Based out in Atlanta, Georgia, Halcyon Way plays a unique style of metal that is difficult to specifically pinpoint. They use the technical playing of progressive metal, accessible song structures in the vein of classic metal, and a dark atmosphere that gives the song an almost gothic touch. Also worth noting is vocalist Sean Shields, a pretty skilled chameleon capable of going from a gruff Hetfield-esque snarl to a Tim Owens wail in no time flat.
Intro: Like most intros, this one opens the album with a bit of atmosphere before the musical carnage kicks in. It features some unusual vocal melodies, neat keyboards, and a nice series of spoken segments. Not too much to say other than that. . .
7 out of 10
A Manifesto Of Domination: Now we come to the album's first true song as a chugging mid-tempo riff and pounding drums open this song's brief introduction, the verses continue more subtle guitar trade-offs and Shields doing a strong Hetfield impersonation, the chorus brings in more melodic riffs and soaring vocals, the solo section features more prominent bass playing and sweet twin guitar harmonies, and the bridge brings more aggressive vocals before going into the final chorus. A pretty solid title track.
8 out of 10
Blind Eyes to the Sky: Some cool melodic/crunchy guitar trade-offs open this song's introduction smoothly, the verses and pre-choruses place more prominence on an upbeat rhythm and a variety of voices, the chorus is another melodic refrain and one of my favorites on the album, the solo section offers another cool twin guitar attack, and I'm still debating whether the lyrics are meant to be introspective, political, or kinky ("Take all that belongs to me/Pin me to the wall, until I beg for mercy"). . .
9 out of 10
The Hidden: Gritty guitar chugs and strong drumming start this song off, the verses throw in some interestingly sequencing vocal lines, the pre-chorus throws in a mix of clean vocals and death metal growls courtesy of Blaze Pearson, the chorus is another melodic affair, and the bridge features a brief spoken bit before returning to more melodic territory and a particularly shredding solo. Another solid song.
8 out of 10
Disconnected: If you're not paying attention, it can be tough to tell when the previous track ends and this one begins. It suddenly comes in with a fairly melodic guitar chug during the introduction, the opening verse throws in some unusually distorted vocals, the following verses and pre-choruses bring in a vocal character that brings to mind the Layne Statley of Alice In Chains, and the chorus features some pretty catchy vocal trade-offs that lead into a particularly uplifting refrain. It takes a little more effort to get into but it sounds like it'd be a good track for radio play (You know, if that's still possible in this country. . .).
8 out of 10
Deliver the Suffering: Squeaky keyboards, a steady drum beat, and subtle guitars open this song's introduction before another driving mid-tempo chug makes its way into the piece; the verses continue in a style similar to that of the first two tracks with more demented vocals thrown in; the chorus is another melodic but catchy segment; the bridge features more neat guitar/vocal trade-offs; the final chorus features a brief return of the intro's keyboards; and the song closes out with some nicely ad-libbed vocal constrasts. A pretty good song.
8 out of 10
Powderburn: A particularly menacing set of guitar/keyboard riffs open this song in an aggressive fashion, the verses continue with almost condescending vocal/guitar trade-offs, the chorus briefly slows the song down and offers an almost doomy refrain, and the solo section continues in a doomy style with spooky keyboards, more hostile guitars, and a bit of melody in between. One of my personal favorites on the album.
9 out of 10
A Thousand Points of Night: Slithering bass/guitar harmonies open this song's introduction nicely, the verses alternates between the Layne impersonation and interestingly distorted backing vocals, the chorus is similar with another catchy refrain thrown in, the solo section starts off with more bass prominence before going into more twin guitar shredding, and the bridge features some solid layering before going into the final chorus.
8 out of 10
Communicate With the Violence: More sinister bass guitars, soulful vocalizing, and Dream Theater-esque keyboards open this song's introduction in a pretty unique fashion; the verses continue with melodic vocals and solid backing guitar chords, the chorus features some elaborate vocal layering and subtle growls by Pearson in the background, the bridge brings in angrier vocals with a fairly angsty tone, and the solo sectionsshow off some neat keyboard/guitar melodies.
8 out of 10
I Fought the World: Another one of my personal favorites on the album. It opens with commanding guitar harmonies during the introduction, the verses and pre-choruses continue in a building style similar to that of the previous track, the chorus brings the heavier chug back in with more soaring vocals thrown in, the solo section have their share of cool guitar parts, and the closing chorus includes some sweet Tim Owens-esque wails into the mix.
9 out of 10
The Lonely Road: Muscular DT-esque guitar chords and nice backing keyboards open this song in the usual fashion; the verses suddenly go into near ballad territory with more of soaring vocal melodies, nicely complementing accoustic guitars and a solid bass line beneath; the pre-chorus brings the heavier guitars back in; the chorus provides another excellent refrain; and the bridge throws in a particularly nice wail that leads into a chug heavy solo section.
8 out of 10
Physician, Heal Thyself: Dedicated to a James P. Scotts, Jr., this song closes the album out on a particularly dramatic note. The introduction opens the song with crashing guitars, prominent keyboards, and a single soaring vocal line; the verses continue with the cleanest vocal lines on the album with more heavy guitars in between; the pre-chorus brings in angrier vocal layering; the chorus brings some excellently delivered vocal trade-offs; the solo section includes more simple but sweet twin guitars; and the song fades away with a pleasant piano melody brings to mind the closing segment of Iced Earth's "Travel In Stygian". A good way to close the album.
8 out of 10
Overall, this album gets 98 out of 120, 82%, and 4 stars. It may take a few listens to really get a taste for, but Halcyon Way's first album is a strong debut that is worth checking out for almost any type of metal fan. I think the album's only flaw is the songs' tendency to sound similar to one another. One can only hope that they'll improve even more with the follow-up. . .
Tuesday, December 2, 2008
Monday, December 1, 2008
High 'n' Dry (Def Leppard)
Torn between the grit of "On Through The Night" and the more commercial aspects of "Pyromania" and "Hysteria", this 1981 effort may be the ultimate Def Leppard album. The hooks are excellently delivered, the production has become a little more polished, and the band's performance is a little more melodic than before. The album is also noteworthy for being the first to feature AC/DC producer Robert John "Mutt" Lange and the last to feature guitarist Pete Willis.
Let It Go: Gritty guitar harmonies and an upbeat drum beat open this song's introduction nicely, the verses place a more prominent bassline and catchy vocal lines with building guitars in the background, the chorus brings some infectious gang vocals, the solos section bring in some excellent leads thrown in, and the bridge brings in more melodic guitars and unusual vocal effects. A pretty awesome start.
9 out of 10
Another Hit And Run: This track comes off the opener with heavier guitar harmonies during the introduction, the verses suddenly bring in a style made memorable by more melodic guitar chugs and higher pitched vocals, the pre-chorus and the chorus bring in more cool vocal lines and nicely complementing backing vocals, and the solo section packs in some particularly strong Maiden-esque shredding. A solid song, though one of the weaker tracks on the album.
