rewarded.
1. Part I
2. Part II
3. Part III
4. Part IV
5. Part V
6. Part VI
7. Part VII
8. Part VIII
9. Part IX
10. Part X
11. Part XI
12. Part XII
Fates Warning
Fates Warning X
****
Written on 08.07.08
Fates Warning's tenth release was one of the stronger progressive metal releases of 2004, largely for forsaking the genre's expectation of showy instrumental prowess, thanks to the likes of Dream Theater. Entirely lacking in zany, self-indulgent solo spots, 'Fates Warning X' instead boasts exceptional atmosphere, but retains a strong guitar focus to make this heavy enough for metal fans, and with enough memorable choruses to open it up to a wider audience. This is that seemingly rare breed of music that's simultaneously accessible and intelligent.
Everything about this smacks of a maturity gained after the disappointing failed experiment of 1997's 'A Pleasant Shade of Gray,' and takes some degree of influence from the post-rock movement as songs build to crescendos. Acoustic guitar is used well, and as an equal instrument in its own right in 'Another Perfect Day' as opposed to a gimmick, and the instruments impress without alienating casual listeners in the finale 'Wish' in particular.
1. Left Here
2. Simple Human
3. River Wide Ocean Deep
4. Another Perfect Day
5. Heal Me
6. Sequence #7
7. Crawl
8. A Handful of Doubt
9. Stranger (With a Familiar Face)
10. Wish
Fear Factory
Soul of a New Machine
****
Written on 08.07.08
The first full-length Fear Factory album to be officially released (the true debut 'Concrete' was postponed until 2002), 'Soul of a New Machine' is also one of the band's finest works, their only true album as a death metal band before defining their industrial sound in 'Demanufacture.' Even at this early juncture as a band heavily influenced by the likes of Napalm Death and Godflesh, Fear Factory experimented with industrial and melodic aspects, and the alternation between harsh growls and haunting clean vocals was a novel idea for death metal at the time, one that works exceptionally well here.
The guitars and drums are affected somewhat by the weak production that robs them of the devastating impact they perhaps deserve, but they sound more natural and human than on the band's subsequent efforts. The use of film and voice samples is a little awkward and unnecessary, especially the interruption in 'Crisis,' but all the same this serves to date the album in quite a nice way. Unlike many grind-style albums that feature all too many throwaway tracks, the only frivolous one here is the sound-effect-laden minute of 'Natividad,' the rest is excellent.
1. Martyr
2. Leechmaster
3. Scapegoat
4. Crisis
5. Crash Test
6. Flesh Hold
7. Lifeblind
8. Scumgrief
9. Natividad
10. Big God/Raped Souls
11. Arise Above Oppression
12. Self Immolation
13. Suffer Age
14. W.O.E.
15. Desecrate
16. Escape Confusion
17. Manipulation
Fear Factory
Demanufacture
Soul of the Machine
****
Written on 13.06.04
1994 saw the release of the second album from industrial metal band Fear Factory, an incredibly heavy and atmospheric offering that was immediately successful with metal fans. The band's cyberpunk themes, influenced by films and literature, would be a trait of their albums for several years to come and while this was not their biggest selling album it is commonly seen as their finest hour.
STYLE
Fear Factory are technically astounding in their musical technique and throughout this album it is very easy to imagine that they are in fact advanced androids with cybernetic skeletons under their human visages, although they are quite clearly not. There are a number of definitions for "heavy" music, but whatever your personal view there is no doubt that this would do serious damage to listener's eardrums and brains if the volume was loud enough. This is due to the almost constant stream of speedy double bass drums setting the tempo and rhythm, coupled with the guitars and bass which follow the riffs perfectly before branching out on occasion.
Burton C. Bell has always been Fear Factory's vocalist and he is a very impressive frontman with a wide range, although is perhaps not at his most impressive here. On the aggressive tracks he executes a fantastic guttural shout, the genuine sound of which puts other shouting bands who use sound enhancements (such as the over-rated Slipknot) [Someone's changed his tune] to shame, and his melodic singing takes on a very haunting sound when placed alongside atmospheric whines of the guitar. The band's first album was very heavy and gungy, and this refines that death metal sound into something that would possibly sound clinical and unemotive in the wrong hands: thankfully the production values of this album suit it perfectly.
Fear Factory was:
DINO CAZARES - Heavy duty scarifier
BURTON C. BELL - Dry lung vocal martyr
RAYMOND HERRERA - Maximum effective pulse generator
CHRISTIAN OLDE WOLBERS - Total harmonic distortion
At least that's how they list themselves in the album; I'm not telling you who plays what, that's for you to decide.
TRACKS
There are eleven tracks on the album, forming a very solid and interesting collection of songs across all ranges of speed and mood.
1. DEMANUFACTURE
The album wastes no time in hitting the listener hard with the heaviest track; despite having heard the band previously it even took me a while to appreciate this track, but it is excellent. Very angry and incredibly loud, this also sets the general atmosphere of the album through the use of keyboards and high guitars that sound a little different to everything that's come before. The insane clicks and thumps of the drum pedals would leave those unused to this type of music feeling quite faint however, so not a track to introduce yourself to the band with.
"I've got no more goddamn regrets
I've got no more goddamn respect
I am the thorn in your eye"
2. SELF BIAS RESISTOR
Expanding the sound to include lighter elements, this is one of my favourites on the album. Burton's singing makes the chorus the perfect example of Fear Factory's talent, while the verses are very catchy and full of interesting musical changes. Still very heavy but this track never overdoes it in the way the title track did. The perfect balance, and it proves that there must be some human soul in those mechanical exoskeletons.
"All these years they've tried to break you
To your knees
Anger scours right through your veins
Now it's time to put an end
To all those lies
Now it's time to take control
Of your life"
3. ZERO SIGNAL
Less impressive musically, but this makes up for it in atmosphere. A shorter and less developed continuation of what has come so far, this begins with an electronic melody that sounds similar to the theme from 'The Terminator'; judging by the title of a later track this is likely deliberate. Fast and heavy but also sounding a little deliberately raw, this has nice melodic singing in the chorus and very angry verses but isn't anything special. Still not a filler track though, and it bridges the gap before the next track.
"I am down on my knees
Praying beyond belief
The silence deafens my ears
And welds the shackles onto my fears"
4. REPLICA
This track is still heavy but in a different, more accessible way. As this was the album's first single it follows a less intense style but in fact sounds all the better for it due to the improved guitars and, dare I say it, groove. Burton's vocals are still aggressive but sound much better and more controlled than on the first track, there are also plenty of musical breaks to keep things interesting. Another of my favourites on the album, despite following a similar pattern of changing vocals and short gaps in the drumming.
"Filled with pain,
A bruised and darkened soul
Spare me from the life that's full of misery
Spare me from the life that's full of pain"
5. NEW BREED
Possibly the least impressive offering, 'New Breed' fails to live up to the standards of what has come so far. The lyrics are over-repetitive and unimaginative, and to add insult to system failure they don't even sound that good. A bit of a filler track, but it is very short and as such doesn't outstay its welcome.
"We are immune to life itself
Cold rules are reality
We are immune to life itself
Cold rules are reality"
6. DOG DAY SUNRISE
A cover of Head of David, (a band who obviously either appreciated the work of Michaelangelo or just liked my face) this is a nice departure from the rest of the tracks although isn't too impressive by itself. The drums are far more slow and relaxed, keeping a beat rather than dictating it, while the guitars and bass are lighter and more reflective. Burton sings in a low droning kind of voice that suits the music and although I haven't heard the original it's obvious that the band have done an excellent job in adapting it to their musical style: it's still hard not to imagine them playing the song in a neon-lit pavement of Neo-Los Angeles, circa 2028 AD.
"Dog Day Sunrise
Every day of my life"
7. BODY HAMMER
A return to the heavier side of things, this second half of the album is for the most part not as impressive as the first, seeming a little less original and perfected, but there are still some excellent tracks. 'Body Hammer' is a fairly standard heavy track with crushing drums and guitars and a sung chorus, however it still feels like an imitation of the first few tracks. The chorus is quite catchy though.
"As of now I am a tool
Of severe impact"
8. FLASHPOINT
One of the heaviest tracks, this does take a while to be fully appreciated. Burton's vocals are as aggressive as in the opening song and the use of keyboards keeps the mood and atmosphere of this piece. Easy to overlook but fairly satisfying, although no sung sections or melodic guitars this time round.
"Damned
In flames
Damned
In flames"
9. H-K (HUNTER KILLER)
Another of my favourites along with 'Replica' and 'Self Bias Resistor,' this forsakes the heaviness a little in favour of a more traditional chugging guitar sound and less intense drums, similar to Replica. Quite lengthy, this is musically very interesting and has a great driving rhythm and beat throughout. Burton again shows the range of his vocals as he carries this one out with a fairly guttural but very audible way that somehow sounds different, and much better, than most of his shouting on the disc. A really good track that would appeal to most fans of metal: the best guitars on the album.
"I've become what they detest,
A delinquent survivalist,
Without rules and no regrets
They f***ing say"
10. PISSCHRIST
Obviously a bit of an atheistic song, but there's nothing blasphemous about it (apart maybe from the track, however you may interpret that) this is very atmospheric and melodic at times despite the punding drums. Not too long either, this was originally on the band's demo record, recently re-released by Roadrunner but not worth looking into. A great track and an excellent loud note to go out on before the unconventional final track...
"Crown of black thorns,
Human skin ripped and torn.
Where is your saviour now?
Where is your saviour now?"
11. A THERAPY FOR PAIN
Very different from what has come before, this is a very long and fairly reflective monster that overflows with melancholy and ambience. The guitars and drums are far, far slower here and Burton's vocals are in a constant haunting state of mid-range singing. I can't say I'd generally listen to this all the way through, as it isn't a musically involving epic as many tracks of substantial length are, but it's still brilliant and an excellent choice by the band after the raw power and aggression of the record.
"Tried
So hard"
VERDICT
Fear Factory's albums are always an impressive sight, none more so than here. The very dark colour scheme of black, purple and neon blue is very reminiscent of the dark future envisioned by the tracks, while the opened spine-cum-barcode motif is excellent and thought-provoking.
Musically, this is mind-numbingly flawless musicianship at an incredibly fast pace, and I hope to see the band live soon to see how they perform out of the studio (judging by their huge fan following they've got to be pretty good). It's clear that their music required some development at this stage, resulting in the later effort of 'Obsolete,' but the combination of drums, grinding guitars and moody and aggressive vocals makes this immediately recognisable and very powerful. Definitely too far a step in the heavy direction for most people, but none do it better than Fear Factory.
'Remanufacture: Cloning Technology' was released soon after this and is a remix of the album to a more industrial techno sound. This is interesting, but not as classic or skilful as this effort by one of the most prominent bands in the relatively underground metal scene.
Fear Factory
Archetype
Reassembly
****
Written on 25.04.04
In 2004, 'Archetype' was released by long-established industrial metal band Fear Factory. Their heaviest album in many years, Archetype incorporates all of the band's previous efforts and expands upon them, producing one of the strongest metal albums of recent years. The album was hotly anticipated and well received by the band's fans who were under the impression, until only a few months previously, that Fear Factory were no more.
REMANUFACTURE
A year after the release of 'Digimortal,' disagreements between band members led to Fear Factory disbanding, and the subsequent release of two unnecessary albums serving only to complete the band's contract with Roadrunner records; 'Concrete' was a re-release of their unimpressive demo album and 'Hatefiles' was a collection of B-sides.
The circumstances surrounding the band's split were obviously not as extreme as some believed, considering the existence of this new album, but it seems that the main differences of opinion lay with former guitarist Dino Cazares. The only band member not to return, Dino's heavy style and more mellow rhythms meant that a replacement guitarist would be difficult to find; therefore the band took the surprising turn of reallocating the talents of bass player Christian Olde Wolbers. Christian also played the basslines for all the tracks, but the band's live bass duties are handled by Byron Stroud of Strapping Young Lad.
COMPONENTS
Burton C. Bell (vocals, keyboards)
Christian Olde Wolbers (guitar, bass guitar)
Raymond Herrera (drums)
SOUL OF THE NEW MACHINE
Fear Factory have long been the kings of cyberpunk, man versus machine concept albums, themes that fit the music surprisingly well. With this much more personal album, Burton shouts and sings about problems with the music industry and modern life, ditching William Gibson and Philip K. Dick in favour of
The sound is still mechanically perfect, but the production on this album is excellent in that it balances out the raw power of the guitar riffs and the polished keyboard samples; musical taste aside, this album sounds perfect, and Burton's singing voice improves with every release, although it's not quite as haunting as on some of the earlier albums.
TRACKS
1. SLAVE LABOUR
Kicking straight in with the heavy, drum-led riffs and atmospheric effects, this is a great opener to the album that indicates how it means to go on. Burton's vocals range from aggressive but audible roars over the bass riffs and mid-range singing in the chorus sections, even distorting to a static crackling voice at parts. Reading the lyrics, it's obvious that the band are heavily criticising record companies and contracts; this isn't a groundbreaking song but is a great opening track that doesn't drag on.
"My chains are paper thin, and they're welded with ink
Sealed inside a legal trap, so tight blood don't leave"
2. CYBERWASTE
The first track to be released as a promotional single, this very heavy and angry track is dominated by Herrera's drums but has some great heavy guitars and a memorable chorus. Although at first it could easily be misinterpreted as a return to the sci-fi angle, the song condemns internet abuse of the band and their contemporaries, and there is a great change in the song towards the end including ominous vocals. Fast, raw and aggressive metal.
"Sow your seeds of ignorance you cyberparasite
Seems you say most anything to stab me with your lies
You are a virus spreading disease!"
3. ACT OF GOD
This song begins with a staccato build-up in the style of some of the band's past songs before the main riff can be determined. Similar in style to the band's debut album but much more refined, there is excellent use of strange samples and pauses, and the slightly longer length of five minutes offers more in the way of breaks and tempo changes than some of the shorter tracks; this does sound a little too similar to tracks from early albums however.
"Lights of faith blinding my eyes
Fires of hate scorch through the skies"
4. DRONES
This song has a great, catchy riff and some more impressive use of synthesisers to add a great atmosphere, and as such is one of the better tracks on the album. Burton's vocals have an echo effect and the chorus section has the best use of vocals and guitar harmonies this far in the album. Because it is only really a criticism of material wealth and the inevitability of death it somehow feels less aggressive than some of the other tracks and I would describe it as almost upbeat in places, especially the very melodic singing at the end: great!
"In paradise there's ill neglect
And lives are lost in full distress
The weight of sin is memory spent"
5. ARCHETYPE
The title tracks of Fear Factory's albums are something of a mixed bag: 'Demanufacture' was one of their heaviest offerings, but 'Obsolete' and 'Digimortal' failed to distinguish themselves amongst the other tracks on their albums. Thankfully, 'Archetype' is an incredible track and one of my favourite Fear Factory songs.
Essentially the structure is pretty much the same as the rest, but this gets the balance of heaviness, aggression and contemplative mellowness perfectly. The opening riff is melodic and memorable, but this belies the later "F*** you!" onslaught. It's clear why this is the title track, with its message of staying true to one's beliefs and relating this to the band's own decisions: the chorus states that "the infection has been removed, the soul of this machine has improved," a clear reference to the band's newfound optimism as a unit.
"You must never forget
The essence of your spark
All of that which defines you
Is the essence of your blood"
6. CORPORATE CLONING
The mechanical, repetitive opening riff suits the subject matter very well, but doesn?t allow preparation for Burton?s unusual vocal style that sounds a little off-putting. The vocals improve, and the riff is memorable and often very heavy, although the lyrics criticising short-lived celebrities and pop icons are a little unnecessary and tired by now. Still, it?s very headbangable and is by no means a filler track, not being particularly long.
"Like insects share a mind, deviance is a crime
Deliquent rank and file, encoded, stamped and styled"
7. BITE THE HAND THAT BLEEDS
The quiet opening of this song sounds very similar to Nine Inch Nails, before the distinctive Fear Factory guitars kick in. Less bass drum-led, this is a slower offering that features much more of Burton's singing and great use of orchestral guitars in the style of the classic FF track 'Resurrection.' A welcome change of pace, the vocals reflect over misplaced trust in an unnamed individual; whether this is related to the band's break-up or personal life is unclear. A very good track that stands apart from the rest and is easy single material.
"I see you have two faces turning
Changing face to keep me guessing
You have mastered the art of deceiving"
8. UNDERCURRENT
Starting similarly to 'Archetype,' this is an angry and somewhat unpredictable track, bringing in singing and bass grooves at different junctures, and there is good use of ensemble shouting in the chorus. The problem with this song is that, as the eighth track, it sounds like a repeat of some of the earlier material despite being equally as impressive and valid, experimenting with less heavy drums and more extensive use of the bass.
"Face me and you still deny
Hate me and drown me in lies"
9. DEFAULT JUDGEMENT
A solo bass riff introduces and permeates this very heavy track, which is aided by some of the most melodic and atmospheric keyboards on the album. The issue remains that by this point in the album, more casual listeners may have become bored of the repetitive style but it is another very good track, if lacking in originality. Great performances all round in this one, and it criticises peoples' prejudices on the whole which is good I suppose.
"Spiteful resolutions,
By your sentence we must fall
Spiteful resolution,
Bitter thoughts destroy us all"
10. BONESCRAPER
For some reason, Bonescraper fails to impress me in the way that the other tracks do, possibly because it sounds like a re-hashing of their heaviest tracks and doesn't really distinguish itself. Also a little aggressive at the cost of musical variety.
"There is no future for us to suture
Your life ill fated, beat down and hated"
11. HUMAN SHIELDS
This track is a very, very welcome change with its soft electric guitars and unintrusive drum beat at the start, and even when everything becomes louder it retains the melancholy quality. Burton also carries out his best vocals for quite a few tracks and this is one of my favourite tracks on the album for these reasons. It is also less likely to give the listener a headache than the others, without deviating into something too different to be considered 'true Fear Factory'; several of their tracks have made this mistake in the past and become unlistenable.
"Mothers bare the burdens of our defeats
Fathers are on their knees praying for mercy"
12. ASCENSION
The closing track escapes the curse of sameness by being an incredibly atmospheric, if a little dull, instrumental; the term instrumental should be used loosely as none of the regular instruments play a part, the track being composed by keyboards and samples. This is an impressive track however, and is one of the band's most atmospherically intriguing offerings in their history, perfectly suited to their cyberpunk lyrics of bygone days.
And not forgetting, SCHOOL
The twelve tracks have finished, and on comes this completely different number, a cover of 'School,' a song from the first album released by grunge legends Nirvana to celebrate (sorry, I mean commemorate) the tenth anniversary of lead singer Kurt Cobain's death. The song stays faithful to the Nirvana track but manages to spice it up to the Fear Factory standard, and the fact that it isn't a complete departure means I still enjoy it, despite the fact that it isn't inherently my kind of music.
"Won't you believe it
It's just my luck"
VERDICT
A departure lyrically and thematically from the band's earlier albums, the musical style has returned to the heaviness of 'Demanufacture' while incorporating the melodic elements of 'Obsolete,' and this results in a great and distinctively Fear Factory sound.
Based on the band's history, an unimpressive remix album will be released at some point that will fail to do these tracks justice; many of them are great pieces of heavy, atmospheric, angry metal, performed by talented musicians who believe in what they are doing. The fact that the lyrics criticise unoriginal "artists" to such a degree is somewhat hypocritical considering Fear Factory's lack of any real progression within these twelve album tracks, and this similarity prevents this album from attaining the high status of their afore-mentioned albums in my collection, but on further listens I may begin to appreciate it more.
'Archetype' shows an incredibly appealing direction in which I hope the band will continue, but the amount of aggressive, similar songs, complimented with less heavy offerings that sometimes seem a little forced, means that this is by no means an instant classic. The limited edition release of this CD includes a bonus DVD covering the band's recent Australian tour and the production of this album. I have no problems with the change in band members like some dedicated fans have, especially as it means that Fear Factory are back to their position as the leaders of the industrial metal movement. The soul of the machine has indeed improved.
DISCOGRAPHY
Soul of a New Machine (1992)
Fear is the Mindkiller (1993, remixes)
Demanufacture (1994)
Remanufacture (1997, remixes)
Obsolete (1998)
Digimortal (2000)
Archetype (2004)
Fear Factory
Transgression
**
Written on 08.07.08
Released only a year after 'Archetype' sought a return to the band's established trademark sound, 'Transgression' evidently seeks to push the boundaries of this sound to new extremes, but fails somewhere along the way. Rather than a drastic evolution, this is only a minor progression and one that isn't necessarily for the better, only really impressing when the style retreats even further back into Fear Factory's history and offers some convincingly heavy and angry death metal in the songs 'Spinal Compression' and 'Moment of Impact.' The rest is a comparatively weak mixture of ineffectual aggression and boring slow songs, the latter reaching its nadir in the deathly dull 'Echo of My Scream.'
The guitar tone is pretty horrible throughout, lacking the crunch of previous albums, but one area of improvement comes in Burton C. Bell's vocals, which try even harder than before to sing in conjunction with his standard death metal growl, and the result is pretty impressive. Overall, this album largely suffers for its jumbled arrangement and the inclusion of far too many weak songs, including the worthless covers of U2 and Killing Joke that really should have been saved for B-sides.
1. 540,000 Degrees Fahrenheit
2. Transgression
3. Spinal Compression
4. Contagion
5. Empty Vision
6. Echo of My Scream
7. Supernova
8. New Promise
9. I Will Follow (U2 cover)
10. Millennium (Killing Joke cover)
11. Moment of Impact
Finntroll
Visor Om Slutet
****
Written on 09.07.08
'Visor Om Slutet' is technically an E.P. release rather than an album, though it lasts longer than the band's subsequent full-length 'Nattfödd.' The reason for this lesser classification seems to be that it's intended as an experiment, deviating from the band's established folk-black metal sound by eradicating the metal elements entirely, and showing just how capable the band is of playing stripped-down acoustic folk. The result is sensational, and surprisingly my favourite release from the band.
Saturated with the sounds of nature such as croaking frogs, streams and birds, this is heavily atmospheric from the onset, and Trollhorn's keyboards have never been better. This album seems to achieve what bands such as Burzum and Windir were attempting in their more pastoral moments, and there's even a great amount of variety with the faster and more upbeat polka of 'Försvinn Du Som Lyser,' convincing ballad 'Den Sista Runans Dans,' oddly sinister 'Madon Laulu' and blaring keyboard finale 'Avgrunden Öppnas.'
1. Suohengen Sija
2. Asfågelns Död
3. Försvinn Du Som Lyser
4. Veripuu
5. Under Varje Rot Och Sten
6. När Allt Blir Is
7. Den Sista Runans Dans
8. Rov
9. Madon Laulu
10. Svart Djup
11. Avgrunden Öppnas
Finntroll
Nattfödd
****
Written on 09.07.08
'Nattfödd' is often hailed as Finntroll's finest work, or at least the album most fans tended to hear first and develop a disproportionate attachment to. While it's certainly on par with their earlier efforts and isn't any kind of let-down, there is a noticeable lack of mania of the sort present on the more eccentric 'Jaktens Tid,' making this a more accessible and arguably watered-down version of Finntroll's polka metal style for curious newcomers.
Although less varied than the previous album, this is also more consistent, and boasts greater production values that really bring out the power of all the instruments, whether it's the keyboards, harsh vocals or even the accordion of the title song. The guitar riffs are solid, though leave me with the impression that they're playing it a little too safe at times, and although Trollhorn's sparkling keyboards are a little too much in songs like 'Eliytres,' he still impresses in every song with great ambience and atmosphere.
1. Vindfärd / Människopesten
2. Eliytres
3. Fiskarens Fiende
4. Trollhammaren
5. Nattfödd
6. Ursvamp
7. Marknadsvisan
8. Det Iskalla Trollblodet
9. Grottans Barn
10. Rök
Finntroll
Ur Jordens Djup
***
Written on 09.07.08
Finntroll's latest album is a slight disappointment after the quality of their highly distinctive earlier works, oddly opting to hide much of its folk influence until the album is almost half-complete. New vocalist Vreth isn't quite as impressive as his predecessors in his standard, non-descript roar, and the emphasis on a heavier, louder black metal sound may appeal to those who enjoy their metal based on these two criteria alone, but it doesn't offer anything truly impressive.
Trollhorn's fun keyboards are still permitted to break through in songs such as 'Korpens Saga,' the polka elements finally coming to the fore as late as 'En Mäktig Här,' but overall this is a bit of a strange album. I would have assumed that most metal fans approach Finntroll aware of their distinctive sound, rather than looking for another generic black metal band incorporating folk elements, and the end result here lies somewhere in-between.
1. Gryning
2. Sång
3. Korpens Saga
4. Nedgång
5. Ur Djupet
6. Slagbröder
7. En Mäktig Här
8. Ormhäxan
9. Maktens Spira
10. Under Två Runor
11. Kvällning/Trollvisan
Flowing Tears
Serpentine
***
Written on 09.07.08
Flowing Tears are one of the more impressive gothic metal bands I've heard, fronted by compelling female singers who don't rely on gimmicky operatic or pop vocals to sell metal albums to teenage goth girls, but who rather deliver a heartfelt performance that more than exceeds the otherwise bland musicianship.
Stefanie Duchêne's voice is excellent here, but it's ultimately only her performance in 'Starfish Ride' that will remain with the listener afterwards. After that point, the album's slow pace and lack of any real hooks starts to become tiresome, and it turns more into an album of atmospheric slow songs spoiled by the occasional dull ballad such as 'Portsall' that take the tedium to unnecessary extremes.
The atmosphere isn't particularly gloomy, as would be the case with a doom metal album, but isn't as chirpy as the average goth metal album, ending up in a slightly disappointing ambivalent middle ground.
1. Intro
2. Starfish Ride (For a Million Dollar Handshake)
3. Serpentine
4. Children of the Sun
5. The Marching Sane
6. Breach
7. Portsall (Departure Song)
8. Justine
9. The Carnage People
10. Merlin
11. Cupid of the Carrion Kind
12. For Tonight
Foo Fighters
The Colour and the Shape
Controlled Insanity
****
Written on 08.06.04
The second and, to date, most successful album released by one of the world’s most popular bands, ‘The Colour and the Shape’ appeals to fans from both the rock world and those with more commercial or mellow tastes, as shown by its 100% recommendation from the many reviews on this website. Dave Grohl again proves he can play the guitar and scream with the best of them, having originally achieved recognition as the drummer in Nirvana, while bassist Nate Mendel would be the only other band member to stay a Foo Fighter to this day. Guitarist Pat Smear and drummer William Goldsmith left the band after this album, and the music arguably took a downturn due to these changes.
On some of the band’s more recent hit singles, Dave Grohl can be seen screaming in the verses, however there’s something about this album more than the others that makes every loud note from that multi-talented man seem like an insane rage. The album is all the better for it.
TRACKS
This album is essentially composed of hard rock-style tracks and calm acoustic songs, but the two styles clash and compliment each other on a number of occasions. No song is longer than around five minutes.
1. DOLL
A very calm and relaxed start to the album, this song is reasonably short but there’s nothing of real interest here. Of course, it mainly acts as an introduction before the album really begins with the incredibly energetic:
2. MONKEY WRENCH
One of the band’s most popular songs, ‘Monkey Wrench’ is fast and has a leaning towards a punk song with the guitars and drumming, but is kept in track by Grohl’s singing. An immediately likeable track, the song becomes heavier towards the end with Grohl’s unadulterated screaming. One of the high points of the album.
“Don't want to be your monkey wrench, one more indecent accident,
I'd rather leave than suffer this, I'll never be your monkey wrench”
3. HEY, JOHNNY PARK!
A slightly more complex track after the commercial appeal of the previous outing, this alternates between a hard rock chorus and soft, mellow verses, but for me the highlight is the excellent guitar riff that begins the song and crops up at regular intervals. The band’s talent lies in creating a strangely relaxing song even when every instrument is on full whack.
“Now that I've found my reward, I'd throw it away long before
I'd share a piece of mine with you”
4. MY POOR BRAIN
The opening of this song reflects the idea of an addled mind, but it soon drastically changes to a soft acoustic verse. Once again, the chorus is louder and harder than the verses, however Grohl’s singing is so light and quiet in the verses that this is the biggest contrast on the album. Quite a good song, but not too impressive compared to the other offerings on the album. A great dual guitar section though.
“Real life is so hard, we hide in the stars,
That's where our heads are, my head and your heart”
5. WIND UP
A more straightforward hard rock track, Grohl’s vocals compliment the heavy riffs very well, however there’s still nothing radically different to make this stand out. Grohl’s solo towards the end keeps things interesting, and the song is quite short at two and a half minutes.
“Will I be happy on the back of the shelf?
Will you be happy when we're sharing a cell?
Spare me your questions since you know me so well”
6. UP IN ARMS
A song that has grown on me considerably, the first half is a reflective acoustic section with prominent drums, but then it breaks into a fast punky track with very catchy guitars and vocals. If this had been released it would have made for a very successful single in the style of a less angry ‘Monkey Wrench.’
“The rain is here and you, my dear, are still my friend.
It's true the two of us are back as one again”
7. MY HERO
One of the band’s classic anthems, this mid-tempo track is very memorable and was released as a single with an interesting video that was skilfully all filmed in one camera take. One of the band’s most recognisable and infectious choruses, this is one of my favourite Foo Fighters songs and is one of the finest examples of all the instruments working perfectly together.
“There goes my hero, watch him as he goes.
There goes my hero, he's ordinary.
Don't the best of them bleed it out, while the rest of them peter out?”
8. SEE YOU
A low-key but fairly upbeat acoustic track, this sounds as if Dave Grohl has come up with the track about half an hour before the studio recording, but this at least gives it a little character. One of my least favourite tracks, I don’t really like the high singing on this one, and it would have been a lot better with a plugged in guitar.
“How could I end up in the hands of someone else?
These notes are marked return to sender, I'll save this letter for myself”
9. ENOUGH SPACE
Mendel’s bass gets a rare chance to shine in the opening to this very enjoyable track. Grohl’s screams go into overdrive here, but he manages to calm down considerably in some parts of the song. Fast and fun, this isn’t a classic but it’s still very worthy of a place on the album.
“Put her on the ceiling, try to make her my own.
People line up to see, but there never seems to be enough space”
10. FEBRUARY STARS
Another soft track, something that seems a little unnecessary at this point in the album, this doesn’t keep me entertained during the first three minutes, and it’s only after this point that the track becomes a little louder and more impressive. A decent example of the Foo Fighters, but it sounds too similar to what’s come before and what’s to come after on the next, more mellow album.
“Even though, passed the time alone,
Soon we're so unknown, it heals the soul”
11. EVERLONG
Often hailed as the best Foo Fighters song, there’s definitely something about ‘Everlong’ that makes it stand apart. The instruments and vocals are all excellent and there’s a fair amount of progression, especially in the brief but incredibly catchy chorus. Probably the best song to introduce new listeners to the band, the only problem could be that their other songs seem less impressive in comparison. This has one of the most interesting music videos ever created, which tops it all off.
“And I wonder, when I sing along with you, if everything could ever feel
this real forever,
If anything could ever be this good again”
12. WALKING AFTER YOU
Notoriously made on very short notice, this was a basic ‘first draft’ of a song the band created for the X-Files film in 1998, placed on the album to fill it out. As with some of the others, it does give the album more character (at the cost of some professionalism), and I’m sure I’d love this track if I was a fan of the acoustic songs. Very quiet and sombre, this fades out to nothingness for a while at the end.
“If you walk out on me, I'm walking after you.
Another heart is cracked in two, I'm on your back”
13. NEW WAY HOME
Almost included as an extra track after the silence at the end of track twelve, this closes the album on a more positive note and is quite interesting structurally: at halfway the song seems to have finished before slowly building up to the heaviest part of the whole album. Not as memorable as some others, but at least there’s some headbang for your buck at the end of the CD.
“If you could manage me, I'll try to manage you,
But lately it's all I ever do”
VERDICT
Most fans of modern rock music, no matter what variety, will have enjoyed the Foo Fighters at some point in their lives, and they’re a band I’ve always been fond of and had a great respect for, partially due to their grasp of making interesting and entertaining music videos. This is their most successful and popular album and it’s easy to see why, as it combines their musical styles perfectly. Their previous, self-titled album had more of a raw grunge influence, and although this album features better production it still carries something of a rebellious flippancy in terms of its sound; I assume the band were satisfied with any performance they gave, and felt no need to work songs to death in the studio.
In contrast to this, their follow up album ‘There is Nothing Left to Lose’ had a much softer sound throughout and sounded in places to be very overproduced. Their latest release, 2002’s ‘One By One,’ thankfully showed a return to a harder style, however the varied styles on that album ended up sounding a little forced in comparison to the obvious enjoyment for all those involved in ‘The Colour and the Shape.’ A very good album that already holds a place in millions of households and will continue to sell for many years to come.
And what IS the Colour and the Shape?:
It is dark blue with red and white bits, and is oblong.
Advantages: Some excellent rock tracks, Every band member is great, 'Everlong'
Disadvantages: Some songs are less impressive and sound similar
For My Pain
Fallen
**
Written on 09.07.08
For My Pain... manage to be a disappointment in the Finnish gothic metal scene, which is some feat considering how low the bar has already been set by the likes of HIM and Charon's more recent efforts. The disappointment stems from the band's status as something of a supergroup, with members from other metal bands of varying styles coming together to produce something infinitely less than the sum of their parts. This is standard and rather dull gothic metal through and through, and some pretty keyboard work from Nightwish's Tuomas Holopainen can't save it from mediocrity.
There's still more of a heavy metal element here than in the more consciously commercial works of the high profile Finnish gothic metal acts, most notable in the lead guitar melodies, but the pace is slow throughout and lacks any real dynamic elements beyond the occasional catchy chorus, none of which are memorable by the time the next song comes along.
1. My Wound is Deeper Than Yours
2. Dancer in the Dark
3. Queen Misery
4. Sea of Emotions
5. Rapture of Lust
6. Broken Days
7. Dear Carniwhore
8. Bed of Dead Leaves
9. Autumn Harmony
10. Tomorrow is a Closed Gate (Dead for So Long)
Advantages: Skilled musicians (apparently).
Disadvantages: Tedious and uninspired.
Forgotten Woods
Race of Cain
***
Written on 09.07.08
'Race of Cain' is a bold and intriguing comeback album for Norway's Forgotten Woods, favouring a lo-fi production quality comparable to many black metal demos from a decade earlier and concentrating more squarely on exposing the hypocrisy of Christianity, culminating in the extended sample of a radio interview with preacher Bob Larson in 'Third Eye,' bookended by the most furious musical performance of the album.
The weak production does serve to spoil the album from a technical point of view, though it does aid the dingy and intensely raw atmosphere. This mainly presents a problem in the couple of tracks where the style follows a more traditional speedy black metal approach, as 'A Landmine Reprisal' and 'Nightly Paradise' feature instruments that are often little more than a fuzz. The slower, more doom-laden songs are better on the whole, particularly the strong bluesy riffs of 'One Day' and the gloomy atmospheric guitars and female vocals of 'The Principle and the Whip.'
1. Race of Abel (Intro)
2. One Day
3. A Landmine Reprisal
4. Intolerance is the New Law
5. Jedem das Seine / Erasing the Fuckhead Majority
6. Here, in the Obsession
7. The Principle and the Whip
8. Nightly Paradise
9. Third Eye (New Creature)
Advantages: Raw and disturbing atmosphere, great selection of voice samples.
Disadvantages: Deliberately poor production is an issue.
Gamma Ray
****
Written on 10.07.08
I've never been able to get over the impression of Gamma Ray being merely a lesser spin-off of Helloween (making the tertiary Primal Fear barely worth mentioning), but with 'Somewhere Out in Space' they make a significant mark in the speed metal scene. This album has everything a classic metal fan could ask for, with memorable and catchy guitar melodies and choruses, fast instrumentation and cheesy subject matter (here showcasing a temporary fixation with science fiction), with a number of strong compositions comparable to the best eighties metal albums. Though obviously, being released in 1995, some years behind the times.
Songs such as the title track give Dragonforce a run for their money in the velocity stakes, but for all the metal perfection there are still inevitable drawbacks such as the tedious power ballad in the form of 'Pray,' and the frequency of slightly annoying interlude tracks seemingly to bulk out the tracklist, that don't really offer much to the songs they precede. It isn't as epic as Ayreon or classic as Iron Maiden, but 'Somewhere Out in Space' deserves to be in every classic metal fan's collection, the only Gamma Ray release I would wholeheartedly recommend.
1. Beyond the Black Hole
2. Men, Martians and Machines
3. No Stranger (Another Day in Life)
4. Somewhere Out in Space
5. The Guardians of Mankind
6. The Landing
7. Valley of the Kings
8. Pray
9. The Winged Horse
10. Cosmic Chaos
11. Lost in the Future
12. Watcher in the Sky
13. Rising Star
14. Shine On
15. Return to Fantasy (Uriah Heep cover)
Gamma Ray
No World Order
****
Written on 10.07.08
'No World Order' is comparable to Judas Priest's 'Painkiller,' in that it isn't necessarily the peak of Gamma Ray's career, but it certainly packs a heavy metal wallop. The comparison is enhanced further by the typical theft of much of that other album's sound, particularly in songs like 'The Heart of the Unicorn.' No one ever said Gamma Ray were the most original metal band around, but their perseverance with a rather dated style pays off in this solid album of heavy metal enjoyment.
'Induction' is quite a bad starting point as it promises a sense of the epic that would fail to materialise in the relatively simplistic music to follow, but this is soon forgotten as the heavy and seriously loud 'Dethrone Tyranny' explodes out of the speakers. None of the songs here are modern metal classics by any stretch of the imagination, but a few are notable and worthy of repeated listens, the title track itself standing out by leading the way with a guitar riff that could easily have come from a Judas Priest album of the seventies.
1. Induction
2. Dethrone Tyranny
3. The Heart of the Unicorn
4. Heaven or Hell
5. New World Order
6. Damn the Machine
7. Solid
8. Fire Below
9. Follow Me
10. Eagle
11. Lake of Tears
Advantages: Unadulterated heavy metal for genre fans.
Disadvantages: Mix Judas Priest with Helloween, and dilute.
Genesis
Wimpy Dreams
****
Written on 02.07.06
A rising force in progressive rock, Genesis’ increasing international popularity seems to have caused something of a nationalistic crisis for Peter Gabriel and his band of talented, experimental musicians. Taking their album title from a contemporary slogan of the Labour party, Genesis’ focus here is largely, consciously on auld Blighty, a year before Gabriel penned the lyrics to the band’s New York-set concept album ‘The Lamb Lies Down on Broadway’ and gave in to the US audience after all.
‘Selling England By the Pound’ is perhaps Genesis’ technical and creative peak, as well as their most commercially successful album of their early seventies output under Gabriel, before Phil Collins turned the band into a bland pop group. ‘Selling England’ features impressive guitar work from Steve Hackett, the distinctive style of which had a clear influence upon English heavy metal bands of the eighties, especially Iron Maiden. Tony Banks’ keyboards are also fully fleshed out for the first time, after a trial period on the previous album ‘Foxtrot.’ This combination of melodic guitar and synthesiser creates a soothing, harmonious, proggy pastoral sound that lasts almost throughout, exempting the album’s two less technical, poppy offerings.
Unusually long for the early seventies at 50 minutes, the album (almost) alternates between lengthy, near-epic songs and shorter, less complex pieces. The exception is ‘After the Ordeal,’ which is a seamless instrumental conclusion to its previous track. This structure works to satiate the two strands of Genesis fans; those who enjoy the pleasant, tender sound of their simpler, shorter songs… and prog fans. ‘Selling England’ satisfies both.
Genesis, ‘Selling England By the Pound’ (Atlantic, 1973)
1. Dancing With the Moonlit Knight (8:01)
2. I Know What I Like (In Your Wardrobe) (4:06)
3. Firth of Fifth (9:34)
4. More Fool Me (3:09)
5. The Battle of Epping Forest (11:43)
6. After the Ordeal (4:12)
7. The Cinema Show (11:06)
8. Aisle of Plenty (1:31)
The pseudo-title track (in that the album title forms the chorus), ‘Dancing With the Moonlit Knight’ is a guitar-heavy piece that begins relaxed and a cappella, Gabriel fulfilling the role of the satirical travelling minstrel, and evolves into a speedy rock number. Along with ‘Firth of Fifth,’ this perfectly showcases the strength of the Hackett/Banks sound, and is extremely progressive in its shifting structure. The lyrics bemoan the capitalist society that England has become, and are thus still relevant today (the exception perhaps being the Wimpy reference). ‘Firth of Fifth’ remained part of the band’s live repertoire for a considerable time, and is a classic song for keyboard fans, starting off with a simple piano hook and developing into engulfing ambience.
‘I Know What I Like’ and ‘More Fool Me’ are the album’s attempt at pop music, and work fairly well. ‘I Know What I Like’ is the more successful and impressive of the two by far, the latter being an early, disappointing chance for drummer Phil Collins to handle vocals. ‘I Know What I Like’ is a lyrical improvisation upon the album cover, depicting mowers, and Gabriel’s vocals in the chorus sound quite powerful, even despite issues with the album’s production.
