Dream Theater's Best To Worst

I'm not too sure if "A Change Of Seasons" is considered to be an album per se. Ehhh, chances are, you'll probably see it on here in the future...

1) Scenes From A Memory (91%)
2) Images And Words (90%)
3) Awake (88%)
4) Systematic Chaos (88%)
5) Train Of Thought (85%)
6) Octavarium (85%)
7) When Dream and Day Unite (83%)
8) Falling Into Infinity (83%)
9) Six Degrees of Inner Turbulence (82%)

Falling Into Infinity (Dream Theater)

As "Awake" is probably the darkest album in Dream Theater's history, I find it a little ironic that its follow-up, "Falling Into Infinity," is probably the band's softest and most mainstream oriented effort to date. It is the only studio album to feature keyboardist Derek Sherinian unless you count his appearance on the previously released "A Change Of Seasons" EP/cover album. In spite of a softer and more accessible sound (which was no doubt due to pressure from their record company or something along those lines...), the album's style is that of the Dream Theater we all know and love (or loathe, depending on where you stand...) with its longer song lengths and talent filled compositions.

New Millennium: Things start off right away with a few upbeat guitar riffs, some interesting keyboards in the background, and some sweet bass playing in the introduction. The verses have some slightly darker guitar riffs and keyboards as the vocals come in with a unique electronic effect on them. The pre-chorus continues in a similar fashion and the chorus is pretty nice as well. The song's bridge is full of strange techno-like sounds and electric effects. The solo section is neat and features some nice keyboards, bouncy bass playing, some sweet percussion, and plenty of neat guitar solos. The song's optimistic lyrics kinda remind me of "Take The Time" in a way.
8 out of 10

You Not Me: You know you're going to have controversy when a prog metal band is forced to work with hack songwriter Desmond Child, who co-wrote this song's lyrics with guitarist John Petrucci and boy does it show ("Watching you run is making me lazy?"). The song itself isn't too bad, quite simplistic by Dream Theater standards. The song does have a catchy main riff, some interesting riffs, and a nice chorus. It is a good song though a little cringe-worthy at times...
7 out of 10

Peruvian Skies: This song begins with some softer, almost Western sounding guitar riffs and squeals before going into the somber verses and chorus. The song has been compared to Pink Floyd in terms of its aesthetics (Not too surprising, as the song contains bits and pieces of Floyd's "Wish You Were Here" in some spots). The vocals are delivered quite passionately and go well with the song's atmosphere. The song gets heavier for its bridge, solo section, and chorus take the song but retain the first half's melancholy. Surely an album highlight.
9 out of 10

Hollow Years: The softness of the previous song carries on into this melancholic tune. The accoustic riffs have a nice Spanish touch to them, the percussion is a little processed and electronic but still sweet, and the vocals are once again full of passion. The verses are mellow, the pre-chorus is quite tender, the chorus is full of emotion, and the solo section has some nice guitar harmonies. It may be a little too formula based but is it any wonder why this song was chosen as the album's lead single?
8 out of 10

Burning My Soul: Now we get to one of the heaviest songs on the album. It begins with a driving bass riff that is accompanied by heavier guitar riffs and some dark keyboards and double bass drumming in the introduction. The verses carry on with some heavy, plodding riffs, more aggressive vocals (For James LaBrie anyway...), and some atmospheric keyboards in the mix. The chorus kinda reminds me of "Pull Me Under" in a way and features some strong drumming, sweet riffs, and some digitally altered vocals repeating the song's title. The song's solo section continues the aggression and has some sweet melodies thrown in. The lyrics are particularly full of anger and seem to be about the band's issues with their record company.
8 out of 10

Hell's Kitchen: Here we have the song's instrumental, which was originally written as part of "Burning My Soul" and eventually became its own tune. It starts off with some creepy keyboards, dark bass notes, and soft guitar squeals and then goes into an almost dreamy direction. Its trippy atmosphere and dark atmosphere kinda reminds me of something that could've been on "Awake" or "Images And Words." Another sweet addition with plenty of great solos and melodies throughout.
8 out of 10