8 out of 10
High 'n' Dry (Saturday Night): A lone guitar opens this song with a solid melody before the rest of the band comes in, the verses continue at a solid mid-tempo and feature particularly prominent vocals, the pre-chorus is another builder, and the chorus brings in more infectious vocal trade-offs and heavier guitar playing. A pretty cool title track though somewhat overrated.
8 out of 10
Bringin' On The Heartbreak: Ironically, the band was reluctant to include this track due to its ballad nature. Fortunately, it is done in very good taste and features melodic guitars during the introduction, a spacy mid-tempo pace and soft croons during the verses, heavier guitars coming in during the pre-choruses, and the chorus features a explosive refrain. A little stereotypical in structure but it's not as bland as what they would later associate themselves with. In fact, it sounds like a heavier version of April Wine's "Just Between You And Me". . .
10 out of 10
Switch 625: As the ballad fades away, we go into this interesting instrumental. The song is made memorable by its chugging bass, upbeat drums, mysterious guitar riffs and solos, and excellently effective vocalizing towards the end. I suppose it's like a less melancholic version of Pink Floyd's "Great Gig In The Sky".
9 out of 10
You Got Me Runnin': Bright guitar riffs open this song's introduction in a way that reminds me of KISS's "King Of The Night Time World" with some backing bass, building drums, and solid vocal whoops; the verses continue at an upbeat pace with great vocals and muscular guitar playing, and the pre-chorus and chorus seem to write themselves with their excellent vocal lines. One of my favorite tracks on the album.
10 out of 10
Lady Strange: More upbeat guitars open this song with riffs that reminds me of Rush's "Limelight" in a way, the verses are performed in the vein of the song before it with higher pitched vocal lines, the chorus is another awesome chanter, and the solo section incorporates some gritty shredding. Another great highlight.
10 out of 10
On Through The Night: Perhaps a leftover from the previous album, this song comes in with faster guitars and steady drums during the introduction, more high pitched vocals thrown in during the verses, another great refrain during the chorus, and more cool shredding during the solo section. A pretty cool track.
8 out of 10
Mirror, Mirror (Look Into My Eyes): Now we come to one of the most unique tracks on the album and the song that made me interested in checking out this era of the band. The introduction brings some mystical guitar melodies and a mid-tempo rhythm in the background, the verses continue with solid vocal/guitar trade-offs thrown in, the chorus may be the most infectious on the album, and the final verse brings in a cool climax.
10 out of 10
No No No: Closing the album out is a track that reminds me of AC/DC's "Riff Raff". It features energetic guitars during the introduction, great vocal/guitar trade-offs during the verses with hard hitting drums underneath, and a decent refrain during the chorus. A pretty good closer, though not as catchy as it could be.
8 out of 10
Overall, this album gets 90 out of 100, 90%, and 4.5 stars. It's probably a little too lightweight for extreme metal die-hards, but this is a great album to check out for any fan of the bands that I associated them with or anyone that hates their more commercial era with a burning passion. There's no "Pour Some Sugar On Me" to be found. . .
Let It Go: Gritty guitar harmonies and an upbeat drum beat open this song's introduction nicely, the verses place a more prominent bassline and catchy vocal lines with building guitars in the background, the chorus brings some infectious gang vocals, the solos section bring in some excellent leads thrown in, and the bridge brings in more melodic guitars and unusual vocal effects. A pretty awesome start.
9 out of 10
Another Hit And Run: This track comes off the opener with heavier guitar harmonies during the introduction, the verses suddenly bring in a style made memorable by more melodic guitar chugs and higher pitched vocals, the pre-chorus and the chorus bring in more cool vocal lines and nicely complementing backing vocals, and the solo section packs in some particularly strong Maiden-esque shredding. A solid song, though one of the weaker tracks on the album.
8 out of 10
High 'n' Dry (Saturday Night): A lone guitar opens this song with a solid melody before the rest of the band comes in, the verses continue at a solid mid-tempo and feature particularly prominent vocals, the pre-chorus is another builder, and the chorus brings in more infectious vocal trade-offs and heavier guitar playing. A pretty cool title track though somewhat overrated.
8 out of 10
Bringin' On The Heartbreak: Ironically, the band was reluctant to include this track due to its ballad nature. Fortunately, it is done in very good taste and features melodic guitars during the introduction, a spacy mid-tempo pace and soft croons during the verses, heavier guitars coming in during the pre-choruses, and the chorus features a explosive refrain. A little stereotypical in structure but it's not as bland as what they would later associate themselves with. In fact, it sounds like a heavier version of April Wine's "Just Between You And Me". . .
10 out of 10
Switch 625: As the ballad fades away, we go into this interesting instrumental. The song is made memorable by its chugging bass, upbeat drums, mysterious guitar riffs and solos, and excellently effective vocalizing towards the end. I suppose it's like a less melancholic version of Pink Floyd's "Great Gig In The Sky".
9 out of 10
You Got Me Runnin': Bright guitar riffs open this song's introduction in a way that reminds me of KISS's "King Of The Night Time World" with some backing bass, building drums, and solid vocal whoops; the verses continue at an upbeat pace with great vocals and muscular guitar playing, and the pre-chorus and chorus seem to write themselves with their excellent vocal lines. One of my favorite tracks on the album.
10 out of 10
Lady Strange: More upbeat guitars open this song with riffs that reminds me of Rush's "Limelight" in a way, the verses are performed in the vein of the song before it with higher pitched vocal lines, the chorus is another awesome chanter, and the solo section incorporates some gritty shredding. Another great highlight.
10 out of 10
On Through The Night: Perhaps a leftover from the previous album, this song comes in with faster guitars and steady drums during the introduction, more high pitched vocals thrown in during the verses, another great refrain during the chorus, and more cool shredding during the solo section. A pretty cool track.
8 out of 10
Mirror, Mirror (Look Into My Eyes): Now we come to one of the most unique tracks on the album and the song that made me interested in checking out this era of the band. The introduction brings some mystical guitar melodies and a mid-tempo rhythm in the background, the verses continue with solid vocal/guitar trade-offs thrown in, the chorus may be the most infectious on the album, and the final verse brings in a cool climax.
10 out of 10
No No No: Closing the album out is a track that reminds me of AC/DC's "Riff Raff". It features energetic guitars during the introduction, great vocal/guitar trade-offs during the verses with hard hitting drums underneath, and a decent refrain during the chorus. A pretty good closer, though not as catchy as it could be.
8 out of 10
Overall, this album gets 90 out of 100, 90%, and 4.5 stars. It's probably a little too lightweight for extreme metal die-hards, but this is a great album to check out for any fan of the bands that I associated them with or anyone that hates their more commercial era with a burning passion. There's no "Pour Some Sugar On Me" to be found. . .