The second side of the album, on the original vinyl, is dominated by Gabriel’s dramatic re-telling of an incident of London’s East End gang warfare in ‘The Battle of Epping Forest,’ but the concept isn’t stretched to the extent of the over-rated ‘Supper’s Ready’ on the previous Genesis album. ‘Epping Forest’ and ‘After the Ordeal,’ an instrumental in the same vein, are the only point on this excellent album that the band’s ambition perhaps overtakes their talent. The lyrics are nicely unusual, but the dramatisation and mock-acting of the vocals strives to construct a mini rock opera in the space of fifteen minutes, and doesn’t really succeed, similar to Roger Waters’ less restrained moments in his late Pink Floyd work, notably the melodramatic climax of ‘The Wall’ album.
The final stand-out song on the album is the excellent ‘Cinema Show,’ a great piece structurally that’s less lyrically intense and complex than its predecessors, the lyrics being more repetitive and secondary to the melodic rock foreground. The song drags on a little towards the end, but the vocal melodies work much better in the small doses here than previously, and are the album’s most infectious – try to avoid joining in with the ‘take a little trip back…’ and ‘like a maaaaan…’ reprises. ‘Aisle of Plenty’ is an unimpressive climax and somewhat unnecessary call-back to the first track, though saying that, the subtle return of the ‘Dancing With the Moonlit Knight’ piano melody is welcome. The lyrics comprise predominantly of a shopping list in a continued lament of the death of community retailers under the rising force of supermarkets.
‘Selling England’ is very nearly a concept album, and can be taken as such for its running theme of the death of old England under the rise of capitalism. ‘Can you tell me where my country lies?’ Gabriel asks as the album begins, before attention turns to the rise of fast food restaurants (‘you are what you eat – eat well’) and consumer fashion (‘you are what you wear – wear well’). Genesis’ early albums strive to combine the high-tech and the classical, evident in Hackett and Banks’ reproduction of traditional folk melodies on electronic instruments, and the subject matter often runs parallel. The notion of class and privilege is explored in ‘I Know What I Like,’ in which a labourer knows his place. ‘Firth of Fifth’ and ‘The Cinema Show’ belong only to their own internal ideas, the latter being a twentieth-century rewriting of Romeo and Juliet, apparently based on something from T. S. Eliot’s ‘The Waste Land.’
This is certainly Genesis’ peak under Gabriel, but won’t necessarily be enjoyed by fans of the band’s later direction. Gabriel’s swansong, ‘The Lamb…’, would follow a much different style, abandoning the lengthy instrumental experimentation in favour of shorter, story-centric pieces and overt focus on a bizarre concept and lyrics. The previous Genesis albums, especially ‘Foxtrot’ and ‘Nursery Cryme,’ sound in retrospect as if they strived to achieve what was finally recorded for ‘Selling England By the Pound,’ an album as scathingly or subtly satirical as the listener cares for, that significantly developed the sound of melodic guitars and synthesisers in prog rock.
Released in 1973 at prog’s commercial and creative peak, Genesis’ patriotic, classically-inspired rock symphonies act as a perfect companion to the spaced-out world-weariness of Pink Floyd, the trippy hippy harmony of Yes and the dark, jazzy, 'anti-Genesis' alternative Englishness of King Crimson.
Advantages: Influential. Innovative. Intelligent.
Disadvantages: Uneven. Underproduced. 'More Fool Me.'
David Gilmour
On an Island
***
Written on 10.07.08
David Gilmour's first solo release since the eighties was even more eagerly anticipated as his first album since Pink Floyd's well-received (if rather bland) 'Division Bell' in 1994, and still bears the distinctive signs of its author while displaying an obvious and welcome evolution. This certainly doesn't sound like a Pink Floyd album, exempting Gilmour's distinctive playing and singing styles that often mimic his past works in the more famous band, and its main focus seems to be on soothing the listener with gentle, part-acoustic lullabies, perfectly encapsulated by the tranquil and solitary album artwork.
Featuring guest musicians such as Pink Floyd's keyboardist Richard Wright and frequent collaborator Dick Parry on saxophone, the pair working brilliantly together in the heavily atmospheric interlude 'Red Sky at Night,' it's clear that Gilmour is capable of getting exactly what he wants on this album in terms of personnel, leading to the recruitment of high-budget Polish composer Zbigniew Preisner, whose influence can be heard most distinctly in the opening minutes prior to Gilmour's first indulgent guitar whine.
Despite a couple of songs deviating into more energetic rock territory, this is predominantly slow and soft, a mature release from an ageing artist who may have lost most of his spark after the seventies, but certainly isn't resting on his laurels. At least, not entirely.
1. Castellorizon
2. On an Island
3. The Blue
4. Take a Breath
5. Red Sky at Night
6. This Heaven
7. Then I Close My Eyes
8. Smile
9. A Pocketful of Stones
10. Where We Start
Goatlord
**
Written on 10.07.08
Goatlord's debut must be the dullest thing to come out of Las Vegas, a slow and dingy offering of death-influenced doom metal that maintains a compelling raw and dirty atmosphere for the first few minutes before giving over to extreme tedium as it crawls along at an unsatisfying pace.
The sound quality is poor, but this isn't really an issue and in fact perhaps aids the atmosphere. The problem lies in the musicianship itself, which is uninspired and entirely dull, the drums possessing a synthetic tone in songs like 'The Fog' that belies its programmed nature, while the guitars are only given an energetic kick in comparatively brief sections of the final two songs. The vocals are quite twisted and sinister which is cool (obviously), but even this isn't enough to save this album from mediocrity. This must have seemed like quite a novel mix of genres in 1991 (doom, death and primordial black metal), but it's been done so much better since.
1. Blood Monk
2. Distorted Birth
3. The Fog
4. Underground Church
5. Chicken Dance
6. Acid Orgy
7. Possessed Soldiers of War
8. Sacrifice
Godflesh
Godflesh
****
Written on 10.07.08
Godflesh were one of the more subtly influential metal bands of the late eighties to early nineties, the first to combine industrial electronic music with a heavy metal style in a creative and naturalistic manner, unlike the excess of other bands such as Fear Factory. Their first self-titled E.P. contains six high quality songs that carry off a gloomy and coldly mechanical atmosphere, possessing all the heaviness and intensity of Justin Broadrick's previous band Napalm Death, but without the focus on speed and anger.
The music is based around repeating electronic drum rhythms and heavy guitar riffs, but each track is kept distinct enough to appreciate in isolation. 'Veins' is perhaps the most easily accessible song here, comparatively upbeat and mellow, while 'Godhead' is a moody track saturated with echo and 'Spinebender' and 'Weak Flesh' both offer something harder for death metal fans. The final song 'Ice Nerveshatter' is the peak of the album's industrial side, led by a dominant drum beat, but it never crosses too far into electronic territory for the listener to forget that this is primarily a metal album.
1. Avalanche Master Song
2. Veins
3. Godhead
4. Spinebender
5. Weak Flesh
6. Ice Nerveshatter
Gojira
From Mars to Sirius
***
Written on 10.07.08
Environmentally-friendly Canadian metal band Gojira sound much like a second-rate Devin Townsend Band, but that doesn't stop this album from being quite a corker. Following the same groove-laden style as Townsend's work, these songs tend to be overlong and lacking in ideas, saturated with a repetitive double bass pedal rhythm that becomes annoying and over-reliance on gimmicks such as breakdowns, but it still manages to hold together as a consistent album balancing melody and heaviness in a distinctive way.
Few of the songs stand out from the general roaring tone, much as can be said for Townsend's albums such as 'Terria' and the excellent 'Synchestra,' but the finale 'Global Warming' is particularly interesting for its odd echo effect and unusual lead guitar melodies. Some such as 'Where Dragons Dwell' and 'The Heaviest Matter of the Universe' are a little irritating to listen to, mainly for the aforementioned drum thing, but the album maintains a distinctive mood and conveys an important message.
1. Ocean Planet
2. Backbone
3. From the Sky
4. Unicorn
5. Where Dragons Dwell
6. The Heaviest Matter of the Universe
7. Flying Whales
8. In the Wilderness
9. World to Come
10. From Mars
11. To Sirius
12. Global Warming
Gorgoroth
Pentagram
****
Written on 10.07.08
Norwegian band Gorgoroth's career has been more turbulent than most, thanks to legal disputes and a seemingly constantly revolving door of members, but their discography consistently satisfies black metal fans, though in varying degrees depending on their more specific orientation. As a fan of dingy, raw black metal with subtle melodic elements, it's their early albums that appeal to me the most for their Darkthrone style, as Infernus unleashes a barrage of catchy guitar riffs over the muted drums of Goat Pervertor, while Hat screeches like an animal. Gotta love these nihilistic kids.
These songs are excellent in their simplicity, never over-running and concentrating on memorability and energy. The entire album lasts for less than half an hour, but there are no filler tracks, and there's even a degree of variation from the more melodic 'Drømmer om Død' to the constantly changing tempos of '(Under) the Pagan Megalith' and 'Ritual.'
1. Begravelsesnatt
2. Crushing the Scepter (Regaining a Lost Dominion)
3. Ritual
4. Drømmer om Død
5. Katharinas Bortgang
6. Huldrelokk
7. (Under) the Pagan Megalith
8. Måneskyggens Slave
Gorgoroth
Antichrist
****
Written on 10.07.08
'Antichrist' is more or less the same release as its predecessor 'Pentagram,' but boasts improved production values and melody, while forfeiting a substantial tracklist: there are only six songs lasting for twenty-five minutes in total, and the worthlessly short introduction 'En Stram Lukt av Kristent Blod' takes longer to read out loud than it does to transpire.
The classic black metal atmosphere pervades this album, led by Infernus' changeable riffs that vary from harsh, repeating crunches to lighter tremolo-plucking melodic frenzies. This album is consistently strong, the only song that feels a little lacking being the overly simple and repetitive 'Possessed (By Satan),' and it also scores points for sounding convincingly evil, even if it pales in comparison to the sheer hellish sound of its successor.
'Sorg' is slow and doomy throughout, making for an interesting finale, and there's creative use of chanting vocals in a couple of songs to enhance the wicked atmosphere.
1. En Stram Lukt av Kristent Blod
2. Bergtrollets Hevn
3. Gorgoroth
4. Possessed (By Satan)
5. Heavens Fall
6. Sorg
Gorgoroth
****
Written on 10.07.08
As 'Revelation of Doom' opens, the listener is blasted with a wall of intense black metal fury, the likes of which I haven't previously heard outside of Behemoth. This makes for an intense listening experience, but also a somewhat irritating one, as the hammering drums do actually sound a lot like hammers. This is black metal cacophony at its best, impressive in the short term but potentially infuriating in the long run, and fortunately Gorgoroth calms down after a couple of songs to return to a slightly more melodic style from 'Funeral Procession' onwards.
This album fortunately isn't merely concerned with hostility, experimenting with chanting vocals in 'Profetens Åpenbaring' and reverting to a basic, plodding heavy metal style (albeit with added evil) in 'The Devil Is Calling,' but the album does lack the tomb-like atmosphere of its predecessors, as the band heads in an increasingly polished direction that would ultimately make their later releases less memorable.
1. Revelation of Doom
2. Krig
3. Funeral Procession
4. Profetens Åpenbaring
5. Postludium
6. Ødeleggelse og Undergang
7. Blood Stains the Circle
8. The Rite of Infernal Invocation
9. The Devil Is Calling
Gorgoroth
***
Written on 10.07.08
Gorgoroth's career takes a downturn with their fourth 'full-length' album, a term that has never seemed particularly appropriate considering the meagre duration of the band's recordings, and one that is especially dubious here considering this album's status as more of a collection of B-sides lumped together with arbitrary new material. The booklet claims that these songs were recorded between 1994 and 1998, and the varied sound, styles and production quality of each song belie the album's nature as a cutting room compilation.
This is still high quality black metal performed by masters of the craft, but it lacks much of the classic feel the band once possessed, as well as lacking their usual creativity. 'Destroyer' is clearly the new song tagged on to the beginning with the new vocalist, and it's reasonably catchy as Gorgoroth tends to be without really making a name for itself, but the album improves as the sound quality worsens and 'Open the Gates' and the more overtly melodic 'Om Kristen og Jødisk Tru' act as final, lingering reminders of why this band was so good in the early days.
1. Destroyer
2. Open the Gates
3. The Devil, the Sinner and His Journey
4. Om Kristen og Jødisk Tru
5. På Slagmark Langt Mot Nord
6. Blodoffer
7. The Virginborn
Gorgoroth
Incipit Satan
***
Written on 11.07.08
Although it's one of my least favourite releases from Gorogoroth, the experimental 'Incipit Satan' is still an album I admire for its bold attempts at transgressing the band's restrictive black metal framework, even if the results aren't always successful. Guitarist and songwriter Infernus has clearly been struggling with a preference for melody even since the band's early days, and here he's free to experiment to his full with light, harmonic guitars in songs like 'An Excerpt of X,' which would have been out of place in previous, darker works.
This is a nicely varied album, but not a particularly consistent one. 'Incipit Satan' mixes angry shouty sections with non-ish ambience in an unsatisfying contrast, 'A World to Win' sounds more like a classic heavy metal song with its rhythmic gallop, and 'Will to Power' is a rather dull and seriously overlong ambient interlude. The other songs are less memorable but fall somewhere in-between, making for an album that will alienate long-time fans and confuse newcomers, but still offers something different.
1. Incipit Satan
2. A World to Win
3. Litani Til Satan
4. Unchain My Heart!!!
5. An Excerpt of X
6. Ein eim av blod og helvetesild
7. Will to Power
8. When Love Rages Wild in My Heart
Gorguts
Considered Dead
****
Written on 14.07.08
Gorguts are one of the few prominent technical death metal bands who released impressive albums in the early nineties, before the genre stagnated and became solely preoccupied with showmanship. In the death metal tradition, 'Considered Dead' succeeds in achieving the hellish and gory sound fitting to its lyrics, but with a more impressive method. Much of the album is fairly straightforward death metal, such as the frantic 'Disincarnated,' while others reach outside the box slightly to incorporate diverse elements, namely the faux-acoustic guitar introduction to 'Waste of Mortality.'
The rest of the album rearranges the standard elements in a more sophisticated and original manner to produce music that's technical without being showy, with great production that really fleshes out each instrument including the significant bass. Perhaps slightly too changeable for traditional death metal fans in its frequent time changes, and maybe not experimental enough for technical metal fans, Gorguts' debut nevertheless reaches a satisfying middle ground.
1. ...And Then Comes Lividity
2. Stiff and Cold
3. Disincarnated
4. Considered Dead
5. Rottenatomy
6. Bodily Corrupted
7. Waste of Mortality
8. Drifting Remains
9. Hematological Allergy
10. Innoculated Life
Grave Digger
Heart of Darkness
****
Written on 14.07.08
'Heart of Darkness' introduces a new, more intelligent side of Grave Digger, abandoning their focus on speed and shrieking vocals in favour of a darker, lower and more drawn-out sound. This isn't an epic album by any means, even in the longer songs, but it's still highly distinctive German metal.
Chris Boltendahl's vocals are noticeably calmer here, which may disappoint those who are so fond of his usual high shrieking, but this helps the songs to convey a darker atmosphere. Uwe Lulis' guitar riffs are powerful and memorable, experimenting with unusual staccato rhythms in 'The Grave Dancer' and 'Demon's Day,' the latter of which is perhaps a little long but makes up for it with a great guitar solo. The title song is twelve minutes long and follows the tradition of most long metal songs by moving between gloomy balladesque sections and harder riffs, and it's certainly the best song here, remaining interesting throughout.
1. Tears of Madness
2. Shadowmaker
3. The Grave Dancer
4. Demon's Day
5. Warchild
6. Heart of Darkness
7. Hate
8. Circle of Witches
9. Black Death
10. My Life
11. Dolphin's Cry
Grave Digger
Tunes of War
*****
Written on 14.07.08
The increasingly ambitious Grave Digger entered the realm of concept albums with 1996's 'Tunes of War,' a great speed metal album focused entirely on the clan history of Scotland, spanning seven centuries. Opening with a heavy metal take on the bagpipe theme that anyone who lives in Edinburgh will be so very fond of (I think I've reached my bagpipe limit now), the album then ditches gimmicks and returns to the fast, hard-hitting heavy metal style of 'The Reaper,' with song after song of great metal that makes violence fun.
Uwe Lulis isn't the most creative guitarist in the world - indeed, the main riff of 'Scotland United' sounds distinctly like 'Eye of the Tiger' - but for all its precedent in the 1980s, this is a great album that will appeal to metal fans, the most contentious factor likely being Chris Boltendahl's relentlessly piercing shriek and the over-repetitive choruses, but once you get used to it, there's no turning back.
1. The Brave
2. Scotland United
3. The Dark of the Sun
4. William Wallace (Braveheart)
5. The Bruce (The Lion King)
6. The Battle of Flodden
7. The Ballad of Mary (Queen of Scots)
8. The Truth
9. Cry For Freedom (James the VI)
10. Killing Time
11. Rebellion (The Clans Are Marching)
12. Culloden Muir
13. The Fall of the Brave
Advantages: Great concept that doesn't impede superficial enjoyment.
Disadvantages: All reminiscent of older material.
Grave Digger
Dark of the Sun
**
Written on 14.07.08
Effectively an expanded single for the song from 'Tunes of War,' 'The Dark of the Sun' is a very average and non-essential release for anyone who owns the previous album, the three additional songs merely being re-recordings of lesser tracks from Grave Digger's early career. Preceded by an unusual take from a live show where the band audibly knows all the words as they chant over an acoustic guitar, 'The Dark of the Sun' erupts as a damn fine heavy metal anthem, but one that's a little less effective when removed from its album context. Chris Boltendahl's chorus is enhanced by over-dubbing, and Uwe Lulis' guitar riffs are strong.
Sadly, the E.P. falters after this, as the remaining songs aren't quite up to the same standard, though listeners whose taste for speed metal lies more in the eighties with bands such as Accept should appreciate them all the more. 'Heavy Metal Breakdown' is dominated by cheesy lyrics, but it's still pretty fun, while the other two are more generic.
1. Rebellion (Live in Athens) / The Dark of the Sun
2. Heavy Metal Breakdown
3. Witch Hunter
4. Headbanging Man
Grave Digger
Knights of the Cross
***
Written on 14.07.08
The second album of Grave Digger's historical trilogy moves southwards to the crusades and quests of the Knights Templar, and sadly loses much of the fire that made its predecessor so enjoyable. The orchestral background in select songs belies the album's higher budget, and the production quality does sound less raw than previously, which suits the band's increasingly polished, power metal style. Even with heavy power metal leanings in songs such as the title track and the bombastic 'Inquisition,' this is still primarily gruff heavy metal, but a little slower and consequently duller this time round.
The faster songs like 'The Keeper of the Holy Grail' are the highlights of the album, but even the slower songs are kept from wimping out into ballads. The closing cover of Black Sabbath's 'Children of the Grave' is fairly boring and predictable, and translating the classic song into a generic speed metal song is reasonably sacrilegious, but it's nothing to alert the heavy metal crusaders to.
1. Deus Lo Vult
2. Knights of the Cross
3. Monks of War
4. Heroes of This Time
5. Fanatic Assassins
6. Lionheart
7. The Keeper of the Holy Grail
8. Inquisition
9. Baphomet
10. Over the Sea
11. The Curse of Jacques
12. The Battle of Bannockburn
13. Children of the Grave (Black Sabbath cover)
Grave Digger
The Grave Digger
****
Written on 14.07.08
The first Grave Digger album in some time not to be restricted by an overarching concept, this self-titled 2001 release forsakes the band's recent preoccupation with historical epics in favour of a return to the horror themes of old, citing direct inspiration from the macabre works of Edgar Allen Poe. This frees the album to explore a range of subject matter, while still ensuring a uniformly dark and wicked atmosphere, and while it's not exactly the definitive Grave Digger album, it's certainly among their strongest.
The band enters the new millennium with a heavier and more modern sound than before, presumably due in part to new guitarist Manni Schmidt, who impresses with his heavy, catchy, groove-based riffs in most songs. The tempo is still a little slow in comparison to the band's earlier years, but this works effectively here, especially when exploited as in the gloomy 'The House.' The only song that failed to impress me was the closing ballad 'Silence' which is simply incredibly boring and very out of place on an otherwise heavy album, but the highlight for me has to be the unforgettable chorus of 'Funeral Procession,' in which Chris Boltendahl repeats the classic refrain: 'step into the fire, you bloody liar.'
And people say heavy metal lyrics lack artistic merit. Since when did people know anything?
1. Son of Evil
2. The Grave Digger
3. Raven
4. Scythe of Time
5. Spirits of the Dead
6. The House
7. King Pest
8. Sacred Fire
9. Funeral Procession
10. Haunted Palace
11. Silence
Grave Digger
Rheingold
*****
Written on 14.07.08
Returning to concept album territory, Germany's Grave Digger bring out the orchestral pomp more than ever before, making 2003's 'Rheingold' a particularly impressive and distinctive release from the band. While it isn't quite as symphonically epic as Wagner's original Ring cycle, it's a fine heavy metal tribute, and my favourite album from the ever-consistent Grave Digger.
The epic sound isn't only achieved by the use of orchestra to enhance certain sections, most evident in the opening overture, but also in the supplementary choir vocals hidden behind most of the choruses. This works excellently against Chris Boltendahl's maniacally shrieking vocals, while the high production values ensure that every instrument is heard very loud and clear, even the oft-neglected bass.
'Rheingold' and 'Twilight of the Gods' are the finest songs, bookending the album, but the whole listening experience should be positively orgasmic for metal fans, especially those of the orientation that epic metal shouldn't be light and sissy like Rhapsody and their brethren.
1. The Ring (Overture)
2. Rheingold
3. Valhalla
4. Giants
5. Maidens of War
6. Sword
7. Dragon
8. Liar
9. Murderer
10. Twilight of the Gods
Graveland
The Celtic Winter
****
Written on 15.07.08
Released in 1996 as a mini album, 'The Celtic Winter' is a slightly rearranged version of Graveland's 1994 demo, which had already been granted partial official release as a shortened E.P. As a Polish black metal demo from the early nineties (think Behemoth), the sound quality is invariably bad and the atmosphere impeccable, and the music takes great influence from the then-new Viking metal genre without deviating too far from its black metal roots. This is slow, ponderous, raw, atmospheric black metal with some memorable riffs, drenched in ambient keyboards, and while he's no Quorthon or Varg Vikernes, born-again Viking Rob Darken certainly impresses and leaves promise for the future.
This isn't traditional Viking metal, something evidenced by the continued use of black metal croaks and warbling guitars, but there's enough obvious influence to make this appeal to fans of Bathory or Moonsorrow, from the acoustic elements of 'The Gates to the Kingdom of Darkness' to the extended battle sample in the opening 'Intro' and the tribal drums of the ominous instrumental 'Prolog.'
1. Intro
2. Call of the Black Forest
3. Hordes of Empire
4. The Night of Fullmoon
5. Prolog
6. The Gates to the Kingdom of Darkness
7. The Return of Funeral Winds
Graveworm
Collateral Defect
**
Written on 15.07.08
The promisingly-named Graveworm are an increasingly disappointing band from Italy that ceased being black metal a long time ago, in favour of a form of gothic extreme metal that's lacking on the extreme front. This most recent album contains a mix of styles that all feel lacking, from the mediocre electronic elements of the opening instrumental 'Reflections' to the pleasant-yet-boring synthesised violin work of 'The Day I Die' and the terribly predictable metalcore song 'Fragile Side' that acts as a perfect example of selling out to the metal mainstream, by not sounding like anything else here.
This album emphasises catchy hooks, but the ones it delivers, mostly in the form of choruses ('Suicide Code' being the most notorious example), are meagre. A definite low point is the worthless cover of Bonnie Tyler's 'I Need a Hero,' which spoils the original by using growling vocals and heavy rock instruments that completely fail to capture even the rhythm of the song being covered. If a superior band recorded this, it could be excused as a novelty, but here it's disappointingly serious.
1. Reflections
2. Bloodwork
3. Touch of Hate
4. Suicide Code
5. The Day I Die
6. Fragile Side
7. I Need a Hero (Bonnie Tyler cover)
8. Out of Clouds
9. Scars of Sorrow
10. Memories
Green Carnation
****
Written on 16.07.08
The most obvious and notable thing about Green Carnation's second album 'Light of Day, Day of Darkness' is that it's entirely comprised of a single, hour-long song. Ideologically comparable to Edge of Sanity's earlier 'Crimson' or Jethro Tull's much earlier 'Thick as a Brick,' this loooooong song was always going to seem a little unnecessarily stretched due to the precise length; it's not like Tchort composed a song that merely happened to reach a natural end-point at fifty minutes or so, and it stands out a mile that sections have been either extended or repeated in order to reach the perfect running time.
But that said, this is a very good album, if one that demands a certain degree of patience from the listener. I wouldn't go so far as to proclaim this a great song, but it's certainly distinctive, incorporating elements of doom metal with psychedelic leanings reminiscent of Pink Floyd, especially in the central break dominated by a saxophone, keyboard and wailing woman that's clearly inspired by 'The Great Gig in the Sky.' It just all feels a little too contrived.
1. Light of Day, Day of Darkness
Green Carnation
A Blessing in Disguise
***
Written on 16.07.08
Following the potentially off-putting avant-garde stylings of its ambitious predecessor 'Light of Day, Day of Darkness,' Green Carnation's third album seems like a deliberate attempt at something more accessible and mainstream, while retaining the band's progressive credibility. The guitar riffs are all straightforward and easy to follow, and while the atmosphere is still essentially gloomy, aided by the depressive lyrics, it's more in the style of gothic rock than the band's previous flirtations with doom metal.
Most of these songs are mellow prog rock pieces, using piano and strings effectively in 'The Boy in the Attic' and 'Two Seconds in Life' at the album's centre, and although the slow tempo becomes a little boring by the point of the finale 'Rain' especially, this is still enjoyable and energetic enough for modern prog, especially when compared to bands such as Spock's Beard, songs like 'Myron & Cole' still being primarily based around the electric guitar.
1. Crushed to Dust
2. Lullaby in Winter
3. Writings on the Wall
4. Into Deep
5. The Boy in the Attic
6. Two Seconds in Life
7. Myron & Cole
8. As Life Flows By
9. Rain
Green Carnation
Acoustic Verses
****
Written on 16.07.08
Despite bearing a slightly misleading title that implies a fully unplugged album, 'Acoustic Verses' is certainly more mellow, relaxed and predominantly acoustic than any of Green Carnation's previous efforts, and my personal favourite from the band. Reminiscent of Opeth's 'Damnation' release, this focuses exclusively on a slow and depressive style of progressive rock, but makes more time for experimentation.
The best thing about this album is how memorable the songs are, whether it's the melancholy chorus of 'The Burden Is Mine... Alone,' the hypnotic electronic percussion of 'Sweet Leaf' or the comparably upbeat fiddle sections of 'Alone,' though occasionally the repetitive choruses go too far. The repeating refrain of 'High Tide Waves' has always inexplicably irritated me, to the point that I never listen to the album past track five; '9-29-045' itself is a very good song, though a little overlong, but 'Child's Play Part III' feels throwaway and is easy to ignore. If only it didn't slip after the fifth track, this would be an exceptional album, but I still regard it as one of the finest works of modern mellow progressive rock.
1. Sweet Leaf
2. The Burden Is Mine... Alone
3. Maybe?
4. Alone
5. 9-29-045
... i) My Greater Cause
... ii) Homecoming
... iii) House of Cards
6. Childs Play Part III
7. High Tide Waves
Green Day in general
*****
Written on 24.06.01
Green Day are one of my favourite bands, but it seems this punk trio has had its best years. Their most recent album "Warning" (2000) is probably their worst, and seems more folk than it does punk, although there are rumours that their next album will be their heaviest. But is this a good thing or a bad thing? After all, Green Day aren't known for their heaviness- just their pure and simple amazing punk!
The band have been together for over fifteen years, and was formed by high school dropouts Billie Joe Armstrong (guitar, lyrics and vocals), Mike Dirnt (bass) and Tre Cool (drums). Their first album, "39/ Smooth", was released in 1990, but later re-released as "1039/ Smoothed Out Slappy Hours," with more tracks, on CD. Their next album, "Kerplunk", received similar treatment, and these two albums are definitely the least well known.
Green Day broke out of the underground with their (in my opinion) best album, "Dookie!", in 1994. The album contained the hit singles "Basket Case", "When I Come Around", "Longview", "Burnout" and "Welcome to Paradise", and is widely regarded as one of the best punk albums of all time.
Now Green Day had made their name they brought out their fourth album "Insomniac" later that same year, and the single "Brain Stew" ended up on the Godzilla soundtrack a while later. The album was not as widely received as "Dookie!" but it's still amazing, and I think it's their second best album. It also spawned the singles "Jaded" (which lead on from "Brain Stew"), "Walking Contradiction", "Geek Stink Breath" and "Stuck with Me."
Possibly their most widely known album (along with "Dookie!") is Green Day's 1997 album, the popular and varied "Nimrod." The two most popular singles "Hitchin' a Ride" (pretty heavy and loud) and "Good Riddance (Time Of Your Life") (acousticcy and slow) were both very high sellers, and the album contains a lot of tracks, loads of which are very different. The album also contains the singles "Nice Guys Finish Last" and "Redundant."
The afore-mentioned "Warning" was released after another peculiar three year gap in 2000 with the single "Warning", (a quite popular single that is a very poor song), and the later "Minority" and "Waiting." The album is the band's worst, although their first isn't much better.
Green Day do rock, and I hate to diss them, but I don't like their new album much at all, apart from a few songs. The band will be around for a while yet, and it's strange how they are well-known, but don't seem to have reached the same popularity level among the general public as bands like The Offspring and Blink 182. However, I'll always buy Green Day (if it's good enough) and want to see them live at any cost.
Even if they do play "Warning."
Advantages: "Dookie", "Insomniac" and "Nimrod" are amazing albums, The band are unique, A lot of variation has been recorded
Disadvantages: "Warning", basically, The band seem to have fallen from grace
Green Day
Dookie
Bestius Albumus
*****
Written on 12.06.01
"Dookie" was the first Green Day album I was borrowed once I asked my friend to lend me some last year, and at first I didn't like it. But I now firmly beleive it is the band's finest album. It may not be as long or varied as "Nimrod", although there is not a single bad song on the album, even if most of them are a bit similar. The album has some of Greenm Day's best drum and guitar tunes, and is all based around Green Day's pop-punk/rock/ever-so-slightly-country-style music. which is cool. and Billie Joe's nasal voice. which is a bit odd.
There is no leniency of an intro as track one, "Burnout", begins abruptly. The song is fantastic, and about growing up; the fact that as you age you are inevitable growing closer to death. The lyrics are great, and reflect the slightly comical, teenage riot style of the rest of the album. This is definitely the best teen anger issues album. ("I'm not growing up, I'm just burning out- and I step in line to walk amongst the dead.") The album may not have much lyric wise, but what it does have is great.
Track two ("Having a Blast") begins after a brief guitar and bass intro, and is about insanity- a man who enjoys blowing up buildings. Although the first song is great, this is even better, setting high standards for the rest of the album. ("No one is getting out alive. This time I've reslly lost my mind and I don't care.")
Track three isn't amazing, and is nothing original, although it still sounds nice. The second minute is basically a long-winded intro that leads into track four. The song itself is about hating someone, although apparently without solid reason. It's a good song to listen to, and not too heavy.
"Longview" is one of my favourite songs off the album, and spawned a single and music video. The song has a great and popular bass riff, and some great vocals. The lyrics describe the story of an incredibly bored person in his late teens who has no job, friends or goals. Even masturbation has lost its fun. ("Sit around and watch the 'phone, but no one's calling. Call me pathetic, call me what you will. My mother says to get a job, but she don't like the one she's got. When masturbation's lost its fun you're f***ing breaking.")
Track five will definitely sound familiar to owners of "Kerplunk", Green Day's previous 1991 album. "Welcome to Paradise" has been adapted ever so slightly as a different recording, and is superior to the excellent original, making it one of the best on this album too. The song starts with a great riff, and has some of the best Green Day lyrics ever, presented as some form of letter from someone who has moved to a town where they are not happy, but six months later have found themselves attached to the place. A great song. ("A gunshot rings out at the station. Another urchin snaps and left dead on his own. It makes me wonder why I'm still here- for some strange reason it's now feeling like my home, and I'm never gonna go.") There is also a brief instrumental section near the song's end which makes for a breath of fresh air.
"Pulling Teeth" is more veered towards the band's love song/ country and folk music angle, but still sounds very good. It's about a guy whose girlfriend loves them, but always beats them up. The chorus sounds great with some fantastic vocals, and it is definitely a welcome change from the rest of the album. ("Is she ultraviolet? Is she disturbed? I better tell her I love her before she does it all over again- oh God, she's killing me!")
Track seven will sound recognisable even to the lesser fan- Green Day's most popular song, "Basket Case." Definitely one of my favourite songs off the album, and of the band, it begins with Billie Joe alone, strumming his guitar and singing. The legendary song is about insanity and delusion, and has a music video that you will inevitably see at one point if you haven't already. Great song, with a great riff. ("Sometimes I give myself the creeps. Sometimes my mind plays tricks on me. It all keeps adding up- I think I'm cracking up. Am I just paranoid? I'm just stoned.")
"She" is a slow song to break the flow, and not one of the album's finest songs, although the choris is quite good. As I said before, no songs on the album are bad, and this song is probably better than most songs off other albums (especially "Warning.") The song concerns a woman whose life is secluded and private. ("Are you locked up in a world that's been planned out for you? Are you feeling like a social tool without a use?")
"Sassafras Roots" (track nine) isn't the most lyrically-complicated song on the album, but sounds great. It has a nice tune and great vocals, and is basically about... wasting someone else's time. Every other linr is simply "wasting your time." ("Roaming 'round your house wasting your time. No obligation, just wasting your time.")
Possibly my favourite track on the album (and definitely one of my favourite Green Day songs), "When I Come Around" is a sad, slower song with prominent guitar and bass, and a very memorable (and fantastic) riff. The song is about visiting an ex-girlfriend who you are concerned for, and who still unadmittedly loves you. ("Not time to search the world around, 'cause you know where I'll be found when I come around.")
"Coming Clean" is a different yet still great song, and features great drumming. It is about letting out secrets, and is essentially about growing up. ("I found out what it takes to be a man. Mom and dad will never understand.")
The only song on the album to be written by bassist Mike Dirnt (rather then Billie Joe Armstrong) is track twelve, "Eminius Sleepus." It's not an amazing song, and is about someone's friend going down the wrong path in life. ("I saw my friend the other day, and I don't know exactly just what he became.")
Track thirteen, "In the End" (nothing to do with the Linkin Park song by the same name), is very good, and is sung nicely fast. The song has a good beat, and is about a new guy taking someone's girlfriend away from him, and the fact that it will not last. ("How long will he last before he's a creep in your past? And you;re alone again?")
The album's final track is "F.O.D." (which you may or may not known stands for "F**k Off and Die"). For a couple of minutes, Billie Joe strums his guitar quietly and softly sings about wanting to burn a bridge and commit anarchy, before bursting into an amazing, loud tune with a fantastic riff, and another of the best songs off the album. ("Let's nuke the bridge we torched 2,000 times before- this time we'll blast it all to Hell.") There is silence after the song, before drummer Tre Cool performs a small outro as Ernie (yes, the muppet guy), talking about how he's all by himself. It's entertaining if a bit peculiar.
"Dookie" is a great album, but I'm not sure if it's more suited to taste than the more widely-appealing Nimrod. The album is definitely the general choice for fans though, and it's oftenn in sales- treat yourself!
Advantages: Best album, Some great songs (including the most famous one), Quite long (for a Green day album) at 40 minutes
Disadvantages: Some tracks are a bit similar, and not spectacular
Green Day
Insomniac
Bab's Uvula WHAT?
****
Written on 10.06.01
This is a very good album from Green Day, but isn't nearly as good as the spectacular "Dookie!", although I probably like it second best, along with 1997's "Nimrod." Overall it comes in a bit too short at around 35 minutes, and aside from the fantastic "Brain Stem"/"Jaded" crossover track, there aren't that many songs that stick in your head unless you regularly listen to it. The second half of the album is much better than the first (tracks eight to fourteen), but the whole album is worth listening to.
The first song, "Armatage Shanks", (I'm sure that's written on my toilet), begins the album with a drum beat, much the same as in Nimrod, and the song's not bad. The song also has some great lyrics, such as "my own worst friend and my own closest enemy" and "I perfected the science of the idiot."
"Brat" is a song about a spoilt kid wanting his parents to die in order for him to receive inheritance. It's a pretty good song, but not very original in terms of tune. ("Mom and Dad don't lookmso hot these days, but my future's looking good.")
"Stuck With Me" has a great tune, and is about a guy who knows he's not great, but doesn't mind. ("I'm not part of your elite, I'm just alright.")
"Geek Stink breath" has a great opening, and is probably about a teenager without hope who enjoys slobbing around and doing nothing, not even being bothered about his appearance. ("Don't know what I got, that's all that I got, and I'm picking scabs off my face.")
Track five, "No Pride", is (quite unironically) about a man who has no pride. It sounds great, especially Billie Joe's vocals. ("Honour's gonna knock you down before your chance to stand up and fight.")
Track six is a cool song, and has a very confusing name ("Bab's Uvula Who?"). The song is about someone who can't get anything right, and whose temper always breaks. ("I've got a knack for f***ing everything up. My temper flies and i get myself all wound up.")
Track 7, "86", is about someone returning to someone who does not want them back. It's one of the highlights of the album, and is contained on "Warning" (the 2000 album) as a live track. ("What brings you around? Did you lose something the last time you were here?")
Track eight ("The Panic Song"0 has a very long guitar build-up that makes you wonder whether it would have been better at the beginning of the album. After the two minute or so intro comes a great (and fast) song about, obviously, panic in the face of a huge terror. ("Broken glass inside my head, bleeding down these thoughts of anguish...")
"Stuart and the Avenue" is another of the album's best songs, which has a cool tune and is about someone returning to the street of a former love. ("I may be dumb, but I'm not stupid enough to stay with you.")
Tracks ten and eleven flow together, and are the highlight of the album, without a doubt. "Brain Stew" (a song used for the recent Godzilla film produced several years ago), has a simple (yet insanely catchy) guitar riff, and is very slow and sad. ("I'm having trouble trying to sleep. I'm counting sheep but running out.")
After about two to three minutes of this amazing and heavy song comes the outburst of "Jaded", with a contrasting fast pace. ("Always move forward- going straight will get you nowhere.")
"Westbound Sign" is a good song, and another of the album's best points. It talks about a woman leaving someone, and him retaining her memory. ("Boxed up all of her favourite things, sold the rest at a rainy yard sale.") It's a great song.
"Tight wad hill" (track thirteen), is an average song, and talks about thrill seeking. ("Bumming a ride, burning daylight, last up at dawn... Tight Wad Hill.")
The album finishes with the pretty good song "Walking Contradiction". It's happier and lighter than most of the album, trying to end the album on a pleasant note. The meaning is blatant, and it's about a man who himself is a contradiction. ("I beg to differ on the contrary, I agree with every word that you say.") It's quite a funny concept, and ends what has been a pretty damn good album.
Green Day
Nimrod
Great Value for Money
****
Written on 09.06.01
Although I disagree (for reasons of personal taste) that "Nimrod" is the best Green Day album (I prefer 1994's "Dookie" as I believe it contains most of the band's best songs), I believe this album is the best value for money. Some previous albums had come a little short (the previous album, "Insomniac", doesn't last much longer than half an hour). There are eighteen tracks (usually between two and three minutes long each), and they account for a wide veriety of tastes. Most are the typically Green Day new school punk sound, although many (especially the best-selling "Good Riddance (Time of Your Life)" break the mould completely.
"Nice Guys Finish Last" has a loud beat that begins the album on a heavyish note. The spectacular "Hitchin' a Ride" is a slower, bassier and overall heavier song than the first, and is possibly my favourite off the album. "The Grouch" is performed in typical Green Day style, and sounds great- it's the song that everyone I know remembers as the "don't have sex 'cause I can't get it up" song.
"Redundant" is a slower, more somber song, and acts as an excellent contrast to what has gone before, offering a lighter breath of fresh air in between tunes. "Scattered" breaks back into the punk mood before returning to the same kind of tone as "Redundant", but with a more punk feel. Number six ("All the Time") is another Green Day at their best punk song with depressing lyrics presented in a light, enjoyable way.
"Worry Rock" is another necessary and appreciated take-it-easy song of sadness and misery, which is followed by the fast-paced swearathon that is the amazing "Platypus." "Uptight" (track nine) is still a slightly depressing song, but is more punk than some of the previous offerings, although a slow, quiet pace is still kept.