Lines In The Sand: This twelve minute epic has become my favorite song on the album. Its slightly drawn out introduction begins with a creepy keyboard solo that is eventually followed by some slightly erratic riffs, catchy bass playing, and effective keyboard parts that carry on smoothly into the upbeat verses and catchy pre-chorus. The chorus is notable for featuring King's X vocalist/bassist Doug Pinnick providing a funky, over the top performance that harmonizes awesomely with LaBrie's style. The solo section is pretty trippy that carries on into the song's bridge and features some dazzling guitar and keyboard solos. All in all, it's an amazing track that will definitely get you grooving...
10 out of 10

Take Away My Pain: Everyone seems to love to hate this ballad. It begins with some neat percussion, some almost tropical sounding riffs and keyboards, a nice bass groove, and some nice vocals during the verses. The chorus is in a similar style although it is more uplifting and features some emnotional vocals. The lyrics are similar to the lyrics of "Another Day" and deal with Petrucci's father dying of cancer. It is slightly poppy but I enjoy it.
9 out of 10

Just Let Me Breathe: Back to a heavier track we go to as this track starts off with some nice drumming, sweet guitar squeals, and lurking bass in its introduction. The verses continue with some heavier riffs and some slightly sarcastically delivered vocals that carry on into the quickly delivered choruses. I find the song to be similar to "Burning My Soul" in a way although it's not quite as good. The lyrics deal with the theme of selling out and are amusingly written out, although I think the name dropping of "Shannon Hoon and Kurt Cobain" to be a little unnecessary. Still a good track though.
7 out of 10

Anna Lee: Much of this ballad's strength lies on the passionate vocals and the beautifully played piano parts that wovened throughout the track. The verses are quite nice and the chorus is quite beautiful. As expected, the rest of the band comes in after the second verse in stereotypical ballad fashion. You gotta love it...
9 out of 10

Trail Of Tears: The album closes out with a three part thirteen minute epic of a track. The first part of the song ("It's Raining") begins with some serene sounding keyboards and percussion in its introduction before the mysterious guitar leads and bass come in strongly. The verses have a strange atmosphere and also contain some dark riffs and bass and some interestingly delivered vocals. The pre-chorus is memorable and the chorus is slightly uplifting. "Deep In Heaven" continues the song with a sweet instrumental segment that has some great bass playing and plenty of great guitar and keyboard solos. The last part ("The Wasteland") is quite mellow and features some softer vocals, subtle guitar leads, and some soft piano in the background before it delivers a final repetition of the song's pre-chorus. A sweet way to close the album out on a good note.
8 out of 10

Overall, this album gets 91 out of 110, 83%, and 4 stars. While this album is very often seen as being Dream Theater's answer to such albums as Metallica's "Load" and Megadeth's "Cryptic Writings," I find this to be a great album that is quite underrated. It is certainly an acquired taste but it may be worth checking out for fans of the band's more mellow material.

Dark Passion Play (Nightwish)

Things have changed quite dramatically in the Nightwish camp since their previous album "Once" was released in 2004. Iconic vocal goddess Tarja Turunen was kicked out of the band in 2005 and has been replaced by former Alyson Avenue vocalist Anette Olzon. While Olzon isn't quite as talented as Turunen, she still manages to do a great job and is often assisted by the harsh snarls of bassist Marco Hietala. Also, this album is probably their most experimental yet and a variety of music genres ranging from folk to gospel make their way into the band's signature symphonic metal aesthetics. In fact, the only things that seem to have carried on from "Once" are the modern tone in Emppu Vuorinen's guitar playing, the inclusion of the London Session Orchestra, and the clever though occasionally whiny lyrics of keyboardist Tuomas Holopainen.

Poet And The Pendulum: What better way to start an album off than with a five part, fourteen minute long epic of film score worship? The first part of the song ("White Sands Of Empathica") begins the song on a dark and soft note with some eerie synths and choirs, cool sounding piano, softly spoken voices, and some high pitched operatic vocals. The song's second part ("Home") is easily my favorite part of the song as it features a hair-raising orchestra/guitar harmonizing sequence that fades smoothly into the catchy verses. The chorus is extremely catchy, awe inspiring, and is easily the best the band has ever written. "The Pacific" takes the song in a softer direction for a few verses and features more higher pitched vocals and a most somber orchestra. It then goes to an amazingly dark section that makes strong use of the orchestra and the creepy spoken vocals. The dark sound carries on excellently into "Dark Passion Play," which features a heavy and dramatic solo section, a few verses yelled by Hietala, a verse sung by Olzon, a final repetition of the song's godly chorus, and another spoken verse that is heavy as Hell and accompanied by some dark choirs and synths. The song's final sequence ("Mother And Father") is another soft part that features a sweet solo section, passionate vocals, and some sweet piano and guitar parts. The lyrics are the most personal Holopainen has ever written (even mentioning himself by name...) and features lines that are quite amazing ("As the crows feast on the rotting poet") and a few that are a little sillier ("I'm so afraid, being raped again and again and again..."). All in all, one of the greatest songs 2007 has to offer...
10 out of 10