Tuesday, November 25, 2008
The Years Of Decay (Overkill)
Along with the following "Horrorscope", this 1989 effort is considered one of the strongest albums in both the Overkill catalog and in the general field of thrash. Musically, the album is a hybrid of sorts and combines the more epic nature of "Taking Over" with the more raw aspects of the previously released "Under The Influence". It was the first album to be produced by Terr Date and was unfortunately their last album to feature founding guitarist Bobby Gustafson.
Time To Kill: Ominous guitar feedback fades in and soon leads in some dramatic guitar/bass chords and a strong drum heavy romp during the introduction, an upbeat pace with vocalist Bobby Ellsworth at his best during the verses, a solid one-liner and more menacing bass during the chorus, a smooth breakdown during the bridge, and some sweet solos in between. Not quite a classic but a pretty sweet start.
8 out of 10
Elimination: One of Overkill's famous songs comes in with an introduction with riffs similar to those of Metallica's "Master Of Puppets", the verses continue at an even more active pace and amusingly delivered vocals, the choruses feature great backing chants and rapidly delivered lead vocals, the bridge brings in a uplifting sound that reminds me of "Blood Money" off of the following album, and the solo section packs in some cool shredding. All in all, classic thrash.
10 out of 10
I Hate: Bright guitar riffs and subtle backing bass open this song's introduction nicely, the verses provide more enegetic rhythms and rapid fire vocals, the choruses remind me of Anthrax's cover of "Got The Time" for some reason and feature lyrics that would sound quite bitchy if Ellsworth wasn't the one singing ("I hate people that make you feel small/I hate having my back against the wall/You know, I hate being talked down to/I hate your rules/I hate 'em all/Hate being marked to take the fall/Planet's not big enough for me and you/But most of all/I hate you..."), and the solo section is another great shred fest. Another great track.
9 out of 10
Nothing To Die For: More building guitar harmonies start this song off before an upbeat groove that sounds like a better version of Exodus's "AWOL" comes in, the verses continue with more dissonant riffs and solid vocal/guitar trade-offs, the chorus features more cool trade-offs, and the solo section features more great guitar solos and even a little slap bass around the 2:20 mark. Another cool addition.
8 out of 10
Playing With Spiders/Skullkrusher: Here we truly embrace that epic nature I was talking about earlier. The introduction (I'm guessing that's the "Playing With Spiders" part) comes in with strange guitar noodling that soon leads into doomy guitar riffs that wouldn't sound out of place on a Black Sabbath album, the verses continue at a foreboding album with more melodic vocals thrown in, the chorus are similar with a particularly catchy refrain thrown in, and the bridge and solo section unsurprisingly leads into a much more violent direction. One of my favorite Overkill tracks and perhaps their best track done in the doom metal style.
10 out of 10
Birth of Tension: Back to thrash we go as this track comes in. The introduction comes in with crashing guitar chords and speaking voices in the background before going into another intense thrash rhythm, the verses continue at an upbeat pace like the songs before it, the chorus brings in heavier drums and guitar riffs, the bridge goes into another interesting breakdown accompanied by the most unusual lyrics on the album ("did you kill your father, sleep with your mother/idolize your sister, jealous your brother/did ya kick the dog, were you beat a strap/were you really be abused, were you fakin' all that"), and the solo section returns the song to its original style. A pretty cool track.
9 out of 10
Who Tends the Fire: Melodic guitars and a backing melody that bares resemblance to Diamond Head's "Am I Evil?" open this eight minute in a most dramatic fashion, the verses continue with groovy mid-tempo guitar chugs and more melodic vocals, the chorus slows the song down with a smooth refrain thrown in, and the bridge is another fast paced segment with driving guitars and unusual vocal effects on display. Not as powerful as "Skullcrusher", but it's probably not supposed to be. . .
9 out of 10
The Years Of Decay: Now we come to a strong ballad, quite a rarity in the Overkill catalog. This song is dominated by somber accoustic guitar and an emotional vocal performance during the verses, a much heavier mid-tempo chug and angrier vocals during the bridge, soaring guitars during the solo section, and a climactic chant towards the end. A great track that kinda reminds me a more melodic version of Megadeth's "In My Darkest Hour". All apologies for the numerous comparisons, I make too many random associations. . .
9 out of 10
E. vil N. ever D. ies: Closing the album out is the fourth and final (Until 2007's "Immortalis") installment of the band's "Overkill Saga". Spacy guitar effects similar to those of Metallica's "Damage Inc." start this introduction off in an interesting fashion before going into a much angrier thrash assault, the verses continue with more intense riffs and more quickly sung vocals, the chorus features some unusually catchy vocal lines and a brief melodic flourish, a great bass solo leads into a doomy direction, the bridge follows suit until angrily returning to thrash territory, and the second solo section packs in a brief moment to shred before the final verse comes in. A most powerful closer.
9 out of 10
Overall, this album gets 81 out of 90, 90%, and 4.5 stars. If you consider yourself to be a thrash metal fan by any means, then this album is required listening. It showcases a strong band performance and awesome constrats between thrash and doom. Not to mention you should be able to get a copy cheap if you can find it. I got mine for about $7.99 at the Greenwood mall. . .
Time To Kill: Ominous guitar feedback fades in and soon leads in some dramatic guitar/bass chords and a strong drum heavy romp during the introduction, an upbeat pace with vocalist Bobby Ellsworth at his best during the verses, a solid one-liner and more menacing bass during the chorus, a smooth breakdown during the bridge, and some sweet solos in between. Not quite a classic but a pretty sweet start.
8 out of 10
Elimination: One of Overkill's famous songs comes in with an introduction with riffs similar to those of Metallica's "Master Of Puppets", the verses continue at an even more active pace and amusingly delivered vocals, the choruses feature great backing chants and rapidly delivered lead vocals, the bridge brings in a uplifting sound that reminds me of "Blood Money" off of the following album, and the solo section packs in some cool shredding. All in all, classic thrash.
10 out of 10
I Hate: Bright guitar riffs and subtle backing bass open this song's introduction nicely, the verses provide more enegetic rhythms and rapid fire vocals, the choruses remind me of Anthrax's cover of "Got The Time" for some reason and feature lyrics that would sound quite bitchy if Ellsworth wasn't the one singing ("I hate people that make you feel small/I hate having my back against the wall/You know, I hate being talked down to/I hate your rules/I hate 'em all/Hate being marked to take the fall/Planet's not big enough for me and you/But most of all/I hate you..."), and the solo section is another great shred fest. Another great track.
9 out of 10
Nothing To Die For: More building guitar harmonies start this song off before an upbeat groove that sounds like a better version of Exodus's "AWOL" comes in, the verses continue with more dissonant riffs and solid vocal/guitar trade-offs, the chorus features more cool trade-offs, and the solo section features more great guitar solos and even a little slap bass around the 2:20 mark. Another cool addition.