Track ten ("Last Ride In") should, and this is only my opinion, be deleted from all copies of the album. A very melodic, take-it-easy-by-the-beach song, this is great for when you're trying to get to sleep... but you don't want to go to sleep all the time! And it lasts for three minutes! Green Day have always refrained from placing intro tracks on their albums, presumably so that their songs can be appreciated more, but this is just daft; it's apparently been conveniently placed, but I think it's bulls***- track nine flows perfectly well into track eleven, "Jink", which is once again the story of someone's misery (judging from the opening line "I f***ed up again..."), but fast and energetic. This flows perfectly, with a little instrumental piece, into "Haushinka", the story of a girl who has left someone.
Track thirteen ("Walking Alone") contains trumpeting, but don't worry- it's not ska. Although I still hate trumpets. Another slow song, it is not one of the highlights of the album, and may be the worst song. The next song ("Reject"), is another one of my favourites, and is full of energy and feeling, only to lead into the next track, the amazing "Take Back", which sounds like an attempt by Green Day to play metal. (It doesn't sound bad, but ends up sounding uncannily like the very first Offspring album with some Cradle of Filth-style guttural roaring in the chorus.
In complete contrast follows "King for a Day"- the comedic story of a transvestite child with obvious brain disorders. It's the album's token comedy song (which again borders on ska-punk), but is succeeded by the amazing "Good Riddance", the famous acoustic soloing tune of Billie Joe that breaks from punk tradition completely and verges upon country music. The album finishes on the quiet, slow, draw-to-a-close song "Prosthetic Head," which ends the very well mixed album on a great note.
Overall, I think this album is one of the best edited and mixed albums I own (everything flows together and sounds correct- apart from track ten!) Very worth the money, especially if you're new to Green Day. But personally I have to admit that (like my favourite band, "The Offspring"), Green Day seem to be in their decline. "Warning" has generally been accepted as a poor album, and I hope their plan to make their next album heavy succeeds. A very good album indeed.
Advantages: Great value for money, Extremely well put together, Caters for a variety of tastes
Disadvantages: Some songs are quite poor (as happens on any album)
Grim Reaper
See You in Hell
*****
Written on 16.07.08
Grim Reaper's debut deserves to be ranked among the elite albums of what was (at the time) the New Wave of British Heavy Metal (NWOBHM), and most of that praise needs to be heaped onto vocalist Steve Grimmett. He alternates between a gruff approach and impossibly high soprano wail with every line, making many of the choruses sound rather ridiculous to modern listeners, but indescribably euphoric to fans of bands such as King Diamond, who Grimett rivals in songs such as 'Dead On Arrival.'
While the rest of the band keeps up the energy and delivers memorable riffs, especially the leading guitar riff of the title track, it's the vocals that really make this a fantastic experience, especially as the subject matter turns to traditional NWOBHM themes that have their precedent in other bands: the night-stalking antics of the protagonist of 'Wrath of the Ripper' and the galloping battle depiction of 'Run For Your Life' will both be instantly recognisable to classic metal fans.
1. See You In Hell
2. Dead On Arrival
3. Liar
4. Wrath of the Ripper
5. Now or Never
6. Run For Your Life
7. The Show Must Go On
8. All Hell Let Loose
Grim Reaper
Fear No Evil
Don't Fear the Reaper
***
Written on 13.07.07
Although dying significantly in its British homeland, heavy metal was big business in America in 1985, and Droitwich-based Grim Reaper make no effort to hide the very obvious orientation towards the American pop market, emulating hard rockers Quiet Riot and Twisted Sister alongside now-classic metal staples Iron Maiden and, particularly, Judas Priest. Unlike the unfortunate Saxon, whose later works were desperately tailored towards a US breakthrough that never came, Grim Reaper was pretty much a flash in the pan success with fortunate corporate backing whose greatest legacy is a really cool band name, a couple of amusing and memorable music videos as seen on ‘Beavis and Butt-head,’ and some pretty cool but wholly derivative albums from the so-called New Wave of British Heavy Metal.
Twenty years after its demise, possibly in response to the revived interest in classic metal over the last few years, vocalist Steve Grimmett has reformed a touring line-up of the band, consisting of entirely different musicians apart from himself, in what is arguably a very pointless and worthless endeavour to relive mediocre glories. There really isn’t very much point to the continued existence of this sophomore album this long after its period of usefulness, apart from satisfying the unquenchable lust of NWOBHM fans stuck in a 1980s time warp. So, onto the review...
This album is in all ways an improvement over its predecessor, ‘See You in Hell.’ The style is much the same, emulating Judas Priest riffs with Dio-esque vocals aimed close to the pitch range of dogs and bats, but this time features an increasingly harder and darker edge as the album moves towards its conclusion. The studio production is better, but still noticeably weak in comparison to the major bands of the time, the guitars and drums never sounding quite hard-hitting enough and the whole band sounding somewhat separate and disjointed, something that a louder cacophony effect would have remedied. The slightly tinny sound isn’t necessarily a bad thing, and in fact dates this album in quite an enjoyable way, the same way depressing black metal never sounds quite right or convincing enough unless performed on cheap equipment in the guitarist’s parent’s cellar. Nevertheless, the effect the band are going for with the fast chugging guitars doesn’t live up to expectations, and some songs raise the question of whether Grim Reaper really chose the right angle of NWOBHM for their dingy songs; although this catchy and happy sound would sell more albums to the Americans, the album’s more successful darker moments make me wonder whether a dirtier sound in the style of Motörhead and Venom would have made them more memorable and noteworthy in the annals of heavy metal.
The song structures are all very ordinary and very by-the-numbers, based on one or more repeating guitar riffs that calm down a little in the verses so that the vocals can be heard, followed by high wailing choruses that repeat just a little too often as the song nears its conclusion. Nick Bowcott’s guitar solos are improved over the first album for the most part, standing out about half the time, and the rest of the time merely filling in the spaces between chorus repeats. There’s really not a lot here that anyone who owns a Judas Priest album won’t have heard before, from bleak first-person tales of carnage to embarrassingly upbeat and macho songs about partying and rocking hard. A characteristic quirk of this album is for Steve Grimmett to wail the title of the song over the top of the opening riff before the verse begins, almost as if it’s a live show and he’s forgotten that albums come with a tracklist. To defy all criticism, including my own, that this is just another mindless and soulless collection of average NWOBHM pieces with nothing to gain from repeated listens, I’m going to suggest that the ominous thunder effects that open the sixth track usher in a new darker and heavier style for the remainder of the album that culminates in the cheesy heavy metal horror film excellence of the final song.
1. Fear No Evil
2. Never Coming Back
3. Lord of Darkness (Your Living Hell)
4. Matter of Time
5. Rock and Roll Tonight
6. Let the Thunder Roar
7. Lay it on the Line
8. Fight for the Last
9. Final Scream
Like ‘See You in Hell’ before it, the album wastes no time in offering up the most memorable and catchy song in the form of the title track. Just browsing the tracklist with the album fresh in my memory instantly brings Grimmett’s distinctive screams into my mind’s ear, and the chorus of ‘Fear No Evil,’ reaching all those ridiculous high notes over a staccato guitar riff and inexplicable clunks of cowbell, is one of the highlights of the whole album, so much so that I don’t even care that it repeats far too many times over its four allotted minutes after first coming in only forty seconds into the album. The lead riff is impressive and suitably powerful in driving things along, and if the song has any flaws it’s that it still sounds a little amateurish due to the inferior production quality. ‘Never Coming Back’ is, dare I say it, a little more mature in its approach, a standard rock song about independence that alternates between fast riffs and a slower, more reflective pace for the chorus, but the whole thing sounds just a little too identical to Judas Priest of the era for me to give it that much credit, as do the next few songs that follow.
‘Lord of Darkness,’ despite the promising title, is one of the weaker songs on the album, though only in comparison to the much better majority and not for the reasons that I dislike track five intensely. Grimmett’s vocals have been the very obvious driving force of the music throughout the album so far, freestyling their way around the second song regardless of the structure, and here he experiments with a laughably unconvincing robotic-style voice that tries to sound intimidating but fails miserably. The guitar riffs are a little reminiscent of Manowar here, which is probably more a coincidence than direct influence, and the highlight is unquestionably the dual guitar solo, the scaling style of which is used in several other tracks. ‘Matter of Time’ is a little longer than the norm at this point, and thankfully makes full use of its duration in setting up quite a few sections, my favourite of which is a modestly under-used drum and ‘whoa-oah-oah’ part. The guitar riff is the most impressive and memorable so far, and Grimmett’s wails finally settle into a cooperative balance with the rhythms for the first time, making this the finest song so far and a good example of what Grim Reaper could accomplish when putting in the effort.
The fifth track is by far the weakest and most disappointing of the album, a hard rock Twisted Sister style piece about rock and roll that seems to plague many otherwise promising metal albums of the era in various forms (all of which can be identified by the inclusion of ‘Rock and Roll’ in the title). The instrumentation is unimaginative, taking second place to creating a danceable rhythm that no one will ever have danced to in the first place, and the less said about the horrible unison shouting of ‘What do we want?’ / ‘Red hot rock and roll!’, the better. I’ve already said far too much. Moving swiftly on, ‘Let the Thunder Roar’ returns to the high standard of the fourth song, striking the balance between vocals and guitars but ultimately sounding a little too similar to be really striking. The thunder sound effect is entirely expected (like that’s never been done before in a song with ‘Thunder’ in the title), but it’s interesting to hear Lee Harris’ prominent drums in the second half, beating over the top of the guitars in what I like to think is an attempt to emulate the sound of thunder. Regardless, as I suggested earlier, the remainder of the album takes on a darker shade ultimately more fitting to the band’s sinister name, leaving behind the terrible mistake of ‘Rock and Roll Tonight’ and hinting at greater things to come.
Both ‘Lay it on the Line’ and ‘Fight for the Last’ favour lyric narrative over instrumentation, as Grimmett takes on first-person personas as he has done for most of the songs so far, but this gives the band a chance to demonstrate its excellent abilities as a rhythm section... with the exception of the bass, which is hardly ever audible and is never doing anything interesting when it is. Bowcott is granted some excellent guitar solos however, and ‘Fight for the Last’ particularly stands out as one of the highlights of the album, setting the scene of a swords and shields battle both before and after in the same way every other metal band has done, but still making it effective and commendably visual.
The final song is the best of the lot, although the ridiculous spoken word introduction is sure to have divided opinion: the robot-style voice effect is back, as an angry father criticises his child Michael for wanting to stay up a little later before bed. When Michael insists that he’s 26 years old (the lazy stand-up comedian pull-back-and-reveal gag), his father reveals to the listener that Michael has some kind of weird affliction that makes him ‘not like other boys – you’re a goddamn child in your mind’ he yells at him. Michael is sent to bed unhappy, and the band laughs maniacally over the opening riffs. It’s absolutely stupid, but dumb enough to be permissable, considering it’s obviously trying to be a joke rather than anything seriously spooky, in which case it would be unforgivable (Michael’s father responding to the 26 years old gag by saying ‘physically yes, Michael’ really can’t be anything else). The main riff is cool and distinctive, and the chorus is the best since ‘Fear No Evil,’ however silly the horror film lyrics. There’s even an excellent horror film theme inspired guitar solo, proving that the band is most in its element when dealing with kitsch horror more than the less successful themes elsewhere, though they were admittedly adept at the battle stuff in the previous two tracks.
Had Grim Reaper pursued a more thematic horror-style direction, as proved successful for the Misfits and, more importantly in this case, the excellent King Diamond, songs like ‘Fear No Evil’ and ‘Silent Scream’ would be accompanied here by similarly comical but fantastic heavy metal, rather than the mixed bag of second rate Judas Priest and egotistical vocal performances that the first half of the album tends towards. As a British band playing a style of music copied directly from others in a highly competitive market, Grim Reaper’s success was always going to be limited, but they still set their sights on conquering America and becoming millionaires, ultimately failing embarrassingly in both regards. It’s a shame they didn’t realise their inevitable failure earlier and decide to concentrate more on crafting a niche market for themselves, as Steve Grimmett’s vocals certainly sound unique and powerful, while Nick Bowcott’s guitar work improved steadily with each release. I’ve heard that the third and final Grim Reaper album that followed this was the best of the lot, so I look forward to hearing it some day and seeing whether the band decided to take the advice I’ve given them, admittedly twenty years too late to make a difference.
‘Fear No Evil’ is far from being an essential heavy metal purchase, but it has enough to offer to old-school fans of Iron Maiden, Judas Priest, Saxon and Angel Witch even if it doesn’t really manage to live up their standards.
Advantages: Some great heavy metal songs with instantly memorable choruses. Excellent band name too.
Disadvantages: Nothing new, and too absorbed in breaking America to have enough respect for itself.
Gutted
Bleed for Us to Live
***
Written on 16.07.08
Gutted are yet another distinctly average American death metal band from the early nineties, but are a slight curiosity for keeping things in the family, the three band members all being brothers. Sadly, there's no hint of shared musical genius here, as the performance is merely a competent and somewhat lightweight repetition of what numerous other bands were doing around the same time.
The production quality isn't all it could be, leaving the guitars sounding rather weak, but the band does impress with its grasp of speed and rhythm changes, perhaps indicating scholarly musical study somewhere down the line. While this is interesting at first, reaching its peak in the wildly varying speed of 'Cold in the Coffin,' it becomes a little dull thereafter, and the slow-downs especially become rather unwanted.
The guitar solos are nothing to write home about, but do their job adequately, and by far my favourite aspect of the album is the rhyming vocal style spewing forth the typically gruesome death metal lyrics.
1. Bleed
2. Sins of God
3. Nailed to the Cross
4. Cold in the Coffin
5. Chopped Up at the Altar
6. Death Before Dismember
7. Chock Full of Guts
8. Skeletonized
9. Kickin' the Corpse
10. Flood of Blood
GWAR
****
Written on 16.07.08
Gwar are unashamedly a band more concerned with image and shock value than actual musical quality, but unlike entirely gimmicky bands such as Slipknot, their music can actually be pretty damn good at times, especially in the early years. Gwar's early sound on this second album follows something of a thrash metal direction that would be more fully realised later in their career, but still retains enough hardcore punk influence from their past to keep it mean and gritty, reminiscent of bands such as Biohazard or Carnivore, but with even stupider lyrics.
The vocals of Oderus Urungus are instantly recognisable, gruff and overly masculine as he swears for shock value and little else throughout opener 'Salamanizer,' and it's only the distasteful rap crossover of songs like 'Slaughterama' that turns me off. Even though it's performed by a bunch of chauvinistic morons in stupid costumes pretending to be space aliens, 'Scumdogs of the Universe' is a fine collection of crossover-thrash songs that will appeal to those with a sense of humour.
1. Salamanizer
2. Maggots
3. Sick of You
4. Slaughterama
5. The Years Without Light
6. King Queen
7. The Horror of Yig
8. Vlad the Impaler
9. Black 'n' Huge
10. Love Surgery
11. Death Pod
12. Sexecutioner
GWAR
Violence Has Arrived
***
Written on 16.07.08
None but the most die-hard fan cared about Gwar by the twenty-first century, but their new dawn ushered in by 'Violence Has Arrived' is surprisingly impressive for such an otherwise gimmicky band. The louder production really brings out the full power of the instruments, retaining the band's focus on the bass guitar, and the vocals are now even more animalistic than before, which keeps the whole thing rooted in a darker and heavier style than the band has previously achieved. The guitar solos are fast, and there are still some satisfying, straggling remnants of the band's early punk years heard at various points, especially in the frantic soloing and unison yells of 'The Apes of Wrath.'
This isn't a great album by any stretch of the imagination, but it's interesting that, while some previous releases by Gwar would likely be unreasonably appreciated by those blinded by the gimmick, here the reverse is true, and potential fans are likely to be deterred by the band's stupid outfits and silly lyrics without paying attention to the high quality of the music.
1. Hell Intro
2. Battle Lust
3. Abyss of Woe
4. Anti-Anti Christ
5. The Apes of Wrath
6. Immortal Corrupter
7. Beauteous Rot
8. Licksore
9. Bloody Mary
10. Bile Driver
11. The Wheel
12. The Song of Words
13. Happy Death Day
GWAR
Beyond Hell
***
Written on 16.07.08
Gwar's tenth album continues in the modern thrash style of their previous releases this decade, and continues to run its limited ideas into the ground. Unlike the more overtly musical 'Violence Has Arrived,' here attention is permitted to turn back to the lyrics and vocals, and this counts against the listening experience for those who aren't so interested in this band's sense of humour, of the variety that considers burping in the lyrics to be rather amusing.
This is largely generic modern thrash with some undeniably interesting and creative guitar work, but the rest of the instruments are merely there for rhythm. Devin Townsend's production job lends a distinct sound to the drums, especially noticeable in the opening to 'Murderer's Muse,' but there's nothing of much interest here. Even the cover of Alice Cooper's 'School's Out' seems largely pointless, deviating from the original in places without achieving anything particularly notable.
1. Intro
2. War Is All We Know
3. Murderer's Muse
4. Go to Hell
5. I Love the Pigs
6. Tormentor
7. Eight Lock
8. Destroyed
9. The Ultimate Bohab
10. One Who Will Not Be Named
11. Back in Crack
12. School's Out (Alice Cooper cover)
Haggard
Awaking the Centuries
****
Written on 16.07.08
Germany's Haggard are certainly one of the more immediately identifiable and distinctive metal bands, playing a bizarre fusion of black metal, classical and amateur dramatics to tell their conceptual tales, this one apparently concerning Nostradamus, though you wouldn't know that if you're incapable of deciphering the archaic languages used for the lyrics.
There are many flaws with this album, the inevitable result of being so experimental, but there's so much to love about it that I can't begrudge the band its poorer choices. The worst is the frequency of the acted interludes, occasionally taking up far longer than necessary in the centre of songs, but elsewhere the use of authentic classical instruments mixed with minor metal elements in the form of down-tuned electric guitars and heavy metal rasping vocals keep this from being merely a metal album with symphonic elements, but more of a perfect fusion in-between, performed by far more musicians than the average rock band.
1. Rachmaninov: Choir
2. Pestilencia
3. Heavenly Damnation
4. The Final Victory
5. Saltorella La Manuelina
6. Awaking the Centuries
7. Statement zur Lage der Musica
8. In a Fullmoon Procession
9. Menuett
10. Pt. I: Prophecy Fulfilled, Pt. II: And the Dark Night Entered
11. Courante
12. Rachmaninov: Choir
Haggard
****
Written on 16.07.08
A live album released after the full-lengths 'And Thou Shalt Trust... The Seer' and 'Awaking the Centuries,' this performance essentially compresses those two conceptual releases into an edited best-of, arranged in chronological order. The live sound quality is excellent, essential considering the vast size of the band and all its symphonic and choral elements, but the editing itself could have done with a little work. The first two songs are dominated by the annoying crowd, and although this adds to the authenticity of the live experience, it's irritating and unnecessary on repeated listens.
The songs here display the full range of the band's talents, from the entirely classical interludes to the heavier, black metal inspired 'Prophecy Fullfilled' and the melodic combination of melodic guitars and melancholy symphony in 'Lost' and the extensive 'Awaking the Centuries.' The album would have benefitted from being longer, but released at such an early stage of Haggard's career, this wasn't really an option; I suppose an official live release would have been best saved until a little later on.
1. Intro/Rachmaninov Choir
2. Medieval Part
3. Lost
4. Prophecy Fullfilled
5. Menuett
6. Origin of a Crystal Soul
7. Awaking the Centuries
8. Courante
9. In a Fullmoon Procession
10. Final Victory
11. In a Pale Moon's Shadow
Advantages: Highlights of the first two albums, performed impeccably.
Disadvantages: Pre-emptive, and annoying crowd noise.
Hammerfall
Glory to the Brave
****
Written on 16.07.08
Hammerfall are undoubtedly the most popular Swedish power metal band, with an inflated reputation that was surely only achieved due to the genre's comparative lack of popularity in Sweden, at least compared to counties like Finland and Germany that churn out numerous power metal acts. 'Glory to the Brave' is their first and best album, a solid traditional metal performance that doesn't accomplish anything new, but is at least more exciting and fun than the band's subsequent albums, which merely repeated the same ingredients ad nauseam.
Joacim Cans' vocals are one of the weakest elements here, satisfying enough when singing in unison on a ballad, but lacking conviction when squeaking along in the verses, singing the band's uniformly fantasy-themed lyrics. Oscar Dronjak's guitar work is nothing to write home about either, but it's hard and fast enough to appeal to speed metal fans here, and he performs plenty of enjoyable guitar harmonies with himself throughout the album. Oddly, the only song that has always remained particularly memorable for me is the admittedly cheesy closing title track, a pompous power ballad celebrating glory that's reminiscent of Bruce Dickinson's 'Tears of the Dragon,' in as much that it impresses at the end of an otherwise fairly average album.
1. The Dragon Lies Bleeding
2. The Metal Age
3. Hammerfall
4. I Believe
5. Child of the Damned (Warlord cover)
6. Steel Meets Steel
7. Stone Cold
8. Unchained
9. Glory to the Brave
Advantages: Solid power metal.
Disadvantages: Brings nothing new to the genre.
Hate
Morphosis
***
Written on 17.07.08
Polish extreme metal band Hate disappoint with their latest release, a watered-down combination of their older, brutal death metal style with industrial influences that only weaken the impact. With high-speed drums ticking away behind in more of an undercurrent than a rhythm, and guitar lines that can't help but evoke a sense of melody despite their raw and gritty approach, this album feels stifled and weak, as if it doesn't quite have the energy to be as extreme as it would like, despite the extreme speed of some sections that feel rather out of place.
The vocal performance of Adam the First Sinner is entirely standard for death metal, yet interestingly every nuance of his speech can be clearly understood through the growls, and his guitar riffs regularly fail to impress, the only real stand-out point being the video game style soloing that opens 'Thredony,' merely for its unusual approach.
1. Metamorphosis
2. Thredony
3. Immum Coeli (Everlasting World)
4. Catharsis
5. Resurrection Machine
6. The Evangelistic Pain
7. Omega
8. Erased
Advantages: Interesting mix of melody and heaviness without going down the usual route.
Disadvantages: Feels stifled.
Hate Eternal
Fury & Flames
**
Written on 17.07.08
Hate Eternal's latest album is all about intensity, smothering the listener in a barrage of hammering drums, clunking bass and roaring guitar that grows old very fast. It seems that by this point, Erik Rutan really has run every idea into the ground, and once the fairly enjoyable opener 'Hell Envenom' concludes with its lead guitar work, the album reveals its true colours as an all-out cacophony blast-fest, and it isn't big or clever.
Former drummer Derek Roddy has now been succeeded by Jade Simonetto who performs pretty much the same feat of pounding away relentlessly throughout the album, seemingly ignorant of the idea of variety, and although Cannibal Corpse's Alex Webster is quite loud on the bass guitar, he never achieves anything of particular note. Even to experienced listeners who have wasted far too much of their lives learning the nuances of death metal performances, every song on here sounds exactly the same until the weak choral outro 'Coronach,' making for one the less impressive death metal releases this year.
1. Hell Envenom
2. Whom Gods May Destroy
3. Para Bellum
4. Bringer of Storms
5. The Funerary March
6. Thus Salvation
7. Proclamation of the Damned
8. Fury Within
9. Tombeau (Le Tombeau De La Fureur et Des Flames)
10. Coronach
The Haunted
**
Written on 17.07.08
The bastard offspring of At the Gates, themselves one of the more overrated Swedish death metal bands, the output of The Haunted was inevitably going to win over devoted fans with little effort, but doesn't live up to its inflated reputation. This second album sounds like a mediocre meeting of thrash metal with metalcore, as Marco Aro yells Pantera-style vocal lines over sub-Metallica guitar riffs, and the weak production quality prevents the drums in the background from ever being truly hard-hitting.
Due to the absence of vocals and its short playing time, opener 'Dark Intentions' is the only song here that I fully enjoyed, and its speedy conclusion in 'Bury Your Dead' is entertaining for the first couple of minutes, before the sound starts to wear thin. The Haunted's take on thrash is distinctly rooted in the 1990s rather than its eighties heyday, meaning this isn't going to satisfy those looking for a modern equivalent of Slayer.
1. Dark Intentions
2. Bury Your Dead
3. Trespass
4. Leech
5. Hollow Ground
6. Revelation
7. The World Burns
8. Human Debris
9. Silencer
10. Under the Surface
11. Victim Iced
Hellhammer
Apocalyptic Raids
***
Written on 18.07.08
Tom G. Warrior's Hellhammer is essentially the primordial version of what would later become Celtic Frost, one of the pioneers of black metal in the eighties, but taken on its own merits, the material doesn't live up to the legacy. This four-track E.P. was the only official release the band ever put out, outside of later demo compilations, and although its evil atmosphere is quite impressive, the overall sound is rather slow and monotonous, sounding like an unexciting mash-up of Venom and doom metal.
The production quality is intriguing but also a little annoying, as the guitars carry the same fuzzing note all the way through, and the drums are hidden away in the background, the whole thing sounding oddly quiet even when played at loud volume. The riffs of 'Third of the Storms' and 'Massacra'are straightforward punk-derived thrash riffs played at a steady tempo, and become overly repetitive after a while. 'Triumph of Death' is the most distinctive song for its extremely slow speed that stretches the song out to nine minutes, and while it isn't the most effective doom metal song out there, the croaking vocals exude a nice sense of dying. 'Horus/Aggressor' is a suitably mediocre finale, building up with sound effects for the first minute before it's back to the same old steady riffing for a few more.
1. Third of the Storms (Evoked Damnation)
2. Massacra
3. Triumph of Death
4. Horus / Aggressor
Helloween
****
Written on 23.07.08
Helloween's 'Keeper of the Seven Keys' has nothing of the concept album about it, despite spanning two releases over as many years. While none of the songs are thematically linked, the collection does at least bear a degree of coherence, and with newcomer Michael Kiske wailing high over Kai Hansen's incredible guitars, these albums both carry a distinctive and short-lived sound that would nevertheless be imitated by many bands that followed.
The first of the 'Keeper' albums is arguably the weaker by comparison, and is certainly a let-down after the high quality of its meaner predecessor 'Walls of Jericho.' With Kiske's choruses now taking on central prominence, this has more of a pop aspect than the band's earlier work, reaching its weakest point in the glam-style 'A Little Time' but otherwise being something of a guilty pleasure. Hansen's guitar work is the highlight, for guitar fans and melodic metal fans alike, but it has to be said that the album's self-conscious epic 'Halloween' is simply far, far too long, drawn out to a tedious and incessantly repetitive thirteen minutes.
1. Initiation
2. I'm Alive
3. A Little Time
4. Twilight of the Gods
5. A Tale That Wasn't Right
6. Future World
7. Halloween
8. Follow the Sign
Helloween
***
Written on 23.07.08
When a band is already suffering constant comparisons to an age-old 'classic era,' it doesn't help to name the latest album directly after the revered classics themselves, in arrogant expectation that they will actually live up to the beloved early works. While it doesn't manage to tarnish the 'Keeper of the Seven Keys' legacy itself, this third instalment is still a very average and predictable entry into the Helloween canon that doesn't even sound like the albums it intends to stand alongside in the annals of heavy metal history.
For a band that was always best when basing songs around simplistic, catchy riffs and choruses, there's too much emphasis here on attempts to attain an 'epic' sound through the use of keyboard orchestration and Rhapsody-style narration. The first few songs are also far too long, before the album finally settles down and starts to throw out some acceptable power metal songs, even if the eighties throwback style of those such as 'Mrs. God' end up being more annoying than nostalgic. The speed returns for 'Silent Rain' and energetic finale 'My Life For One More Day' among others, but on the whole this feels like it's a disc too long, and should have been allocated a less argumentative title.
Disc 1
1. The King for 1000 Years
2. The Invisible Man
3. Born on Judgment Day
4. Pleasure Drone
5. Mrs. God
6. Silent Rain
Disc 2
1. Occasion Avenue
2. Light the Universe
3. Do You Know What You're Fighting For?
4. Come Alive
5. Shade in the Shadow
6. Get It Up
7. My Life For One More Day
High on Fire
Blessed Black Wings
****
Written on 23.07.08
High on Fire were formed by vocalist and guitarist Matt Pike in the wake of Sleep, and this more recent band takes a heavier and faster approach to stoner doom metal, a far cry from the fuzzy atmosphere of bands such as Electric Wizard and comparable to the work of Dax Riggs, were he a bit more evil.
Pike's vocals are gravelly and completely suited to the heavy, down-tuned guitar tone he uses throughout, complimented by the hard-hitting drums on songs such as the title track. 'To Cross the Bridge' is convincingly hellish and finale 'Sons of Thunder' has a great atmosphere, but for the most part, the music is more concerned with a direct impact through heavy riffs and screaming solos over a persistent tone, which is what elevates it above the majority of hazy stoner doom. 'Cometh Down Hessian' threatens to be a little more melodic before once again collapsing into a doom onslaught, and every song is led by powerful guitar lines.
1. Devilution
2. The Face of Oblivion
3. Brother in the Wind
4. Cometh Down Hessian
5. Blessed Black Wings
6. Anointing of Seer
7. To Cross the Bridge
8. Silver Back
9. Sons of Thunder
Hollenthon
Opus Mangum
****
Written on 23.07.08
The long-awaited third album from Hollenthon demonstrates that Martin Shirenc is still as talented as ever, and the greater symphonic presence makes this a more consistent, if slightly less exciting album than his previous works. The metal and orchestral elements are combined in a perfect fusion that would make Therion envious, and the incredible atmosphere created by the collaboration make this comparable to Viking metal.
Shirenc continues to bastardise the Russian classics in delightful metal mutilations, here tackling Mussorgsky's 'Baba Yaga' in the opening to 'Ars Moriendi,' and the Eastern tinge is still present in 'Dying Embers,' which, along with the softer finale 'Son of Perdition,' makes great use of female vocals to supplement Shirenc's own rasp. The guitar riffs are still catchy and memorable, and the strings, horns and choral elements never feel out of place against them. This is the album Haggard wish they had made, if only they could be a little less dramatic.
1. Ars Moriendi
2. Of Splendid Worlds
3. Once We Were Kings
4. To Fabled Lands
5. Dying Embers
6. Misterium Babel
7. On the Wings of a Dove
8. Son of Perdition
Advantages: Consistent and excellent use of symphony with heavy metal.
Disadvantages: Less ambitious than earlier albums.
How Like a Winter
****
Written on 23.07.08
The only album released thus far by Italian doom metal band How Like a Winter is an impressive and evocative debut, but one that can't escape the shadow of its obvious influences from the likes of My Dying Bride in particular, accentuated by the strong violin presence that succeeds in making the songs more emotional. Rooted in the death-doom style, this is nevertheless lighter than the British doom leaders, with many gothic elements that keep it more accessible, albeit not to the extent of mainstream metal bands.
The violin and guitar more or less take it in turns to lead the way with slow, memorable melodies, and while the death metal growls may sound out of place to newcomers, they're balanced out effectively with spoken word and female soprano singing, most evident in the softer songs such as 'XCVII.' The longer songs are carried off with appropriate flair, the ten-minute 'Bescreen'd' following a satisfying, natural evolution and never sounding overly drawn-out, and while some songs tend more towards the flowery side of romantic gothic metal, there are still enough heavy riffs such as those in the groove-laden 'The Night, Then Him' to keep this appealing to metal fans.
1. A Flower That Sears in Silence
2. All the Seasons of Madness
3. Laying Together Again
4. Bescreen'd
5. Who is Hiding
6. Crucifige
7. XCVII
8. The Night, Then Him
9. So Death Would Be Just a Bad Dream
Advantages: Satisfying and accomplished gothic doom metal.
Disadvantages: Takes all its ideas from elsewhere.
Hypocrisy
Penetralia
****
Written on 24.07.08
'Penetralia' is the debut from influential Swedish death metal band Hypocrisy, and still ranks among their most aggressive releases. The production quality is surprisingly high for a death metal debut of the early nineties, fleshing out the bass and only really faltering on the synthetic sound of the drums, especially evident in the opening drum roll of 'God Is a Lie.'
So, yeah, a quick glance at the tracklist and a listen to the growled, easily-discerned lyrics makes it clear that this is entirely content to slot into the anti-Christian gimmick of early nineties death metal, demonstrated best by bands like Deicide, but while the subject matter isn't the most inventive in the world, Peter Tägtgren's guitar work is unique in the genre, ranging from catchy yet standard death metal riffs to original solos and lead melodies in all songs, a far cry from the standard, Slayer-derived death metal squeal.
1. Impotent God
2. Suffering Souls
3. Nightmare
4. Jesus Fall
5. God Is a Lie
6. Left to Rot
7. Burn by the Cross
8. To Escape Is to Die
9. Take the Throne
10. Penetralia
The songs are still extended, minimal, repetitive compositions based around seriously sloooooow guitar melodies, but the atmosphere is less depressing and much more uplifting this time round, with only a couple of exceptions in the form of later songs such as 'Omens and Portents II: Carrion Crow' that return to the old, darker style. The piano comes to the fore in 'Engine of Ruin' to add some variety, but this is still essentially an album geared towards hypnotic repetition of simplistic but effective melodies. This is its strength and its weakness.
The main problem here is that the album can be incredibly dull if you're not in the right mood, and the relative absence of sound effects and psychedelic elements compared to earlier albums makes it less atmospheric. Still a nice album to fall asleep to, or to listen through headphones while wandering a desert road in the setting sun.
1. Omens and Portents I: The Driver
2. Rise to Glory
3. Miami Morning Coming Down II (Shine)
4. Engine of Ruin
5. Omens and Portents II: Carrion Crow
6. Hung From the Moon
7. The Bees Made Honey in the Lion's Skull
Nothing But Death Remains
***
Written on 01.07.08
The first album from Swedish death metal legends Edge of Sanity is a modest debut indeed, entirely lacking the progressive tendencies that would characterise the rest of the band's career in varying degrees, and instead serving up some comparatively simple and catchy old-school death metal riffs. While the band doesn't have its own identity at this point, and the lo-fi sound quality is annoying at times (particularly the tinny drums), this is still an enjoyable collection of early death metal songs.
The use of keyboards is perhaps the closest the music comes to 'progressive,' adding a horror film feel, and each song varies between fast and slow sections to keep the listener guessing. 'Human Aberration' contains the most instantly gratifying guitar riff, while other such as 'Maze of Existence' concentrate on slower melodies performed by both guitarists in harmonic unison. There's nothing amateur about this album, especially in the arrangement of the tracks that sees 'Angel of Distress' speeding along and overlapping into the slower 'Impulsive Necroplasma,' but anyone approaching from later in the band's discography may be disappointed by its simplicity.
1. Tales...
2. Human Aberration
3. Maze of Existence (Epidemic Reign, Part I)
4. The Dead
5. Decepted By the Cross
6. Angel of Distress
7. Impulsive Necroplasma (Epidemic Reign, Part II)
8. Immortal Souls
The Spectral Sorrows
****
Written on .07.08
'The Spectral Sorrows' is a natural half-way point between the densely progressive and heavy 'Unorthodox' and the more accessible death metal sound of 'Purgatory Afterglow,' and strikes a nice balance between the two. The melodic quotient is increased significantly, from the slow guitar harmonies and atmospheric sections that pervade almost every track to the occasional clean vocals, culminating in the surprising deviation of 'Sacrified,' a gothic rock song that sounds just like Sisters of Mercy. There's also a punk-influenced song in the form of 'Feedin' the Charlatan,' an effective Manowar cover that doesn't ruin the song with growled vocals as most death covers of classic heavy metal tend to, and melodic interludes in the first and last tracks.
If this is the point at which Edge of Sanity started to move towards a more mainstream sound, it's also the point at which their experiments became less coherent and more prone to failure. There are some excellent moments on this album, memorably the tremolo-picking guitar riffs of 'Darkday' that foreshadow the later sound of Amon Amarth, but a few too many deviations from the death metal sound to allow for complete credibility, particularly with the upbeat drums that often don't suit the songs at all.
1. The Spectral Sorrows
2. Darkday
3. Livin' Hell
4. Lost
5. The Masque
6. Blood of My Enemies (Manowar cover)
7. Jesus Cries
8. Across the Fields of Forever
9. On the Other Side
10. Sacrified
11. Waiting to Die
12. Feedin' the Charlatan
13. A Serenade for the Dead
Advantages: Talented death metal with a nice melodic angle.
Disadvantages: Concessions towards accessibility are mostly disappointing.
Until Eternity Ends
**
Written on 01.07.08
This four-song E.P. was released prior to 'Purgatory Afterglow' containing original material that, according to the band's view, "didn't fit" with their new style. The style here is certainly a fairly radical departure from the band's traditional death metal sound into avenues more melodic and mainstream than they had attempted previously, but despite a few cool guitars here and there, this ends up being a largely unsatisfying and somewhat pointless release.
The title song follows a more traditional rock direction than metal, the deathy style only being maintained by the heavy instruments. The riffs are medium tempo and wouldn't be out of place in a stoner rock band, and the vocals are accordingly sung in a deep spoken word style rather than growled. This song is led by a memorable guitar riff of the type sadly absent hereafter on the release. 'Eternal Eclipse' is a chorus-centric song with clean singing vocals, and almost as a conscious reactionary move, 'Bleed' is a fast, hard and energetic piece of punk-death-metal that sounds forced.
I have no idea whether the final cover of the Police's 'Invisible Sun' compares to the original, but like their earlier cover of Manowar, this sounds very authentic, with minimal conversion to death metal. The harmony singing will be enough to scare away genre purists, and although it's a nice idea, it doesn't really work.
1. Until Eternity Ends
2. Eternal Eclipse
3. Bleed
4. Invisible Sun (The Police cover)
Advantages: Continuing to experiment with melody in the death metal genre.
Disadvantages: Four sub-standard songs.
Purgatory Afterglow
***
Written on 01.07.08
'Purgatory Afterglow' had the potential to be a phenomenal classic of death metal, but sadly Dan Swanö and co. didn't always succeed in their experiments. Continuing the band's advancement towards a more commercially viable sound, this is truly one of the most approachable death metal albums I've ever heard, with songs such as the opener 'Twilight' in particular fusing solid death metal riffs with a catchy chorus and progressive sections, but too many songs fail to impress.
Swanö's vocals are the most noticeable element here, for better and worse. His death metal vocals range from a low growl to a piercing shriek, the two alternating successfully in 'Of Darksome Origin,' but some of his 'clean' vocals are less well managed. The sung and spoken word sections of 'Twilight' work well, but the entirely sung 'Blood-Colored' is a mediocre attempt at death-influenced groove metal, while 'Black Tears' and 'Song of Sirens' respectively flirt with gothic metal and hardcore punk to irritating extents. There are some great ideas here, but too many negatives cancel them out.
1. Twilight
2. Of Darksome Origin
3. Blood-Colored
4. Silent
5. Black Tears
6. Elegy
7. Velvet Dreams
8. Enter Chaos
9. The Sinner and the Sadness
10. Song of Sirens
Crimson
****
Written on 01.07.08
Dan Swanö's forty-minute death metal composition 'Crimson' is far from a masterpiece or inspired extreme metal classic, but it's still perfectly admirable and enjoyable as a bold experiment in progressive metal that avoids the usual pitfalls. This album/song never seems indulgent or showy in the slightest, and makes for a genuinely enjoyable, coherent and varied listening experience for the patient death metal fan.
Comparisons to Green Carnation's hour-long 'Light of Day, Day of Darkness' and Opeth's work around the period are inevitable, especially due to the guest presence of Mikael Åkerfeldt, but I'd say this is a little less accomplished than either, and certainly suffers from over-stretching an idea. The frequency of repeated melodies and sections is a nice touch that maintains the sense that this is genuinely all the same song despite the frequent lapses into different styles, but its main failing is probably that it attempts a little too much, a little too often. Each movement lasts for a couple of minutes before launching into the next, often radically different section, meaning this is quite a bumpy ride.
'Crimson' should, however, be of particular interest to prog fans looking for something a bit darker, and with its sci-fi concept reminiscent of Rush, it's certainly true to the prog rock tradition, even if it doesn't make quite as much of an impact as it would like to.
1. Crimson
Infernal
***
Written on 01.07.08
Edge of Sanity's then-final album with Dan Swanö (he would reform the band briefly for 2003's 'Crimson II') suffers immensely from the very obvious inner turmoil of the band at this late stage, evidenced by the wide gulf between the more progressive songs written by Swanö and the more consciously death metal works of the others. By contrast to the band's earlier work, this can't help but sound like a severely half-assed excuse for an album, as the band goes through the motions and rarely hits on the classic melodies that used to come so naturally.
'Hell Is Where the Heart Is' is a reasonable opener, even if it steals its opening riff from Testament, but after this the album goes rapidly downhill. Songs like 'Helter Skelter' and 'The Bleakness of It All' are nothing but fast and repetitive, tedious death metal, while Swanö's clean vocals continue to be unreliable when called in for the always compulsory gothic metal song that here takes the form of the weak 'Losing Myself.' More successful are the attempts to sound like Opeth, '15:36' beginning nice and moody before ending in a more upbeat manner reminiscent of Edge of Sanity's classic 'Twilight,' but the best song has to be the aptly-named 'The Last Song' with its dark piano opening and slow, haunting melodies, the only song on here that I would really recommend.