Bye, Bye Beautiful: Sounds of a soft choir, chugging riffs, and some electronic keyboards and drums open this track in a most interesting introduction. The verses feature some sweet vocals and bass playing, the pre-chorus has some catchy vocal harmonies and riffs, and Hietala takes lead vocals for the song's short but angry chorus. The bridge is also interesting as it goes from harsh to soft before slamming into the song's final chorus. Much of the song's fame (or infamy) is based on the lyrics, which reflect upon the feelings felt by Holopainen in the wake of Tarja's departure. It is another great track that kinda reminds me of "Wish I Had An Angel" from "Once" though I wish it had a solo somewhere in there...
9 out of 10

Amaranth: Now comes one of the more upbeat tracks on the album, which is rather strange considering the slightly melancholic lyrics. It begins with a sprinkling keyboard melody that fades into some dissonant riffs and the ever looming orchestra. The verses are laid back and feature some subtle chugging riffs and sweet vocals, the pre-chorus is catchy despite its questionable grammer ("You believe but what you see?"), and the chorus is also memorable. It kinda reminds me of "Nemo" in a way, although it's a tad heavier...
9 out of 10

Cadence Of Her Last Breath: This track opens with some heavy breathing, an interesting piano part, some nice drums, and a riff that kinda reminds me of "Wicked" by Symphony X. The verses feature some interesting vocal layering with some bass, drums, and soft choirs in the background. The chorus is an interesting one that has some effective vocals (particularly the repeated cries of "Run away" in the background). The solo is quite nice as well.
8 out of 10

Master Passion Greed: If you thought "Bye, Bye Beautiful" was vicious, you haven't seen anything yet. The lyrics on this song reflect on Tarja's departure, only they are directed towards her husband Marcelo Cabuli. It begins with some heavy riffs, some nice drums, dark bass playing, and some interesting sound effects before some almost thrash metal styled riffs come in. Hietala's vocals dominate the song and add to the song's heaviness, especially during the song's aggressive bridge (which also features some growling from Holopainen thrown into the mix). The song's solo section is another nice one and makes use of some cool harmonizations.
8 out of 10

Eva: Funny how the heaviest song on the album is followed by what is probably the softest. Musically, it is a sweet little ballad in the vein of "Kuolema Tekee Taitelijan" from "Once." It has some sweet keyboards and piano, soft synths, and tender vocals though it's not quite my style. It is quite relaxing though and gets a little heavier for the final chorus...
8 out of 10

Sahara: The song's Eastern atmosphere kinda makes me think of "The Devil Sails To Orion" from "Oceanborn" in a way although this track is very different. It starts off with some sweet keyboards that are accompanied in the introduction by some faster riffs and some Eastern sounding instruments. The first few verses go at a mid-tempo pace and feature some heavier riffs and mysterious vocals. The chorus is similar and feature heavier synths and more memorable vocal patterns. The bridge is a bit heavier and even more dramatic and the following verse features some strange but effective Eastern styled vocals.
8 out of 10

Whoever Brings The Night: Even darker riffs and keyboards and some nice drum fills bring this song in smoothly. The verses have unique effects on the vocals that goes nicely with the song's riffs and atmosphere. The chorus is one of the catchiest on the album and is sure to be a live favorite, if it isn't already. The bridge is another heavy one and feature some choirs and strong chugging riffs that then go into a fast paced solo section.
9 out of 10

For The Heart I Once Had: I'd describe this track as having a slightly ballad-ish atmosphere although it is rather upbeat at the same time. The introduction has some sweet piano and guitar parts and the verses feature some sweet vocals and synths. The chorus is nice though nothing like any of the others. It's a nice track though not much about it stands out.
7 out of 10