8 out of 10
Playing With Spiders/Skullkrusher: Here we truly embrace that epic nature I was talking about earlier. The introduction (I'm guessing that's the "Playing With Spiders" part) comes in with strange guitar noodling that soon leads into doomy guitar riffs that wouldn't sound out of place on a Black Sabbath album, the verses continue at a foreboding album with more melodic vocals thrown in, the chorus are similar with a particularly catchy refrain thrown in, and the bridge and solo section unsurprisingly leads into a much more violent direction. One of my favorite Overkill tracks and perhaps their best track done in the doom metal style.
10 out of 10
Birth of Tension: Back to thrash we go as this track comes in. The introduction comes in with crashing guitar chords and speaking voices in the background before going into another intense thrash rhythm, the verses continue at an upbeat pace like the songs before it, the chorus brings in heavier drums and guitar riffs, the bridge goes into another interesting breakdown accompanied by the most unusual lyrics on the album ("did you kill your father, sleep with your mother/idolize your sister, jealous your brother/did ya kick the dog, were you beat a strap/were you really be abused, were you fakin' all that"), and the solo section returns the song to its original style. A pretty cool track.
9 out of 10
Who Tends the Fire: Melodic guitars and a backing melody that bares resemblance to Diamond Head's "Am I Evil?" open this eight minute in a most dramatic fashion, the verses continue with groovy mid-tempo guitar chugs and more melodic vocals, the chorus slows the song down with a smooth refrain thrown in, and the bridge is another fast paced segment with driving guitars and unusual vocal effects on display. Not as powerful as "Skullcrusher", but it's probably not supposed to be. . .
9 out of 10
The Years Of Decay: Now we come to a strong ballad, quite a rarity in the Overkill catalog. This song is dominated by somber accoustic guitar and an emotional vocal performance during the verses, a much heavier mid-tempo chug and angrier vocals during the bridge, soaring guitars during the solo section, and a climactic chant towards the end. A great track that kinda reminds me a more melodic version of Megadeth's "In My Darkest Hour". All apologies for the numerous comparisons, I make too many random associations. . .
9 out of 10
E. vil N. ever D. ies: Closing the album out is the fourth and final (Until 2007's "Immortalis") installment of the band's "Overkill Saga". Spacy guitar effects similar to those of Metallica's "Damage Inc." start this introduction off in an interesting fashion before going into a much angrier thrash assault, the verses continue with more intense riffs and more quickly sung vocals, the chorus features some unusually catchy vocal lines and a brief melodic flourish, a great bass solo leads into a doomy direction, the bridge follows suit until angrily returning to thrash territory, and the second solo section packs in a brief moment to shred before the final verse comes in. A most powerful closer.
9 out of 10
Overall, this album gets 81 out of 90, 90%, and 4.5 stars. If you consider yourself to be a thrash metal fan by any means, then this album is required listening. It showcases a strong band performance and awesome constrats between thrash and doom. Not to mention you should be able to get a copy cheap if you can find it. I got mine for about $7.99 at the Greenwood mall. . .
Monday, November 24, 2008
Floodland (The Sisters Of Mercy)
One of the sacred cows of the goth rock scene, The Sisters of Mercy are made distinct by their dark imagery, danceable tempos, solid timekeeping by the literal drum machine Doktor Avalanche, and the eerie vocals of bandleader Andrew Eldritch. This 1987 effort is the group's second release and is the first to feature Eldritch as the only remaining member of the original line-up.
Dominion/Mother Russia: Right away we get into the album's spirit with one of its upbeat tracks. The song features an infectious drum beat, typically lower pitched vocal lines, great female backing during the chorus, a cool horn solo, and guitar/synth flourishes throughout that kinda remind me of "Goodbye Horses" by Q Lazzarus (AKA the part in Silence of the Lambs where Buffalo Bill does his "tucking dance). It may be a little overlong, but it's an excellent opener.
9 out of 10
Flood 1: As the opener fades away, we come to this menacing mid-tempo track. This song features an interesting drum beat, almost overwhelming synths, more drawn out vocals, and an overall eerie atmosphere. Not as catchy as the song before it but a good song.
7 out of 10
Lucretia My Reflection: This song may be the band's best known tune and my personal favorite on the album. The song is made memorable by its mesmerizing bass lines, eerily whispered vocals during the verses, explosive chorus, and synth heavy bridge. Truly a classic track.
10 out of 10
1959: Now we come to the album's first ballad track. It is made memorable by its emphasis on the synthesized piano playing and mournfully mumbled croons.
8 out of 10
This Corrosion: Dramatic choirs open this song in a most theatrical fashion before another upbeat rhythm comes in, the verses and pre-choruses continue with some unusual but fun vocal trade-offs, the chorus may be the best song on the album, the guitar solos throw in a little grit, and the riffs remind me of Devo for some reason. It could just be the general 80's atmosphere. . .
9 out of 10
Flood II: The second "Flood" is similar to the first, but may be a little more haunting in its delivery. It features a more upbeat rhythm, a nice plodding bass line, exotic melodies in the background, melodic accoustic guitar strums that provide an uplifting feel, and direct vocals. In fact, I think I might like this "Flood" a little more. . .
9 out of 10
Driven Like The Snow: Mystical keyboards open this song with imagery that makes one think of the Northern Lights before a solid mid-tempo rhythm makes its way in, the verses bring in some solid vocal lines and a barely detectable guitar melody in the background, and a few synth melodies from the previous song seem to make their way into this piece. Another cool tune that sounds like it'd be fun to make babies to. . .
9 out of 10
Never Land (A Fragment): This brief two minute track is dominated by the same drum beat used in Led Zeppelin's "When the Levee Breaks" (People sure do love sampling that song), spooky keyboards thrown in over the top, and eerily whispered vocals come in halfway through the tune. An interesting addition.
8 out of 10
Torch: We now come to the album's second ballad, which I think may be even more emotional than "1959". The track is made memorable by a solid drum beat, prominent accoustic guitars, somberly sung vocals that do sound a little silly when drawn out, an emotional chorus, soft bass thumps, and what appears to be a pleasant flute solo. Another great album highlight.
9 out of 10
Colours: Closing the album out is its most unsettling track. It features a dark atmosphere that brings to mind a sinister military march, more overwhelming keyboards, and more eerily whispered vocals. A cool song to space out to, though it may be another overlong track.
8 out of 10
Overall, this album gets 86 out of 100, 86%, and 4 stars. I can see why people would either love or hate this album. Most of the songs are fairly accessible and are filled with some great hooks but they may also be a little too unsettling and not organic enough for the average listener. It's certainly worth checking out if you're a fan of the darker music genres.