1. Hell Is Where the Heart Is
2. Helter Skelter
3. 15:36
4. The Bleakness of It All
5. Damned (By the Damned)
6. Forever Together Forever
7. Losing Myself
8. Hollow
9. Inferno
10. Burn the Sun
11. The Last Song
Crimson II
***
Written on 01.07.08
Seven years after recording the forty-minute death metal epic 'Crimson,' Dan Swanö reformed Edge of Sanity one time only, to record this direct sequel. With very few direct call-backs to its predecessor, added keyboards and a slightly longer playing time of forty-three minutes, this stands proudly apart from the first album as a separate entity, which is probably for the best as its inferior quality doesn't serve to tarnish the enjoyable original.
This isn't a bad album, but it's a little unnecessary, and certainly nowhere near as accomplished as 'Crimson,' even at its messiest points. Swanö re-uses many of the ideas here, but this time the album is handily/annoyingly (delete as appropriate) arranged with each separate movement as a distinct track. This is a hugely pointless exercise that only serves to highlight the repetitive nature of the music, and as each track only lasts for one minute (on average) it's not as if listeners are going to be picking and choosing their favourites to put on their iPod.
My main grievance with this album is the over-reliance on keyboards, something that serves to align this release with modern melodic death metal from the likes of Dark Tranquillity and Soilwork, rather than harking back to the classic nineties. The melodic guitars are also a lot less memorable, and the greatest example of this sequel's comparative inferiority is that the resurgence of the main riff from the 1996 album in 'The Silent Threat' is by far its stand-out moment (exactly the same thing happened when I heard Queenryche's disappointing 'Operation: Mindcrime II'). A nice idea in concept, but flawed in execution, it should still be of interest to those entranced by long songs.
1. The Forbidden Words I
2. The Forbidden Words II
3. Incantation I
4. Incantation II
5. Incantation III
6. Incantation IV
7. Incantation V
8. Incantation VI
9. Passage of Time I
10. Passage of Time II
11. Passage of Time III
12. Passage of Time IV
13. Passage of Time V
14. Passage of Time VI
15. Passage of Time VII
16. Passage of Time VIII
17. Passage of Time IX
18. Passage of Time X
19. The Silent Threat I
20. The Silent Threat II
21. The Silent Threat III
22. The Silent Threat IV
23. Achilles Heel I
24. Achilles Heel II
25. Achilles Heel III
26. Covenant of Souls I
27. Covenant of Souls II
28. Covenant of Souls III
29. Covenant of Souls IV
30. Covenant of Souls V
31. Covenant of Souls VI
32. Face to Face I
33. Face to Face II
34. Face to Face III
35. Face to Face IV
36. Face to Face V
37. Disintegration I
38. Disintegration II
39. Disintegration III
40. Aftermath I
41. Aftermath II
42. Aftermath III
43. Aftermath IV
44. Aftermath V
Kingdom of Madness
***
Written on 01.07.08
Edguy were one of my favourite power metal bands until they turned their back on the genre in favour of toilet humour and hard rock, but earlier in their career they produced some of the finest works in the power metal genre. As well as some fairly generic stuff like their second album 'Kingdom of Madness,' which at least sows the seeds for the greatness to follow, from a band that was very young at the time.
The album is hindered by poor production quality that affects the guitar tone particularly, but most of the elements are still here that make for great Edguy songs, they're just a little unconfident and jumbled in their execution. Tobias Sammet's Angra-style vocals aren't quite up to their later standard and vary very little, while attempts to be more epic in 'Angel Rebellion' and most notably the severely overlong eighteen-minute finale 'The Kingdom' are rather amateurish. This is understandable and necessary however, in order that the band could later move forward with classics like 'Theatre of Salvation.'
This is pure power metal with a nice melodic angle and some catchy choruses, but anyone approaching from later in the Edguy discography, as listeners inevitably will, may be disappointed. Then again, if all they're heard is the abominable 'Rocket Ride,' this could help to steer them on a more rewarding path.
1. Paradise
2. Wings of a Dream
3. Heart of Twilight
4. Dark Symphony
5. Deadmaker
6. Angel Rebellion
7. When a Hero Cries
8. Steel Church
9. The Kingdom
Vain Glory Opera
****
Written on 02.07.08
Only a year after the mediocre 'Kingdom of Madness,' Edguy's career takes a huge leap with the excellent 'Vain Glory Opera,' an album that would surely be one of the great classics of German power metal if the band hadn't topped it with the even better follow-ups. The big change here comes in the increased prominence of (synthesised) orchestral elements, supplemented by a whole lot of acoustic guitar and melody in surprising places, but at its core this is simple, fun and incredibly catchy power metal at its best. It also possesses the distinctive Edguy sound that's all too easy to love.
Songs like the fairly epic 'Until We Rise Again' are bombastic power metal in the style Tobias Sammet would later take over to side project Avantasia, featuring memorable guitar melodies and vocal lines, but the best songs here come in the centre of the album, the section I listen to the most. 'Out of Control' is an energetic and wailing song featuring a chorus duet with Blind Guardian's Hansi Kürsch, and is certainly high among my favourite Edguy songs. 'Vain Glory Opera' itself shamelessly steals from Europe in its blaring keyboard melody but is still irresistible, and 'Fairytale' is a great fast and hard song with a nice guitar solo. The album's weaker moments come in the form of the ballads 'Scarlet Rose' and 'Tomorrow,' but the band would never really learn its lesson here.
1. Overture
2. Until We Rise Again
3. How Many Miles
4. Scarlet Rose
5. Out of Control
6. Vain Glory Opera
7. Fairytale
8. Walk On Fighting
9. Tomorrow
10. No More Foolin'
11. Hymn (Ultravox cover)
Theatre of Salvation
*****
Written on 02.07.08
'Theatre of Salvation' is one of Edguy's finest albums, the beginning of a classic trilogy that led to 'Mandrake' and 'Hellfire Club' (a trilogy only in as far as they're my three favourites). Tobias Sammet's operatic and symphonic flair reaches its zenith here before exploding into the side project Avantasia to let off steam and allow Edguy to regain a little simplicity, but the distinctive sound benefits this album and doesn't impede its more straightforward moments.
The orchestral elements are more expertly integrated than on 'Vain Glory Opera,' and the songs here tend to be a little more progressive, evidenced by the multiple choruses of the excellent opener 'Babylon,' a song that just seems to keep on reinventing itself until the very end without seeming overbearing. The closing title track perhaps goes a little too far with its incorporation of a choir and extended length, but it's saved by a magnificent chorus that is guaranteed to stay with the listener for a long time afterwards.
Even the token power ballad 'Land of the Miracle' fails to be completely awful as previous ones were, despite being admittedly one of the cheesiest things I've ever heard, and the only real disappointment of this album is that the central section (tracks five to eight) doesn't really stand out, comprising songs that are strong in their own right, but lack any real distinctiveness.
1. The Healing Vision
2. Babylon
3. The Headless Game
4. Land of the Miracle
5. Wake Up the King
6. Falling Down
7. Arrows Fly
8. Holy Shadows
9. Another Time
10. The Unbeliever
11. Theater of Salvation
Mandrake
The Joker Smiles
****
Written on 28.09.06
Tobias Sammett’s ambitious side project ‘Avantasia’ provided the Edguy songwriter with an outlet to let off his grandiose epic steam, allowing for 2002’s ‘Mandrake’ to follow a more stripped and laid-back approach that works a lot better as a result. While the young Germans’ most recent album sees them finally stepping over the dreaded Bon Jovi threshold, the older ‘Mandrake’ is fast and fun heavy metal at its most simplistically entertaining.
The longer songs don’t signify a greater degree of progression as much as a tendency for extended guitar solos and chorus reprises, the exception being the reasonably epic ‘The Pharaoh,’ Edguy’s inevitable Ancient Egypt themed song (doesn’t every metal band have at least one?) Divided into three distinct movements, this song flows along as a traditional rock epic, led by the vocals and customary instruments without feeling the need for the sort of additional orchestral and symphonic distractions present on the band’s earlier work. It’s one of the album’s finest offerings, a long song that truly lasts out and keeps the listener entertained, thus following in the footsteps of Iron Maiden rather than Helloween.
The other songs that come in longer than average follow far more simplistic frameworks, and utilise intrusive synthesisers in a blatant attempt to repeat the success of Europe’s ‘The Final Countdown.’ ‘Tears of a Mandrake’ and ‘The Devil & the Savant’ are similar in this way to the band’s earlier ‘Vain Glory Opera,’ but the whole thing sounds a lot more accomplished this time. The choruses are also justifiably fantastic, and the inevitable resurgences towards the end become genuinely eagerly anticipated. You know, if you’re into that whole mellow wailing chorus thing that I clearly am.
The majority of the album follows classic power metal territory, with four- to five-minute speedy anthems led by distinct riffs and featuring catchy choruses. None stand out as particularly unique or ground-breaking, but that’s not really the goal of any album that so unashamedly attempts to revive an ’80s sound in the 21st century. ‘Golden Dawn’ and ‘Fallen Angels’ could easily be Iron Maiden B-sides with a slightly different voice, while the duller ‘All the Clowns’ and 'Save Us Now' follow more of a mellow glam rock pathfinder. ‘Nailed to the Wheel’ attempts something of a heavier sound aided by modern production.
All of these are good songs, but sound so generic and interchangeable as to be easily forgettable, despite the primitivistic enjoyment they could bring to denim-clad Neanderthal metalheads. ‘Jerusalem’ is a different story, and is perhaps the most ambitious song on the album, incorporating unusual percussion and synthesiser techniques and playing around somewhat with structure. It’s not a cover of Blake in case you’re wondering – I have enough of those already. ‘Wash Away the Poison’ and ‘Painting on the Wall’ are the necessary power ballads, the second one being several times better than the first; despite all that unoriginality, I never feel it’s lasted quite long enough by the advent of the sad fade-out.
Edguy would go on to produce a very similar and slightly better album with 2004’s ‘Hellfire Club,’ but ‘Mandrake’ remains one of their best, and could easily have formed a coherent double album with its successor. The eerily frosty cover art depicting a sinister jester type doll thing adds a nice visual topping to an excellent feast of an album that proudly boasts cheese as its primary ingredient. ‘The Pharaoh’ is a pretty great song, and the rest is a whole lot of outdated German fun that really appeals to imbeciles stuck in a time warp like myself.
1. Tears of a Mandrake
2. Golden Dawn
3. Jerusalem
4. All the Clowns
5. Nailed to the Wheel
6. The Pharaoh
7. Wash Away the Poison
8. Fallen Angels
9. Painting on the Wall
10. Save Us Now
11. The Devil & the Savant
Advantages: Excellent heavy metal from excited Europeans.
Disadvantages: It's all been heard before.
Hellfire Club
Striking Out From Paradise
*****
Written on 13.01.05
Innuendo-heavy power metal band Edguy formed while still at high school in Fulda, and these crazy young Germans already have an impressive discography behind them. 'Hellfire Club' is their most recent release and made for one of the most enjoyable metal albums of 2004. Edguy have a knack for producing songs that teeter on the edge of cheesy and unlistenable but somehow become instant classics that never grow old. I like them.
THE EDGUYS
Tobias Sammet - vocals
Dirk Sauer - guitars
Jens Ludwig - guitars
Tobias Exxel - bass
Felix Bohnke - drums
Power metal is always a fun genre, but Hellfire Club's perfect grasp of traditional heavy metal from the likes of Judas Priest and Helloween to their more flamboyant European contemporaries Blind Guardian and Stratovarius makes for an album that may not be strictly original, but that brings back the fun side of heavy metal to the fore. Unlike some of the band's previous albums (and Tobias' excellent side project 'Avantasia'), the experimentation on this album is toned down to make way for more straightforward but varied guitar riffs, solos and classic sing-along choruses.
HELLFIRE CLUB
1. Mysteria
2. The Piper Never Dies
3. We Don't Need a Hero
4. Down to the Devil
5. King of Fools
6. Forever
7. Under the Moon
8. Lavatory Love Machine
9. Rise of the Morning Glory
10. Lucifer in Love
11. Navigator
12. The Spirit Will Remain
The album opens with a scream from Tobias: 'ladies and gentlemen, welcome to the freak show!' A nice and polite introduction that promises tragically deformed humans being forced to perform for your perversions (you people make me sick, I hate you all) but delivers twelve ace tracks. I know which I would prefer, how about you?
Originally planned as the title for the album, but later changed for reasons that wouldn't be worth going in to even if I was aware of them, 'Mysteria' is a classic speedy opening anthem that starts the CD as it means to go on with a memorable overblown chorus, the staple of good power metal as well as the fairly rubbish stuff. Along with 'Under the Moon' and the aggressive but inspired 'Rise of the Morning Glory,' this forms the heavier part of the album.
A softer approach comes from the (dare I say it) Bon Jovi-esque power ballad 'Forever' and the orchestral climax 'The Spirit Will Remain,' both of which show a more progressive side to Edguy. The ten minute epic 'The Piper Never Dies' also somehow manages to retain interest throughout, and my mind rarely allows the chorus to leave my head. Get out.
For all this variety, Edguy are at their very best when pounding out a fast and light rocking anthem. 'King of Fools' and the uncompromisingly double-entendric 'Lavatory Love Machine' were released as singles, although 'Down to the Devil,' 'We Don't Need a Hero' and 'Navigator' catch the band at their very, very best. A satisfying and fun album from the boys who brought you 'Mandrake.'
And 'Lucifer in Love' is just a silly interlude thing with the Devil having sex or something. You can't see it, but you can almost imagine, although I don't.
VERDICT
Everything on here has been heard before in some form or another, but 'Hellfire Club' deserves the acclaim it has received within the genre. Fun, fast and incredibly energetic, Edguy are clearly among the leaders of power metal and thankfully seem able to balance overblown artistic expression with fun, crowd-pleasing songs thanks to the presence of side projects. Not everyone's cup of tea, but fans of Iron Maiden, Gamma Ray or anything else that has ever featured rip-roaring verses and classy guitar solos should pick up a copy today.
"And when she asks me what I'd like to eat
I realise the domina feels the same
And I reply: 'What about your pie?'"
- Edguy, Lavatory Love Machine
Superheroes
**
Written on 02.07.08
This short release towards the end of 2005 brought my appreciation of Edguy to an end, as they descended overnight from power metal leaders to bland, commercial hard rock imitation act. The excellent album 'Hellfire Club' already hinted at this new direction to an extent, but managed to pull it off without being overwhelmingly cheesy and awful as this one sadly turns out to be.
'Superheroes' itself is a fair song, if you're a fan of Bon Jovi style anthemic rock (which I don't happen to be). The chorus is memorable, if completely derivative, and the main guitar riff is overburdened by shiny pop keyboard so as to completely ruin it. Even worse is the entirely pointless 'epic version' tagged on to the end of the E.P., which replaces the rock instruments with piano and orchestra in a wholly unsatisfying remake.
'Spooks in the Attic' is faster and more energetic, but fails to stand out, and the best thing that can be said about the weak ballad 'Blessing in Disguise' is that it at least manages to be atmospheric. 'Judas at the Opera' seems like a failed attempt to recapture the epic style of old Edguy, and the Magnum cover is merely acceptable. A weak release in every way, foreboding of bad things to come from what was, at the time, one of my favourite bands.
1. Superheroes
2. Spooks in the Attic
3. Blessing in Disguise
4. Judas at the Opera
5. The Spirit (Magnum cover)
6. Superheroes (Epic version)
Advantages: Teaser of the next album avoided the disappointment being too great when it arrived.
Disadvantages: Weak reinvention as hair metal band.
Rocket Ride
**
Written on 02.07.08
I'm not a fan of Edguy's career move from power metal to hard rock, but I'll credit this album with containing a few decent songs in the new style, even if it still hurts to hear Tobias Sammet fall so disastrously from his previous height at the top of his game. The direction here owes much to half-hearted toilet humour and eighties hair metal, and the band no longer concerns itself with writing finely tuned songs.
'Sacrifice' is a long-winded but reasonable opener with a memorable enough chorus, but very little else. The same could be said for 'Rocket Ride' and 'Superheroes,' which are led by guitar riffs that are simple but lacking the charm of the band's usual standard. 'Return to the Tribe' and 'Out of Vogue' are the only fast songs, but still not really power metal, and the token poor ballad comes in the form of 'Save Me.' The album lacks distinctive or classic material, and its influences are all too obvious, culminating in 'F**king With Fire' which owes its guitars to AC/DC and its chorus to Bon Jovi. I'm not terribly excited about Edguy's future releases.
1. Sacrifice
2. Rocket Ride
3. Wasted Time
4. Matrix
5. Return to the Tribe
6. The Asylum
7. Save Me
8. Catch of the Century
9. Out of Vogue
10. Superheroes
11. Trinidad
12. F**king With Fire (Hair Force One)
Native Norwegian Art
****
Written on 02.07.08
Einherjer were one of the more creative bands in the Viking metal genre, retaining a distinct, well-produced sound incorporating orchestra and piano and a very unusual style of guitar playing indebted to the folk tradition. The vocals are performed in gruff singing rather than the more typical growls, and indeed the black metal elements that underpin much Viking metal are all but absent even in the rare faster songs such as 'Burning Yggdrasil.'
The keyboard is a little distracting to the sense of ancient atmosphere conjured here, but the use of orchestra is superbly done, reminiscent of Therion in its more full-blown moments. This is predominantly slow-to-medium-paced epic metal based around the guitar, and the longer song lengths allow each piece to stand strong. The music is still heavy and loud without being overbearing for those less fond of extreme metal, with a convincingly thunderous sound suited to the apocalyptic Viking themes.
1. Wyrd of the Dead
2. Doomfaring
3. Hugin's Eyes
4. Burning Yggdrasil
5. Crimson Rain
6. Howl Ravens Come
7. Draconian Umpire
8. Regicide
Blot
****
Written on 02.07.08
Einherjer's final album prior to their amicable disbanding sees something of a return to their roots as a more black metal influenced band, principally extending to the resurgence of rasped vocals and drum blast beats. The album sounds a little overproduced which weakens the effect of the drums, but this was perhaps necessary to accommodate the sound of the orchestra, which is used excellently here, more rooted in the bass and brass end than higher strings.
Opening instrumental 'Einherjermarsjen' paints the perfect historic Scandinavian scene, even if it sounds a little too much like video game background music, and after this the album is led by strong, repeated riffs that unfortunately tend to be a little over-repeated. The quantity of tracks also means that the songs tend to blur together a little more with less individual character and little variation, but there are still a few notable exceptions, especially the faster 'Wolf-Age' with its great guitar solo and the melodic 'Ride the Gallows' that makes effective use of a choir.
1. Einherjermarsjen
2. Ironbound
3. Dead Knight's Rite
4. Wolf-Age
5. The Eternally Damned
6. Ware Her Venom
7. Hammar Haus
8. Starkad
9. Ride the Gallows
10. Ingen Grid
11. Berserkergang
12. Venomtongue
Electric Wizard
****
Written on 03.07.08
The first release from Dorset's drug-fuelled doom metal band Electric Wizard is less distinctive than their later works, more directly derivative of the classic doom tradition pioneered by bands like Black Sabbath in the seventies, but still applying a more modern sound with production trickery. These songs are long, sloooow and heavy, crawling along with frank disregard for musical convention, though lacking the effective wall-of-sound approach of subsequent releases.
None of these songs really stand out apart from the atmospheric instrumental 'Mountains of Mars,' but this is still a high quality album of stoner doom, with some blues-influenced guitar solos and a nice vocal performance from Jus Osborn, even if he hasn't quite found his voice yet. The emphasis on reverb and feedback effects is deliberately alienating to the faint-hearted and aids the atmosphere immensely, while doom fans should enjoy the more overtly Sabbathesque songs such as the band's fantasy-themed title song.
1. Stone Magnet
2. Mourning Prayer
3. Mountains of Mars
4. Behemoth
5. Devil's Bride
6. Black Butterfly
7. Electric Wizard
8. Wooden Pipe
Supercoven
***
Written on 03.07.08
Anyone who was put off by the stoned sound of 'Come My Fanatics...' should steer well clear of this strange little E.P., which comprises two long songs of growling feedback and crunchy, warbled guitar riffs for thirteen and eighteen minutes respectively. This seems like a release aimed directly at existing fans, but unfortunately goes a little too far as Electric Wizard try too hard to sound like Electric Wizard.
There's only a very basic and gradual evolution in these songs, certainly not what may be expected of such lengthy compositions (even if the music is played at a significantly slower tempo than the average band). They're both distinctive enough, 'Burnout' being a little more bluesy than the blaring 'Supercoven' with its loud chorus, but I can't help feeling that four songs of half the length would have been more satisfying. 'Supercoven' features some surprising guitar solos towards the end that mark the album's only real change in speed, but this is all perhaps best viewed as an experimental release.
1. Supercoven
2. Burnout
Advantages: Extreme stoner doom for the seriously stoned.
Disadvantages: Alienating.
Dopethrone
*****
Written on 03.07.08
'Dopethrone' is simultaneously Electric Wizard's finest offering and one of the defining albums of modern doom metal. Making no small display of the band's orientation towards drug worship, this isn't permitted to take over the music or lyrics to a ridiculous extent (not like the work of Bongzilla for example), but it would still prove immensely satisfying to like-minded listeners (I imagine).
Jus Osborn's vocals are now more distorted, adding to the slightly inhuman and synthetic atmosphere, and the guitar riffs are actually fun and memorable for once, a little reminiscent of Cathedral (though their extremely stoned take on the story of Hopkins, Witchfinder General is less instantly gratifying than Cathedral's version). Songs merge together to grant a sense of continuity, but still stand apart and individual, and although this is a pretty extreme example of stoner doom, I'd still recommend it to curious newcomers. It's only in the final song that the growling tone of the down-tuned, infinitely distorted instruments actually starts to turn the stomach.
1. Vinum Sabbathi
2. Funeralopolis
3. Weird Tales:
... i) Electric Frost
... ii) Golgotha
... iii) Alter Of Melektaus
4. Barbarian
5. I, The Witchfinder
6. The Hills Have Eyes
7. We Hate You
8. Dopethrone
Let Us Prey
****
Written on 03.07.08
There wasn't really anywhere left to go after 'Dopethrone,' thus Electric Wizard decided to turn backwards a little, back into the realm of easily digested guitar riffs and less overwhelming distortion. This album is fairly easy to listen to, at least by comparison, though song lengths in excess of nine minutes with very little in the way of internal deviation require a patient listener.
The sound is still authentic doom, heavy on the bass guitar with blues-influenced guitar, and if anything the performance is even angrier here than before, particularly in the form of Jus Osborn's vocals in 'We, the Undead' and the heavier, grittier 'The Outsider.' Most of the songs will inevitably flow together before the listener develops familiarity with the album, and only 'Night of the Shape' offers something very different with its haunting keyboards over a relatively upbeat drum beat, an effective change from the norm just when the norm was starting to get a little old.
1. A Chosen Few
2. We, the Undead
3. Master of Alchemy
... a) House of Whipcord
... b) The Black Drug
4. The Outsider
5. Night of the Shape
6. Priestess of Mars
Witchcult Today
*****
Written on 03.07.08
A conscious throwback to the early days of doom rock and psychedelia, even evidenced by its cover art, 'Witchcult Today' is a perfect reimagining of the early seventies through a seriously distorted present-day filter. Many of these songs wouldn't sound out of place on the first Black Sabbath album, but carry an extra burden of severe heaviness that penetrates right into the listener's internal organs and reduces their lifespan significantly with each listen. But it might just be worth it.
While the band's earlier classic 'Dopethrone' didn't seem to have been written and composed so much as condensed out of bong smoke on the CD's surface, this album feels more relaxed and concentrated, with songs of varying lengths and an effort being made to play catchy, memorable guitar riffs and choruses. Jus Osborn's voice now resembles a sixties psychedelic singer, which works excellently against the bass-heavy, heavily-distorted guitar riffs, and the clichéd tribal touches in songs like 'Black Magic Rituals & Perversions' lend a great Hammer Horror atmosphere.
1. Witchcult Today
2. Dunwich
3. Satanic Rites of Drugula
4. Raptus
5. The Chosen Few
6. Torquemada 71
7. Black Magic Rituals & Perversions
... i) Frisson des vampires
... ii) Zora
8. Saturnine
The Umbersun
****
Written on 03.07.08
I'm a little out of my depth here, reviewing an apparent 'metal' band that refuses to display any traces of the genre by this point in their career. Elend's fourth album 'The Umbersun' is more accurately a neoclassical album, rooted in the classical tradition with the dynamic aesthetic of a modern film soundtrack, supplemented by angry spoken word narrating a tale of Lucifer in incomprehensible French (except, perhaps, to the French).
This is no symphonic metal band combining rock instruments with a supplementary orchestral backdrop, and not even a perfect fusion as happens on rare occasions with bands such as Haggard and Therion. Rather, this is a full-on orchestral assault that combines tranquil beauty and blaring aggression often within the same movement, utilising a large band and choir to their full extent. These songs are long and intricate, but often become a little dull as the action fades, requiring more patience than the average rock fan is experienced at demonstrating.
1. Du tréfonds des ténèbres
2. Melpomene
3. Moon of Amber
4. Apocalypse
5. Umbra
6. The Umbersun
7. In The Embrasure of Heaven
8. The Wake of the Angel
9. Au tréfonds des ténèbres
A World in Their Screams
****
Written on 03.07.08
Elend's most recent release is another enjoyable and dynamic neoclassical album, one that avoids tedious repetition by striking an intriguing balance between melodic, classical beauty and blaring, electronic ugliness. This balance is shifted significantly towards the former, with only 'Ondes de sang' and the synthetically screaming 'Borée' crossing over into electronic territory.
This album apparently forms the third part of a trilogy, but as the lyrics are all in French, it's a tale entirely lost on me. The band utilises an impressive male and female choir and a large complement of classical musicians, while the rock end of things is only held up by a drum beat pervading most of the songs. The album makes interesting use of silences without resorting to minimalism, and is rarely ambient, occasionally going (deliberately) too far in the layering of instruments.
An experienced classical music scholar would doubtless have more technical bones to pick, but for me it's a fine modern classical album, even if it's a bit of a shame to have no idea what it's about.
1. Ophis puthôn
2. A World in Their Screams
3. Ondes de sang
4. Le dévoreur
5. Le fleuve infini des morts
6. Je rassemblais tes members
7. Stasis
8. Borée
9. La carrière d'ombre
10. J'ai touché aux confins de la mort
11. Urserpens
Griefshire
****
Written on 04.07.08
Written and sung by Sabine Dünser and released shortly after her untimely death, 'Griefshire' ran the risk of being overrated to the extreme in a Kurt Cobain manner, but fortunately it lives up to expectations of being an above-average gothic metal album.
Dünser's vocal performance is pleasant, especially when singing in her native German in tracks two and five, but her support from growled male vocals in 'Beauty-and-the-Beast' style still feels like an overused gimmick of the genre, a contrived means to balance the songs between light and darkness without having to put in the effort musically. The instruments are all fairly standard, the guitar mainly being there to define a rhythm, but there are still some nice solos scattered throughout.
There's an enjoyable degree of diversity in this album, even if it takes fairly obvious forms. 'Remember the Promise' is a bit faster and more energetic than the rest, while 'How Long' and 'Forgotten Love' are both standard ballads, but excusable and indeed relevant thanks to the conceptual story linking the album together.
1. Tales from Heaven or Hell
2. Die Stadt
3. Show Me the Way
4. Brothers
5. Seit dem anbeginn der Zeit
6. Remember the Promise
7. Phoenix from the Ashes
8. How Long
9. Innocent Hearts
10. Forgotten Love
11. The Burning
12. A New Decade
Ven
**
Written on 04.07.08
Eluveitie's first official release shows a lot of promise, but is still only an ever-so-slightly trumped-up reworking of their demo recording. A metal band with a heavy emphasis on folk, this is at least a little different from the norm, and unlike most folk metal releases that supplement the fairly straightforward metal performance with flute flourishes, the rock instruments take a distinct backseat here, partly thanks to the poor production job that relegates them to little more than a fuzz at times.
Flutes and pipes are the primary instruments in roughly half of the E.P., with only 'Ôrô' and 'Druid' being full-blown metal songs with growled vocals and folk instruments still in the foreground. As the production quality weakens the effect of these more extreme sections, not to mention the fact that they're pretty generic anyway, it tends to be the shorter instrumental tracks that hold the most interest, where the elements strike more of a balance.
1. D'Vêritû Agâge D'Bitu
2. Uis Elveti
3. Ôrô
4. Lament
5. Druid
6. Jêzaïg
Advantages: Interesting dominance of folk instruments.
Disadvantages: Brief, and the metal performance is uninspired.
Heathenreel
****
Written on 04.07.08
Elvenking's debut is one of the best examples of folk metal I've ever heard, bringing a superb foresty flavour to what would otherwise be fairly standard, yet still enormously fun power metal. This Italian band clearly has its precedent in the classic metal tradition which allows for some great guitar work and an evolving sense of song structure comparable to Iron Maiden, but it's the folk elements that stand out the most, and they're not merely restricted to the occasional guest appearance by a flute or violin.
Every one of these songs has a folk core, whether it's in the melody of the chorus or the guitar playing, and even the heavier, thrashier offerings such as 'White Willow' can't escape it entirely. This presents a problem if the listener isn't so into the folk elements, but the solution there is to merely avoid this completely and check out something safer by Blind Guardian. The songs do become a little too similar as the album continues, with only the acoustic ballad 'Skywards' and the short, fun 'Hobs an' Feathers' breakings things up.
1. To Oak Woods Bestowed
2. Pagan Purity
3. The Dweller of Rhymes
4. The Regality Dance
5. White Willow
6. Skywards
7. Oakenshield
8. Hobs an' Feathers
9. Conjuring of the 14th
10. A Dreadful Strain
11. Seasonspeech
Emerson, Lake and Palmer
Pictures at an Exhibition
Prog Nerve
***
Written on 28.09.05
Combining classical and electronic instruments was still something of an innovation in 1971. Pink Floyd’s 20-minute symphonic extravaganza ‘Atom Heart Mother’ had built on the Moody Blues’ efforts in the late sixties, then Emerson, Lake and Palmer, at the time a fresh and original presence in the musical world, took this idea a little further.
Their live performance of ‘Pictures at an Exhibition’ takes Mussorgsky’s famous composition – specifically the popular orchestral arrangement by Ravel (Mussorgsky’s original was written for piano) – and adds the keyboard talents of Keith Emerson, the vocals and guitars of Greg Lake and percussion by Carl Palmer.
Released in 1972 at a budget price, this was an affordable way for a curious public to introduce themselves to ELP and react with a disgusted frown or a thoughtful ‘hmm, I like what you did there. I think.’
PICTURES AT AN EXHIBITION
1. Promenade (Mussorgsky)
2. The Gnome (Mussorgsky / Palmer)
3. Promenade (Mussorgsky / Lake)
4. The Sage (Lake)
5. The Old Castle (Mussorgsky / Emerson)
6. Blues Variations (Emerson / Lake / Palmer)
7. Promenade (Mussorgsky)
8. The Hut of Baba Yaga (Mussorgsky)
9. The Curse of Baga Yaga (Emerson / Lake / Palmer)
10. The Hut of Baba Yaga (Mussorgsky)
11. The Great Gates of Kiev (Mussorgsky / Lake)
12. Nutrocker (Kim Fowley, arranged by Emerson / Lake / Palmer)
‘Pictures…’ is Mussorgsky’s most famous and recognised composition, with the possible exception of the hellish ‘Night on a Bare Mountain.’ The opening horns of ‘Promenade’ will unfortunately be remembered by some as the opening theme to Rik Mayall’s unimpressive sitcom ‘The New Statesman,’ while ‘The Hut of Baba Yaga’ and ‘The Great Gates of Kiev’ were spectacularly synthesised in the bestselling early 90s computer game ‘Frontier.’ Mussorgsky’s music attempts to express his feelings about a number of paintings in a gallery, the tone and content of which can hopefully be understood through these pieces. The recurring ‘Promenade’ is the theme of the visitor, moving between the pictures at the exhibition.
Obviously fans of Mussorgsky’s seminal work, ELP present the Promenade in its untampered orchestrated version, while the orchestrated ‘Hut of Baba Yaga’ is played faithfully, but overlaid with increasingly hasty electronic playing from the trio. Vocals are an interesting if distracting addition, most notable in the uplifting ‘Great Gates of Kiev’ that concludes ELP’s ‘Pictures’ set.
Not all of Mussorgsky’s ‘Pictures’ are represented here, attention being directed towards the aforementioned Baba Yaga and Great Gates as well as ‘The Gnome,’ ‘The Sage’ and ‘The Old Castle’ in the first half. Gnome and Castle are taken over by Emerson’s impressive keyboards, while The Sage becomes an unexpected acoustic piece from Lake.
The set closes, after a huge appreciative uproar from the crowd, with the band’s rendition of Tchaikovsky’s Nutcracker (renamed ‘Nutrocker’), itself apparently based on a piano reworking by B Bumble and the Stingers ten years earlier. Although it lacks the atmosphere maintained through the rest of the set, this is a fun (if irritating at times) display of Keith Emerson at his best.
VERDICT
Released after the well-received ‘Tarkus,’ ELP’s Pictures at an Exhibition is a lot of fun, especially for fans of classical music and progressive rock. Some will see it as superior to Mussorgsky, others will track me down and slaughter me for even suggesting that such blasphemers could exist. Now commonly available only as a full-priced CD, rather than the cheap novelty it once was, Pictures could be seen as more arrogant and pretentious than its original intention – a memorable addition to ELP’s first tour.
The sound quality is far from excellent, owing to the fact that this is a live album from the early seventies. Although the instrumentation is near perfect, Greg Lake’s voice isn’t up to the standards of studio recordings. The band later recorded a portion of this set in Dolby surround sound on their otherwise disappointing ‘In the Hot Seat’ album, but taking this as a live addition to a prog rock collection, it’s not all bad. Who knows: Modest Mussorgsky might even be proud.
Nah. But I like it.
Advantages: Entertainment for fans of either school of music
Disadvantages: Imperfect sound quality, short length, extortionate modern prices
In the Nightside Eclipse
****
Written on 04.07.08
Emperor were one of the defining bands of Norwegian black metal, and 'In the Nightside Eclipse' was their first full-length recording after several equally iconic shorter releases. Blasted with atmospheric keyboards and tremolo-plucking guitar riffs creating a desolate wintry soundscape, this is seen as a classic of the genre by many, and probably as a load of treble-heavy screaming noise by others. But what do they know. Actually, that's partly accurate.
This is a harsh album first and foremost, and the melodic elements that are certainly present are only ever secondary. Samoth's guitars rarely deviate from the wall of sound approach, and it's only Ihsahn's keyboards that pioneer the symphonic element. There's very little variation here to the untrained ear, but increased familiarity with the album will reveal its nuances, such as the steady, almost doom metal riffs of 'Beyond the Great Vast Forest' and the increased melodic quotient of the excellent 'The Majesty of the Nightsky.'
1. Intro
2. Into the Infinity of Thoughts
3. The Burning Shadows of Silence
4. Cosmic Keys to My Creations & Times
5. Beyond the Great Vast Forest
6. Towards the Pantheon
7. The Majesty of the Nightsky
8. I Am the Black Wizards
9. Inno a Satana
Anthems to the Welkin at Dusk
****
Written on 04.07.08
Opinion seems to be divided among fans whether Emperor's first or second album captures the band at its best (with most unanimously agreeing that they spiralled downwards after this point). There's a distinct difference between the comparatively eloquent, melodic clarity of 'Anthems to the Welkin at Dusk' and the frosty growl of its predecessor 'In the Nightside Eclipse,' and for its greater variety and more approachable sound, I've always favoured this second effort.
Right from the start, this album refuses to be pinned down as typical second-wave Norwegian black metal. 'Alsvartr' is led by slow and atmospheric melodies from the guitar and keyboards with rasped vocals delivered in a spoken word style, before 'Ye Entrancemperium' explodes into the familiar black metal sound, albeit with much higher and clearer production values than was typical for their contemporaries. The keyboards still reign dominant in this album as they did on its predecessor, the difference being that every instrument now stands apart from the rest with greater clarity.
Along with Dissection's 'The Somberlain,' I'd recommend Emperor's 'Anthems' as a great introductory album to black metal for bold newcomers, less off-putting than some of the more hardcore releases but more authentic than the popular bands such as Dimmu Borgir.
1. Alsvartr (The Oath)
2. Ye Entrancemperium
3. Thus Spake the Nightspirit
4. Ensorcelled By Khaos
5. The Loss and Curse of Reverence
6. The Acclamation of Bonds
7. With Strength I Burn
8. The Wanderer
Advantages: Varied and accessible black metal.
Disadvantages: Lacks authentic atmosphere of its predecessor.
IX Equilibrium
***
Written on 04.07.08
Emperor's third album was the point at which Ihsahn started to take over, Roger Water style, playing most of the instruments and spearheading pretty much the entire direction of the music, which frequently seems to be going nowhere. An album full of incoherent ideas, this isn't so much progressive as stubbornly chaotic for the sake of it, but it still works in a way.
This is a fairly intense album, with ferocious, tangential guitar riffs and other black metal staples such as harsh vocals and drum blast beats, but Emperor introduce enough intriguing melodic elements to keep things varied, from the clean electric guitar of 'Of Blindness and Subsequent Seers' to the sombre violin opening of 'Decrystallizing Reason.' At times, this album comes perilously close to being an overly random noise, possessing volume without feeling or direction as tends to happen with bands like Dimmu Borgir, but there are still enough memorable riffs and songs to allow the album to stand strongly apart.
1. Curse You All Men!
2. Decrystallizing Reason
3. An Elegy of Icaros
4. The Source of Icon E
5. Sworn
6. Nonus Aequilibrium
7. The Warriors of Modern Death
8. Of Blindness and Subsequent Seers
Advantages: Original sound.
Disadvantages: Experiment isn't entirely successful.
A Wintersunset...
****
Written on 04.07.08
Empyrium's first album is a classic of folk metal, of the rare variety that doesn't end up sounding irritatingly upbeat. While this doesn't quite possess the melancholy gloom of their second release, 'A Wintersunset...' sounds like an incredibly effective and atmospheric attempt to capture the essence of nature in its various forms, communicated through folk-inspired melodies and a prominent synthesised orchestra. This album has all the grandeur and beauty of a soundtrack, without any of the tedium.
The slow pace and mournful atmosphere should appeal to doom metal fans, but the harsh black metal vocals that crop up in places do sound a little out of place against the sweeping orchestration, and are probably the album's main failing merely for sticking out so much. The guitar and keyboard melodies are memorable enough for this to become a firm favourite after a single listen, and the sound quality is just about perfect: polished enough to discern the orchestration and keyboards, but not over-produced to spoil the raw effect of the guitars.
1. Moonromanticism
2. Under Dreamskies
3. The Franconian Woods In Winter`s Silence
4. The Yearning
5. Autumn Grey Views
6. Ordain'd to Thee
7. A Gentle Grieving Farewell Kiss
Songs of Moors & Misty Fields
*****
Written on 04.07.08
'Songs of Moors and Misty Fields' is the aptly-titled second album from Empyrium, one that continues to conjure pastoral images albeit this time with an added degree of sadness. The combination of heavy metal with folk almost invariably ends up sounding positively jolly, as is the case with Finntroll and folk-power bands, but Empyrium have succeeded in breaking this barrier and using the natural, archaic instruments (and synthesised equivalents) to create a genuine mournful and elegiac atmosphere in these long, slow songs.
There's enough variation between the tracks for each one to stand out, the possible exception being 'Lover's Grief' which sounds rather like an inferior version of the previous song, and the tone varies also, the first substantial song 'The Blue Mists of Night' leading with a comparatively bouncy and energetic guitar melody reminiscent of Opeth. The rasped black metal vocals now sound more coherent thanks to the louder performance all-round, but the predominant style is still clean, folk style vocals, here supplemented with effective use of male choral vocals.
1. When Shadows Grow Longer
2. The Blue Mists of Night
3. Mourners
4. Ode to Melancholy
5. Lover's Grief
6. The Ensemble of Silence
Where at Night the Wood Grouse Plays
****
Written on 04.07.08
With their third album, Empyrium took the bold leap into acoustic folk territory, entirely abandoning their metal elements and risking alienating their previously loyal fans. Fortunately, this band excels at the folk style, as can be heard on the previous albums which essentially apply rock instruments to a folk foundation, and this stands strong as an equally valid album rather than a one-off attempt, such as Ulver's 'Kveldssanger' or Borknagar's 'Origin.' Unlike most metal bands incorporating folk elements for diversity, there was always an equal balance in Empyrium's work, and eradicating one of the elements could have led either way.