The Islander: Here we have a bizarre track that sounds like it could be an Irish folk song or something along those lines. The introduction starts things off with some neat sound effects and some cool sounding guitars and folk instruments. The verses are dominated by some nice accoustic guitars and some of the most mellow vocals Hietala has ever sung (That I know of, anyway...). The chorus is a bit mellow and is done quite nicely. The third and fourth verses and the second and third choruses feature Olzon providing some pretty backing vocals as Hietala continues to lead. I do get the feeling that it could've been a bit more though...
8 out of 10

Last Of The Wilds: Fans of "Moondance" rejoice, for Nightwish has released another awesome instrumental! It is an extremely upbeat song and always gets me in a good mood every time I hear it. It features some solid accoustic and electric riffs and some happy sounding folk instruments that just might make you want to get hammered in an Irish pub and dance around a bonfire at sundown... If not for the opener, it'd easily be my favorite song on the album.
10 out of 10

7 Days To The Wolves: The upbeat nature of the previous song fades away as a simple drum pattern, some nice choirs and strings, and doomy riffs come in. The verses continue the plodding pace and the vocals are quite dramatic, as is the chorus. The solo section takes things in a dark direction that's quite interesting. I swear I hear one of the riffs from "Passion And The Opera" hidden in there somewhere...
8 out of 10

Meadows Of Heaven: Closing the album out is a dramatic ballad of sorts. It begins with some smart strings, choirs, and piano during the introduction that are accompanied by somber vocals during the verses. Its chorus is a more subtle one that gets increasingly powerful as the song goes on. The song also benefits from sweet solo sections and a dramatic second half that features some gospel singers adding on strongly to the atmosphere. The lyrics are also interesting and describe a speaker's longing to go back to the innocent days of childhood.
9 out of 10

Overall, this album gets 111 out of 130, 85%, and 4 stars. While it may have a track or two too many, I'd consider this to be a great album and one of Nightwish's best in quite some time. It has a really accessible sound and probably would be a good album to get for newer fans (As evidenced by the album peaking in the mid-70's on the Billboard 200...). Of course, I'd recommend listening to some of the material with Tarja before checking this out.

Somewhere Far Beyond (Blind Guardian)

It is safe to say that Blind Guardian is one of the most famous bands within the power metal genre. The band has become well known throughout the world (mostly Europe and Japan...) for their Iron Maiden influenced twin guitar harmonies, the constant double bass drumming of Thomen Stauch, the distinct Queen inspired vocals of Hansi Kursch, and lyrics that touch upon a wide variety of literature. This release is seen by many fans as one of those infamous "transition albums;" this one being a combination of the symphonic sound that appears on later albums such as "Nightfall On Middle-Earth" and the harsher speed metal sound of their earlier albums.

Time What Is Time: The album opens with the standard accoustic guitar harmonizing introduction before the heavier riffs and drums come in. Thankfully, the accoustic bit is done in a unique fashion and has a dark tone to it that carries on through the rest of the song. The verses are melodic, dramatic, and go from slower to faster before the powerful chorus comes in. The solos are pretty fast paced as well and the track closes out with a softer verse done in the style of the opening segment. From what I read on Wikipedia, the lyrics are based upon the famous "Blade Runner" series.
10 out of 10

Journey Through The Dark: The introduction goes straight for the throat and the heavy riffs and drumming carries on erratically into the verses. The chorus is another powerful one (I suppose they all are...) but seems to be slightly harsher in the vocal department. The song also features some fast solo sections and a few more melodic verses here and there. I believe the lyrics on this song are based on the literature of Michael Moorcock.
10 out of 10

Black Chamber: Here we have a minute long interlude that is dominated by a sweet sounding piano and Hansi's softer vocals (although they go get a little harsher here and there). It's a sweet little tune though there's not much to say about it other than that.
7 out of 10

Theatre Of Tragedy: For some reason, the introduction of this song always reminds me of "The Final Countdown" by Europe. The introduction is quite dramatic and features what appears to be a horn section, some sweet drum fills, and some dramatic sounding riffs. The verses go at a mid-tempo pace and feature some sweet sounding vocals and riffs. The chorus is another dramatic and feature the horns's comeback amongst the layered vocals. The bridge is nice and the solo section includes some neat harmonies. For having lyrics based on a story called "The Merman's Children," Hansi really puts his heart into the lyrics. Another sweet track
9 out of 10