Dominion/Mother Russia: Right away we get into the album's spirit with one of its upbeat tracks. The song features an infectious drum beat, typically lower pitched vocal lines, great female backing during the chorus, a cool horn solo, and guitar/synth flourishes throughout that kinda remind me of "Goodbye Horses" by Q Lazzarus (AKA the part in Silence of the Lambs where Buffalo Bill does his "tucking dance). It may be a little overlong, but it's an excellent opener.
9 out of 10
Flood 1: As the opener fades away, we come to this menacing mid-tempo track. This song features an interesting drum beat, almost overwhelming synths, more drawn out vocals, and an overall eerie atmosphere. Not as catchy as the song before it but a good song.
7 out of 10
Lucretia My Reflection: This song may be the band's best known tune and my personal favorite on the album. The song is made memorable by its mesmerizing bass lines, eerily whispered vocals during the verses, explosive chorus, and synth heavy bridge. Truly a classic track.
10 out of 10
1959: Now we come to the album's first ballad track. It is made memorable by its emphasis on the synthesized piano playing and mournfully mumbled croons.
8 out of 10
This Corrosion: Dramatic choirs open this song in a most theatrical fashion before another upbeat rhythm comes in, the verses and pre-choruses continue with some unusual but fun vocal trade-offs, the chorus may be the best song on the album, the guitar solos throw in a little grit, and the riffs remind me of Devo for some reason. It could just be the general 80's atmosphere. . .
9 out of 10
Flood II: The second "Flood" is similar to the first, but may be a little more haunting in its delivery. It features a more upbeat rhythm, a nice plodding bass line, exotic melodies in the background, melodic accoustic guitar strums that provide an uplifting feel, and direct vocals. In fact, I think I might like this "Flood" a little more. . .
9 out of 10
Driven Like The Snow: Mystical keyboards open this song with imagery that makes one think of the Northern Lights before a solid mid-tempo rhythm makes its way in, the verses bring in some solid vocal lines and a barely detectable guitar melody in the background, and a few synth melodies from the previous song seem to make their way into this piece. Another cool tune that sounds like it'd be fun to make babies to. . .
9 out of 10
Never Land (A Fragment): This brief two minute track is dominated by the same drum beat used in Led Zeppelin's "When the Levee Breaks" (People sure do love sampling that song), spooky keyboards thrown in over the top, and eerily whispered vocals come in halfway through the tune. An interesting addition.
8 out of 10
Torch: We now come to the album's second ballad, which I think may be even more emotional than "1959". The track is made memorable by a solid drum beat, prominent accoustic guitars, somberly sung vocals that do sound a little silly when drawn out, an emotional chorus, soft bass thumps, and what appears to be a pleasant flute solo. Another great album highlight.
9 out of 10
Colours: Closing the album out is its most unsettling track. It features a dark atmosphere that brings to mind a sinister military march, more overwhelming keyboards, and more eerily whispered vocals. A cool song to space out to, though it may be another overlong track.
8 out of 10
Overall, this album gets 86 out of 100, 86%, and 4 stars. I can see why people would either love or hate this album. Most of the songs are fairly accessible and are filled with some great hooks but they may also be a little too unsettling and not organic enough for the average listener. It's certainly worth checking out if you're a fan of the darker music genres.
Sunday, November 23, 2008
Dream Evil (Dio)
Dio's fourth album was a fairly interesting turning point in the band's history and sound. It is the first to feature Rough Cutt guitarist Craig Goldy, the last to completely feature keyboardist Claude Schnell, and the last to feature drummer Vinny Appice and bassist Jimmy Bain until 1994's "Strange Highways" and 2000's "Magica" respectively. Musically, the album retains the theatric keyboards of past efforts but uses them to create a dark, menacing sound that the band has continued to elaborate upon in the modern era. The lyrics have also changed and appear to hint at personal conflicts overcoming Dio's infamous fantasy metaphors.
Night People: As expected, this album's first song is a strong speed metal number. The song features brightly prominent keyboards during the introduction, fast paced guitar riffs and solos, soaring vocals, and a steady drum beat through it all. One of the album's greatest tracks, even if its lacks a truly outstanding chorus.
9 out of 10
Dream Evil: Bluesy guitar melodies open this song in a way similar to Rainbow's "Man On The Silver Mountain", the verses and pre-choruses continue at an upbeat pace with excellently delivered vocals and chugging guitars/bass, the chorus provides an excellent hook and a return to the introduction's style, and a few odd effects are thrown in for good measure. An excellent example of a great Dio title track.
10 out of 10
Sunset Superman: Dramatic keyboards open this song's introduction before a particularly bright guitar gallop makes its way into the piece, the verses continue in a similar style with Dio at his most erratic, the chorus suddenly goes to a mid-tempo pace and throws in an arena ready drum beat and refrain, the solo section features some solid guitar experimentation, and the ad libbing features some neat though dated vocal layering in the vein of "One Night In The City". A pretty cool track.
9 out of 10
All The Fools Sailed Away: Now we come to what is often considered to be the album's centerpiece. The introduction and opening verse feature atmospheric keyboards and accoustic guitars accompanied by a somber vocal performance, the following verses bring in almost symphonic mid-tempo riffs and more aggressive vocals, the chorus is simple but uplifting, the bridge returns to the ballad style before going into a theatrical solo section. A great Dio epic
9 out of 10
Naked In the Rain: While this song is nowhere near as epic as the song before it, it retains a hint of its drama. The introduction fades in with more keyboards and a more subtle guitar riff, the verses and pre-choruses continue with more drawn out vocals and bombarding chords and keyboards in the background, and the chorus is another great one-liner. Not as hard hitting as the songs before it, but a great addition.
9 out of 10
Overlove: I find this track to be quite similar to Rainbow's "Kill The King" (If Dio hadn't been a member of that group, I'd be a tad concerned). The introduction comes in with more bluesy guitar riffs, the verses suddenly bring in more aggressive riffs and soaring vocals, the chorus keeps the speed flowing with another one-liner, and the solo section throws in some great shredding and neat rhythm fills. Slightly derivative, but another great song.
8 out of 10
I Could Have Been A Dreamer: Like "Mystery" and "Hungry For Heaven" before it, this song is the album's blatantly commercial track. Fortunately, it has a darker tone not seen on those songs and features sinister but catchy guitar playing, more great vocal lines, and slightly overwhelming keyboards during the chorus. Still a solid addition that reminds me of what would come on the band's next effort. . .
8 out of 10
Faces In The Window: This song returns to the speed metal style. The introduction starts off slow but leads into more energetic riffs and solos, the verses bring in some catchy vocal lines, the chorus provides another great refrain, and a melodic bridge leads into some varied ad libs. You could consider it to be more of the same, but it's another cool track that makes a catchy anthem.