The album still uses keyboards, but abandons the rock instruments and rasped vocals in favour of a traditional approach, though the guitar melodies are still recognisable as the same band. Without the overbearing, doomy atmosphere, this lacks the sorrow of the previous album, but is still incredibly atmospheric, and the shorter compositions should also make it more appealing to those whose attention spans previously deterred them from the band's work.
1. Where at Night the Wood Grouse Plays
2. Dying Brokenhearted
3. The Shepherd and the Maiden Ghost
4. The Sad Song of the Wind
5. Wehmut
6. A Pastoral Theme
7. Abendrot
8. Many Moons Ago...
9. When Shadows Grow Longer
Iron
****
Written on 05.07.08
Ensiferum's second album is faster and heavier than their first, but this also invites unavoidable comparison to the bands whose sound it mimics, most expressly their fellow Finns Children of Bodom, Norther and Kalmah in its use of harsh metal elements over a classic speed metal tempo. Most songs are fast, energetic and a little upbeat, though without the over-enthusiasm of Finntroll, and the guitar work is excellent, leading to numerous memorable guitar melodies and highly enjoyable solos, but I can't help feeling that the acoustic folk elements sound out of place and even a little on the amateur side.
The production quality is crystal clear, which does serve to rob this of some of its atmosphere but at least allows every nuance to be properly heard, and there's a greater degree of variation than on the first album, with songs 'Tale of Revenge,' 'Lost in Despair' and 'LAI LAI HEI' becoming progressively slower until finale 'Tears' abandons metal altogether.
1. Ferrum Aeternum
2. Iron
3. Sword Chant
4. Mourning Heart
5. Tale of Revenge
6. Lost in Despair
7. Slayer of Light
8. Into Battle
9. LAI LAI HEI
10. Tears
Blodhemn
****
Written on 05.07.08
The final album of Enslaved's early career, to speak broadly, is a slight disappointment after the magnificent 'Eld,' simply because it doesn't advance the Viking black metal sound in any way. With higher production values, this remains as intense and heavy as the older albums with added volume, but the discordant riffs end up sounding a little too similar to Emperor for the band to retain much individuality here.
The songs are less varied, most falling back onto simplistic black metal foundations and others attempting diversity through contrived and ultimately unsuccessful means, most notably the rasped spoken word approach and screaming guitar solos of 'Ansuz Astral' that don't really fit in. 'Urtical Gods' has the energetic pace of punk which keeps this album lively, but it's only really the more substantial finale 'Suttungs Mjod / Perkulator' that's in any way comparable to this album's predecessor, with its more thoughtful and eloquent take on things.
1. Audhumla: Birth of the Worlds
2. I Lenker Til Ragnarok
3. Urtical Gods
4. Ansuz Astral
5. Nidingaslakt
6. Eit Auga Til Mimir
7. Blodhemn
8. Brisinghamen
9. Suttungs Mjod / Perkulator
Monumension
****
Written on 05.07.08
'Monumension' improves upon its predecessor 'Mardraum' and helps define Enslaved's progressive black metal sound, while still retaining some of the folk elements that would be absent later on.The biggest difference here is the complete or partial absence of extreme metal elements in numerous tracks, as 'Hollow Inside,' 'The Sleep' and 'Sigmundskvadet' owe more to the classic prog rock tradition, and end up sounding more like something Pain of Salvation might do than the band that released 'Frost' a decade earlier.
Many songs feature psychedelic elements reminiscent of Pink Floyd, certainly not as full-blown as those found in Subterranean Masquerade's work, but still potentially something to alienate the black metal purists (but what do they know). This is a great album that boldly experiments with combinations that shouldn't really work, and occasionally don't, but in attempting to spearhead several genres at once, the band reveals its comparative weaknesses in some areas.
1. Convoys to Nothingness
2. The Voices
3. Vision: Sphere of the Elements - A Monument Part II
4. Hollow Inside
5. The Cromlech Gate
6. Enemy I
7. Smirr
8. The Sleep: Floating Diversity - A Monument Part III
9. Outro: Self-Zero
10. Sigmundskvadet
Isa
***
Written on 05.07.08
'Isa' is the only album Enslaved have released in their turbulent and creative career that I would consider something of a disappointment, if only in comparison to their usual high standard. Reinventing their approach to black metal with every album or two, it was perhaps inevitable that one would fall through, and while 'Isa' isn't bad by any means, it's distinctly average in its ideas and execution.
The songs don't all sound the same, but each one is led by a dominant guitar riff or melody that is repeated a little too often, while gimmicks such as a repetitive keyboard thrum effect show up far too often, perhaps in a contrived attempt to create a sense of coherence across the tracks. 'Lunar Force' is driven by a tremolo-plucking riff that's fun for a couple of minutes before it starts to lose its charm, and 'Ascension' only stands out for being a little slower than the rest. 'Return to Yggdrasil' features melodic sections seemingly for the sake of it, and the final (significant) song 'Neogenesis' feels overlong and lacking in good ideas, despite some enjoyable guitars.
1. Intro: Green Reflection
2. Lunar Force
3. Isa
4. Ascension
5. Bounded By Allegiance
6. Violet Dawning
7. Return to Yggdrasil
8. Secrets of the Flesh
9. Neogenesis
10. Outro: Communion
Ruun
****
Written on 05.07.08
Celebrated at the time as a landmark release in progressive extreme metal, Enslaved's 'Ruun' isn't really all that special or innovative, but is still an improvement over the comparatively dull 'Isa.' Most songs are fairly slow paced and full of melodic moments owing more to prog rock than black metal, while almost pop elements prevail in some of the accessible riffs to songs like 'Entroper.'
There aren't any weak moments here, but at the same time, few songs really scream out for attention. The opener is intriguing with its heavy bass presence and alternation between growls and clean singing, 'Path to Vanir' is slower and evolves into a gloomy acoustic song by the end, and the title song is a great example of mellow black metal, which some may have previously seen as an oxymoron. The only real disappointment with this album is that for all its purported attempts to be different, the songs do end up sounding largely the same.
1. Entroper
2. Path to Vanir
3. Fusion of Sense and Earth
4. Ruun
5. Tides of Chaos
6. Essence
7. Api-vat
8. Heir to the Cosmic Seed
Tetra Karcist
***
Written on 05.07.08
Enthroned's latest album is a little too self-consciously 'dark,' over-using gimmicks such as monk chants that start out sounding convincingly haunting, but later lose their power. This Belgian band takes a fairly standard and unsurprising approach to black metal, and is either blessed or cursed with high production values depending on the listener's preference for clear, hammering guitars and drums or the fuzzy warble of the lo-fi black metal old-school. This album loses some of its atmosphere through the clinical accuracy of the instruments.
Nornagest is the new vocalist here, but he really doesn't make any kind of grand entrance, sounding the same as every other screaming black metal singer. The album is saved by the guitar work, which erupts into solos and lead melodies with enjoyable regularity, though the riffs themselves tend towards extreme repetition, more concerned with maintaining rhythm than anything else. The most interesting songs here are the few that deviate from full-pelt black metal, such as the slightly slower 'The Seven Ensigns of Creation' with its tremolo-picking leading riff that I would have liked to hear more of elsewhere, and the interlude 'Deviant Nerve Angelus' that starts out as a standard, uninspired keyboard break, but evolves into an impressive mini-instrumental.
1. Ingressus Regnum Spiritus
2. Pray
3. Tellum Scorpionis
4. Deviant Nerve Angelus
5. The Burning Dawn
6. Through the Cortex
7. The Seven Ensigns of Creation
8. Nox
9. Vermin
10. Antares
Fatal Design
***
Written on 05.07.08
'Fatal Design' is an incredibly obvious album of gothic metal for those who enjoy their music being predictable. Yet another Finnish band mixing light metal elements with eighties gothic rock and glam, Entwine don't stand up to the leaders of the genre primarily because their sound is so generic and lacking in character.
Mika Tauriainen's vocals are a little more gravelly than those of other gothic metal singers, but this doesn't lend an extra punch to the music, which is still based around medium-speed guitars. Each song is cut to a radio-friendly length and based around overly repetitive choruses, which obviously isn't a bad thing in itself, but does become a little tedious and grating over time, as most songs are lacking creativity.
The only song that really stands out as different is 'My Serenity,' led by odd funk melodies reminiscent of nu-metal, while more obvious contrived differences come in the obvious power ballads that clinically bisect the album at its half-way point and finale.
1. Fatal Design
2. Chameleon Halo
3. Out of You
4. Surrender
5. Oblivion
6. Twisted
7. Insomniac
8. My Serenity
9. Break Me
10. Curtained Life
The Painter's Palette
***
Written on 06.07.08
This Italian band is certainly innovative in its approach to metal, but the ambition isn't entirely supported by the quality of the finished product. Most grating for me are the distinct traces of metalcore evident in the alternation between screamed and sung vocals, handled by two different singers which just smacks of a lack of ability, and the unnecessary anger spoils songs such as 'The Picture' that would otherwise be fairly enjoyable in a more mellow manner.
The most interesting element for me is the use of saxophone, which avant-garde metal bands have been experimenting with to various degrees of success since John Zorn started collaborating with hardcore musicians in the early nineties, and although it works well in the hectic 'The Passage' and the slower songs later on, it isn't as convincingly done as in something like Subterranean Masquerade. Even the hardcore elements seem like an inferior version of Kayo Dot's work, and Maudlin of the Well before them, making this a distinctly average release from Ephel Duath that I admire for its creativity, but can't appreciate on its musical merit.
1. The Passage (Pearl Grey)
2. The Unpoetic Circle (Bottle Green)
3. Labyrinthine (Crimson)
4. Praha (Ancient Gold)
5. The Picture (Bordeaux)
6. Ruins (Deep Blue and Violet)
7. Ironical Communion (Amber)
8. My Glassy Shelter (Dirty White)
9. The Other's Touch (Amaranth)
Consign to Oblivion
****
Written on 06.07.08
Epica's second album is a more satisfying effort than their first, taking a more severe approach to orchestral metal that comes close to the sound of Therion, though without that other band's mastery. With Simone Simons' pleasant singing voice making songs such as 'Dance of Fate' and 'Another Me - In Lack'ech' more accessible as potential singles, and her soprano style working similarly effectively in 'Force of the Shore' when pitted against male growls, this album gets everything right, but still fails a little due to the necessary restrictions of the rock instruments drowned out by the symphony.
The interlude tracks and longer finale 'Consign to Oblivion' demonstrate a real affinity with Hollywood film soundtracks in their dynamic orchestration, comparable to Basil Poledouris, but even for all its ambition and flair, this still isn't the most effective incorporation of orchestra into heavy metal that I've heard, the aforementioned Therion being miles ahead, and even bands such as Virgin Steele being competitive.
1. Hunab K'u (A New Age Dawns - Prologue)
2. Dance of Fate
3. The Last Crusade (A New Age Dawns - Part I)
4. Solitary Ground
5. Blank Infinity
6. Force of the Shore
7. Quietus
8. Mother of Light (A New Age Dawns - Part II)
9. Trois Vierges
10. Another Me - In Lack'ech
11. Consign to Oblivion (A New Age Dawns - Part III)
Turis Fratyr
****
Written on 06.07.08
Equilibrium's debut is a great album of folk metal in the roughly-defined Viking style, albeit this time focusing on the band's native German ancestry and mythology. The music is frequently fast and heavy in a speed metal style, complimented by keyboards that add the all-important folk element but occasionally go a little too far and become grating, as is the case in 'Widars Hallen.'
For the most part, this is fairly predictable but fun folk metal in the style of Ensiferum, as fast songs like 'Wingthors Hammer' are balanced by slower offerings such as 'Unter der Eiche.' The album is at its best when combining the synthesised folk elements with the metal in a truer fusion rather than acting as a parallel, and this reaches its height in 'Nordheim,' before finale 'Wald der Freiheit' abandons the metal side of things altogether and proves that the band would still have what it takes as a neofolk outfit.
1. Turis Fratyr
2. Wingthors Hammer
3. Unter der Eiche
4. Der Sturm
5. Widars Hallen
6. Met
7. Heimdalls Ruf
8. Die Prophezeiung
9. Nordheim
10. Im Fackelschein
11. Tote Heldensagen
12. Wald der Freiheit
Metamorphogenesis
****
Written on 06.07.08
Birmingham's Esoteric are one of the more impressive funeral doom metal bands, a genre pioneered by the likes of Thergothon who took the already crawling pace of traditional doom metal and stretched it out to new extremes of glacial tedium. Unlike boring drone bands such as Sunn O))) who merely sustain notes for far longer than the average human attention span permits, Esoteric use the slower pace to their advantage in creating an engulfing, wholly depressive and somewhat alien atmosphere.
These three songs are slow and demanding of the listener, but possess enough internal variation to keep them interesting. They become increasingly shorter as the album continues, from seventeen to fifteen and finally eleven minutes, and are some of the most haunting and hypnotic compositions I've ever heard. That said, this is only an album for a specific mood, and one that could very easily bore the listener to tears if played inappropriately. The distorted effect of the vocals and fuzzing guitar riffs are incredibly sinister, and balanced out by elegiac guitar melodies and effective use of sparse keyboards in the ambient sections.
1. Dissident
2. The Secret of the Secret
3. Psychotropic Transgression
Advantages: Haunting funeral doom metal that won't bore the patient listener.
Disadvantages: Third song is too similar to the second.
A Sombre Dance
*****
Written on 06.07.08
One of the most distinctive and compelling doom metal albums I've heard, Estatic Fear's second and final album is essentially the project of Austrian Matthias Kogler, the only remaining original band member who drafted in guest musicians and a female singer to record his magnum opus. A heavily symphonic album, this is one of the most effective combinations of rock instruments with orchestration that I've ever heard, one that never goes over the top to spoil its sombre, pastoral, historical atmosphere, and perhaps the closest you can get to true Medieval metal (however much of an oxymoron that may be).
Each song flows perfectly into the next, and all possess enough internal variation for the album to work as an epic and beautiful musical story. The metal itself never feels overbearing, despite approaching an impressive degree of heaviness in Chapter II and others, and the dual guitar melodies that lead the way in most songs are instantly gratifying and memorable. Even gimmicks such as the thunder and rain that pervade Chapter II contribute excellently to the atmosphere, whereas on other albums I would consider them cheesy and unnecessary.
1. Intro (Unisono Lute Instrumental)
2. Chapter I
3. Chapter II
4. Chapter III
5. Chapter IV
6. Chapter V
7. Chapter VI
8. Chapter VII
9. Chapter VIII
10. Chapter IX
Advantages: Perfectly composed and executed symphonic doom metal.
Disadvantages: Twinkly keyboards are slightly irritating in Chapter VIII.
A Virgin and a Whore
****
Written on 06.07.08
'A Virgin and a Whore' is the fourth album of Finland's Eternal Tears of Sorrow, and a fine work of melodic death metal that stands out in an increasingly generic and stagnant genre. With its generally slower tempo and emphasis on keyboards bearing a sound reminiscent of early video game music, this isn't necessarily going to appeal to fans of Dark Tranquillity, In Flames or the other Gothenburg bands, but it's still a varied and enjoyable album, if somewhat lacking on the technical front.
'Aurora Borealis' is almost a doom metal song with its slow, rhythmic riffs and drawn-out melodic guitars, and while it doesn't have the same instant gratification as the more energetic 'Heart of Wilderness' and 'Blood of Hatred,' it's a fantastic opener that established a great atmosphere. 'The River Flows Frozen' is similarly effective and even more varied, beginning with acoustic work and ending in a piano outro with plenty of guitar harmonies in-between, and even those normally averse to death metal may find elements of these songs surprisingly soothing.
1. Aurora Borealis
2. Heart of Wilderness
3. Prophetian
4. Fall of Man
5. The River Flows Frozen
6. The Last One for Life
7. Sick, Dirty and Mean (Accept cover)
8. Blood of Hatred
9. Aeon
Solitude Dominance Tragedy
****
Written on 07.07.08
Evergrey are one of the more distinctive progressive metal bands, achieving a recognisable sound of their own rather than merely following in the footsteps of the big genre names such as Dream Theater, Tool or Fates Warning, though comparison to the latter is occasionally relevant. Their early albums were fairly dark and sombre offerings of prog metal infused with power metal elements, and 'Solitude Dominance Tragedy' is a highly enjoyable album that will appeal to those who enjoy the less showy prog metal of bands like Pain of Salvation.
Tom Englund's vocals are the stand-out element of the band, and may also be the make-or-break aspect, due to the level of melodrama. The other instruments don't stand out quite as much, but the prevalence of keyboard adds a haunting atmosphere, while chugging guitars in songs like 'She Speaks to the Dead' and the more energetic 'Nosferatu' maintain the inertia. The band has a flair for ballads that is perhaps at its best on this album, 'The Shocking Truth' being reminiscent of Kevin Moore's 'Space Dye Vest' composed for Dream Theater in its voice samples, though the later ballad 'Words Mean Nothing' is more typical and a little dull as a result, saved only by sweeping keyboards.
1. Solitude Within
2. Nosferatu
3. The Shocking Truth
4. A Scattered Me
5. She Speaks to the Dead
6. When Darkness Falls
7. Words Mean Nothing
8. Damnation
9. The Corey Curse
In Search of Truth
****
Written on 07.07.08
I've always been frustrated that this album comes so close to being a prog metal classic, but is held back by the prevalence of frankly rubbish ballads. Evergrey have an excellent grasp of atmosphere, and songs frequently indulge in slower, more melodic sections to balance out the heavy riffs elsewhere, but the ballad songs 'State of Paralysis,' 'Mark of the Triangle' and 'Different Worlds' push this to extremes of boredom.
With that major gripe out of the way, this is an otherwise excellent work of progressive power metal, drowned in keyboards that add an epic flair and intersected with spoken word sections narrating the story of the central character's paranoia over his suspected alien abduction. Many songs are instantly memorable, from the somewhat poppy chorus of 'The Masterplan' to the effective use of piano in 'Rulers of the Mind' and the solo in 'Watching the Skies,' and with its generally steady pace the musicians make the few faster sections all the more effective.
1. The Masterplan
2. Rulers of the Mind
3. Watching the Skies
4. State of Paralysis
5. The Encounter
6. Mark of the Triangle
7. Dark Waters
8. Different Worlds
9. Misled
Monday Morning Apocalypse
***
Written on 07.07.08
Evergrey's 2006 release is largely a disappointment, lacking the epic scale and lyrical intrigue of their earlier works in favour of a more accessible and tightly edited direction that ultimately fails to impress, topped off with a meagre production job that kills the impact of the guitars and makes this more of a rock album than heavy metal, especially disappointing considering how Evergrey were previously one of the heavier bands playing in this style.
The chorus of the opening title song is particularly offensive in its obvious theft of seventies pop-rock, and most songs end up sounding very generic, with only the contrived weird vocal stylings of 'Still in the Water' making that song stand out a mile, at least in its first half. One saving grace of this album is that the band finally seems to have ceased relying on ballads, with only the finale 'Closure' being a true ballad led by a dull piano, and the earlier 'In Remembrance' opting for slow metal rather than full-blown power ballad.
1. Monday Morning Apocalypse
2. Unspeakable
3. Lost
4. Obedience
5. The Curtain Fall
6. In Remembrance
7. At Loss For Words
8. Till Dagmar
9. Still in the Water
10. The Dark I Walk You Through
11. I Should
12. Closure
Bonded by Blood
***
Written on 07.07.08
'Bonded By Blood' is widely hailed as a thrash metal classic, but viewed outside of the hype it's actually a rather standard offering. As a thrash debut it fares better than Metallica's 'Kill 'Em All' but doesn't come close to Testament's 'The Legacy,' and its punk energy and repetitive riffs make it distinctly average.
Paul Ballof is the star here, his alternately shrieking and yelling vocals summing up the aesthetic and ideology of the genre, but the other performers seem to be too comfortable in their niches. Songs such as the title track are led by enjoyable guitar riffs that begin to grate after a while due to the repetition, and there's very little variation between songs, the notable exception being 'Metal Command' which sounds more like classic heavy metal indulgence.
The somewhat weak mid-eighties production values mean this isn't particularly hard-hitting no matter how loud you play it, and although it's pretty fast at times, it's certainly no Megadeth.
1. Bonded By Blood
2. Exodus
3. And Then There Were None
4. A Lesson in Violence
5. Metal Command
6. Piranha
7. No Love
8. Deliver Us to Evil
9. Strike of the Beast
F
The Real Thing
So Groovy it's Out of Sight
***
Written on 20.05.04
...Whatever that lyric means. Having written a large number of reviews on heavy metal albums I have recently begun to branch out and explore different types of music. You may argue that Faith No More are an established band that are still within the rock genre, and I would answer that I'm not that brave yet; their blend of almost Chili Peppers-style funk in the vocals and rhythms, and some of the best guitars I've ever heard, led me to pick up this album for a bargain price.
THE BAND
Faith No More were one of the most influential and best-selling rock bands of the late eighties to early nineties, and this was their first hugely successful album, featuring what is considered to be the classic line-up.
VOCALS - MIKE PATTON
Patton, formerly of Mr. Bungle, is a very talented vocalist who sings in a fairly high register that never overpowers the music. As I'm not completely used to him I find he can get annoying at times, but his range is evident on tracks such as 'Zombie Eaters'; he is often considered to improve with the band's later albums.
LEAD GUITAR - JIM MARTIN
What a guy: Jim Martin's solo in 'Epic' sounds like electrified metal harnessed by a master axeman, or something. His obvious talent shines through in instances such as this, but most of the time he is content to stick to more straightforward driving riffs to keep the tracks flowing. This is a bit of a shame, although Jim later left the band to pursue other avenues that I will have to check out.
DRUMS - MIKE BORDIN
Since Faith No More disbanded in the nineties, Mike can often be found filling in for prominent bands when their drummers are unavailable, such as Korn. Bordin has perfect timing, but is essentially used to drive the tracks along, rarely getting any opportunities to show off the extent of his talents in this album.
BASS GUITAR - BILLY GOULD
The funky nature of this album means that there is a large amount of bass presence, certainly more than in many other rock albums, and Billy Gould is highly skilled at playing both subtle and leading bass lines.
KEYBOARDS - RODDY BUTTOM
This odd-named guy lends an extra touch to a number of tracks, but is mainly used to introduce some atmospheric elements.
THE MUSIC
1. FROM OUT OF NOWHERE
This is an upbeat, fast track that leaves nothing to the imagination regarding the style of this album. Patton sings in a high voice that adapts to the quite basic melody, and this is a very straightforward song without any breaks or solo sections that isn't particularly interesting.
"Obsession rules me-
I'm yours from the start
I know you see me-
Our eyes interlock"
2. EPIC
One of the band's most well-known songs, this was the only track I had previously heard and it contains one of my favourite guitar sections in history, earning Jim Martin the distinction as one of my favourite guitarists. (He was in Bill & Ted's Bogus Journey too, which may impress about one person reading this). Quirky funk-rap style vocals in the verses and some great singing in the chorus make this my favourite track on the album, and the piano outro is a pleasant ending. Not quite an epic although the length makes it very manageable and suitable for radio play, but anyone who appreciates a good high guitar needs to hear that solo.
"You want it all but you can't have it
It's in your face but you can't grab it"
3. FALLING TO PIECES
Beginning with a bass beat, this is a great song for Billy Gould and his four-string as it relies less on guitar riffs than the norm. Patton's vocals are a little irritating in this, especially as they seem too sing-song at times (or like a very nasal woman), but it's a track that's grown on me and is suitably different from what I normally listen to. Nice use of keyboard accompaniment in the second half also.
"The plot thickens every day And the pieces of my puzzle keep crumblin' away"
4. SURPRISE YOU'RE DEAD
Surely the best title, the song's pretty cool too. The unison shouting matches the more aggressive riff well, and makes this more of a metal track than some of the others. Coming in at only 2:27 it's a nice addition to the CD, although the lyrics are pretty daft.
"The hatred I bestowed
Upon your neck with a fatal blow"
5. ZOMBIE EATERS
Surprisingly less of a horror theme than the last track, this is a soft ballad that evolves into a galloping rock anthem after two minutes. Patton demonstrates his vocal range on this one, and although I don't often like ballads I really enjoy the heaviness of the rest of it.
"I like to make a mess
I laugh at your distress"
6. THE REAL THING
The title track is an eight-minute affair, much more deserving the title 'Epic' than the earlier track. All instruments are used to their full potential here, and some really great guitar rhythms make this another of the more metal tracks, sounding similar to classic Metallica in places. There is enough progression to keep the song interesting throughout, alternating between the chugging rhythm with staccato vocals, and more sombre sections in this condemnation of drug abuse.
"It's like the pattern below the skin
You gotta reach out and pull it all in
And you feel like you're too close
So you swallow another dose"
7. UNDERWATER LOVE
Beginning with some very eighties keyboards, it's clear that this is a more commercial track aimed at radio play, but it doesn?t feel out of place. One of my least favourite tracks as Mike's voice grates a little, and the quite bland keyboards overpower all the other instruments (although there is a great bass presence), but it's suitably placed after the dark nature of the previous few tracks - one of the funkier ones.
"Liquid seeps into your lungs
But your eyes look so serene"
8. THE MORNING AFTER
This song has a great drum beat that sets the pace, and the guitar presence is back where it belongs. Great use of quiet, almost orchestral keyboards from Roddy Buttom and more good vocals from Patton - who I have often become used to by this point - but I'm biased in favour of this song as it has some guitar solo action from Jim Martin. The end of the song is very fast and energetic as well, which is always a great touch.
"Is this my blood dried upon my face?
Or is it the love of someone else?"
9. WOODPECKER FROM MARS
This instrumental is a distinctive track, although with a name like that it would have to be, and it seems that everything goes here. It begins with an Eastern-inspired melody before the main guitar kicks in with a fantastic driving riff that sounds very reminiscent of thrash bands of the time, notably Metallica and Slayer, but isn't too heavy to break out of this album's style. I don't miss Patton?s vocals, and if 'Epic' wasn't such a classic song this would certainly be my favourite offering from the album as it is far deeper and more experimental than the rest, again highlighting the talents of Jim Martin.
10. WAR PIGS
The band's successful cover of one of Black Sabbath's most popular early songs, I much prefer this version in spite of how murdered I may get by Sabbath fans. The sound quality of the instruments is obviously infinitely clearer and I was never a huge fan of Ozzy Osbourne's screechy vocals so I'm fairly indifferent to Patton's recreation of them here. A good track that sounds a little out of place, as covers mostly do, but an interesting song to recreate.
"Generals gathered in their masses
Just like witches at black masses"
11. EDGE OF THE WORLD
I do not like this song. In fact, I would go as far as to say I hate this song. Not that it's inherently terrible, just really not for me. This track is an anti-climactic piano jazz-esque song without any rock elements and as such may prove popular with less metal-oriented fans, but isn't my cup of tea.
"Hey, little girl
Would you like some candy?"
VERDICT
Mike Patton is not one of my favourite vocalists, and I much prefer some of his later efforts where he utilises a deeper singing voice, but in terms of musical skill and fun this is a great album. 'Woodpecker From Mars' is a fantastic instrumental, and there is a perfect balance of funky, heavy and melancholy tracks to appeal to most music fans.
The band's follow-up album, Angel Dust, is considered hugely influential and certainly offers chances throughout for the excellent musicians to show off the full range of their talents, but it is a little too experimental for me (and for the record buying public it turns out). It has been commented that Faith No More were ahead of their time and I think this is largely true; 'Epic' precedes the rap-rock bands that unfortunately dominated 2001, although in terms of the funk and thrash metal influences it's clear that this comes from the late eighties. This album is enjoyable, fast, fun, thought-provoking and, most importantly, groovy.
Angel Dust
Heron on Crack
****
Written on 11.06.07
Faith No More’s second album with Mike Patton was the first on which his strange influence became a driving force, deviating vastly in many cases from the previous huge-selling alternative metal release ‘The Real Thing’ as the band explored more unusual, experimental territory more in the vein of Patton’s side-project Mr. Bungle.
Many of the songs, particularly the singles towards the beginning of the album, stick to the highly influential funk metal sound that they had pioneered in the late eighties along with the likes of the Red Hot Chili Peppers, while some of the later songs expand on the hip hop influence of ‘The Real Thing,’ making this album largely, and sadly responsible for the rap metal boom of the late nineties, which now thankfully seems to have slumped again. I can’t imagine any other situation where I would be recommending an album favoured by Fieldy, the maize-field-haired gangsta bassist from Korn, but the impact of ‘Angel Dust’ has been far reaching to all sections of alternative metal, particularly some of the large progressive metal bands, and Kerrang! magazine has rated it the most influential album of all time (presumably in the world of alternative rock that Kerrang! pretends it caters for).
This wild mix of styles may appear, on first listen, to divide the album into complex and remedial sections to appeal to different breeds of listeners, but closer examination reveals that the depth of this material spans the majority of the disc, introducing subtle background nuances and changes of direction even in the more commercial sounding songs. This isn’t true for the entire album however, as songs like the white-trash piano song ‘RV’ are fairly easy to take at face value. Later versions of the album, and the one commonly available today, closes with the band’s popular cover of the Commodores’ hit ‘Easy,’ which provides some necessary easy-listening relief after the crazed likes of ‘Crack Hitler’ and ‘Jizzlobber.’ The guitars on this album vary between heavy metal and melodic pop-rock, and unfortunately move away from the centre stage they took on the previous album, unfortunate because this would be Jim Martin’s last album with the band and he could have had a more impressive swan (heron?) song than this.
1. Land of Sunshine
2. Caffeine
3. Midlife Crisis
4. RV
5. Smaller and Smaller
6. Everything’s Ruined
7. Malpractice
8. Kindergarten
9. Be Aggressive
10. A Small Victory
11. Crack Hitler
12. Jizzlobber
13. Midnight Cowboy
14. Easy
After a heavy riff that lasts for a few bars, ‘Land of Sunshine’ belongs almost completely to the clunking rhythm of Billy Gould’s bass. Patton’s vocals alternate between a kind of crazy shouting and a more accessible clean singing voice in the chorus and most of the verses, a style he uses on all the songs the band intended to make money from as singles, and despite this accessibility this song does go beneath the surface largely due to the keyboards of Roddy Bottum. This minimalist synthesiser sounds very eighties, but provides a nice ‘falling’ or cascading effect that sounds mock-classical. There’s a very brief guitar solo, but it’s kept very short and sweet. Both this and the next song particularly, ‘Caffeine,’ were written while Patton was depriving himself of sleep, presumably with the intention of seeing what it did to his ability to write songs. Oddly, these are some of the more restrained pieces on the disc, though ‘Caffeine’ is more hard-edged, based more on loud guitars and pounding drums to create not so much a dreamy atmosphere as one in which the listener tries to become relaxed, but is prevented from doing so, fitting to Patton’s experiment. There are some real hardcore-style screams hidden in the mix a little towards the end, perhaps passing unnoticed on first listen, and Patton sounds very angry, in a funky, Chili Peppers way, throughout.
‘Midlife Crisis’ is one of the most approachable songs, and the one most similar to the previous album, lacking most but not all of the weirdness of this one. The song begins in a minimalist soundscape of light percussion and quiet synth, as Patton whispers the lyrics, before picking up volume in the uplifting choruses. The guitar sounds noticeably stilted on this song, perhaps wary of alienating non-rock fans on the radio, and is forced to chug along in the background even in the louder sections. The problem with this song, which is otherwise pretty great, is its repetition and lack of new ideas, as pretty much everything has been heard after the first minute, leaving repetition until fade-out the only course of action. The afore-mentioned ‘RV’ follows, and this angry, depressing ditty spoken in a harsh white-trash old man voice always makes me picture a guy sitting out on his porch. It’s not as bad as some of the country-influenced stuff Metallica would later indulge in for the ‘Load’ and ‘Reload’ albums, being an obvious joke and stab at certain aspects of America, and in a way sounds like that raving, drunk Q.C. from ‘The Fast Show,’ particularly as only his final words are very clearly legible amidst the general murmur. The piano melody is in waltz time, and there’s quite a nice guitar hidden in the background for most of it that’s possibly influenced by rockabilly or something equally hillbillyish. This song is well placed on the album, providing some nice relief and interrupting the flow a little without having to be something terrible and distracting like a piano love song. No, trailer park yokel is what I like.
After this relief comes perhaps the most challenging part of the album, and my favourite (if we are to assume, as I do despite obvious evidence to the contrary, that the album can be divided into sections). ‘Smaller and Smaller’ is the first song to properly make use of Martin’s guitar abilities, sounding almost Arabian in places though not enough to be clichéd, and dominating in the wordless chorus. Patton’s vocals are similarly at their most freestyle, overlapping and elusive and culminating in an echoed screech reminiscent of black metal, again hidden a little in the soundscape in the same way as the screams in Pink Floyd’s ‘Careful With That Axe, Eugene.’ A quieter psychedelic section ends the song, led by light drums, and a short solo finishes things off. This was never going to be a single, but it characterises the album well. ‘Everything’s Ruined’ initially threatens to be a ballad with Bottum’s soft piano intro, but remains more energetic despite the lack of guitars in all but a few sections, filled in with the piano melody. This is a great melodic song with a catchy chorus, catchy enough to be ripped off by Dream Theater for their 2001 album that, to be fair, steals ideas from all the big bands in the alternative scene, with the guitar soaring overhead and the bass providing a great rhythm without sounding clunky and funky this time.
With ‘Malpractice,’ one of the few songs never played live, aggression returns. Patton alternates between shouting and singing, and unleashes another of those black metal screams, while Martin plays a really discordant solo that hurts my ears. It’s very bleak and loud, taking more influence from hardcore than heavy metal however, and takes time out to play what sounds like a lullaby or child’s mobile, perhaps inspiring similar but more gaudy conceits in the music of teen angst bands like Slipknot to imply child abuse. Appropriately, ‘Kindergarten’ follows, and the album again alternates to a more melodic song, as well as starting to introduce the hip hop elements more prominently. Patton’s near-rap vocals don’t ruin the pleasant atmosphere of the keyboards and guitars, and are mostly modulated to a deep, masculine singing in the choruses.
The pattern continues with the next two songs: the deliberately confrontational song about gay oral sex, ‘Be Aggressive,’ which is suitably aggressive despite being based on sixties organs and seventies funk, certainly the height of funk on this album while also including the only real, extended guitar solo, and the contrastingly pleasant sounding ‘A Small Victory’ which begins with a beautifully melodic guitar and seems to finally crack this melodic song business that the previous two even-numbered tracks didn’t quite manage. With the guitars doing their soaring thing, taking a little time out for a squeaky Primus / Rage Against The Machine style solo, this song really belongs to the vocal deviance of Patton, who sings the verses pleasantly, scats a little in-between verses (basically opening his mouth and letting some sounds come out, despite the song’s lyrics about keeping your mouth shut), and even introducing some Michael Jackson sounding ‘woo’ bits towards the end. There appears to be more to this song than at first meets the ear, but it’s mainly just some sound effects in the background. This is one of my favourites, and certainly the peak of the album’s softer, feminine side.
The final ‘section’ of the album (alright, I’ll admit there doesn’t seem to be that much of a pattern. I guess it’s more down to my listening habits of this CD that I tend to play the songs in groups of four) begins aggressively and ends calmly, though it’s a gradual and interesting process. ‘Crack Hitler’ is one of the weirder songs on the album, fading in slowly with the bass playing what sounds like a techno rhythm, and with Patton joining in after a while speaking in tongues, through distortion that sounds like a police radio. This song is split into two styles, which repeat in tandem: the first is a soothing keyboard melody backed up by a nice rhythm section, and the other is a louder, roaring crowd chant led by Martin’s thrash metal guitar riffs. Faith No More’s direct influence on modern prog band Pain of Salvation is especially evident here, as pretty much the entire PoS discography sounds like this song. Faith No More takes its own influence from elsewhere however, with Patton attempting a heavy metal style ‘woah-oah-oah’ section towards the end, similar to the sing-along incentive added to pretty much every Iron Maiden hit single, and a Black Sabbath ‘War Pigs’ style air raid siren to boot, a song the band covered on their previous album. The distastefully titled ‘Jizzlobber’ is one of the more disconcerting songs on the album, perhaps even more so than ‘Smaller and Smaller,’ ‘Malpractice’ and ‘Be Aggressive’ combined, opening with weird, indeterminate sound effects and moving on to a keyboard melody influenced by classic horror films. The vocals are all over the place, sometimes distorted and sometimes even singing quite pleasantly and legibly, but becoming more tortured and screamed towards the end. Martin’s guitars are at their most ‘metal’ here, executing a real headbanging thrash riff and making quite a lot of noise that is nevertheless usurped in the end by the rising sound of a church organ played by Roddy Bottum, far more grand sounding than ‘Be Aggressive’ ever managed and threatening to end the album on an unresolved note of tension and emotional confusion. Fortunately, it’s not quite the end; ‘Midnight Cowboy’ is an instrumental cover of the theme of the film of the same name, of which I know nothing, and is truly grand sounding, conjuring a barren vista with its simple accordion melody joined by drums and far quieter guitar and bass for a few pleasant, if unremarkable minutes, followed by the Commodores cover which is pretty much the same as the original, and not really to my taste.
It’s clear that ‘Angel Dust’ wasn’t exactly what the record label had in mind as the follow-up to the massive selling ‘The Real Thing,’ but its unique oddness, still tinged with enough pop rock to make it sell, still captured the attention of the record buying public, perhaps more so in this country than its American homeland after the success of the single ‘Easy.’ It’s refreshing to see such a strange and bold album on a major record label, but it was perhaps inevitable that Faith No More’s album would be released no matter what the product was, as the band was a fairly hot potato in the early nineties. If arranged differently, perhaps across two discs, it’s clear that tracks 3, 4, 6, 8, 10, 13 and 14 offer a more pop-oriented and, in most cases, easy listening experience (the final pair particularly), while the other half comprising tracks 1, 2, 5, 7, 9, 11 and 12 are more for the hardcore- or metal-oriented fans willing to try something a bit different, and more rough at the edges.
When dissected in this manner, ‘Angel Dust’ becomes easier to digest, but also loses some of the chaotic charm of the listening experience, when anyone playing the album in company is required to feel a little fearful as each song fades out, just in case the next will offend or arouse suspicion from bystanders who would prefer a watered down Red Hot Chili Peppers release with none of this rubbish shouting, jumping around business. While Faith No More fans tend to cite this album as the band’s creative peak, I remain more fond of the simplistic funk-metal enjoyment of ‘The Real Thing,’ which has a similar blend of soppy pop-rock and cacophony, but with far more emphasis on Jim Martin’s great guitar abilities, not utilised to their full here and never to surface again. This is one of those albums that will mostly be bought nowadays off recommendations that ‘it’s one of those albums you have to own,’ which is silly considering the vast amounts of rip-offs it has spawned that could just be bought instead, but ‘Angel Dust’ always manages to stand out a little from my ridiculously vast CD collection for its specific charm and Mike Patton’s bizarre take on the whole thing, leading me to the conclusion that this must be some sort of flawed but long-lasting classic.
Advantages: Intriguingly, disconcertingly varied collection of myriad styles.
Disadvantages: Jim Martin's guitar is sadly under-used on these final performances.
Falconer
***
Written on 08.07.08
Although nowhere near my list of favourites, it has to be said that Falconer are one of the more distinctive power metal bands, incorporating a folk influence in their guitar and vocal melodies and refusing to follow several staples of the genre, most notable the typical wailing vocals which are replaced with Mathias Blad's smooth folk croon.
Falconer's first album is a little heavier and more traditionally power metal than their later works, and has always sounded to me like a lighter version of the melodic death metal sound played by bands such as In Flames, albeit without the growled vocals. This is a distinctly Swedish sound that refuses to be nailed to a specific genre, but once the album hits its stride it soon becomes clear that Falconer is a band of minimal ideas, each song sounding much the same as the last.
There isn't a great folk influence here, only really rearing its head in the lead guitars of songs such as 'Mindtraveller,' and Stefan Weinerhall's guitar work is never particularly inspired.
1. Upon the Grave of Guilt
2. Heresy in Disguise
3. Wings of Serenity
4. A Quest for the Crown
5. Mindtraveller
6. Entering Eternity
7. Royal Galley
8. Substitutional World
9. Lord of the Blacksmiths
10. The Past Still Lives On
Chapters from a Vale Forlorn
***
Written on 08.07.08
Falconer's second album is subtly different from their debut, following a largely more melodic approach and incorporating folk elements a little more substantially, though the old problem of each song sounding exactly the same still presents an issue.
Mathias Blad's singing will doubtless appeal to many, but in each song he varies from impressing me to annoying me intensely, most evident in the move from the catchy chorus of 'Decadence of Dignity' to the irritating, somewhat nauseating verses of 'Enter the Glade.' This is quite an issue, as Blad's vocals are easily the centre of attention throughout the album, maintaining its steady, medium tempo even when the rhythm tries to speed up to a fast gallop in songs like 'For Life and Liberty.'
'Lament of a Minstrel' is an attempt to bring in a truer folk sound, but one that pales in comparison to the work of other bands whose take on the mixed genre is much more effective (Elvenking or Moonsorrow for example), and each song ends rather abruptly and unsatisfyingly, feeling a little lacking.