The Quest For Tanelorn: This tune begins in a similar fashion to the opener with its dark accoustic guitar parts and foreboding vocals before it gets faster after the first verse. The following verses are a bit heavier and the chorus is another catchy, uplifting one. The chanted vocals that pop up every now and then provide this track with some unique aesthetics of its own. The song is also notable for featuring Helloween/Gamma Ray guitarist Kai Hansen providing some sweet sounding leads. In terms of lyrics, this song is also about the writings of fantasy author Michael Moorcock (Poor guy. Judging by his name, you'd think he was a Playboy writer...).
10 out of 10

Ashes To Ashes: Some strange sound effects and evil sounding voices open this track on a truly unique fashion before the dark guitar and bass riffs come in strongly. The verses are fast and dark, the pre-chorus is catchy, and the chorus features some memorable vocal patterns. The solo section adds on even more to the song's dark, dramatic atmosphere.
9 out of 10

The Bard's Song (In The Forest): This song brings in quite a dramatic change to the album's musical direction as it is dominated by the accoustic guitar playing and the awesome vocal harmonies. As evidenced by the awesome chorus, this song is probably the most famous on the album and has remained a staple in the band's live set to this day. You know, until I listened to this tune, I never noticed that Hansi seems to have a bit of a lisp in his voice...
10 out of 10

The Bard's Song (The Hobbit): This "Bard's Song" is more like the other songs on the album in its faster and heavier tendencies. The song has a nice theatrical atmosphere throughout. Unfortunately, it doesn't sound out amongst the other tracks although the Tolkein inspired lyrics are intriguing. Then again, it's probably overshadowed by the more unique track before it...
7 out of 10

The Piper's Calling: Another minute long interlude; this one is entirely dominated by the sounds of bagpipe playing. I like the idea but it's rather unnecessary and doesn't connect to any of the other tracks. Not to mention that it is mildly annoying at times...
7 out of 10

Somewhere Far Beyond: Closing the album out is a seven minute fast paced track. The verses and pre-choruses feature some cool sounding riffs, erratic vocals, and a nice bass presence. The chorus is another triumphant sing-along and also includes a few chiming bells in the background. The solo sections on this one are quite nice and one of them makes use of the bagpipes from "The Piper's Calling." Fortunately, they're not as annoying this time around...
8 out of 10

Overall, this album gets 87 out of 100, 87%, and 4 stars. I consider this to be a great album and recommend it for fans of bands such as Helloween, Iron Maiden, and Queen (They even put in a cover of Queen's "Spread Your Wings" as a cool sounding bonus track...). Like many Blind Guardian albums, the main album's flaws are that some of the songs can sound a little too similar at times and one may be a little exhausted towards the end of the album's second half...

Iced Earth's Best to Worst

1) Burnt Offerings (94%)
2) Night Of The Stormrider (92%)
3) Iced Earth (90%)
4) The Dark Saga (86%)
5) The Glorious Burden (86%)
6) Something Wicked This Way Comes (84%)
7) Horror Show (83%)
8) Framing Armaggedon (Something Wicked: Part 1) (81%)
9) The Crucible Of Man (Something Wicked: Part 2) (81%)

Burnt Offerings (Iced Earth)

With the release of their third album in 1995, Iced Earth's sound somehow became even heavier than ever before and the album's atmosphere is dark, angry, and extremely evil. The lyrics share this trait and features themes of frustration with organized religion, pieces of literature, and loads of demonic imagery. The album is also the only album to feature drummer Rodney Beasley and is the first to feature vocalist Matt Barlow, whose signature bellow helped the band develop their signature sound.