8 out of 10
When A Woman Cries: Closing the album out is another dynamic mid-tempo track. The introduction comes in with strange sound effects and solid guitar/drum patterns, the verses bring in more excellently drawn out vocal lines and plodding riffs beneath, the chorus is another one-liner with more keyboard emphasis, and the bridge goes in a more uplifting direction with the solo section continuing in the same style. Probably my least favorite track but a good closer.
8 out of 10
Overall, this album gets 78 out of 90, 87%, and 4 stars. I think this album may be one of Dio's strongest efforts and stands up to the classic "Holy Diver" as their greatest album of the 80's era. The only flaws I can point out are a few dated effects, the heavy keyboard emphasis (Dream Theater, this is not. . .), and a few simplistic song structures. Unfortunately, it would soon introduce an era typically seen as being the band's downward spiral. . .
Night People: As expected, this album's first song is a strong speed metal number. The song features brightly prominent keyboards during the introduction, fast paced guitar riffs and solos, soaring vocals, and a steady drum beat through it all. One of the album's greatest tracks, even if its lacks a truly outstanding chorus.
9 out of 10
Dream Evil: Bluesy guitar melodies open this song in a way similar to Rainbow's "Man On The Silver Mountain", the verses and pre-choruses continue at an upbeat pace with excellently delivered vocals and chugging guitars/bass, the chorus provides an excellent hook and a return to the introduction's style, and a few odd effects are thrown in for good measure. An excellent example of a great Dio title track.
10 out of 10
Sunset Superman: Dramatic keyboards open this song's introduction before a particularly bright guitar gallop makes its way into the piece, the verses continue in a similar style with Dio at his most erratic, the chorus suddenly goes to a mid-tempo pace and throws in an arena ready drum beat and refrain, the solo section features some solid guitar experimentation, and the ad libbing features some neat though dated vocal layering in the vein of "One Night In The City". A pretty cool track.
9 out of 10
All The Fools Sailed Away: Now we come to what is often considered to be the album's centerpiece. The introduction and opening verse feature atmospheric keyboards and accoustic guitars accompanied by a somber vocal performance, the following verses bring in almost symphonic mid-tempo riffs and more aggressive vocals, the chorus is simple but uplifting, the bridge returns to the ballad style before going into a theatrical solo section. A great Dio epic
9 out of 10
Naked In the Rain: While this song is nowhere near as epic as the song before it, it retains a hint of its drama. The introduction fades in with more keyboards and a more subtle guitar riff, the verses and pre-choruses continue with more drawn out vocals and bombarding chords and keyboards in the background, and the chorus is another great one-liner. Not as hard hitting as the songs before it, but a great addition.
9 out of 10
Overlove: I find this track to be quite similar to Rainbow's "Kill The King" (If Dio hadn't been a member of that group, I'd be a tad concerned). The introduction comes in with more bluesy guitar riffs, the verses suddenly bring in more aggressive riffs and soaring vocals, the chorus keeps the speed flowing with another one-liner, and the solo section throws in some great shredding and neat rhythm fills. Slightly derivative, but another great song.
8 out of 10
I Could Have Been A Dreamer: Like "Mystery" and "Hungry For Heaven" before it, this song is the album's blatantly commercial track. Fortunately, it has a darker tone not seen on those songs and features sinister but catchy guitar playing, more great vocal lines, and slightly overwhelming keyboards during the chorus. Still a solid addition that reminds me of what would come on the band's next effort. . .
8 out of 10
Faces In The Window: This song returns to the speed metal style. The introduction starts off slow but leads into more energetic riffs and solos, the verses bring in some catchy vocal lines, the chorus provides another great refrain, and a melodic bridge leads into some varied ad libs. You could consider it to be more of the same, but it's another cool track that makes a catchy anthem.
8 out of 10
When A Woman Cries: Closing the album out is another dynamic mid-tempo track. The introduction comes in with strange sound effects and solid guitar/drum patterns, the verses bring in more excellently drawn out vocal lines and plodding riffs beneath, the chorus is another one-liner with more keyboard emphasis, and the bridge goes in a more uplifting direction with the solo section continuing in the same style. Probably my least favorite track but a good closer.
8 out of 10
Overall, this album gets 78 out of 90, 87%, and 4 stars. I think this album may be one of Dio's strongest efforts and stands up to the classic "Holy Diver" as their greatest album of the 80's era. The only flaws I can point out are a few dated effects, the heavy keyboard emphasis (Dream Theater, this is not. . .), and a few simplistic song structures. Unfortunately, it would soon introduce an era typically seen as being the band's downward spiral. . .
Monday, November 17, 2008
Lateralus (Tool)
Despite being a fan of some unusual bands (Pain Of Salvation comes to mind), I have found Tool to be a fairly tricky band to get into. Musically, the band is best known for their strange song structures, constantly changing time signatures, and generally dark overtones. This 2001 effort was the group's third album and saw them achieve even greater critical and commercial success.
The Grudge: Sounds of a starting machine briefly open this song before a building bass heavy rhythm makes its way into the tune and the rest of the song continues with an almost robotic vocal delivery and strange soft/heavy constrasts all the way through. A very interesting opener though there isn't as catchy as it could be.
8 out of 10
Eon Blue Apocalypse: The album's first instrumental is noteworthy for having been about the death of vocalist Maynard James Keenan's Great Dane. The song itself features some interesting eastern styled melodies and an appropriately mournful atmosphere.
7 out of 10
The Patient: More building guitars open this song's introduction in a spacy but unsettling fashion, the verses continue with a soft rhythm and melodic vocals thrown into the mix, the chorus features louder riffs but keeps the melodic vocals in tact, the bridge features more drawn out vocals and eerie whispers, and the song eventually returns to its quieter style. A pretty cool song that astonishingly never completely gives in to aggression.
9 out of 10
Mantra: Another instrumental. This one features a strange sound apparently made by a cat being squeezed (Or a whale song, depending on who you ask). Strangely intriguing, but another slight filler track.
7 out of 10
Schism: If I'm not mistaken, this track won a Grammy back in 2002. It starts with melodic guitars/bass that remind me of Opeth for some reason before going into its signature bass melody, the verses feature some infectious bass/vocal harmonizing, the chorus brings in heavier riffs and angrier vocals, the solo section features some cool guitar effects, and the bridge comes out with softly drawn out vocal lines. A great track that may be the most accessible on the album.
9 out of 10
Parabol: This three minute interlude is made memorable by its spacy guitar/bass melodies and its soft vocals. A nice melodic space, but it doesn't seem to have much energy. Then again, that could just be the lack of percussion. . .
7 out of 10
Parabola: Heavier riffs immediately come in just as the previous track fades away, the verses continue with solid croons and building chugs above some strong drum patterns, the chorus brings in some solid layering, and the bridge goes in an even more melodic direction. A pretty cool track, though not as strong as "Schism".