1. Decadence of Dignity
2. Enter the Glade
3. Lament of a Minstrel
4. For Life and Liberty
5. We Sold Our Homesteads
6. The Clarion Call
7. Portals of Light
8. Stand in Veneration
9. Busted to the Floor
Northwind
****
Written on 08.07.08
After a few disappointing albums with a different singer and a different style that I've thus far managed to avoid, Falconer returned to form with their 2006 release 'Northwind,' giving very little sign whatsoever that any time had passed since their sophomore 'Chapters from a Vale Forlorn.'
This is a better version of that sound, partly because there's simply more material on offer, even if it still sounds largely like the same song repeated again and again. The dual guitars of Stefan Weinerhall and Jimmy Hedlund are a nice touch that was lacking from the older albums, and adds a classic heavy metal sound to the lead melodies and solos, but additional touches such as the synthesised string sections behind some songs are so subtle as to be hardly noticeable.
'Northwind' itself is fairly unforgettable in its archaic, Greensleeves-style vocal melody (whether this unforgettable nature is a good thing or not depends on the listener's preference), but no other song remains as memorable. 'Legend of the Lore' is an example of a good acoustic folk song, while 'Long Gone By' is a much duller acoustic ballad.
1. Northwind
2. Waltz With the Dead
3. Spirit of the Hawk
4. Legend and the Lore
5. Catch the Shadows
6. Tower of the Queen
7. Long Gone By
8. Perjury and Sanctity
9. Fairyland Fanfare
10. Himmel så trind
11. Blinded
12. Delusion
13. Home of the Knave
14. Black Tarn (instrumental)
...En Their Medh Riki Fara...
****
Written on 08.07.08
Falkenbach is another intriguing one-man black metal project, as German musician Vratyas Vakyas performs all the instruments and vocals himself. This lends a certain amateurish quality to the lo-fi sound, which only makes it all the more appealing to me.
Filled with apocalyptic, Wagneresque black metal riffs saturated with polished keyboards and folk-influenced lead guitar melodies, this is great Viking metal for fans of Bathory, Månegarm, Tyr and the rest, and still possesses its own unique sound, though not one that can ultimately live up to the genre leaders. Vratyas includes some slightly gimmicky but still effective samples, opening the powerful 'Galdralag' with distinctly Bathory-style galloping hooves and the slower 'Heathenpride' with a hooting owl, and as expected there's the occasional switch to acoustic guitar and folk instruments.
Perhaps the album's most interesting experiment is the wood pipes played over the warbling black metal of 'Asum Ok Alfum Naer...,' which is a sound I've never heard before.
1. Galdralag
2. Heathenpride
3. Læknishendr
4. Ultima Thule
5. Asum Ok Alfum Naer...
6. Winternight
7. ...Into the Ardent Awaited Land
...Magni Blandinn Ok Megintiri...
****
Written on 08.07.08
The second album of Vratyas Vakyas' Falkenbach project takes the Viking metal sound of its predecessor to the extreme, abandoning some of the black metal but at the same time introducing new, jarring elements that upset the finished article. These songs are longer on the whole, though not necessarily more 'epic,' and are all quite slow, lacking the thunderous energy of the previous album, and although the nostalgic atmosphere is created very well in songs like 'Baldurs Tod' and the introduction of '...When Gjallarhorn Will Sound' particularly, the reliance on keyboards keeps it disappointingly in the present-day.
My largest issue with this album is Vratyas' alternation between a clean, chanting style of vocals and black metal rasps, the latter of which tends to sound out of place. Even worse is the frequent use of vocal distortion that delivers passages as if Vratyas was some sort of robot from a 1970s version of the future, sounding more like the kind of dumb gimmick Dimmu Borgir might do, and counting as a significantly failed experiment in an otherwise impressive album of Viking metal.
1. ...When Gjallarhorn Will Sound
2. ...Where Blood Will Soon Be Shed
3. Towards the Hall of Bronzen Shields
4. The Heathenish Foray
5. Walhall
6. Baldurs Tod
Awaken the Guardian
****
Written on 08.07.08
Fates Warning were one of the forefathers of progressive metal in the eighties, and 'Awaken the Guardian' catches them at a time when their sound was still distinctly rooted in the 1980s heavy metal sound, albeit with a focus on experimentation. The sound is comparable to Iron Maiden around that time, with the even more extreme vocals of John Arch carrying off some impressive and very high melodies that will doubtless repel as many listeners as they attract.
Unusual time signatures keep listeners on their toes, but unfortunately the album fails to be gripping all the way through, and becomes fairly repetitive by the half-way point. Some songs stand out for various reasons, from the melodic vocals of 'Fata Morgana' to the acoustic introduction of 'Guardian' and the distinctly Maidenesque finale 'Exodus' that sounds a more complex version of that other band's epic finales such as 'To Tame a Land,' but prog metal fans approaching this album through the praise of its die-hard fans may leave slightly disappointed.
1. The Sorceress
2. Valley of the Dolls
3. Fata Morgana
4. Guardian
5. Prelude to Ruin
6. Giant's Lore (Heart of Winter)
7. Time Long Past
8. Exodus
Perfect Symmetry
***
Written on 08.07.08
'Perfect Symmetry' marks Fates Warning's crossover from progressively-minded heavy metal band to full-blown prog metal act, retaining the classic metal influence in the guitar solos, dual lead harmonies and the occasional riff (such as the Helloween style guitars of 'Static Acts,' the most traditionally metal song on here along with the shrieking 'The Arena'), but otherwise defining its own impressive, though rather repetitive sound.
Ray Adler's vocals sound distinctly like Geoff Tate of Queensrÿche, which can't help the band's case for individuality against that genre competitor, but the keyboards of Kevin Moore (also playing in Dream Theater at the time) create a great atmosphere that the rest of the music sadly fails to completely fill out in a satisfying way.
The album is spoiled by a few too many slow songs and ballads, but is otherwise still a relevant and enjoyable entry in the progressive metal canon, and one of its formative works.
1. Part of the Machine
2. Through Different Eyes
3. Static Acts
4. A World Apart
5. At Fate's Hands
6. The Arena
7. Chasing Time
8. Nothing Left to Say
A Pleasant Shade of Gray
**
Written on 08.07.08
If 'Perfect Symmetry' was a little dull and repetitive, 'A Pleasant Shade of Gray' is among the most tedious progressive metal albums I've heard, though still one that has its moments. What sets out to be the band's magnum opus ends up failing in many respects, the twelve songs that listeners are invited to view as sequential movements of a single fifty-three-minute song actually being more truthfully revealed as separate and largely unrelated tracks containing very few ideas, that might as well have been given individual titles.
Kevin Moore's keyboard overture in Part I is instantly memorable, though sounds a little derivative of eighties horror film themes ('A Nightmare on Elm Street' in particular). This song is perhaps the best here, as it works excellently as an introduction to set up what would ultimately fail to be achieved thereafter, concluding with Ray Adler's haunting oration. After this, the album flirts with weak industrial rock in Part II before giving over to a few too many ballads in Parts IV, V and VI consecutively, and after this the album never really recovers. This isn't even massively experimental, and the listener's patience is never rewarded.
1. Part I
2. Part II
3. Part III
4. Part IV
5. Part V
6. Part VI
7. Part VII
8. Part VIII
9. Part IX
10. Part X
11. Part XI
12. Part XII
Fates Warning X
****
Written on 08.07.08
Fates Warning's tenth release was one of the stronger progressive metal releases of 2004, largely for forsaking the genre's expectation of showy instrumental prowess, thanks to the likes of Dream Theater. Entirely lacking in zany, self-indulgent solo spots, 'Fates Warning X' instead boasts exceptional atmosphere, but retains a strong guitar focus to make this heavy enough for metal fans, and with enough memorable choruses to open it up to a wider audience. This is that seemingly rare breed of music that's simultaneously accessible and intelligent.
Everything about this smacks of a maturity gained after the disappointing failed experiment of 1997's 'A Pleasant Shade of Gray,' and takes some degree of influence from the post-rock movement as songs build to crescendos. Acoustic guitar is used well, and as an equal instrument in its own right in 'Another Perfect Day' as opposed to a gimmick, and the instruments impress without alienating casual listeners in the finale 'Wish' in particular.
1. Left Here
2. Simple Human
3. River Wide Ocean Deep
4. Another Perfect Day
5. Heal Me
6. Sequence #7
7. Crawl
8. A Handful of Doubt
9. Stranger (With a Familiar Face)
10. Wish
Soul of a New Machine
****
Written on 08.07.08
The first full-length Fear Factory album to be officially released (the true debut 'Concrete' was postponed until 2002), 'Soul of a New Machine' is also one of the band's finest works, their only true album as a death metal band before defining their industrial sound in 'Demanufacture.' Even at this early juncture as a band heavily influenced by the likes of Napalm Death and Godflesh, Fear Factory experimented with industrial and melodic aspects, and the alternation between harsh growls and haunting clean vocals was a novel idea for death metal at the time, one that works exceptionally well here.
The guitars and drums are affected somewhat by the weak production that robs them of the devastating impact they perhaps deserve, but they sound more natural and human than on the band's subsequent efforts. The use of film and voice samples is a little awkward and unnecessary, especially the interruption in 'Crisis,' but all the same this serves to date the album in quite a nice way. Unlike many grind-style albums that feature all too many throwaway tracks, the only frivolous one here is the sound-effect-laden minute of 'Natividad,' the rest is excellent.
1. Martyr
2. Leechmaster
3. Scapegoat
4. Crisis
5. Crash Test
6. Flesh Hold
7. Lifeblind
8. Scumgrief
9. Natividad
10. Big God/Raped Souls
11. Arise Above Oppression
12. Self Immolation
13. Suffer Age
14. W.O.E.
15. Desecrate
16. Escape Confusion
17. Manipulation
Demanufacture
Soul of the Machine
****
Written on 13.06.04
1994 saw the release of the second album from industrial metal band Fear Factory, an incredibly heavy and atmospheric offering that was immediately successful with metal fans. The band's cyberpunk themes, influenced by films and literature, would be a trait of their albums for several years to come and while this was not their biggest selling album it is commonly seen as their finest hour.
STYLE
Fear Factory are technically astounding in their musical technique and throughout this album it is very easy to imagine that they are in fact advanced androids with cybernetic skeletons under their human visages, although they are quite clearly not. There are a number of definitions for "heavy" music, but whatever your personal view there is no doubt that this would do serious damage to listener's eardrums and brains if the volume was loud enough. This is due to the almost constant stream of speedy double bass drums setting the tempo and rhythm, coupled with the guitars and bass which follow the riffs perfectly before branching out on occasion.
Burton C. Bell has always been Fear Factory's vocalist and he is a very impressive frontman with a wide range, although is perhaps not at his most impressive here. On the aggressive tracks he executes a fantastic guttural shout, the genuine sound of which puts other shouting bands who use sound enhancements (such as the over-rated Slipknot) [Someone's changed his tune] to shame, and his melodic singing takes on a very haunting sound when placed alongside atmospheric whines of the guitar. The band's first album was very heavy and gungy, and this refines that death metal sound into something that would possibly sound clinical and unemotive in the wrong hands: thankfully the production values of this album suit it perfectly.
Fear Factory was:
DINO CAZARES - Heavy duty scarifier
BURTON C. BELL - Dry lung vocal martyr
RAYMOND HERRERA - Maximum effective pulse generator
CHRISTIAN OLDE WOLBERS - Total harmonic distortion
At least that's how they list themselves in the album; I'm not telling you who plays what, that's for you to decide.
TRACKS
There are eleven tracks on the album, forming a very solid and interesting collection of songs across all ranges of speed and mood.
1. DEMANUFACTURE
The album wastes no time in hitting the listener hard with the heaviest track; despite having heard the band previously it even took me a while to appreciate this track, but it is excellent. Very angry and incredibly loud, this also sets the general atmosphere of the album through the use of keyboards and high guitars that sound a little different to everything that's come before. The insane clicks and thumps of the drum pedals would leave those unused to this type of music feeling quite faint however, so not a track to introduce yourself to the band with.
"I've got no more goddamn regrets
I've got no more goddamn respect
I am the thorn in your eye"
2. SELF BIAS RESISTOR
Expanding the sound to include lighter elements, this is one of my favourites on the album. Burton's singing makes the chorus the perfect example of Fear Factory's talent, while the verses are very catchy and full of interesting musical changes. Still very heavy but this track never overdoes it in the way the title track did. The perfect balance, and it proves that there must be some human soul in those mechanical exoskeletons.
"All these years they've tried to break you
To your knees
Anger scours right through your veins
Now it's time to put an end
To all those lies
Now it's time to take control
Of your life"
3. ZERO SIGNAL
Less impressive musically, but this makes up for it in atmosphere. A shorter and less developed continuation of what has come so far, this begins with an electronic melody that sounds similar to the theme from 'The Terminator'; judging by the title of a later track this is likely deliberate. Fast and heavy but also sounding a little deliberately raw, this has nice melodic singing in the chorus and very angry verses but isn't anything special. Still not a filler track though, and it bridges the gap before the next track.
"I am down on my knees
Praying beyond belief
The silence deafens my ears
And welds the shackles onto my fears"
4. REPLICA
This track is still heavy but in a different, more accessible way. As this was the album's first single it follows a less intense style but in fact sounds all the better for it due to the improved guitars and, dare I say it, groove. Burton's vocals are still aggressive but sound much better and more controlled than on the first track, there are also plenty of musical breaks to keep things interesting. Another of my favourites on the album, despite following a similar pattern of changing vocals and short gaps in the drumming.
"Filled with pain,
A bruised and darkened soul
Spare me from the life that's full of misery
Spare me from the life that's full of pain"
5. NEW BREED
Possibly the least impressive offering, 'New Breed' fails to live up to the standards of what has come so far. The lyrics are over-repetitive and unimaginative, and to add insult to system failure they don't even sound that good. A bit of a filler track, but it is very short and as such doesn't outstay its welcome.
"We are immune to life itself
Cold rules are reality
We are immune to life itself
Cold rules are reality"
6. DOG DAY SUNRISE
A cover of Head of David, (a band who obviously either appreciated the work of Michaelangelo or just liked my face) this is a nice departure from the rest of the tracks although isn't too impressive by itself. The drums are far more slow and relaxed, keeping a beat rather than dictating it, while the guitars and bass are lighter and more reflective. Burton sings in a low droning kind of voice that suits the music and although I haven't heard the original it's obvious that the band have done an excellent job in adapting it to their musical style: it's still hard not to imagine them playing the song in a neon-lit pavement of Neo-Los Angeles, circa 2028 AD.
"Dog Day Sunrise
Every day of my life"
7. BODY HAMMER
A return to the heavier side of things, this second half of the album is for the most part not as impressive as the first, seeming a little less original and perfected, but there are still some excellent tracks. 'Body Hammer' is a fairly standard heavy track with crushing drums and guitars and a sung chorus, however it still feels like an imitation of the first few tracks. The chorus is quite catchy though.
"As of now I am a tool
Of severe impact"
8. FLASHPOINT
One of the heaviest tracks, this does take a while to be fully appreciated. Burton's vocals are as aggressive as in the opening song and the use of keyboards keeps the mood and atmosphere of this piece. Easy to overlook but fairly satisfying, although no sung sections or melodic guitars this time round.
"Damned
In flames
Damned
In flames"
9. H-K (HUNTER KILLER)
Another of my favourites along with 'Replica' and 'Self Bias Resistor,' this forsakes the heaviness a little in favour of a more traditional chugging guitar sound and less intense drums, similar to Replica. Quite lengthy, this is musically very interesting and has a great driving rhythm and beat throughout. Burton again shows the range of his vocals as he carries this one out with a fairly guttural but very audible way that somehow sounds different, and much better, than most of his shouting on the disc. A really good track that would appeal to most fans of metal: the best guitars on the album.
"I've become what they detest,
A delinquent survivalist,
Without rules and no regrets
They f***ing say"
10. PISSCHRIST
Obviously a bit of an atheistic song, but there's nothing blasphemous about it (apart maybe from the track, however you may interpret that) this is very atmospheric and melodic at times despite the punding drums. Not too long either, this was originally on the band's demo record, recently re-released by Roadrunner but not worth looking into. A great track and an excellent loud note to go out on before the unconventional final track...
"Crown of black thorns,
Human skin ripped and torn.
Where is your saviour now?
Where is your saviour now?"
11. A THERAPY FOR PAIN
Very different from what has come before, this is a very long and fairly reflective monster that overflows with melancholy and ambience. The guitars and drums are far, far slower here and Burton's vocals are in a constant haunting state of mid-range singing. I can't say I'd generally listen to this all the way through, as it isn't a musically involving epic as many tracks of substantial length are, but it's still brilliant and an excellent choice by the band after the raw power and aggression of the record.
"Tried
So hard"
VERDICT
Fear Factory's albums are always an impressive sight, none more so than here. The very dark colour scheme of black, purple and neon blue is very reminiscent of the dark future envisioned by the tracks, while the opened spine-cum-barcode motif is excellent and thought-provoking.
Musically, this is mind-numbingly flawless musicianship at an incredibly fast pace, and I hope to see the band live soon to see how they perform out of the studio (judging by their huge fan following they've got to be pretty good). It's clear that their music required some development at this stage, resulting in the later effort of 'Obsolete,' but the combination of drums, grinding guitars and moody and aggressive vocals makes this immediately recognisable and very powerful. Definitely too far a step in the heavy direction for most people, but none do it better than Fear Factory.
'Remanufacture: Cloning Technology' was released soon after this and is a remix of the album to a more industrial techno sound. This is interesting, but not as classic or skilful as this effort by one of the most prominent bands in the relatively underground metal scene.
Archetype
Reassembly
****
Written on 25.04.04
In 2004, 'Archetype' was released by long-established industrial metal band Fear Factory. Their heaviest album in many years, Archetype incorporates all of the band's previous efforts and expands upon them, producing one of the strongest metal albums of recent years. The album was hotly anticipated and well received by the band's fans who were under the impression, until only a few months previously, that Fear Factory were no more.
REMANUFACTURE
A year after the release of 'Digimortal,' disagreements between band members led to Fear Factory disbanding, and the subsequent release of two unnecessary albums serving only to complete the band's contract with Roadrunner records; 'Concrete' was a re-release of their unimpressive demo album and 'Hatefiles' was a collection of B-sides.
The circumstances surrounding the band's split were obviously not as extreme as some believed, considering the existence of this new album, but it seems that the main differences of opinion lay with former guitarist Dino Cazares. The only band member not to return, Dino's heavy style and more mellow rhythms meant that a replacement guitarist would be difficult to find; therefore the band took the surprising turn of reallocating the talents of bass player Christian Olde Wolbers. Christian also played the basslines for all the tracks, but the band's live bass duties are handled by Byron Stroud of Strapping Young Lad.
COMPONENTS
Burton C. Bell (vocals, keyboards)
Christian Olde Wolbers (guitar, bass guitar)
Raymond Herrera (drums)
SOUL OF THE NEW MACHINE
Fear Factory have long been the kings of cyberpunk, man versus machine concept albums, themes that fit the music surprisingly well. With this much more personal album, Burton shouts and sings about problems with the music industry and modern life, ditching William Gibson and Philip K. Dick in favour of
The sound is still mechanically perfect, but the production on this album is excellent in that it balances out the raw power of the guitar riffs and the polished keyboard samples; musical taste aside, this album sounds perfect, and Burton's singing voice improves with every release, although it's not quite as haunting as on some of the earlier albums.
TRACKS
1. SLAVE LABOUR
Kicking straight in with the heavy, drum-led riffs and atmospheric effects, this is a great opener to the album that indicates how it means to go on. Burton's vocals range from aggressive but audible roars over the bass riffs and mid-range singing in the chorus sections, even distorting to a static crackling voice at parts. Reading the lyrics, it's obvious that the band are heavily criticising record companies and contracts; this isn't a groundbreaking song but is a great opening track that doesn't drag on.
"My chains are paper thin, and they're welded with ink
Sealed inside a legal trap, so tight blood don't leave"
2. CYBERWASTE
The first track to be released as a promotional single, this very heavy and angry track is dominated by Herrera's drums but has some great heavy guitars and a memorable chorus. Although at first it could easily be misinterpreted as a return to the sci-fi angle, the song condemns internet abuse of the band and their contemporaries, and there is a great change in the song towards the end including ominous vocals. Fast, raw and aggressive metal.
"Sow your seeds of ignorance you cyberparasite
Seems you say most anything to stab me with your lies
You are a virus spreading disease!"
3. ACT OF GOD
This song begins with a staccato build-up in the style of some of the band's past songs before the main riff can be determined. Similar in style to the band's debut album but much more refined, there is excellent use of strange samples and pauses, and the slightly longer length of five minutes offers more in the way of breaks and tempo changes than some of the shorter tracks; this does sound a little too similar to tracks from early albums however.
"Lights of faith blinding my eyes
Fires of hate scorch through the skies"
4. DRONES
This song has a great, catchy riff and some more impressive use of synthesisers to add a great atmosphere, and as such is one of the better tracks on the album. Burton's vocals have an echo effect and the chorus section has the best use of vocals and guitar harmonies this far in the album. Because it is only really a criticism of material wealth and the inevitability of death it somehow feels less aggressive than some of the other tracks and I would describe it as almost upbeat in places, especially the very melodic singing at the end: great!
"In paradise there's ill neglect
And lives are lost in full distress
The weight of sin is memory spent"
5. ARCHETYPE
The title tracks of Fear Factory's albums are something of a mixed bag: 'Demanufacture' was one of their heaviest offerings, but 'Obsolete' and 'Digimortal' failed to distinguish themselves amongst the other tracks on their albums. Thankfully, 'Archetype' is an incredible track and one of my favourite Fear Factory songs.
Essentially the structure is pretty much the same as the rest, but this gets the balance of heaviness, aggression and contemplative mellowness perfectly. The opening riff is melodic and memorable, but this belies the later "F*** you!" onslaught. It's clear why this is the title track, with its message of staying true to one's beliefs and relating this to the band's own decisions: the chorus states that "the infection has been removed, the soul of this machine has improved," a clear reference to the band's newfound optimism as a unit.
"You must never forget
The essence of your spark
All of that which defines you
Is the essence of your blood"
6. CORPORATE CLONING
The mechanical, repetitive opening riff suits the subject matter very well, but doesn?t allow preparation for Burton?s unusual vocal style that sounds a little off-putting. The vocals improve, and the riff is memorable and often very heavy, although the lyrics criticising short-lived celebrities and pop icons are a little unnecessary and tired by now. Still, it?s very headbangable and is by no means a filler track, not being particularly long.
"Like insects share a mind, deviance is a crime
Deliquent rank and file, encoded, stamped and styled"
7. BITE THE HAND THAT BLEEDS
The quiet opening of this song sounds very similar to Nine Inch Nails, before the distinctive Fear Factory guitars kick in. Less bass drum-led, this is a slower offering that features much more of Burton's singing and great use of orchestral guitars in the style of the classic FF track 'Resurrection.' A welcome change of pace, the vocals reflect over misplaced trust in an unnamed individual; whether this is related to the band's break-up or personal life is unclear. A very good track that stands apart from the rest and is easy single material.
"I see you have two faces turning
Changing face to keep me guessing
You have mastered the art of deceiving"
8. UNDERCURRENT
Starting similarly to 'Archetype,' this is an angry and somewhat unpredictable track, bringing in singing and bass grooves at different junctures, and there is good use of ensemble shouting in the chorus. The problem with this song is that, as the eighth track, it sounds like a repeat of some of the earlier material despite being equally as impressive and valid, experimenting with less heavy drums and more extensive use of the bass.
"Face me and you still deny
Hate me and drown me in lies"
9. DEFAULT JUDGEMENT
A solo bass riff introduces and permeates this very heavy track, which is aided by some of the most melodic and atmospheric keyboards on the album. The issue remains that by this point in the album, more casual listeners may have become bored of the repetitive style but it is another very good track, if lacking in originality. Great performances all round in this one, and it criticises peoples' prejudices on the whole which is good I suppose.
"Spiteful resolutions,
By your sentence we must fall
Spiteful resolution,
Bitter thoughts destroy us all"
10. BONESCRAPER
For some reason, Bonescraper fails to impress me in the way that the other tracks do, possibly because it sounds like a re-hashing of their heaviest tracks and doesn't really distinguish itself. Also a little aggressive at the cost of musical variety.
"There is no future for us to suture
Your life ill fated, beat down and hated"
11. HUMAN SHIELDS
This track is a very, very welcome change with its soft electric guitars and unintrusive drum beat at the start, and even when everything becomes louder it retains the melancholy quality. Burton also carries out his best vocals for quite a few tracks and this is one of my favourite tracks on the album for these reasons. It is also less likely to give the listener a headache than the others, without deviating into something too different to be considered 'true Fear Factory'; several of their tracks have made this mistake in the past and become unlistenable.
"Mothers bare the burdens of our defeats
Fathers are on their knees praying for mercy"
12. ASCENSION
The closing track escapes the curse of sameness by being an incredibly atmospheric, if a little dull, instrumental; the term instrumental should be used loosely as none of the regular instruments play a part, the track being composed by keyboards and samples. This is an impressive track however, and is one of the band's most atmospherically intriguing offerings in their history, perfectly suited to their cyberpunk lyrics of bygone days.
And not forgetting, SCHOOL
The twelve tracks have finished, and on comes this completely different number, a cover of 'School,' a song from the first album released by grunge legends Nirvana to celebrate (sorry, I mean commemorate) the tenth anniversary of lead singer Kurt Cobain's death. The song stays faithful to the Nirvana track but manages to spice it up to the Fear Factory standard, and the fact that it isn't a complete departure means I still enjoy it, despite the fact that it isn't inherently my kind of music.
"Won't you believe it
It's just my luck"
VERDICT
A departure lyrically and thematically from the band's earlier albums, the musical style has returned to the heaviness of 'Demanufacture' while incorporating the melodic elements of 'Obsolete,' and this results in a great and distinctively Fear Factory sound.
Based on the band's history, an unimpressive remix album will be released at some point that will fail to do these tracks justice; many of them are great pieces of heavy, atmospheric, angry metal, performed by talented musicians who believe in what they are doing. The fact that the lyrics criticise unoriginal "artists" to such a degree is somewhat hypocritical considering Fear Factory's lack of any real progression within these twelve album tracks, and this similarity prevents this album from attaining the high status of their afore-mentioned albums in my collection, but on further listens I may begin to appreciate it more.
'Archetype' shows an incredibly appealing direction in which I hope the band will continue, but the amount of aggressive, similar songs, complimented with less heavy offerings that sometimes seem a little forced, means that this is by no means an instant classic. The limited edition release of this CD includes a bonus DVD covering the band's recent Australian tour and the production of this album. I have no problems with the change in band members like some dedicated fans have, especially as it means that Fear Factory are back to their position as the leaders of the industrial metal movement. The soul of the machine has indeed improved.
DISCOGRAPHY
Soul of a New Machine (1992)
Fear is the Mindkiller (1993, remixes)
Demanufacture (1994)
Remanufacture (1997, remixes)
Obsolete (1998)
Digimortal (2000)
Archetype (2004)
Transgression
**
Written on 08.07.08
Released only a year after 'Archetype' sought a return to the band's established trademark sound, 'Transgression' evidently seeks to push the boundaries of this sound to new extremes, but fails somewhere along the way. Rather than a drastic evolution, this is only a minor progression and one that isn't necessarily for the better, only really impressing when the style retreats even further back into Fear Factory's history and offers some convincingly heavy and angry death metal in the songs 'Spinal Compression' and 'Moment of Impact.' The rest is a comparatively weak mixture of ineffectual aggression and boring slow songs, the latter reaching its nadir in the deathly dull 'Echo of My Scream.'
The guitar tone is pretty horrible throughout, lacking the crunch of previous albums, but one area of improvement comes in Burton C. Bell's vocals, which try even harder than before to sing in conjunction with his standard death metal growl, and the result is pretty impressive. Overall, this album largely suffers for its jumbled arrangement and the inclusion of far too many weak songs, including the worthless covers of U2 and Killing Joke that really should have been saved for B-sides.
1. 540,000 Degrees Fahrenheit
2. Transgression
3. Spinal Compression
4. Contagion
5. Empty Vision
6. Echo of My Scream
7. Supernova
8. New Promise
9. I Will Follow (U2 cover)
10. Millennium (Killing Joke cover)
11. Moment of Impact
Visor Om Slutet
****
Written on 09.07.08
'Visor Om Slutet' is technically an E.P. release rather than an album, though it lasts longer than the band's subsequent full-length 'Nattfödd.' The reason for this lesser classification seems to be that it's intended as an experiment, deviating from the band's established folk-black metal sound by eradicating the metal elements entirely, and showing just how capable the band is of playing stripped-down acoustic folk. The result is sensational, and surprisingly my favourite release from the band.
Saturated with the sounds of nature such as croaking frogs, streams and birds, this is heavily atmospheric from the onset, and Trollhorn's keyboards have never been better. This album seems to achieve what bands such as Burzum and Windir were attempting in their more pastoral moments, and there's even a great amount of variety with the faster and more upbeat polka of 'Försvinn Du Som Lyser,' convincing ballad 'Den Sista Runans Dans,' oddly sinister 'Madon Laulu' and blaring keyboard finale 'Avgrunden Öppnas.'
1. Suohengen Sija
2. Asfågelns Död
3. Försvinn Du Som Lyser
4. Veripuu
5. Under Varje Rot Och Sten
6. När Allt Blir Is
7. Den Sista Runans Dans
8. Rov
9. Madon Laulu
10. Svart Djup
11. Avgrunden Öppnas
Nattfödd
****
Written on 09.07.08
'Nattfödd' is often hailed as Finntroll's finest work, or at least the album most fans tended to hear first and develop a disproportionate attachment to. While it's certainly on par with their earlier efforts and isn't any kind of let-down, there is a noticeable lack of mania of the sort present on the more eccentric 'Jaktens Tid,' making this a more accessible and arguably watered-down version of Finntroll's polka metal style for curious newcomers.
Although less varied than the previous album, this is also more consistent, and boasts greater production values that really bring out the power of all the instruments, whether it's the keyboards, harsh vocals or even the accordion of the title song. The guitar riffs are solid, though leave me with the impression that they're playing it a little too safe at times, and although Trollhorn's sparkling keyboards are a little too much in songs like 'Eliytres,' he still impresses in every song with great ambience and atmosphere.
1. Vindfärd / Människopesten
2. Eliytres
3. Fiskarens Fiende
4. Trollhammaren
5. Nattfödd
6. Ursvamp
7. Marknadsvisan
8. Det Iskalla Trollblodet
9. Grottans Barn
10. Rök
Ur Jordens Djup
***
Written on 09.07.08
Finntroll's latest album is a slight disappointment after the quality of their highly distinctive earlier works, oddly opting to hide much of its folk influence until the album is almost half-complete. New vocalist Vreth isn't quite as impressive as his predecessors in his standard, non-descript roar, and the emphasis on a heavier, louder black metal sound may appeal to those who enjoy their metal based on these two criteria alone, but it doesn't offer anything truly impressive.
Trollhorn's fun keyboards are still permitted to break through in songs such as 'Korpens Saga,' the polka elements finally coming to the fore as late as 'En Mäktig Här,' but overall this is a bit of a strange album. I would have assumed that most metal fans approach Finntroll aware of their distinctive sound, rather than looking for another generic black metal band incorporating folk elements, and the end result here lies somewhere in-between.
1. Gryning
2. Sång
3. Korpens Saga
4. Nedgång
5. Ur Djupet
6. Slagbröder
7. En Mäktig Här
8. Ormhäxan
9. Maktens Spira
10. Under Två Runor
11. Kvällning/Trollvisan
Serpentine
***
Written on 09.07.08
Flowing Tears are one of the more impressive gothic metal bands I've heard, fronted by compelling female singers who don't rely on gimmicky operatic or pop vocals to sell metal albums to teenage goth girls, but who rather deliver a heartfelt performance that more than exceeds the otherwise bland musicianship.
Stefanie Duchêne's voice is excellent here, but it's ultimately only her performance in 'Starfish Ride' that will remain with the listener afterwards. After that point, the album's slow pace and lack of any real hooks starts to become tiresome, and it turns more into an album of atmospheric slow songs spoiled by the occasional dull ballad such as 'Portsall' that take the tedium to unnecessary extremes.
The atmosphere isn't particularly gloomy, as would be the case with a doom metal album, but isn't as chirpy as the average goth metal album, ending up in a slightly disappointing ambivalent middle ground.
1. Intro
2. Starfish Ride (For a Million Dollar Handshake)
3. Serpentine
4. Children of the Sun
5. The Marching Sane
6. Breach
7. Portsall (Departure Song)
8. Justine
9. The Carnage People
10. Merlin
11. Cupid of the Carrion Kind
12. For Tonight
The Colour and the Shape
Controlled Insanity
****
Written on 08.06.04
The second and, to date, most successful album released by one of the world’s most popular bands, ‘The Colour and the Shape’ appeals to fans from both the rock world and those with more commercial or mellow tastes, as shown by its 100% recommendation from the many reviews on this website. Dave Grohl again proves he can play the guitar and scream with the best of them, having originally achieved recognition as the drummer in Nirvana, while bassist Nate Mendel would be the only other band member to stay a Foo Fighter to this day. Guitarist Pat Smear and drummer William Goldsmith left the band after this album, and the music arguably took a downturn due to these changes.
On some of the band’s more recent hit singles, Dave Grohl can be seen screaming in the verses, however there’s something about this album more than the others that makes every loud note from that multi-talented man seem like an insane rage. The album is all the better for it.
TRACKS
This album is essentially composed of hard rock-style tracks and calm acoustic songs, but the two styles clash and compliment each other on a number of occasions. No song is longer than around five minutes.
1. DOLL
A very calm and relaxed start to the album, this song is reasonably short but there’s nothing of real interest here. Of course, it mainly acts as an introduction before the album really begins with the incredibly energetic:
2. MONKEY WRENCH
One of the band’s most popular songs, ‘Monkey Wrench’ is fast and has a leaning towards a punk song with the guitars and drumming, but is kept in track by Grohl’s singing. An immediately likeable track, the song becomes heavier towards the end with Grohl’s unadulterated screaming. One of the high points of the album.
“Don't want to be your monkey wrench, one more indecent accident,
I'd rather leave than suffer this, I'll never be your monkey wrench”
3. HEY, JOHNNY PARK!
A slightly more complex track after the commercial appeal of the previous outing, this alternates between a hard rock chorus and soft, mellow verses, but for me the highlight is the excellent guitar riff that begins the song and crops up at regular intervals. The band’s talent lies in creating a strangely relaxing song even when every instrument is on full whack.
“Now that I've found my reward, I'd throw it away long before
I'd share a piece of mine with you”
4. MY POOR BRAIN
The opening of this song reflects the idea of an addled mind, but it soon drastically changes to a soft acoustic verse. Once again, the chorus is louder and harder than the verses, however Grohl’s singing is so light and quiet in the verses that this is the biggest contrast on the album. Quite a good song, but not too impressive compared to the other offerings on the album. A great dual guitar section though.
“Real life is so hard, we hide in the stars,
That's where our heads are, my head and your heart”
5. WIND UP
A more straightforward hard rock track, Grohl’s vocals compliment the heavy riffs very well, however there’s still nothing radically different to make this stand out. Grohl’s solo towards the end keeps things interesting, and the song is quite short at two and a half minutes.
“Will I be happy on the back of the shelf?
Will you be happy when we're sharing a cell?
Spare me your questions since you know me so well”
6. UP IN ARMS
A song that has grown on me considerably, the first half is a reflective acoustic section with prominent drums, but then it breaks into a fast punky track with very catchy guitars and vocals. If this had been released it would have made for a very successful single in the style of a less angry ‘Monkey Wrench.’
“The rain is here and you, my dear, are still my friend.
It's true the two of us are back as one again”
7. MY HERO
One of the band’s classic anthems, this mid-tempo track is very memorable and was released as a single with an interesting video that was skilfully all filmed in one camera take. One of the band’s most recognisable and infectious choruses, this is one of my favourite Foo Fighters songs and is one of the finest examples of all the instruments working perfectly together.
“There goes my hero, watch him as he goes.
There goes my hero, he's ordinary.
Don't the best of them bleed it out, while the rest of them peter out?”
8. SEE YOU
A low-key but fairly upbeat acoustic track, this sounds as if Dave Grohl has come up with the track about half an hour before the studio recording, but this at least gives it a little character. One of my least favourite tracks, I don’t really like the high singing on this one, and it would have been a lot better with a plugged in guitar.
“How could I end up in the hands of someone else?
These notes are marked return to sender, I'll save this letter for myself”
9. ENOUGH SPACE
Mendel’s bass gets a rare chance to shine in the opening to this very enjoyable track. Grohl’s screams go into overdrive here, but he manages to calm down considerably in some parts of the song. Fast and fun, this isn’t a classic but it’s still very worthy of a place on the album.
“Put her on the ceiling, try to make her my own.
People line up to see, but there never seems to be enough space”
10. FEBRUARY STARS
Another soft track, something that seems a little unnecessary at this point in the album, this doesn’t keep me entertained during the first three minutes, and it’s only after this point that the track becomes a little louder and more impressive. A decent example of the Foo Fighters, but it sounds too similar to what’s come before and what’s to come after on the next, more mellow album.
“Even though, passed the time alone,
Soon we're so unknown, it heals the soul”
11. EVERLONG
Often hailed as the best Foo Fighters song, there’s definitely something about ‘Everlong’ that makes it stand apart. The instruments and vocals are all excellent and there’s a fair amount of progression, especially in the brief but incredibly catchy chorus. Probably the best song to introduce new listeners to the band, the only problem could be that their other songs seem less impressive in comparison. This has one of the most interesting music videos ever created, which tops it all off.
“And I wonder, when I sing along with you, if everything could ever feel
this real forever,
If anything could ever be this good again”
12. WALKING AFTER YOU
Notoriously made on very short notice, this was a basic ‘first draft’ of a song the band created for the X-Files film in 1998, placed on the album to fill it out. As with some of the others, it does give the album more character (at the cost of some professionalism), and I’m sure I’d love this track if I was a fan of the acoustic songs. Very quiet and sombre, this fades out to nothingness for a while at the end.
“If you walk out on me, I'm walking after you.
Another heart is cracked in two, I'm on your back”
13. NEW WAY HOME
Almost included as an extra track after the silence at the end of track twelve, this closes the album on a more positive note and is quite interesting structurally: at halfway the song seems to have finished before slowly building up to the heaviest part of the whole album. Not as memorable as some others, but at least there’s some headbang for your buck at the end of the CD.
“If you could manage me, I'll try to manage you,
But lately it's all I ever do”
VERDICT
Most fans of modern rock music, no matter what variety, will have enjoyed the Foo Fighters at some point in their lives, and they’re a band I’ve always been fond of and had a great respect for, partially due to their grasp of making interesting and entertaining music videos. This is their most successful and popular album and it’s easy to see why, as it combines their musical styles perfectly. Their previous, self-titled album had more of a raw grunge influence, and although this album features better production it still carries something of a rebellious flippancy in terms of its sound; I assume the band were satisfied with any performance they gave, and felt no need to work songs to death in the studio.
In contrast to this, their follow up album ‘There is Nothing Left to Lose’ had a much softer sound throughout and sounded in places to be very overproduced. Their latest release, 2002’s ‘One By One,’ thankfully showed a return to a harder style, however the varied styles on that album ended up sounding a little forced in comparison to the obvious enjoyment for all those involved in ‘The Colour and the Shape.’ A very good album that already holds a place in millions of households and will continue to sell for many years to come.
And what IS the Colour and the Shape?:
It is dark blue with red and white bits, and is oblong.
Advantages: Some excellent rock tracks, Every band member is great, 'Everlong'
Disadvantages: Some songs are less impressive and sound similar
Fallen
**
Written on 09.07.08
For My Pain... manage to be a disappointment in the Finnish gothic metal scene, which is some feat considering how low the bar has already been set by the likes of HIM and Charon's more recent efforts. The disappointment stems from the band's status as something of a supergroup, with members from other metal bands of varying styles coming together to produce something infinitely less than the sum of their parts. This is standard and rather dull gothic metal through and through, and some pretty keyboard work from Nightwish's Tuomas Holopainen can't save it from mediocrity.
There's still more of a heavy metal element here than in the more consciously commercial works of the high profile Finnish gothic metal acts, most notable in the lead guitar melodies, but the pace is slow throughout and lacks any real dynamic elements beyond the occasional catchy chorus, none of which are memorable by the time the next song comes along.
1. My Wound is Deeper Than Yours
2. Dancer in the Dark
3. Queen Misery
4. Sea of Emotions
5. Rapture of Lust
6. Broken Days
7. Dear Carniwhore
8. Bed of Dead Leaves
9. Autumn Harmony
10. Tomorrow is a Closed Gate (Dead for So Long)
Advantages: Skilled musicians (apparently).