Burnt Offerings: A creepy guitar melody opens the album strongly and is soon joined by a distorted voice whispering a quote from the 1992 "Dracula" movie before the extremely heavy guitar harmonies take over for the remainder of the introduction. The first two verses continue in this fashion as guitarist Jon Schaffer's distorted vocals take the lead with Barlow providing a nice harmony in the background. After the second verse, the song goes at a faster pace with some sweet riffs and drumming before the catchy, soaring chorus comes in. The song's first solo section comes in after the first chorus and takes the song in a heavier direction before fading into an unsettling third verse that features some softer riffs, subtle drumming, and melodic vocal harmonies. The song's fourth verse is also melodic but even more unsettling as it ends with a furious growl and some harsh guitar chords. The song's second solo section follows the fourth verse and provides an intense path to the song's final chorus. All in all, probably the greatest Iced Earth opener ever recorded.
10 out of 10

Last December: The dark mood carries on to the second track as accoustic guitar melodies, melodic vocals, and a subtle bit of bass dominate the opening verse before the song's heavier chords begin to drip through. The following verses feature some strong bellows from Barlow and some great riffs. The chorus features some catchy riffs and vocals that go from Barlow shouting the song's title to some soaring melodic bits here and there. The solo section seems excessively short but the song is another classic. The lyrics are also intriguing and seem to be based on the events of "Romeo And Juliet."
10 out of 10

Diary: This is probably the most unusual track on the album. It fades in with some riffs that are done in an almost doom metal fashion before the dramatic verses come in. After the first two verses, the song goes in a faster direction that carries on in the following two verses and the song's unique chorus. The song then goes back to its doomy style before picking up speed again for the first solo section. The following verse goes back to a doomy pace and features a dark bass solo, some brighter guitar chords, and dramatic vocal melodies before the song ends with a faster verse and a repetition of its chorus. Overall, a song that's a challenge to get into but is still great. I also like the vampire imagery portrayed throughout the lyrics (Ironic that the second to last verse's music is taken from part of an old Purgatory song titled "Dracula.").
9 out of 10

Brainwashed: After a short segment featuring some soft drum fills, bass bits, and mysterious guitar parts, the rest of the song's introduction is taken over by heavier riffs, double bass drumming, and what sound like handclaps. The opening verse is similar and leads into the faster second verse, pre-chorus, and chorus smoothly. The song's first solo section goes at a mid-tempo pace and features some sweet guitar harmonies that fade nicely into the fast third verse and the heavy chanting segment. The following verse is a sweet melodic bit that makes use of some mournful vocals and some nice accoustic riffs before going into the song's pre-chorus and chorus. The lyrics on this song are some of the angriest on the album and deal with Schaffer's feelings towards the time he spent in Lutheran school.
8 out of 10

Burning Oasis: Sounds of the desert wind, some nice bass and drum fills, and Alice in Chains-esque riffs open the introduction before some heavier riffs come in with Barlow's wails in pursuit. The first few verses go at a slight mid-tempo and features some strong riffs and strange but catchy vocal patterns. The song's bridge goes immediately to a slower sound as the bass goes into the spotlight and the vocals take on some doomy aesthetics that really add to the atmosphere. The solo section continues in a similar style, as does the "Burning Eden" segment and the verse following it. After that verse, the song goes into a heavier direction which ends the song nicely. The riffs and ending solos are relentless and the vocals kinda remind me of King Diamond in a way. The lyrics deal with the popular topic of temptation in the Garden of Eden. Overall, I'd consider the song to be extremely exotic, underrated, and unique with its Eastern style and imagery.
10 out of 10

Creator Failure: I'd consider this song to be one of my personal favorites on the album and another underrated gem. It begins strongly with some heavy and dramatic riffs, strong drums, and some interesting sound effects in the introduction. The following verses go from being slower and dramatic, to faster, to slower, to faster, and then back to being slower. I can understand why some people dislike the song, as it does feel a little directionless at times. What really gives this song a 10 are the vocals, which range from Barlow's dramatic bellows to almost growling during the bridge to the inhuman shrieks that close the song. It's definitely a fun one to sing along to and I'd really like to cover this song one of these days. The lyrics on this one are quite interesting in its cryptic nature. From what I interpret, they appear to question the idea of martyrs and dying for religion.
10 out of 10

The Pierced Spirit: Things go in quite an interesting direction for this two minute tune. It is a softer track that features some pretty accoustic guitar parts, some pretty piano playing by keyboardist Howard Helm, and powerfully melancholic vocals. The lyrics seem to be about the popular topic of Jesus reflecting on the circumstances of his death. All in all, a pretty little tune that brings to mind the interludes from "Night Of The Stormrider."
8 out of 10