8 out of 10
Ticks & Leeches: Strong drum patterns and powerful backing bass open this song's introduction nicely, the verses continue with an almost rapped vocal delivery and nicely complementing guitar dissonance, the chorus brings in an angry refrain that may or may not be directed towards the band's critics ("Hope this is what you wanted/Hope this is what you had in mind/Cuz this is what you're getting/I hope you're choking/I hope you choke on this."), the solo section finally continues into a melodic direction, and the bridge sounds even more pissed than before before going into an erratic guitar solo. Easily the most pissed off track on the album and one of its most dissonant.
8 out of 10
Lateralus: Yet another wave of melodic guitars/bass open this introduction smoothly with a building rhythm beneath, the verses continue with eerie vocal layering and prominent percussion above melodic guitars in the background, the chorus brings heavier riffs but retains the soft croons, the solo section features a few soaring guitar wails, and the bridge is another soft segment before reaching a building climax. A solid addition, though not as memorable as the songs before it.
7 out of 10
Disposition: Not quite an instrumental, but a solid interlude nevertheless. It features more of those trippy guitar melodies, odd sound effects in the background, and quietly delivered vocals.
7 out of 10
Reflection: Now we come to the album's longest song. This eleven minute epic comes in with more tribal percussion, a sinister but catchy bass melody, and eerie guitar effects that remind me of Rush during the introduction; the verses bring in oddly sequenced vocal lines; and the solo sections feature more cool guitar effects. Perhaps a little overlong, but it's a greatly memorable piece.
9 out of 10
Triad: Unlike the instrumentals before it, this tune could be considered a stand alone piece. It features plenty of crashing guitar and bass riffs, consistent drumming, some interesting effects and solos every now and then, more soft/heavy constrasts, and a minute of silence towards the end. Another decent addition though I wish it was a little more energetic.
7 out of 10
Faaip de Oiad: Closing the album out is a short spoken segment about a guy who is apparently on the run from Area 51 (Hey, that rhymed). It's definitely an interesting bit that makes a pretty decent closer.
7 out of 10
Overall, this album gets 100 out of 130, 77%, and 3.5 stars. I can understand how this album came to be so influential; it features some interestingly complex tunes and demonstrates the members' technical abilities. However, it is definitely a challenging task to take in all at once and a few fillers disrupt the album's already unstable flow. Just because the compact disc can hold 80 minutes of music doesn't mean it should actually be used to its full compacity. . .
The Grudge: Sounds of a starting machine briefly open this song before a building bass heavy rhythm makes its way into the tune and the rest of the song continues with an almost robotic vocal delivery and strange soft/heavy constrasts all the way through. A very interesting opener though there isn't as catchy as it could be.
8 out of 10
Eon Blue Apocalypse: The album's first instrumental is noteworthy for having been about the death of vocalist Maynard James Keenan's Great Dane. The song itself features some interesting eastern styled melodies and an appropriately mournful atmosphere.
7 out of 10
The Patient: More building guitars open this song's introduction in a spacy but unsettling fashion, the verses continue with a soft rhythm and melodic vocals thrown into the mix, the chorus features louder riffs but keeps the melodic vocals in tact, the bridge features more drawn out vocals and eerie whispers, and the song eventually returns to its quieter style. A pretty cool song that astonishingly never completely gives in to aggression.
9 out of 10
Mantra: Another instrumental. This one features a strange sound apparently made by a cat being squeezed (Or a whale song, depending on who you ask). Strangely intriguing, but another slight filler track.
7 out of 10
Schism: If I'm not mistaken, this track won a Grammy back in 2002. It starts with melodic guitars/bass that remind me of Opeth for some reason before going into its signature bass melody, the verses feature some infectious bass/vocal harmonizing, the chorus brings in heavier riffs and angrier vocals, the solo section features some cool guitar effects, and the bridge comes out with softly drawn out vocal lines. A great track that may be the most accessible on the album.
9 out of 10
Parabol: This three minute interlude is made memorable by its spacy guitar/bass melodies and its soft vocals. A nice melodic space, but it doesn't seem to have much energy. Then again, that could just be the lack of percussion. . .
7 out of 10
Parabola: Heavier riffs immediately come in just as the previous track fades away, the verses continue with solid croons and building chugs above some strong drum patterns, the chorus brings in some solid layering, and the bridge goes in an even more melodic direction. A pretty cool track, though not as strong as "Schism".
8 out of 10
Ticks & Leeches: Strong drum patterns and powerful backing bass open this song's introduction nicely, the verses continue with an almost rapped vocal delivery and nicely complementing guitar dissonance, the chorus brings in an angry refrain that may or may not be directed towards the band's critics ("Hope this is what you wanted/Hope this is what you had in mind/Cuz this is what you're getting/I hope you're choking/I hope you choke on this."), the solo section finally continues into a melodic direction, and the bridge sounds even more pissed than before before going into an erratic guitar solo. Easily the most pissed off track on the album and one of its most dissonant.
8 out of 10
Lateralus: Yet another wave of melodic guitars/bass open this introduction smoothly with a building rhythm beneath, the verses continue with eerie vocal layering and prominent percussion above melodic guitars in the background, the chorus brings heavier riffs but retains the soft croons, the solo section features a few soaring guitar wails, and the bridge is another soft segment before reaching a building climax. A solid addition, though not as memorable as the songs before it.
7 out of 10
Disposition: Not quite an instrumental, but a solid interlude nevertheless. It features more of those trippy guitar melodies, odd sound effects in the background, and quietly delivered vocals.
7 out of 10
Reflection: Now we come to the album's longest song. This eleven minute epic comes in with more tribal percussion, a sinister but catchy bass melody, and eerie guitar effects that remind me of Rush during the introduction; the verses bring in oddly sequenced vocal lines; and the solo sections feature more cool guitar effects. Perhaps a little overlong, but it's a greatly memorable piece.
9 out of 10
Triad: Unlike the instrumentals before it, this tune could be considered a stand alone piece. It features plenty of crashing guitar and bass riffs, consistent drumming, some interesting effects and solos every now and then, more soft/heavy constrasts, and a minute of silence towards the end. Another decent addition though I wish it was a little more energetic.
7 out of 10
Faaip de Oiad: Closing the album out is a short spoken segment about a guy who is apparently on the run from Area 51 (Hey, that rhymed). It's definitely an interesting bit that makes a pretty decent closer.
7 out of 10
Overall, this album gets 100 out of 130, 77%, and 3.5 stars. I can understand how this album came to be so influential; it features some interestingly complex tunes and demonstrates the members' technical abilities. However, it is definitely a challenging task to take in all at once and a few fillers disrupt the album's already unstable flow. Just because the compact disc can hold 80 minutes of music doesn't mean it should actually be used to its full compacity. . .