Disadvantages: Tedious and uninspired.
Race of Cain
***
Written on 09.07.08
'Race of Cain' is a bold and intriguing comeback album for Norway's Forgotten Woods, favouring a lo-fi production quality comparable to many black metal demos from a decade earlier and concentrating more squarely on exposing the hypocrisy of Christianity, culminating in the extended sample of a radio interview with preacher Bob Larson in 'Third Eye,' bookended by the most furious musical performance of the album.
The weak production does serve to spoil the album from a technical point of view, though it does aid the dingy and intensely raw atmosphere. This mainly presents a problem in the couple of tracks where the style follows a more traditional speedy black metal approach, as 'A Landmine Reprisal' and 'Nightly Paradise' feature instruments that are often little more than a fuzz. The slower, more doom-laden songs are better on the whole, particularly the strong bluesy riffs of 'One Day' and the gloomy atmospheric guitars and female vocals of 'The Principle and the Whip.'
1. Race of Abel (Intro)
2. One Day
3. A Landmine Reprisal
4. Intolerance is the New Law
5. Jedem das Seine / Erasing the Fuckhead Majority
6. Here, in the Obsession
7. The Principle and the Whip
8. Nightly Paradise
9. Third Eye (New Creature)
Advantages: Raw and disturbing atmosphere, great selection of voice samples.
Disadvantages: Deliberately poor production is an issue.
G
Somewhere Out in Space
****
Written on 10.07.08
I've never been able to get over the impression of Gamma Ray being merely a lesser spin-off of Helloween (making the tertiary Primal Fear barely worth mentioning), but with 'Somewhere Out in Space' they make a significant mark in the speed metal scene. This album has everything a classic metal fan could ask for, with memorable and catchy guitar melodies and choruses, fast instrumentation and cheesy subject matter (here showcasing a temporary fixation with science fiction), with a number of strong compositions comparable to the best eighties metal albums. Though obviously, being released in 1995, some years behind the times.
Songs such as the title track give Dragonforce a run for their money in the velocity stakes, but for all the metal perfection there are still inevitable drawbacks such as the tedious power ballad in the form of 'Pray,' and the frequency of slightly annoying interlude tracks seemingly to bulk out the tracklist, that don't really offer much to the songs they precede. It isn't as epic as Ayreon or classic as Iron Maiden, but 'Somewhere Out in Space' deserves to be in every classic metal fan's collection, the only Gamma Ray release I would wholeheartedly recommend.
1. Beyond the Black Hole
2. Men, Martians and Machines
3. No Stranger (Another Day in Life)
4. Somewhere Out in Space
5. The Guardians of Mankind
6. The Landing
7. Valley of the Kings
8. Pray
9. The Winged Horse
10. Cosmic Chaos
11. Lost in the Future
12. Watcher in the Sky
13. Rising Star
14. Shine On
15. Return to Fantasy (Uriah Heep cover)
No World Order
****
Written on 10.07.08
'No World Order' is comparable to Judas Priest's 'Painkiller,' in that it isn't necessarily the peak of Gamma Ray's career, but it certainly packs a heavy metal wallop. The comparison is enhanced further by the typical theft of much of that other album's sound, particularly in songs like 'The Heart of the Unicorn.' No one ever said Gamma Ray were the most original metal band around, but their perseverance with a rather dated style pays off in this solid album of heavy metal enjoyment.
'Induction' is quite a bad starting point as it promises a sense of the epic that would fail to materialise in the relatively simplistic music to follow, but this is soon forgotten as the heavy and seriously loud 'Dethrone Tyranny' explodes out of the speakers. None of the songs here are modern metal classics by any stretch of the imagination, but a few are notable and worthy of repeated listens, the title track itself standing out by leading the way with a guitar riff that could easily have come from a Judas Priest album of the seventies.
1. Induction
2. Dethrone Tyranny
3. The Heart of the Unicorn
4. Heaven or Hell
5. New World Order
6. Damn the Machine
7. Solid
8. Fire Below
9. Follow Me
10. Eagle
11. Lake of Tears
Advantages: Unadulterated heavy metal for genre fans.
Disadvantages: Mix Judas Priest with Helloween, and dilute.
Selling England by the Pound
Wimpy Dreams
****
Written on 02.07.06
A rising force in progressive rock, Genesis’ increasing international popularity seems to have caused something of a nationalistic crisis for Peter Gabriel and his band of talented, experimental musicians. Taking their album title from a contemporary slogan of the Labour party, Genesis’ focus here is largely, consciously on auld Blighty, a year before Gabriel penned the lyrics to the band’s New York-set concept album ‘The Lamb Lies Down on Broadway’ and gave in to the US audience after all.
‘Selling England By the Pound’ is perhaps Genesis’ technical and creative peak, as well as their most commercially successful album of their early seventies output under Gabriel, before Phil Collins turned the band into a bland pop group. ‘Selling England’ features impressive guitar work from Steve Hackett, the distinctive style of which had a clear influence upon English heavy metal bands of the eighties, especially Iron Maiden. Tony Banks’ keyboards are also fully fleshed out for the first time, after a trial period on the previous album ‘Foxtrot.’ This combination of melodic guitar and synthesiser creates a soothing, harmonious, proggy pastoral sound that lasts almost throughout, exempting the album’s two less technical, poppy offerings.
Unusually long for the early seventies at 50 minutes, the album (almost) alternates between lengthy, near-epic songs and shorter, less complex pieces. The exception is ‘After the Ordeal,’ which is a seamless instrumental conclusion to its previous track. This structure works to satiate the two strands of Genesis fans; those who enjoy the pleasant, tender sound of their simpler, shorter songs… and prog fans. ‘Selling England’ satisfies both.
Genesis, ‘Selling England By the Pound’ (Atlantic, 1973)
1. Dancing With the Moonlit Knight (8:01)
2. I Know What I Like (In Your Wardrobe) (4:06)
3. Firth of Fifth (9:34)
4. More Fool Me (3:09)
5. The Battle of Epping Forest (11:43)
6. After the Ordeal (4:12)
7. The Cinema Show (11:06)
8. Aisle of Plenty (1:31)
The pseudo-title track (in that the album title forms the chorus), ‘Dancing With the Moonlit Knight’ is a guitar-heavy piece that begins relaxed and a cappella, Gabriel fulfilling the role of the satirical travelling minstrel, and evolves into a speedy rock number. Along with ‘Firth of Fifth,’ this perfectly showcases the strength of the Hackett/Banks sound, and is extremely progressive in its shifting structure. The lyrics bemoan the capitalist society that England has become, and are thus still relevant today (the exception perhaps being the Wimpy reference). ‘Firth of Fifth’ remained part of the band’s live repertoire for a considerable time, and is a classic song for keyboard fans, starting off with a simple piano hook and developing into engulfing ambience.
‘I Know What I Like’ and ‘More Fool Me’ are the album’s attempt at pop music, and work fairly well. ‘I Know What I Like’ is the more successful and impressive of the two by far, the latter being an early, disappointing chance for drummer Phil Collins to handle vocals. ‘I Know What I Like’ is a lyrical improvisation upon the album cover, depicting mowers, and Gabriel’s vocals in the chorus sound quite powerful, even despite issues with the album’s production.
The second side of the album, on the original vinyl, is dominated by Gabriel’s dramatic re-telling of an incident of London’s East End gang warfare in ‘The Battle of Epping Forest,’ but the concept isn’t stretched to the extent of the over-rated ‘Supper’s Ready’ on the previous Genesis album. ‘Epping Forest’ and ‘After the Ordeal,’ an instrumental in the same vein, are the only point on this excellent album that the band’s ambition perhaps overtakes their talent. The lyrics are nicely unusual, but the dramatisation and mock-acting of the vocals strives to construct a mini rock opera in the space of fifteen minutes, and doesn’t really succeed, similar to Roger Waters’ less restrained moments in his late Pink Floyd work, notably the melodramatic climax of ‘The Wall’ album.
The final stand-out song on the album is the excellent ‘Cinema Show,’ a great piece structurally that’s less lyrically intense and complex than its predecessors, the lyrics being more repetitive and secondary to the melodic rock foreground. The song drags on a little towards the end, but the vocal melodies work much better in the small doses here than previously, and are the album’s most infectious – try to avoid joining in with the ‘take a little trip back…’ and ‘like a maaaaan…’ reprises. ‘Aisle of Plenty’ is an unimpressive climax and somewhat unnecessary call-back to the first track, though saying that, the subtle return of the ‘Dancing With the Moonlit Knight’ piano melody is welcome. The lyrics comprise predominantly of a shopping list in a continued lament of the death of community retailers under the rising force of supermarkets.
‘Selling England’ is very nearly a concept album, and can be taken as such for its running theme of the death of old England under the rise of capitalism. ‘Can you tell me where my country lies?’ Gabriel asks as the album begins, before attention turns to the rise of fast food restaurants (‘you are what you eat – eat well’) and consumer fashion (‘you are what you wear – wear well’). Genesis’ early albums strive to combine the high-tech and the classical, evident in Hackett and Banks’ reproduction of traditional folk melodies on electronic instruments, and the subject matter often runs parallel. The notion of class and privilege is explored in ‘I Know What I Like,’ in which a labourer knows his place. ‘Firth of Fifth’ and ‘The Cinema Show’ belong only to their own internal ideas, the latter being a twentieth-century rewriting of Romeo and Juliet, apparently based on something from T. S. Eliot’s ‘The Waste Land.’
This is certainly Genesis’ peak under Gabriel, but won’t necessarily be enjoyed by fans of the band’s later direction. Gabriel’s swansong, ‘The Lamb…’, would follow a much different style, abandoning the lengthy instrumental experimentation in favour of shorter, story-centric pieces and overt focus on a bizarre concept and lyrics. The previous Genesis albums, especially ‘Foxtrot’ and ‘Nursery Cryme,’ sound in retrospect as if they strived to achieve what was finally recorded for ‘Selling England By the Pound,’ an album as scathingly or subtly satirical as the listener cares for, that significantly developed the sound of melodic guitars and synthesisers in prog rock.
Released in 1973 at prog’s commercial and creative peak, Genesis’ patriotic, classically-inspired rock symphonies act as a perfect companion to the spaced-out world-weariness of Pink Floyd, the trippy hippy harmony of Yes and the dark, jazzy, 'anti-Genesis' alternative Englishness of King Crimson.
Advantages: Influential. Innovative. Intelligent.
Disadvantages: Uneven. Underproduced. 'More Fool Me.'
On an Island
***
Written on 10.07.08
David Gilmour's first solo release since the eighties was even more eagerly anticipated as his first album since Pink Floyd's well-received (if rather bland) 'Division Bell' in 1994, and still bears the distinctive signs of its author while displaying an obvious and welcome evolution. This certainly doesn't sound like a Pink Floyd album, exempting Gilmour's distinctive playing and singing styles that often mimic his past works in the more famous band, and its main focus seems to be on soothing the listener with gentle, part-acoustic lullabies, perfectly encapsulated by the tranquil and solitary album artwork.
Featuring guest musicians such as Pink Floyd's keyboardist Richard Wright and frequent collaborator Dick Parry on saxophone, the pair working brilliantly together in the heavily atmospheric interlude 'Red Sky at Night,' it's clear that Gilmour is capable of getting exactly what he wants on this album in terms of personnel, leading to the recruitment of high-budget Polish composer Zbigniew Preisner, whose influence can be heard most distinctly in the opening minutes prior to Gilmour's first indulgent guitar whine.
Despite a couple of songs deviating into more energetic rock territory, this is predominantly slow and soft, a mature release from an ageing artist who may have lost most of his spark after the seventies, but certainly isn't resting on his laurels. At least, not entirely.
1. Castellorizon
2. On an Island
3. The Blue
4. Take a Breath
5. Red Sky at Night
6. This Heaven
7. Then I Close My Eyes
8. Smile
9. A Pocketful of Stones
10. Where We Start
Reflections of the Solstice
**
Written on 10.07.08
Goatlord's debut must be the dullest thing to come out of Las Vegas, a slow and dingy offering of death-influenced doom metal that maintains a compelling raw and dirty atmosphere for the first few minutes before giving over to extreme tedium as it crawls along at an unsatisfying pace.
The sound quality is poor, but this isn't really an issue and in fact perhaps aids the atmosphere. The problem lies in the musicianship itself, which is uninspired and entirely dull, the drums possessing a synthetic tone in songs like 'The Fog' that belies its programmed nature, while the guitars are only given an energetic kick in comparatively brief sections of the final two songs. The vocals are quite twisted and sinister which is cool (obviously), but even this isn't enough to save this album from mediocrity. This must have seemed like quite a novel mix of genres in 1991 (doom, death and primordial black metal), but it's been done so much better since.
1. Blood Monk
2. Distorted Birth
3. The Fog
4. Underground Church
5. Chicken Dance
6. Acid Orgy
7. Possessed Soldiers of War
8. Sacrifice
Godflesh
****
Written on 10.07.08
Godflesh were one of the more subtly influential metal bands of the late eighties to early nineties, the first to combine industrial electronic music with a heavy metal style in a creative and naturalistic manner, unlike the excess of other bands such as Fear Factory. Their first self-titled E.P. contains six high quality songs that carry off a gloomy and coldly mechanical atmosphere, possessing all the heaviness and intensity of Justin Broadrick's previous band Napalm Death, but without the focus on speed and anger.
The music is based around repeating electronic drum rhythms and heavy guitar riffs, but each track is kept distinct enough to appreciate in isolation. 'Veins' is perhaps the most easily accessible song here, comparatively upbeat and mellow, while 'Godhead' is a moody track saturated with echo and 'Spinebender' and 'Weak Flesh' both offer something harder for death metal fans. The final song 'Ice Nerveshatter' is the peak of the album's industrial side, led by a dominant drum beat, but it never crosses too far into electronic territory for the listener to forget that this is primarily a metal album.
1. Avalanche Master Song
2. Veins
3. Godhead
4. Spinebender
5. Weak Flesh
6. Ice Nerveshatter
From Mars to Sirius
***
Written on 10.07.08
Environmentally-friendly Canadian metal band Gojira sound much like a second-rate Devin Townsend Band, but that doesn't stop this album from being quite a corker. Following the same groove-laden style as Townsend's work, these songs tend to be overlong and lacking in ideas, saturated with a repetitive double bass pedal rhythm that becomes annoying and over-reliance on gimmicks such as breakdowns, but it still manages to hold together as a consistent album balancing melody and heaviness in a distinctive way.
Few of the songs stand out from the general roaring tone, much as can be said for Townsend's albums such as 'Terria' and the excellent 'Synchestra,' but the finale 'Global Warming' is particularly interesting for its odd echo effect and unusual lead guitar melodies. Some such as 'Where Dragons Dwell' and 'The Heaviest Matter of the Universe' are a little irritating to listen to, mainly for the aforementioned drum thing, but the album maintains a distinctive mood and conveys an important message.
1. Ocean Planet
2. Backbone
3. From the Sky
4. Unicorn
5. Where Dragons Dwell
6. The Heaviest Matter of the Universe
7. Flying Whales
8. In the Wilderness
9. World to Come
10. From Mars
11. To Sirius
12. Global Warming
Pentagram
****
Written on 10.07.08
Norwegian band Gorgoroth's career has been more turbulent than most, thanks to legal disputes and a seemingly constantly revolving door of members, but their discography consistently satisfies black metal fans, though in varying degrees depending on their more specific orientation. As a fan of dingy, raw black metal with subtle melodic elements, it's their early albums that appeal to me the most for their Darkthrone style, as Infernus unleashes a barrage of catchy guitar riffs over the muted drums of Goat Pervertor, while Hat screeches like an animal. Gotta love these nihilistic kids.
These songs are excellent in their simplicity, never over-running and concentrating on memorability and energy. The entire album lasts for less than half an hour, but there are no filler tracks, and there's even a degree of variation from the more melodic 'Drømmer om Død' to the constantly changing tempos of '(Under) the Pagan Megalith' and 'Ritual.'
1. Begravelsesnatt
2. Crushing the Scepter (Regaining a Lost Dominion)
3. Ritual
4. Drømmer om Død
5. Katharinas Bortgang
6. Huldrelokk
7. (Under) the Pagan Megalith
8. Måneskyggens Slave
Antichrist
****
Written on 10.07.08
'Antichrist' is more or less the same release as its predecessor 'Pentagram,' but boasts improved production values and melody, while forfeiting a substantial tracklist: there are only six songs lasting for twenty-five minutes in total, and the worthlessly short introduction 'En Stram Lukt av Kristent Blod' takes longer to read out loud than it does to transpire.
The classic black metal atmosphere pervades this album, led by Infernus' changeable riffs that vary from harsh, repeating crunches to lighter tremolo-plucking melodic frenzies. This album is consistently strong, the only song that feels a little lacking being the overly simple and repetitive 'Possessed (By Satan),' and it also scores points for sounding convincingly evil, even if it pales in comparison to the sheer hellish sound of its successor.
'Sorg' is slow and doomy throughout, making for an interesting finale, and there's creative use of chanting vocals in a couple of songs to enhance the wicked atmosphere.
1. En Stram Lukt av Kristent Blod
2. Bergtrollets Hevn
3. Gorgoroth
4. Possessed (By Satan)
5. Heavens Fall
6. Sorg
Under the Sign of Hell
****
Written on 10.07.08
As 'Revelation of Doom' opens, the listener is blasted with a wall of intense black metal fury, the likes of which I haven't previously heard outside of Behemoth. This makes for an intense listening experience, but also a somewhat irritating one, as the hammering drums do actually sound a lot like hammers. This is black metal cacophony at its best, impressive in the short term but potentially infuriating in the long run, and fortunately Gorgoroth calms down after a couple of songs to return to a slightly more melodic style from 'Funeral Procession' onwards.
This album fortunately isn't merely concerned with hostility, experimenting with chanting vocals in 'Profetens Åpenbaring' and reverting to a basic, plodding heavy metal style (albeit with added evil) in 'The Devil Is Calling,' but the album does lack the tomb-like atmosphere of its predecessors, as the band heads in an increasingly polished direction that would ultimately make their later releases less memorable.
1. Revelation of Doom
2. Krig
3. Funeral Procession
4. Profetens Åpenbaring
5. Postludium
6. Ødeleggelse og Undergang
7. Blood Stains the Circle
8. The Rite of Infernal Invocation
9. The Devil Is Calling
Destroyer, or About How to Philosophize with the Hammer
***
Written on 10.07.08
Gorgoroth's career takes a downturn with their fourth 'full-length' album, a term that has never seemed particularly appropriate considering the meagre duration of the band's recordings, and one that is especially dubious here considering this album's status as more of a collection of B-sides lumped together with arbitrary new material. The booklet claims that these songs were recorded between 1994 and 1998, and the varied sound, styles and production quality of each song belie the album's nature as a cutting room compilation.
This is still high quality black metal performed by masters of the craft, but it lacks much of the classic feel the band once possessed, as well as lacking their usual creativity. 'Destroyer' is clearly the new song tagged on to the beginning with the new vocalist, and it's reasonably catchy as Gorgoroth tends to be without really making a name for itself, but the album improves as the sound quality worsens and 'Open the Gates' and the more overtly melodic 'Om Kristen og Jødisk Tru' act as final, lingering reminders of why this band was so good in the early days.
1. Destroyer
2. Open the Gates
3. The Devil, the Sinner and His Journey
4. Om Kristen og Jødisk Tru
5. På Slagmark Langt Mot Nord
6. Blodoffer
7. The Virginborn
Incipit Satan
***
Written on 11.07.08
Although it's one of my least favourite releases from Gorogoroth, the experimental 'Incipit Satan' is still an album I admire for its bold attempts at transgressing the band's restrictive black metal framework, even if the results aren't always successful. Guitarist and songwriter Infernus has clearly been struggling with a preference for melody even since the band's early days, and here he's free to experiment to his full with light, harmonic guitars in songs like 'An Excerpt of X,' which would have been out of place in previous, darker works.
This is a nicely varied album, but not a particularly consistent one. 'Incipit Satan' mixes angry shouty sections with non-ish ambience in an unsatisfying contrast, 'A World to Win' sounds more like a classic heavy metal song with its rhythmic gallop, and 'Will to Power' is a rather dull and seriously overlong ambient interlude. The other songs are less memorable but fall somewhere in-between, making for an album that will alienate long-time fans and confuse newcomers, but still offers something different.
1. Incipit Satan
2. A World to Win
3. Litani Til Satan
4. Unchain My Heart!!!
5. An Excerpt of X
6. Ein eim av blod og helvetesild
7. Will to Power
8. When Love Rages Wild in My Heart
Considered Dead
****
Written on 14.07.08
Gorguts are one of the few prominent technical death metal bands who released impressive albums in the early nineties, before the genre stagnated and became solely preoccupied with showmanship. In the death metal tradition, 'Considered Dead' succeeds in achieving the hellish and gory sound fitting to its lyrics, but with a more impressive method. Much of the album is fairly straightforward death metal, such as the frantic 'Disincarnated,' while others reach outside the box slightly to incorporate diverse elements, namely the faux-acoustic guitar introduction to 'Waste of Mortality.'
The rest of the album rearranges the standard elements in a more sophisticated and original manner to produce music that's technical without being showy, with great production that really fleshes out each instrument including the significant bass. Perhaps slightly too changeable for traditional death metal fans in its frequent time changes, and maybe not experimental enough for technical metal fans, Gorguts' debut nevertheless reaches a satisfying middle ground.
1. ...And Then Comes Lividity
2. Stiff and Cold
3. Disincarnated
4. Considered Dead
5. Rottenatomy
6. Bodily Corrupted
7. Waste of Mortality
8. Drifting Remains
9. Hematological Allergy
10. Innoculated Life
Heart of Darkness
****
Written on 14.07.08
'Heart of Darkness' introduces a new, more intelligent side of Grave Digger, abandoning their focus on speed and shrieking vocals in favour of a darker, lower and more drawn-out sound. This isn't an epic album by any means, even in the longer songs, but it's still highly distinctive German metal.
Chris Boltendahl's vocals are noticeably calmer here, which may disappoint those who are so fond of his usual high shrieking, but this helps the songs to convey a darker atmosphere. Uwe Lulis' guitar riffs are powerful and memorable, experimenting with unusual staccato rhythms in 'The Grave Dancer' and 'Demon's Day,' the latter of which is perhaps a little long but makes up for it with a great guitar solo. The title song is twelve minutes long and follows the tradition of most long metal songs by moving between gloomy balladesque sections and harder riffs, and it's certainly the best song here, remaining interesting throughout.
1. Tears of Madness
2. Shadowmaker
3. The Grave Dancer
4. Demon's Day
5. Warchild
6. Heart of Darkness
7. Hate
8. Circle of Witches
9. Black Death
10. My Life
11. Dolphin's Cry
Tunes of War
*****
Written on 14.07.08
The increasingly ambitious Grave Digger entered the realm of concept albums with 1996's 'Tunes of War,' a great speed metal album focused entirely on the clan history of Scotland, spanning seven centuries. Opening with a heavy metal take on the bagpipe theme that anyone who lives in Edinburgh will be so very fond of (I think I've reached my bagpipe limit now), the album then ditches gimmicks and returns to the fast, hard-hitting heavy metal style of 'The Reaper,' with song after song of great metal that makes violence fun.
Uwe Lulis isn't the most creative guitarist in the world - indeed, the main riff of 'Scotland United' sounds distinctly like 'Eye of the Tiger' - but for all its precedent in the 1980s, this is a great album that will appeal to metal fans, the most contentious factor likely being Chris Boltendahl's relentlessly piercing shriek and the over-repetitive choruses, but once you get used to it, there's no turning back.
1. The Brave
2. Scotland United
3. The Dark of the Sun
4. William Wallace (Braveheart)
5. The Bruce (The Lion King)
6. The Battle of Flodden
7. The Ballad of Mary (Queen of Scots)
8. The Truth
9. Cry For Freedom (James the VI)
10. Killing Time
11. Rebellion (The Clans Are Marching)
12. Culloden Muir
13. The Fall of the Brave
Advantages: Great concept that doesn't impede superficial enjoyment.
Disadvantages: All reminiscent of older material.
Dark of the Sun
**
Written on 14.07.08
Effectively an expanded single for the song from 'Tunes of War,' 'The Dark of the Sun' is a very average and non-essential release for anyone who owns the previous album, the three additional songs merely being re-recordings of lesser tracks from Grave Digger's early career. Preceded by an unusual take from a live show where the band audibly knows all the words as they chant over an acoustic guitar, 'The Dark of the Sun' erupts as a damn fine heavy metal anthem, but one that's a little less effective when removed from its album context. Chris Boltendahl's chorus is enhanced by over-dubbing, and Uwe Lulis' guitar riffs are strong.
Sadly, the E.P. falters after this, as the remaining songs aren't quite up to the same standard, though listeners whose taste for speed metal lies more in the eighties with bands such as Accept should appreciate them all the more. 'Heavy Metal Breakdown' is dominated by cheesy lyrics, but it's still pretty fun, while the other two are more generic.
1. Rebellion (Live in Athens) / The Dark of the Sun
2. Heavy Metal Breakdown
3. Witch Hunter
4. Headbanging Man
Knights of the Cross
***
Written on 14.07.08
The second album of Grave Digger's historical trilogy moves southwards to the crusades and quests of the Knights Templar, and sadly loses much of the fire that made its predecessor so enjoyable. The orchestral background in select songs belies the album's higher budget, and the production quality does sound less raw than previously, which suits the band's increasingly polished, power metal style. Even with heavy power metal leanings in songs such as the title track and the bombastic 'Inquisition,' this is still primarily gruff heavy metal, but a little slower and consequently duller this time round.
The faster songs like 'The Keeper of the Holy Grail' are the highlights of the album, but even the slower songs are kept from wimping out into ballads. The closing cover of Black Sabbath's 'Children of the Grave' is fairly boring and predictable, and translating the classic song into a generic speed metal song is reasonably sacrilegious, but it's nothing to alert the heavy metal crusaders to.
1. Deus Lo Vult
2. Knights of the Cross
3. Monks of War
4. Heroes of This Time
5. Fanatic Assassins
6. Lionheart
7. The Keeper of the Holy Grail
8. Inquisition
9. Baphomet
10. Over the Sea
11. The Curse of Jacques
12. The Battle of Bannockburn
13. Children of the Grave (Black Sabbath cover)
The Grave Digger
****
Written on 14.07.08
The first Grave Digger album in some time not to be restricted by an overarching concept, this self-titled 2001 release forsakes the band's recent preoccupation with historical epics in favour of a return to the horror themes of old, citing direct inspiration from the macabre works of Edgar Allen Poe. This frees the album to explore a range of subject matter, while still ensuring a uniformly dark and wicked atmosphere, and while it's not exactly the definitive Grave Digger album, it's certainly among their strongest.
The band enters the new millennium with a heavier and more modern sound than before, presumably due in part to new guitarist Manni Schmidt, who impresses with his heavy, catchy, groove-based riffs in most songs. The tempo is still a little slow in comparison to the band's earlier years, but this works effectively here, especially when exploited as in the gloomy 'The House.' The only song that failed to impress me was the closing ballad 'Silence' which is simply incredibly boring and very out of place on an otherwise heavy album, but the highlight for me has to be the unforgettable chorus of 'Funeral Procession,' in which Chris Boltendahl repeats the classic refrain: 'step into the fire, you bloody liar.'
And people say heavy metal lyrics lack artistic merit. Since when did people know anything?
1. Son of Evil
2. The Grave Digger
3. Raven
4. Scythe of Time
5. Spirits of the Dead
6. The House
7. King Pest
8. Sacred Fire
9. Funeral Procession
10. Haunted Palace
11. Silence
Rheingold
*****
Written on 14.07.08
Returning to concept album territory, Germany's Grave Digger bring out the orchestral pomp more than ever before, making 2003's 'Rheingold' a particularly impressive and distinctive release from the band. While it isn't quite as symphonically epic as Wagner's original Ring cycle, it's a fine heavy metal tribute, and my favourite album from the ever-consistent Grave Digger.
The epic sound isn't only achieved by the use of orchestra to enhance certain sections, most evident in the opening overture, but also in the supplementary choir vocals hidden behind most of the choruses. This works excellently against Chris Boltendahl's maniacally shrieking vocals, while the high production values ensure that every instrument is heard very loud and clear, even the oft-neglected bass.
'Rheingold' and 'Twilight of the Gods' are the finest songs, bookending the album, but the whole listening experience should be positively orgasmic for metal fans, especially those of the orientation that epic metal shouldn't be light and sissy like Rhapsody and their brethren.
1. The Ring (Overture)
2. Rheingold
3. Valhalla
4. Giants
5. Maidens of War
6. Sword
7. Dragon
8. Liar
9. Murderer
10. Twilight of the Gods
The Celtic Winter
****
Written on 15.07.08
Released in 1996 as a mini album, 'The Celtic Winter' is a slightly rearranged version of Graveland's 1994 demo, which had already been granted partial official release as a shortened E.P. As a Polish black metal demo from the early nineties (think Behemoth), the sound quality is invariably bad and the atmosphere impeccable, and the music takes great influence from the then-new Viking metal genre without deviating too far from its black metal roots. This is slow, ponderous, raw, atmospheric black metal with some memorable riffs, drenched in ambient keyboards, and while he's no Quorthon or Varg Vikernes, born-again Viking Rob Darken certainly impresses and leaves promise for the future.
This isn't traditional Viking metal, something evidenced by the continued use of black metal croaks and warbling guitars, but there's enough obvious influence to make this appeal to fans of Bathory or Moonsorrow, from the acoustic elements of 'The Gates to the Kingdom of Darkness' to the extended battle sample in the opening 'Intro' and the tribal drums of the ominous instrumental 'Prolog.'
1. Intro
2. Call of the Black Forest
3. Hordes of Empire
4. The Night of Fullmoon
5. Prolog
6. The Gates to the Kingdom of Darkness
7. The Return of Funeral Winds
Collateral Defect
**
Written on 15.07.08
The promisingly-named Graveworm are an increasingly disappointing band from Italy that ceased being black metal a long time ago, in favour of a form of gothic extreme metal that's lacking on the extreme front. This most recent album contains a mix of styles that all feel lacking, from the mediocre electronic elements of the opening instrumental 'Reflections' to the pleasant-yet-boring synthesised violin work of 'The Day I Die' and the terribly predictable metalcore song 'Fragile Side' that acts as a perfect example of selling out to the metal mainstream, by not sounding like anything else here.
This album emphasises catchy hooks, but the ones it delivers, mostly in the form of choruses ('Suicide Code' being the most notorious example), are meagre. A definite low point is the worthless cover of Bonnie Tyler's 'I Need a Hero,' which spoils the original by using growling vocals and heavy rock instruments that completely fail to capture even the rhythm of the song being covered. If a superior band recorded this, it could be excused as a novelty, but here it's disappointingly serious.
1. Reflections
2. Bloodwork
3. Touch of Hate
4. Suicide Code
5. The Day I Die
6. Fragile Side
7. I Need a Hero (Bonnie Tyler cover)
8. Out of Clouds
9. Scars of Sorrow
10. Memories
Light of Day, Day of Darkness
****
Written on 16.07.08
The most obvious and notable thing about Green Carnation's second album 'Light of Day, Day of Darkness' is that it's entirely comprised of a single, hour-long song. Ideologically comparable to Edge of Sanity's earlier 'Crimson' or Jethro Tull's much earlier 'Thick as a Brick,' this loooooong song was always going to seem a little unnecessarily stretched due to the precise length; it's not like Tchort composed a song that merely happened to reach a natural end-point at fifty minutes or so, and it stands out a mile that sections have been either extended or repeated in order to reach the perfect running time.
But that said, this is a very good album, if one that demands a certain degree of patience from the listener. I wouldn't go so far as to proclaim this a great song, but it's certainly distinctive, incorporating elements of doom metal with psychedelic leanings reminiscent of Pink Floyd, especially in the central break dominated by a saxophone, keyboard and wailing woman that's clearly inspired by 'The Great Gig in the Sky.' It just all feels a little too contrived.
1. Light of Day, Day of Darkness
A Blessing in Disguise
***
Written on 16.07.08
Following the potentially off-putting avant-garde stylings of its ambitious predecessor 'Light of Day, Day of Darkness,' Green Carnation's third album seems like a deliberate attempt at something more accessible and mainstream, while retaining the band's progressive credibility. The guitar riffs are all straightforward and easy to follow, and while the atmosphere is still essentially gloomy, aided by the depressive lyrics, it's more in the style of gothic rock than the band's previous flirtations with doom metal.
Most of these songs are mellow prog rock pieces, using piano and strings effectively in 'The Boy in the Attic' and 'Two Seconds in Life' at the album's centre, and although the slow tempo becomes a little boring by the point of the finale 'Rain' especially, this is still enjoyable and energetic enough for modern prog, especially when compared to bands such as Spock's Beard, songs like 'Myron & Cole' still being primarily based around the electric guitar.
1. Crushed to Dust
2. Lullaby in Winter
3. Writings on the Wall
4. Into Deep
5. The Boy in the Attic
6. Two Seconds in Life
7. Myron & Cole
8. As Life Flows By
9. Rain
Acoustic Verses
****
Written on 16.07.08
Despite bearing a slightly misleading title that implies a fully unplugged album, 'Acoustic Verses' is certainly more mellow, relaxed and predominantly acoustic than any of Green Carnation's previous efforts, and my personal favourite from the band. Reminiscent of Opeth's 'Damnation' release, this focuses exclusively on a slow and depressive style of progressive rock, but makes more time for experimentation.
The best thing about this album is how memorable the songs are, whether it's the melancholy chorus of 'The Burden Is Mine... Alone,' the hypnotic electronic percussion of 'Sweet Leaf' or the comparably upbeat fiddle sections of 'Alone,' though occasionally the repetitive choruses go too far. The repeating refrain of 'High Tide Waves' has always inexplicably irritated me, to the point that I never listen to the album past track five; '9-29-045' itself is a very good song, though a little overlong, but 'Child's Play Part III' feels throwaway and is easy to ignore. If only it didn't slip after the fifth track, this would be an exceptional album, but I still regard it as one of the finest works of modern mellow progressive rock.
1. Sweet Leaf
2. The Burden Is Mine... Alone
3. Maybe?
4. Alone
5. 9-29-045
... i) My Greater Cause
... ii) Homecoming
... iii) House of Cards
6. Childs Play Part III
7. High Tide Waves
Warning: You're On The Decline
*****
Written on 24.06.01
Green Day are one of my favourite bands, but it seems this punk trio has had its best years. Their most recent album "Warning" (2000) is probably their worst, and seems more folk than it does punk, although there are rumours that their next album will be their heaviest. But is this a good thing or a bad thing? After all, Green Day aren't known for their heaviness- just their pure and simple amazing punk!
The band have been together for over fifteen years, and was formed by high school dropouts Billie Joe Armstrong (guitar, lyrics and vocals), Mike Dirnt (bass) and Tre Cool (drums). Their first album, "39/ Smooth", was released in 1990, but later re-released as "1039/ Smoothed Out Slappy Hours," with more tracks, on CD. Their next album, "Kerplunk", received similar treatment, and these two albums are definitely the least well known.
Green Day broke out of the underground with their (in my opinion) best album, "Dookie!", in 1994. The album contained the hit singles "Basket Case", "When I Come Around", "Longview", "Burnout" and "Welcome to Paradise", and is widely regarded as one of the best punk albums of all time.
Now Green Day had made their name they brought out their fourth album "Insomniac" later that same year, and the single "Brain Stew" ended up on the Godzilla soundtrack a while later. The album was not as widely received as "Dookie!" but it's still amazing, and I think it's their second best album. It also spawned the singles "Jaded" (which lead on from "Brain Stew"), "Walking Contradiction", "Geek Stink Breath" and "Stuck with Me."
Possibly their most widely known album (along with "Dookie!") is Green Day's 1997 album, the popular and varied "Nimrod." The two most popular singles "Hitchin' a Ride" (pretty heavy and loud) and "Good Riddance (Time Of Your Life") (acousticcy and slow) were both very high sellers, and the album contains a lot of tracks, loads of which are very different. The album also contains the singles "Nice Guys Finish Last" and "Redundant."
The afore-mentioned "Warning" was released after another peculiar three year gap in 2000 with the single "Warning", (a quite popular single that is a very poor song), and the later "Minority" and "Waiting." The album is the band's worst, although their first isn't much better.
Green Day do rock, and I hate to diss them, but I don't like their new album much at all, apart from a few songs. The band will be around for a while yet, and it's strange how they are well-known, but don't seem to have reached the same popularity level among the general public as bands like The Offspring and Blink 182. However, I'll always buy Green Day (if it's good enough) and want to see them live at any cost.
Even if they do play "Warning."
Advantages: "Dookie", "Insomniac" and "Nimrod" are amazing albums, The band are unique, A lot of variation has been recorded
Disadvantages: "Warning", basically, The band seem to have fallen from grace
Dookie
Bestius Albumus
*****
Written on 12.06.01
"Dookie" was the first Green Day album I was borrowed once I asked my friend to lend me some last year, and at first I didn't like it. But I now firmly beleive it is the band's finest album. It may not be as long or varied as "Nimrod", although there is not a single bad song on the album, even if most of them are a bit similar. The album has some of Greenm Day's best drum and guitar tunes, and is all based around Green Day's pop-punk/rock/ever-so-slightly-country-style music. which is cool. and Billie Joe's nasal voice. which is a bit odd.
There is no leniency of an intro as track one, "Burnout", begins abruptly. The song is fantastic, and about growing up; the fact that as you age you are inevitable growing closer to death. The lyrics are great, and reflect the slightly comical, teenage riot style of the rest of the album. This is definitely the best teen anger issues album. ("I'm not growing up, I'm just burning out- and I step in line to walk amongst the dead.") The album may not have much lyric wise, but what it does have is great.
Track two ("Having a Blast") begins after a brief guitar and bass intro, and is about insanity- a man who enjoys blowing up buildings. Although the first song is great, this is even better, setting high standards for the rest of the album. ("No one is getting out alive. This time I've reslly lost my mind and I don't care.")
Track three isn't amazing, and is nothing original, although it still sounds nice. The second minute is basically a long-winded intro that leads into track four. The song itself is about hating someone, although apparently without solid reason. It's a good song to listen to, and not too heavy.
"Longview" is one of my favourite songs off the album, and spawned a single and music video. The song has a great and popular bass riff, and some great vocals. The lyrics describe the story of an incredibly bored person in his late teens who has no job, friends or goals. Even masturbation has lost its fun. ("Sit around and watch the 'phone, but no one's calling. Call me pathetic, call me what you will. My mother says to get a job, but she don't like the one she's got. When masturbation's lost its fun you're f***ing breaking.")
Track five will definitely sound familiar to owners of "Kerplunk", Green Day's previous 1991 album. "Welcome to Paradise" has been adapted ever so slightly as a different recording, and is superior to the excellent original, making it one of the best on this album too. The song starts with a great riff, and has some of the best Green Day lyrics ever, presented as some form of letter from someone who has moved to a town where they are not happy, but six months later have found themselves attached to the place. A great song. ("A gunshot rings out at the station. Another urchin snaps and left dead on his own. It makes me wonder why I'm still here- for some strange reason it's now feeling like my home, and I'm never gonna go.") There is also a brief instrumental section near the song's end which makes for a breath of fresh air.
"Pulling Teeth" is more veered towards the band's love song/ country and folk music angle, but still sounds very good. It's about a guy whose girlfriend loves them, but always beats them up. The chorus sounds great with some fantastic vocals, and it is definitely a welcome change from the rest of the album. ("Is she ultraviolet? Is she disturbed? I better tell her I love her before she does it all over again- oh God, she's killing me!")
Track seven will sound recognisable even to the lesser fan- Green Day's most popular song, "Basket Case." Definitely one of my favourite songs off the album, and of the band, it begins with Billie Joe alone, strumming his guitar and singing. The legendary song is about insanity and delusion, and has a music video that you will inevitably see at one point if you haven't already. Great song, with a great riff. ("Sometimes I give myself the creeps. Sometimes my mind plays tricks on me. It all keeps adding up- I think I'm cracking up. Am I just paranoid? I'm just stoned.")
"She" is a slow song to break the flow, and not one of the album's finest songs, although the choris is quite good. As I said before, no songs on the album are bad, and this song is probably better than most songs off other albums (especially "Warning.") The song concerns a woman whose life is secluded and private. ("Are you locked up in a world that's been planned out for you? Are you feeling like a social tool without a use?")
"Sassafras Roots" (track nine) isn't the most lyrically-complicated song on the album, but sounds great. It has a nice tune and great vocals, and is basically about... wasting someone else's time. Every other linr is simply "wasting your time." ("Roaming 'round your house wasting your time. No obligation, just wasting your time.")
Possibly my favourite track on the album (and definitely one of my favourite Green Day songs), "When I Come Around" is a sad, slower song with prominent guitar and bass, and a very memorable (and fantastic) riff. The song is about visiting an ex-girlfriend who you are concerned for, and who still unadmittedly loves you. ("Not time to search the world around, 'cause you know where I'll be found when I come around.")