Friday, November 14, 2008
Heartwork (Carcass)
Originally beginning life as an influential grindcore band, Carcass turned to a more accessible death metal style for their fifth effort. Musically, the album emphasizes more groove laden segments and simpler song structures that hide a more complex band performance. Lyrically, the album moves away from the pathological obsessions of the band's past and into more introspective material not unlike Death's transition around the same time. The album is also noteworthy for being the last to feature Arch Enemy/Spiritual Beggars guitarist Michael Amott and for being a major influence in the development of melodic death metal.
Buried Dreams: Building drums and powerful guitar harmonies open this song's introduction, the verses continue at an almost bouncy mid-tempo pace with some echoing growls thrown in, the chorus features some catchy vocal lines, and the bridge brings in a solid breakdown that leads into a squealy solo section. A pretty groovy start.
9 out of 10
Carnal Forge: Faster guitar harmonies open this song nicely, the verses continue with angry vocals thrown in, the choruses briefly slow the song down, and the first solo section leads into a more mid-tempo direction with the bridge's stanzas continuing with a similar style, and the second solo section returns to the more intense style. A solid addition.
8 out of 10
No Love Lost: Now we come to another groovy mid-tempo tune. It features more downtrodden guitar harmonies, memorable vocal lines, angry pre-choruses, a strong hook during the chorus, and more upbeat guitar solos. One of my personal favorites on the album.
9 out of 10
Heartwork: Dissonant guitar squeals open this song before going into another intense guitar chug, the verses continue at an energetic pace with more direct growls, the chorus features a more uplifting refrain, and the solo section offers more melodic guitars before going into another angry breakdown. A pretty cool track.
8 out of 10
Embodiment: Another downtrodden set of guitar harmonies open this song in a way that reminds me of "South Of Heaven"-era Slayer, the verses have that almost bouncy style, the pre-chorus returns to the downtrodden style, and the chorus goes in a more upbeat direction with uplifting solo sections following suit. Another cool track that reminds me of late period Death for some reason.
8 out of 10
This Mortal Coil: A strange mix of melody and dissonance open this song in an interesting fashion, the verses continue with a particularly upbeat set of guitar gallops, the chorus returns to the introduction's style, and the solo section continues in a melodic mid-tempo style.
8 out of 10
Arbeit Macht Fleisch: This track comes in with yet another upbeat set of riffs, the verses throw in some interestingly sequenced vocals, the chorus goes in a more violent direction, and the solo sections throw in more melodic guitar shredding. A good song, though the solo section is rather brief. . .
8 out of 10
Blind Bleeding the Blind: Without warning, another batch of violent gallops open this song's introduction before suddenly into a slower direction with looser rhythms and sweet guitar fills, the verses continue with more restrained vocals and solid fills kept in the background, the pre-chorus and chorus provide more faster segments, and the solo section keeps the intensity flowing with some great guitar trade-offs. Another particularly groovy tune.
8 out of 10
Doctrinal Expletives: This song opens with more of the same, the verses continue with angry guitar/vocal trade-offs with some strong drumming in the background, the chorus offers a solid refrain, the various solo section provide uplifting guitar parts, and the lyrics are filled with some interesting puns.
8 out of 10
Death Certificate: Drawn out guitar melodies and ticking drums open this song's introduction before another charging set of riffs come in with a more noticeable bass line beneath, the verses continue with more sweet guitar/vocal trade-offs, the chorus offers another great refrain, and the solo sections offer some great variety. A pretty sweet closer.
9 out of 10
Overall, this album gets 83 out of 100, 83%, and 4 stars. Death metal isn't exactly my forte, but I can certainly acknowledge this album for its major influence and for providing some sweet songs. I imagine it would be a good way to get a new listener within the metal scene. All in all, it's another one of those albums whose rating may go up once I get a better taste for it. . .
Buried Dreams: Building drums and powerful guitar harmonies open this song's introduction, the verses continue at an almost bouncy mid-tempo pace with some echoing growls thrown in, the chorus features some catchy vocal lines, and the bridge brings in a solid breakdown that leads into a squealy solo section. A pretty groovy start.
9 out of 10
Carnal Forge: Faster guitar harmonies open this song nicely, the verses continue with angry vocals thrown in, the choruses briefly slow the song down, and the first solo section leads into a more mid-tempo direction with the bridge's stanzas continuing with a similar style, and the second solo section returns to the more intense style. A solid addition.
8 out of 10
No Love Lost: Now we come to another groovy mid-tempo tune. It features more downtrodden guitar harmonies, memorable vocal lines, angry pre-choruses, a strong hook during the chorus, and more upbeat guitar solos. One of my personal favorites on the album.
9 out of 10
Heartwork: Dissonant guitar squeals open this song before going into another intense guitar chug, the verses continue at an energetic pace with more direct growls, the chorus features a more uplifting refrain, and the solo section offers more melodic guitars before going into another angry breakdown. A pretty cool track.
8 out of 10
Embodiment: Another downtrodden set of guitar harmonies open this song in a way that reminds me of "South Of Heaven"-era Slayer, the verses have that almost bouncy style, the pre-chorus returns to the downtrodden style, and the chorus goes in a more upbeat direction with uplifting solo sections following suit. Another cool track that reminds me of late period Death for some reason.
8 out of 10
This Mortal Coil: A strange mix of melody and dissonance open this song in an interesting fashion, the verses continue with a particularly upbeat set of guitar gallops, the chorus returns to the introduction's style, and the solo section continues in a melodic mid-tempo style.
8 out of 10
Arbeit Macht Fleisch: This track comes in with yet another upbeat set of riffs, the verses throw in some interestingly sequenced vocals, the chorus goes in a more violent direction, and the solo sections throw in more melodic guitar shredding. A good song, though the solo section is rather brief. . .
8 out of 10
Blind Bleeding the Blind: Without warning, another batch of violent gallops open this song's introduction before suddenly into a slower direction with looser rhythms and sweet guitar fills, the verses continue with more restrained vocals and solid fills kept in the background, the pre-chorus and chorus provide more faster segments, and the solo section keeps the intensity flowing with some great guitar trade-offs. Another particularly groovy tune.
8 out of 10
Doctrinal Expletives: This song opens with more of the same, the verses continue with angry guitar/vocal trade-offs with some strong drumming in the background, the chorus offers a solid refrain, the various solo section provide uplifting guitar parts, and the lyrics are filled with some interesting puns.
8 out of 10
Death Certificate: Drawn out guitar melodies and ticking drums open this song's introduction before another charging set of riffs come in with a more noticeable bass line beneath, the verses continue with more sweet guitar/vocal trade-offs, the chorus offers another great refrain, and the solo sections offer some great variety. A pretty sweet closer.
9 out of 10
Overall, this album gets 83 out of 100, 83%, and 4 stars. Death metal isn't exactly my forte, but I can certainly acknowledge this album for its major influence and for providing some sweet songs. I imagine it would be a good way to get a new listener within the metal scene. All in all, it's another one of those albums whose rating may go up once I get a better taste for it. . .
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