"Coming Clean" is a different yet still great song, and features great drumming. It is about letting out secrets, and is essentially about growing up. ("I found out what it takes to be a man. Mom and dad will never understand.")
The only song on the album to be written by bassist Mike Dirnt (rather then Billie Joe Armstrong) is track twelve, "Eminius Sleepus." It's not an amazing song, and is about someone's friend going down the wrong path in life. ("I saw my friend the other day, and I don't know exactly just what he became.")
Track thirteen, "In the End" (nothing to do with the Linkin Park song by the same name), is very good, and is sung nicely fast. The song has a good beat, and is about a new guy taking someone's girlfriend away from him, and the fact that it will not last. ("How long will he last before he's a creep in your past? And you;re alone again?")
The album's final track is "F.O.D." (which you may or may not known stands for "F**k Off and Die"). For a couple of minutes, Billie Joe strums his guitar quietly and softly sings about wanting to burn a bridge and commit anarchy, before bursting into an amazing, loud tune with a fantastic riff, and another of the best songs off the album. ("Let's nuke the bridge we torched 2,000 times before- this time we'll blast it all to Hell.") There is silence after the song, before drummer Tre Cool performs a small outro as Ernie (yes, the muppet guy), talking about how he's all by himself. It's entertaining if a bit peculiar.
"Dookie" is a great album, but I'm not sure if it's more suited to taste than the more widely-appealing Nimrod. The album is definitely the general choice for fans though, and it's oftenn in sales- treat yourself!
Advantages: Best album, Some great songs (including the most famous one), Quite long (for a Green day album) at 40 minutes
Disadvantages: Some tracks are a bit similar, and not spectacular
Insomniac
Bab's Uvula WHAT?
****
Written on 10.06.01
This is a very good album from Green Day, but isn't nearly as good as the spectacular "Dookie!", although I probably like it second best, along with 1997's "Nimrod." Overall it comes in a bit too short at around 35 minutes, and aside from the fantastic "Brain Stem"/"Jaded" crossover track, there aren't that many songs that stick in your head unless you regularly listen to it. The second half of the album is much better than the first (tracks eight to fourteen), but the whole album is worth listening to.
The first song, "Armatage Shanks", (I'm sure that's written on my toilet), begins the album with a drum beat, much the same as in Nimrod, and the song's not bad. The song also has some great lyrics, such as "my own worst friend and my own closest enemy" and "I perfected the science of the idiot."
"Brat" is a song about a spoilt kid wanting his parents to die in order for him to receive inheritance. It's a pretty good song, but not very original in terms of tune. ("Mom and Dad don't lookmso hot these days, but my future's looking good.")
"Stuck With Me" has a great tune, and is about a guy who knows he's not great, but doesn't mind. ("I'm not part of your elite, I'm just alright.")
"Geek Stink breath" has a great opening, and is probably about a teenager without hope who enjoys slobbing around and doing nothing, not even being bothered about his appearance. ("Don't know what I got, that's all that I got, and I'm picking scabs off my face.")
Track five, "No Pride", is (quite unironically) about a man who has no pride. It sounds great, especially Billie Joe's vocals. ("Honour's gonna knock you down before your chance to stand up and fight.")
Track six is a cool song, and has a very confusing name ("Bab's Uvula Who?"). The song is about someone who can't get anything right, and whose temper always breaks. ("I've got a knack for f***ing everything up. My temper flies and i get myself all wound up.")
Track 7, "86", is about someone returning to someone who does not want them back. It's one of the highlights of the album, and is contained on "Warning" (the 2000 album) as a live track. ("What brings you around? Did you lose something the last time you were here?")
Track eight ("The Panic Song"0 has a very long guitar build-up that makes you wonder whether it would have been better at the beginning of the album. After the two minute or so intro comes a great (and fast) song about, obviously, panic in the face of a huge terror. ("Broken glass inside my head, bleeding down these thoughts of anguish...")
"Stuart and the Avenue" is another of the album's best songs, which has a cool tune and is about someone returning to the street of a former love. ("I may be dumb, but I'm not stupid enough to stay with you.")
Tracks ten and eleven flow together, and are the highlight of the album, without a doubt. "Brain Stew" (a song used for the recent Godzilla film produced several years ago), has a simple (yet insanely catchy) guitar riff, and is very slow and sad. ("I'm having trouble trying to sleep. I'm counting sheep but running out.")
After about two to three minutes of this amazing and heavy song comes the outburst of "Jaded", with a contrasting fast pace. ("Always move forward- going straight will get you nowhere.")
"Westbound Sign" is a good song, and another of the album's best points. It talks about a woman leaving someone, and him retaining her memory. ("Boxed up all of her favourite things, sold the rest at a rainy yard sale.") It's a great song.
"Tight wad hill" (track thirteen), is an average song, and talks about thrill seeking. ("Bumming a ride, burning daylight, last up at dawn... Tight Wad Hill.")
The album finishes with the pretty good song "Walking Contradiction". It's happier and lighter than most of the album, trying to end the album on a pleasant note. The meaning is blatant, and it's about a man who himself is a contradiction. ("I beg to differ on the contrary, I agree with every word that you say.") It's quite a funny concept, and ends what has been a pretty damn good album.
Nimrod
Great Value for Money
****
Written on 09.06.01
Although I disagree (for reasons of personal taste) that "Nimrod" is the best Green Day album (I prefer 1994's "Dookie" as I believe it contains most of the band's best songs), I believe this album is the best value for money. Some previous albums had come a little short (the previous album, "Insomniac", doesn't last much longer than half an hour). There are eighteen tracks (usually between two and three minutes long each), and they account for a wide veriety of tastes. Most are the typically Green Day new school punk sound, although many (especially the best-selling "Good Riddance (Time of Your Life)" break the mould completely.
"Nice Guys Finish Last" has a loud beat that begins the album on a heavyish note. The spectacular "Hitchin' a Ride" is a slower, bassier and overall heavier song than the first, and is possibly my favourite off the album. "The Grouch" is performed in typical Green Day style, and sounds great- it's the song that everyone I know remembers as the "don't have sex 'cause I can't get it up" song.
"Redundant" is a slower, more somber song, and acts as an excellent contrast to what has gone before, offering a lighter breath of fresh air in between tunes. "Scattered" breaks back into the punk mood before returning to the same kind of tone as "Redundant", but with a more punk feel. Number six ("All the Time") is another Green Day at their best punk song with depressing lyrics presented in a light, enjoyable way.
"Worry Rock" is another necessary and appreciated take-it-easy song of sadness and misery, which is followed by the fast-paced swearathon that is the amazing "Platypus." "Uptight" (track nine) is still a slightly depressing song, but is more punk than some of the previous offerings, although a slow, quiet pace is still kept.
Track ten ("Last Ride In") should, and this is only my opinion, be deleted from all copies of the album. A very melodic, take-it-easy-by-the-beach song, this is great for when you're trying to get to sleep... but you don't want to go to sleep all the time! And it lasts for three minutes! Green Day have always refrained from placing intro tracks on their albums, presumably so that their songs can be appreciated more, but this is just daft; it's apparently been conveniently placed, but I think it's bulls***- track nine flows perfectly well into track eleven, "Jink", which is once again the story of someone's misery (judging from the opening line "I f***ed up again..."), but fast and energetic. This flows perfectly, with a little instrumental piece, into "Haushinka", the story of a girl who has left someone.
Track thirteen ("Walking Alone") contains trumpeting, but don't worry- it's not ska. Although I still hate trumpets. Another slow song, it is not one of the highlights of the album, and may be the worst song. The next song ("Reject"), is another one of my favourites, and is full of energy and feeling, only to lead into the next track, the amazing "Take Back", which sounds like an attempt by Green Day to play metal. (It doesn't sound bad, but ends up sounding uncannily like the very first Offspring album with some Cradle of Filth-style guttural roaring in the chorus.
In complete contrast follows "King for a Day"- the comedic story of a transvestite child with obvious brain disorders. It's the album's token comedy song (which again borders on ska-punk), but is succeeded by the amazing "Good Riddance", the famous acoustic soloing tune of Billie Joe that breaks from punk tradition completely and verges upon country music. The album finishes on the quiet, slow, draw-to-a-close song "Prosthetic Head," which ends the very well mixed album on a great note.
Overall, I think this album is one of the best edited and mixed albums I own (everything flows together and sounds correct- apart from track ten!) Very worth the money, especially if you're new to Green Day. But personally I have to admit that (like my favourite band, "The Offspring"), Green Day seem to be in their decline. "Warning" has generally been accepted as a poor album, and I hope their plan to make their next album heavy succeeds. A very good album indeed.
Advantages: Great value for money, Extremely well put together, Caters for a variety of tastes
Disadvantages: Some songs are quite poor (as happens on any album)
See You in Hell
*****
Written on 16.07.08
Grim Reaper's debut deserves to be ranked among the elite albums of what was (at the time) the New Wave of British Heavy Metal (NWOBHM), and most of that praise needs to be heaped onto vocalist Steve Grimmett. He alternates between a gruff approach and impossibly high soprano wail with every line, making many of the choruses sound rather ridiculous to modern listeners, but indescribably euphoric to fans of bands such as King Diamond, who Grimett rivals in songs such as 'Dead On Arrival.'
While the rest of the band keeps up the energy and delivers memorable riffs, especially the leading guitar riff of the title track, it's the vocals that really make this a fantastic experience, especially as the subject matter turns to traditional NWOBHM themes that have their precedent in other bands: the night-stalking antics of the protagonist of 'Wrath of the Ripper' and the galloping battle depiction of 'Run For Your Life' will both be instantly recognisable to classic metal fans.
1. See You In Hell
2. Dead On Arrival
3. Liar
4. Wrath of the Ripper
5. Now or Never
6. Run For Your Life
7. The Show Must Go On
8. All Hell Let Loose
Fear No Evil
Don't Fear the Reaper
***
Written on 13.07.07
Although dying significantly in its British homeland, heavy metal was big business in America in 1985, and Droitwich-based Grim Reaper make no effort to hide the very obvious orientation towards the American pop market, emulating hard rockers Quiet Riot and Twisted Sister alongside now-classic metal staples Iron Maiden and, particularly, Judas Priest. Unlike the unfortunate Saxon, whose later works were desperately tailored towards a US breakthrough that never came, Grim Reaper was pretty much a flash in the pan success with fortunate corporate backing whose greatest legacy is a really cool band name, a couple of amusing and memorable music videos as seen on ‘Beavis and Butt-head,’ and some pretty cool but wholly derivative albums from the so-called New Wave of British Heavy Metal.
Twenty years after its demise, possibly in response to the revived interest in classic metal over the last few years, vocalist Steve Grimmett has reformed a touring line-up of the band, consisting of entirely different musicians apart from himself, in what is arguably a very pointless and worthless endeavour to relive mediocre glories. There really isn’t very much point to the continued existence of this sophomore album this long after its period of usefulness, apart from satisfying the unquenchable lust of NWOBHM fans stuck in a 1980s time warp. So, onto the review...
This album is in all ways an improvement over its predecessor, ‘See You in Hell.’ The style is much the same, emulating Judas Priest riffs with Dio-esque vocals aimed close to the pitch range of dogs and bats, but this time features an increasingly harder and darker edge as the album moves towards its conclusion. The studio production is better, but still noticeably weak in comparison to the major bands of the time, the guitars and drums never sounding quite hard-hitting enough and the whole band sounding somewhat separate and disjointed, something that a louder cacophony effect would have remedied. The slightly tinny sound isn’t necessarily a bad thing, and in fact dates this album in quite an enjoyable way, the same way depressing black metal never sounds quite right or convincing enough unless performed on cheap equipment in the guitarist’s parent’s cellar. Nevertheless, the effect the band are going for with the fast chugging guitars doesn’t live up to expectations, and some songs raise the question of whether Grim Reaper really chose the right angle of NWOBHM for their dingy songs; although this catchy and happy sound would sell more albums to the Americans, the album’s more successful darker moments make me wonder whether a dirtier sound in the style of Motörhead and Venom would have made them more memorable and noteworthy in the annals of heavy metal.
The song structures are all very ordinary and very by-the-numbers, based on one or more repeating guitar riffs that calm down a little in the verses so that the vocals can be heard, followed by high wailing choruses that repeat just a little too often as the song nears its conclusion. Nick Bowcott’s guitar solos are improved over the first album for the most part, standing out about half the time, and the rest of the time merely filling in the spaces between chorus repeats. There’s really not a lot here that anyone who owns a Judas Priest album won’t have heard before, from bleak first-person tales of carnage to embarrassingly upbeat and macho songs about partying and rocking hard. A characteristic quirk of this album is for Steve Grimmett to wail the title of the song over the top of the opening riff before the verse begins, almost as if it’s a live show and he’s forgotten that albums come with a tracklist. To defy all criticism, including my own, that this is just another mindless and soulless collection of average NWOBHM pieces with nothing to gain from repeated listens, I’m going to suggest that the ominous thunder effects that open the sixth track usher in a new darker and heavier style for the remainder of the album that culminates in the cheesy heavy metal horror film excellence of the final song.
1. Fear No Evil
2. Never Coming Back
3. Lord of Darkness (Your Living Hell)
4. Matter of Time
5. Rock and Roll Tonight
6. Let the Thunder Roar
7. Lay it on the Line
8. Fight for the Last
9. Final Scream
Like ‘See You in Hell’ before it, the album wastes no time in offering up the most memorable and catchy song in the form of the title track. Just browsing the tracklist with the album fresh in my memory instantly brings Grimmett’s distinctive screams into my mind’s ear, and the chorus of ‘Fear No Evil,’ reaching all those ridiculous high notes over a staccato guitar riff and inexplicable clunks of cowbell, is one of the highlights of the whole album, so much so that I don’t even care that it repeats far too many times over its four allotted minutes after first coming in only forty seconds into the album. The lead riff is impressive and suitably powerful in driving things along, and if the song has any flaws it’s that it still sounds a little amateurish due to the inferior production quality. ‘Never Coming Back’ is, dare I say it, a little more mature in its approach, a standard rock song about independence that alternates between fast riffs and a slower, more reflective pace for the chorus, but the whole thing sounds just a little too identical to Judas Priest of the era for me to give it that much credit, as do the next few songs that follow.
‘Lord of Darkness,’ despite the promising title, is one of the weaker songs on the album, though only in comparison to the much better majority and not for the reasons that I dislike track five intensely. Grimmett’s vocals have been the very obvious driving force of the music throughout the album so far, freestyling their way around the second song regardless of the structure, and here he experiments with a laughably unconvincing robotic-style voice that tries to sound intimidating but fails miserably. The guitar riffs are a little reminiscent of Manowar here, which is probably more a coincidence than direct influence, and the highlight is unquestionably the dual guitar solo, the scaling style of which is used in several other tracks. ‘Matter of Time’ is a little longer than the norm at this point, and thankfully makes full use of its duration in setting up quite a few sections, my favourite of which is a modestly under-used drum and ‘whoa-oah-oah’ part. The guitar riff is the most impressive and memorable so far, and Grimmett’s wails finally settle into a cooperative balance with the rhythms for the first time, making this the finest song so far and a good example of what Grim Reaper could accomplish when putting in the effort.
The fifth track is by far the weakest and most disappointing of the album, a hard rock Twisted Sister style piece about rock and roll that seems to plague many otherwise promising metal albums of the era in various forms (all of which can be identified by the inclusion of ‘Rock and Roll’ in the title). The instrumentation is unimaginative, taking second place to creating a danceable rhythm that no one will ever have danced to in the first place, and the less said about the horrible unison shouting of ‘What do we want?’ / ‘Red hot rock and roll!’, the better. I’ve already said far too much. Moving swiftly on, ‘Let the Thunder Roar’ returns to the high standard of the fourth song, striking the balance between vocals and guitars but ultimately sounding a little too similar to be really striking. The thunder sound effect is entirely expected (like that’s never been done before in a song with ‘Thunder’ in the title), but it’s interesting to hear Lee Harris’ prominent drums in the second half, beating over the top of the guitars in what I like to think is an attempt to emulate the sound of thunder. Regardless, as I suggested earlier, the remainder of the album takes on a darker shade ultimately more fitting to the band’s sinister name, leaving behind the terrible mistake of ‘Rock and Roll Tonight’ and hinting at greater things to come.
Both ‘Lay it on the Line’ and ‘Fight for the Last’ favour lyric narrative over instrumentation, as Grimmett takes on first-person personas as he has done for most of the songs so far, but this gives the band a chance to demonstrate its excellent abilities as a rhythm section... with the exception of the bass, which is hardly ever audible and is never doing anything interesting when it is. Bowcott is granted some excellent guitar solos however, and ‘Fight for the Last’ particularly stands out as one of the highlights of the album, setting the scene of a swords and shields battle both before and after in the same way every other metal band has done, but still making it effective and commendably visual.
The final song is the best of the lot, although the ridiculous spoken word introduction is sure to have divided opinion: the robot-style voice effect is back, as an angry father criticises his child Michael for wanting to stay up a little later before bed. When Michael insists that he’s 26 years old (the lazy stand-up comedian pull-back-and-reveal gag), his father reveals to the listener that Michael has some kind of weird affliction that makes him ‘not like other boys – you’re a goddamn child in your mind’ he yells at him. Michael is sent to bed unhappy, and the band laughs maniacally over the opening riffs. It’s absolutely stupid, but dumb enough to be permissable, considering it’s obviously trying to be a joke rather than anything seriously spooky, in which case it would be unforgivable (Michael’s father responding to the 26 years old gag by saying ‘physically yes, Michael’ really can’t be anything else). The main riff is cool and distinctive, and the chorus is the best since ‘Fear No Evil,’ however silly the horror film lyrics. There’s even an excellent horror film theme inspired guitar solo, proving that the band is most in its element when dealing with kitsch horror more than the less successful themes elsewhere, though they were admittedly adept at the battle stuff in the previous two tracks.
Had Grim Reaper pursued a more thematic horror-style direction, as proved successful for the Misfits and, more importantly in this case, the excellent King Diamond, songs like ‘Fear No Evil’ and ‘Silent Scream’ would be accompanied here by similarly comical but fantastic heavy metal, rather than the mixed bag of second rate Judas Priest and egotistical vocal performances that the first half of the album tends towards. As a British band playing a style of music copied directly from others in a highly competitive market, Grim Reaper’s success was always going to be limited, but they still set their sights on conquering America and becoming millionaires, ultimately failing embarrassingly in both regards. It’s a shame they didn’t realise their inevitable failure earlier and decide to concentrate more on crafting a niche market for themselves, as Steve Grimmett’s vocals certainly sound unique and powerful, while Nick Bowcott’s guitar work improved steadily with each release. I’ve heard that the third and final Grim Reaper album that followed this was the best of the lot, so I look forward to hearing it some day and seeing whether the band decided to take the advice I’ve given them, admittedly twenty years too late to make a difference.
‘Fear No Evil’ is far from being an essential heavy metal purchase, but it has enough to offer to old-school fans of Iron Maiden, Judas Priest, Saxon and Angel Witch even if it doesn’t really manage to live up their standards.
Advantages: Some great heavy metal songs with instantly memorable choruses. Excellent band name too.
Disadvantages: Nothing new, and too absorbed in breaking America to have enough respect for itself.
Bleed for Us to Live
***
Written on 16.07.08
Gutted are yet another distinctly average American death metal band from the early nineties, but are a slight curiosity for keeping things in the family, the three band members all being brothers. Sadly, there's no hint of shared musical genius here, as the performance is merely a competent and somewhat lightweight repetition of what numerous other bands were doing around the same time.
The production quality isn't all it could be, leaving the guitars sounding rather weak, but the band does impress with its grasp of speed and rhythm changes, perhaps indicating scholarly musical study somewhere down the line. While this is interesting at first, reaching its peak in the wildly varying speed of 'Cold in the Coffin,' it becomes a little dull thereafter, and the slow-downs especially become rather unwanted.
The guitar solos are nothing to write home about, but do their job adequately, and by far my favourite aspect of the album is the rhyming vocal style spewing forth the typically gruesome death metal lyrics.
1. Bleed
2. Sins of God
3. Nailed to the Cross
4. Cold in the Coffin
5. Chopped Up at the Altar
6. Death Before Dismember
7. Chock Full of Guts
8. Skeletonized
9. Kickin' the Corpse
10. Flood of Blood
Scumdogs of the Universe
****
Written on 16.07.08
Gwar are unashamedly a band more concerned with image and shock value than actual musical quality, but unlike entirely gimmicky bands such as Slipknot, their music can actually be pretty damn good at times, especially in the early years. Gwar's early sound on this second album follows something of a thrash metal direction that would be more fully realised later in their career, but still retains enough hardcore punk influence from their past to keep it mean and gritty, reminiscent of bands such as Biohazard or Carnivore, but with even stupider lyrics.
The vocals of Oderus Urungus are instantly recognisable, gruff and overly masculine as he swears for shock value and little else throughout opener 'Salamanizer,' and it's only the distasteful rap crossover of songs like 'Slaughterama' that turns me off. Even though it's performed by a bunch of chauvinistic morons in stupid costumes pretending to be space aliens, 'Scumdogs of the Universe' is a fine collection of crossover-thrash songs that will appeal to those with a sense of humour.
1. Salamanizer
2. Maggots
3. Sick of You
4. Slaughterama
5. The Years Without Light
6. King Queen
7. The Horror of Yig
8. Vlad the Impaler
9. Black 'n' Huge
10. Love Surgery
11. Death Pod
12. Sexecutioner
Violence Has Arrived
***
Written on 16.07.08
None but the most die-hard fan cared about Gwar by the twenty-first century, but their new dawn ushered in by 'Violence Has Arrived' is surprisingly impressive for such an otherwise gimmicky band. The louder production really brings out the full power of the instruments, retaining the band's focus on the bass guitar, and the vocals are now even more animalistic than before, which keeps the whole thing rooted in a darker and heavier style than the band has previously achieved. The guitar solos are fast, and there are still some satisfying, straggling remnants of the band's early punk years heard at various points, especially in the frantic soloing and unison yells of 'The Apes of Wrath.'
This isn't a great album by any stretch of the imagination, but it's interesting that, while some previous releases by Gwar would likely be unreasonably appreciated by those blinded by the gimmick, here the reverse is true, and potential fans are likely to be deterred by the band's stupid outfits and silly lyrics without paying attention to the high quality of the music.
1. Hell Intro
2. Battle Lust
3. Abyss of Woe
4. Anti-Anti Christ
5. The Apes of Wrath
6. Immortal Corrupter
7. Beauteous Rot
8. Licksore
9. Bloody Mary
10. Bile Driver
11. The Wheel
12. The Song of Words
13. Happy Death Day
Beyond Hell
***
Written on 16.07.08
Gwar's tenth album continues in the modern thrash style of their previous releases this decade, and continues to run its limited ideas into the ground. Unlike the more overtly musical 'Violence Has Arrived,' here attention is permitted to turn back to the lyrics and vocals, and this counts against the listening experience for those who aren't so interested in this band's sense of humour, of the variety that considers burping in the lyrics to be rather amusing.
This is largely generic modern thrash with some undeniably interesting and creative guitar work, but the rest of the instruments are merely there for rhythm. Devin Townsend's production job lends a distinct sound to the drums, especially noticeable in the opening to 'Murderer's Muse,' but there's nothing of much interest here. Even the cover of Alice Cooper's 'School's Out' seems largely pointless, deviating from the original in places without achieving anything particularly notable.
1. Intro
2. War Is All We Know
3. Murderer's Muse
4. Go to Hell
5. I Love the Pigs
6. Tormentor
7. Eight Lock
8. Destroyed
9. The Ultimate Bohab
10. One Who Will Not Be Named
11. Back in Crack
12. School's Out (Alice Cooper cover)
H
Awaking the Centuries
****
Written on 16.07.08
Germany's Haggard are certainly one of the more immediately identifiable and distinctive metal bands, playing a bizarre fusion of black metal, classical and amateur dramatics to tell their conceptual tales, this one apparently concerning Nostradamus, though you wouldn't know that if you're incapable of deciphering the archaic languages used for the lyrics.
There are many flaws with this album, the inevitable result of being so experimental, but there's so much to love about it that I can't begrudge the band its poorer choices. The worst is the frequency of the acted interludes, occasionally taking up far longer than necessary in the centre of songs, but elsewhere the use of authentic classical instruments mixed with minor metal elements in the form of down-tuned electric guitars and heavy metal rasping vocals keep this from being merely a metal album with symphonic elements, but more of a perfect fusion in-between, performed by far more musicians than the average rock band.
1. Rachmaninov: Choir
2. Pestilencia
3. Heavenly Damnation
4. The Final Victory
5. Saltorella La Manuelina
6. Awaking the Centuries
7. Statement zur Lage der Musica
8. In a Fullmoon Procession
9. Menuett
10. Pt. I: Prophecy Fulfilled, Pt. II: And the Dark Night Entered
11. Courante
12. Rachmaninov: Choir
Awaking the Gods: Live in Mexico
****
Written on 16.07.08
A live album released after the full-lengths 'And Thou Shalt Trust... The Seer' and 'Awaking the Centuries,' this performance essentially compresses those two conceptual releases into an edited best-of, arranged in chronological order. The live sound quality is excellent, essential considering the vast size of the band and all its symphonic and choral elements, but the editing itself could have done with a little work. The first two songs are dominated by the annoying crowd, and although this adds to the authenticity of the live experience, it's irritating and unnecessary on repeated listens.
The songs here display the full range of the band's talents, from the entirely classical interludes to the heavier, black metal inspired 'Prophecy Fullfilled' and the melodic combination of melodic guitars and melancholy symphony in 'Lost' and the extensive 'Awaking the Centuries.' The album would have benefitted from being longer, but released at such an early stage of Haggard's career, this wasn't really an option; I suppose an official live release would have been best saved until a little later on.
1. Intro/Rachmaninov Choir
2. Medieval Part
3. Lost
4. Prophecy Fullfilled
5. Menuett
6. Origin of a Crystal Soul
7. Awaking the Centuries
8. Courante
9. In a Fullmoon Procession
10. Final Victory
11. In a Pale Moon's Shadow
Advantages: Highlights of the first two albums, performed impeccably.
Disadvantages: Pre-emptive, and annoying crowd noise.
Glory to the Brave
****
Written on 16.07.08
Hammerfall are undoubtedly the most popular Swedish power metal band, with an inflated reputation that was surely only achieved due to the genre's comparative lack of popularity in Sweden, at least compared to counties like Finland and Germany that churn out numerous power metal acts. 'Glory to the Brave' is their first and best album, a solid traditional metal performance that doesn't accomplish anything new, but is at least more exciting and fun than the band's subsequent albums, which merely repeated the same ingredients ad nauseam.
Joacim Cans' vocals are one of the weakest elements here, satisfying enough when singing in unison on a ballad, but lacking conviction when squeaking along in the verses, singing the band's uniformly fantasy-themed lyrics. Oscar Dronjak's guitar work is nothing to write home about either, but it's hard and fast enough to appeal to speed metal fans here, and he performs plenty of enjoyable guitar harmonies with himself throughout the album. Oddly, the only song that has always remained particularly memorable for me is the admittedly cheesy closing title track, a pompous power ballad celebrating glory that's reminiscent of Bruce Dickinson's 'Tears of the Dragon,' in as much that it impresses at the end of an otherwise fairly average album.
1. The Dragon Lies Bleeding
2. The Metal Age
3. Hammerfall
4. I Believe
5. Child of the Damned (Warlord cover)
6. Steel Meets Steel
7. Stone Cold
8. Unchained
9. Glory to the Brave
Advantages: Solid power metal.
Disadvantages: Brings nothing new to the genre.
Morphosis
***
Written on 17.07.08
Polish extreme metal band Hate disappoint with their latest release, a watered-down combination of their older, brutal death metal style with industrial influences that only weaken the impact. With high-speed drums ticking away behind in more of an undercurrent than a rhythm, and guitar lines that can't help but evoke a sense of melody despite their raw and gritty approach, this album feels stifled and weak, as if it doesn't quite have the energy to be as extreme as it would like, despite the extreme speed of some sections that feel rather out of place.
The vocal performance of Adam the First Sinner is entirely standard for death metal, yet interestingly every nuance of his speech can be clearly understood through the growls, and his guitar riffs regularly fail to impress, the only real stand-out point being the video game style soloing that opens 'Thredony,' merely for its unusual approach.
1. Metamorphosis
2. Thredony
3. Immum Coeli (Everlasting World)
4. Catharsis
5. Resurrection Machine
6. The Evangelistic Pain
7. Omega
8. Erased
Advantages: Interesting mix of melody and heaviness without going down the usual route.
Disadvantages: Feels stifled.
Fury & Flames
**
Written on 17.07.08
Hate Eternal's latest album is all about intensity, smothering the listener in a barrage of hammering drums, clunking bass and roaring guitar that grows old very fast. It seems that by this point, Erik Rutan really has run every idea into the ground, and once the fairly enjoyable opener 'Hell Envenom' concludes with its lead guitar work, the album reveals its true colours as an all-out cacophony blast-fest, and it isn't big or clever.
Former drummer Derek Roddy has now been succeeded by Jade Simonetto who performs pretty much the same feat of pounding away relentlessly throughout the album, seemingly ignorant of the idea of variety, and although Cannibal Corpse's Alex Webster is quite loud on the bass guitar, he never achieves anything of particular note. Even to experienced listeners who have wasted far too much of their lives learning the nuances of death metal performances, every song on here sounds exactly the same until the weak choral outro 'Coronach,' making for one the less impressive death metal releases this year.
1. Hell Envenom
2. Whom Gods May Destroy
3. Para Bellum
4. Bringer of Storms
5. The Funerary March
6. Thus Salvation
7. Proclamation of the Damned
8. Fury Within
9. Tombeau (Le Tombeau De La Fureur et Des Flames)
10. Coronach
The Haunted Made Me Do It
**
Written on 17.07.08
The bastard offspring of At the Gates, themselves one of the more overrated Swedish death metal bands, the output of The Haunted was inevitably going to win over devoted fans with little effort, but doesn't live up to its inflated reputation. This second album sounds like a mediocre meeting of thrash metal with metalcore, as Marco Aro yells Pantera-style vocal lines over sub-Metallica guitar riffs, and the weak production quality prevents the drums in the background from ever being truly hard-hitting.
Due to the absence of vocals and its short playing time, opener 'Dark Intentions' is the only song here that I fully enjoyed, and its speedy conclusion in 'Bury Your Dead' is entertaining for the first couple of minutes, before the sound starts to wear thin. The Haunted's take on thrash is distinctly rooted in the 1990s rather than its eighties heyday, meaning this isn't going to satisfy those looking for a modern equivalent of Slayer.
1. Dark Intentions
2. Bury Your Dead
3. Trespass
4. Leech
5. Hollow Ground
6. Revelation
7. The World Burns
8. Human Debris
9. Silencer
10. Under the Surface
11. Victim Iced
Apocalyptic Raids
***
Written on 18.07.08
Tom G. Warrior's Hellhammer is essentially the primordial version of what would later become Celtic Frost, one of the pioneers of black metal in the eighties, but taken on its own merits, the material doesn't live up to the legacy. This four-track E.P. was the only official release the band ever put out, outside of later demo compilations, and although its evil atmosphere is quite impressive, the overall sound is rather slow and monotonous, sounding like an unexciting mash-up of Venom and doom metal.
The production quality is intriguing but also a little annoying, as the guitars carry the same fuzzing note all the way through, and the drums are hidden away in the background, the whole thing sounding oddly quiet even when played at loud volume. The riffs of 'Third of the Storms' and 'Massacra'are straightforward punk-derived thrash riffs played at a steady tempo, and become overly repetitive after a while. 'Triumph of Death' is the most distinctive song for its extremely slow speed that stretches the song out to nine minutes, and while it isn't the most effective doom metal song out there, the croaking vocals exude a nice sense of dying. 'Horus/Aggressor' is a suitably mediocre finale, building up with sound effects for the first minute before it's back to the same old steady riffing for a few more.
1. Third of the Storms (Evoked Damnation)
2. Massacra
3. Triumph of Death
4. Horus / Aggressor
Keeper of the Seven Keys: Part I
Written on 23.07.08
Helloween's 'Keeper of the Seven Keys' has nothing of the concept album about it, despite spanning two releases over as many years. While none of the songs are thematically linked, the collection does at least bear a degree of coherence, and with newcomer Michael Kiske wailing high over Kai Hansen's incredible guitars, these albums both carry a distinctive and short-lived sound that would nevertheless be imitated by many bands that followed.
The first of the 'Keeper' albums is arguably the weaker by comparison, and is certainly a let-down after the high quality of its meaner predecessor 'Walls of Jericho.' With Kiske's choruses now taking on central prominence, this has more of a pop aspect than the band's earlier work, reaching its weakest point in the glam-style 'A Little Time' but otherwise being something of a guilty pleasure. Hansen's guitar work is the highlight, for guitar fans and melodic metal fans alike, but it has to be said that the album's self-conscious epic 'Halloween' is simply far, far too long, drawn out to a tedious and incessantly repetitive thirteen minutes.
1. Initiation
2. I'm Alive
3. A Little Time
4. Twilight of the Gods
5. A Tale That Wasn't Right
6. Future World
7. Halloween
8. Follow the Sign
Keeper of the Seven Keys: The Legacy
***
Written on 23.07.08
When a band is already suffering constant comparisons to an age-old 'classic era,' it doesn't help to name the latest album directly after the revered classics themselves, in arrogant expectation that they will actually live up to the beloved early works. While it doesn't manage to tarnish the 'Keeper of the Seven Keys' legacy itself, this third instalment is still a very average and predictable entry into the Helloween canon that doesn't even sound like the albums it intends to stand alongside in the annals of heavy metal history.
For a band that was always best when basing songs around simplistic, catchy riffs and choruses, there's too much emphasis here on attempts to attain an 'epic' sound through the use of keyboard orchestration and Rhapsody-style narration. The first few songs are also far too long, before the album finally settles down and starts to throw out some acceptable power metal songs, even if the eighties throwback style of those such as 'Mrs. God' end up being more annoying than nostalgic. The speed returns for 'Silent Rain' and energetic finale 'My Life For One More Day' among others, but on the whole this feels like it's a disc too long, and should have been allocated a less argumentative title.
Disc 1
1. The King for 1000 Years
2. The Invisible Man
3. Born on Judgment Day
4. Pleasure Drone
5. Mrs. God
6. Silent Rain
Disc 2
1. Occasion Avenue
2. Light the Universe
3. Do You Know What You're Fighting For?
4. Come Alive
5. Shade in the Shadow
6. Get It Up
7. My Life For One More Day
Blessed Black Wings
****
Written on 23.07.08
High on Fire were formed by vocalist and guitarist Matt Pike in the wake of Sleep, and this more recent band takes a heavier and faster approach to stoner doom metal, a far cry from the fuzzy atmosphere of bands such as Electric Wizard and comparable to the work of Dax Riggs, were he a bit more evil.
Pike's vocals are gravelly and completely suited to the heavy, down-tuned guitar tone he uses throughout, complimented by the hard-hitting drums on songs such as the title track. 'To Cross the Bridge' is convincingly hellish and finale 'Sons of Thunder' has a great atmosphere, but for the most part, the music is more concerned with a direct impact through heavy riffs and screaming solos over a persistent tone, which is what elevates it above the majority of hazy stoner doom. 'Cometh Down Hessian' threatens to be a little more melodic before once again collapsing into a doom onslaught, and every song is led by powerful guitar lines.
1. Devilution
2. The Face of Oblivion
3. Brother in the Wind
4. Cometh Down Hessian
5. Blessed Black Wings
6. Anointing of Seer
7. To Cross the Bridge
8. Silver Back
9. Sons of Thunder
Opus Mangum
****
Written on 23.07.08
The long-awaited third album from Hollenthon demonstrates that Martin Shirenc is still as talented as ever, and the greater symphonic presence makes this a more consistent, if slightly less exciting album than his previous works. The metal and orchestral elements are combined in a perfect fusion that would make Therion envious, and the incredible atmosphere created by the collaboration make this comparable to Viking metal.
Shirenc continues to bastardise the Russian classics in delightful metal mutilations, here tackling Mussorgsky's 'Baba Yaga' in the opening to 'Ars Moriendi,' and the Eastern tinge is still present in 'Dying Embers,' which, along with the softer finale 'Son of Perdition,' makes great use of female vocals to supplement Shirenc's own rasp. The guitar riffs are still catchy and memorable, and the strings, horns and choral elements never feel out of place against them. This is the album Haggard wish they had made, if only they could be a little less dramatic.
1. Ars Moriendi
2. Of Splendid Worlds
3. Once We Were Kings
4. To Fabled Lands
5. Dying Embers
6. Misterium Babel
7. On the Wings of a Dove
8. Son of Perdition
Advantages: Consistent and excellent use of symphony with heavy metal.
Disadvantages: Less ambitious than earlier albums.
...Beyond My Grey Wake
****
Written on 23.07.08
The only album released thus far by Italian doom metal band How Like a Winter is an impressive and evocative debut, but one that can't escape the shadow of its obvious influences from the likes of My Dying Bride in particular, accentuated by the strong violin presence that succeeds in making the songs more emotional. Rooted in the death-doom style, this is nevertheless lighter than the British doom leaders, with many gothic elements that keep it more accessible, albeit not to the extent of mainstream metal bands.
The violin and guitar more or less take it in turns to lead the way with slow, memorable melodies, and while the death metal growls may sound out of place to newcomers, they're balanced out effectively with spoken word and female soprano singing, most evident in the softer songs such as 'XCVII.' The longer songs are carried off with appropriate flair, the ten-minute 'Bescreen'd' following a satisfying, natural evolution and never sounding overly drawn-out, and while some songs tend more towards the flowery side of romantic gothic metal, there are still enough heavy riffs such as those in the groove-laden 'The Night, Then Him' to keep this appealing to metal fans.
1. A Flower That Sears in Silence
2. All the Seasons of Madness
3. Laying Together Again
4. Bescreen'd
5. Who is Hiding
6. Crucifige
7. XCVII
8. The Night, Then Him
9. So Death Would Be Just a Bad Dream
Advantages: Satisfying and accomplished gothic doom metal.
Disadvantages: Takes all its ideas from elsewhere.
Penetralia
****
Written on 24.07.08
'Penetralia' is the debut from influential Swedish death metal band Hypocrisy, and still ranks among their most aggressive releases. The production quality is surprisingly high for a death metal debut of the early nineties, fleshing out the bass and only really faltering on the synthetic sound of the drums, especially evident in the opening drum roll of 'God Is a Lie.'
So, yeah, a quick glance at the tracklist and a listen to the growled, easily-discerned lyrics makes it clear that this is entirely content to slot into the anti-Christian gimmick of early nineties death metal, demonstrated best by bands like Deicide, but while the subject matter isn't the most inventive in the world, Peter Tägtgren's guitar work is unique in the genre, ranging from catchy yet standard death metal riffs to original solos and lead melodies in all songs, a far cry from the standard, Slayer-derived death metal squeal.
1. Impotent God
2. Suffering Souls
3. Nightmare
4. Jesus Fall
5. God Is a Lie
6. Left to Rot
7. Burn by the Cross
8. To Escape Is to Die
9. Take the Throne
10. Penetralia
Earth - HEX: Or Printing in the Infernal Method ****
Edge of Sanity - Unorthodox *****
Electric Wizard - Come My Fanatics ****
Emperor - Prometheus: The Discipline of Fire and Demise ***
Ensiferum - Ensiferum ****
Ensiferum - Dragonheads ***
Ensiferum - Victory Songs ***
Enslaved - Frost *****
Enslaved - Eld *****
Enslaved - Mardraum: Beyond the Within ****
Enslaved - Below the Lights ***
Epica - The Phantom Agony ***
Epica - The Score: An Epic Journey ***
Epica - The Divine Conspiracy ****
Faith No More - King for a Day, Fool for a Lifetime ****
Faith No More - Album of the Year ***
Faith No More - The Platinum Collection *****
Fear Factory - Obsolete *****
Fear Factory - Digimortal ***
Finntroll - Jaktens Tid ****
Flowing Tears - Razorbliss ***
Folkearth - Drakkars in the Mist ****
Fu Manchu - King of the Road *****
Gamma Ray - Powerplant ***
The Gathering - Always ***
Gorgoroth - Ad Marjorem Sathanas Gloriam ***
Gorguts - The Erosion of Sanity *****
Grave Digger - The Reaper ****
Grave Digger - Symphony of Death ***
Grave Digger - Excalibur ****
Grave Digger - The Last Supper ***
Hammerfall - Legacy of Kings ***
Hammerfall - Renegade ***
Hate Eternal - I, Monarch ***
The Haunted - One Kill Wonder ***
Helloween - Walls of Jericho *****
Helloween - Keeper of the Seven Keys Part II ****
Helloween - Pink Bubbles Go Ape **
Helloween - The Time of the Oath ***
Helloween - The Dark Ride ****
Hollenthon - Domus Mundi ****