Dante's Inferno: Closing the album out is a powerful 16 minute epic that depicts the events and imagery that occur in the infamous poem "The Divine Comedy" by Dante Alighieri. Given the song's constant twists and turns, there's so much that can be said about this song; the riffs and solos go from powerful assaults to eerie accoustic passages, the vocals range from to growls and bellows to spoken segments towards the end, the drums never disappoint and provide plenty of neat fills, and the song is filled with choral voices and sound effects that add greatly to the song's dark atmosphere. In short, it's probably the best song the band has ever written...
10 out of 10

Overall, this album gets 75 out of 80, 94%, and 4.5 stars. Not only is this Iced Earth's darkest and angriest album ever, it is also probably the band's greatest effort yet (although "Night Of The Stormrider" is very close behind...). It's not as accessible as "Something Wicked This Way Comes" or "The Dark Saga," but it is an excellent album recommend for fans of classic/power/thrash metal. You won't be disappointed...

Operation: Mindcrime II (Queensryche)

As evidenced by the album's title, this is a sequel to 1988's "Operation: Mindcrime," one of the greatest metal albums ever released. Given that the first Mindcrime was released during the presidency of George Bush, it seems more than fitting to release a sequel while his infamous son is in office (Not to mention the band's career has pretty much gone down the toilet in the last decade or so...). The album's story itself deals with the assassin junkie Nikki, who seeks revenge on his former employer Dr. X and mourns the death of his accomplice and lover, Sister Mary. Musically, the album has aesthetics similar to the first Mindcrime album and is probably the band's most "metal" album in about 15 years. Unfortunately, the songwriting is inconsistent at times and the void left by songwriter/guitarist Chris DeGarmo 10 years prior is even greater than ever before...

Freiheit Overture/Convict: The album begins with a minute and a half long instrumental overture that is then followed by a seven second spoken segment. It begins with some eerie sound effects played over a dark bass riff before the drums and orchestral riffs come in. It kinda reminds me of Black Sabbath's "Breakout" in a way. "Convict" is pretty much nothing to write about and you'd hardly guess it was even there...
These two brief tracks, particularly "Convict," are meant to symbolize Nikki's release after spending 18 years behind bars. Of course, this would never happen in theory as Nikki was imprisoned for murdering several political and religious figures in the original Mindcrime...
7 out of 10

I'm American: After a few slamming guitar chords and drum fills, we go to this fast paced track. The vocals are interestingly sequenced and are accompanied by some almost speed metal riffs and drumming. The chorus is a nice catchy one with some interesting vocals, riffs, and drumming. The bridge and solo section go at a louder and faster pace that sounds quite nice.
On this song, Nikki takes delight in the freedom that has been bestowed upon him. Of course, the influence from Dr. X still looms over him and he still shows a strong hatred for the government and a longing for revolution.
7 out of 10

One Foot In Hell: A mid-tempo riff opens this tune accompanied by some sweet harmonizing leads before the verses come in. The opening verse is a little awkward but everything eventually fits together nicely. The pre-chorus and chorus are subtle in their catchiness. The bridge goes in an interesting decision and leads into great sounding solos. The orchestra that comes in during the last verse is pretty neat.
Now that he is back on the streets a free man, he is still unsure as what he should do now. His thoughts soon turn to Sister Mary and the love he feels for her. While it is never stated in the lyrics, he is apparently arrested shortly after his release for an unspecified crime...
8 out of 10

Hostage: Some darker chords and strong drum fills open this track nicely before the song goes to a more laid back tone. The verses feature some subtle accoustic guitars, a nice bit of bass, consistent drums, and interesting sequenced vocals. The chorus is a bit louder and features some catchy vocals and heavier riffs. The solo section is another nice one though it is a little too short. I'd love to see it developed... The sound effects heard at the end of the song are quite effective.
This song's lyrics vaguely portray the events that take place at Nikki's trial. His opinions appear to be ignored by the judge and jury and he believes that his "reasons are damned before they're heard."
7 out of 10

The Hands: This is probably my personal favorite song on the album. It begins with some nice bass accompanying more melodic guitar chords and spoken vocals before the verses come in. The verses are a bit heavier and feature some nice chugging riffs and some nice backing vocals. The choruses are uplifting and feature some catchy vocals; I do like the echoing vocals that are sung at the end of the first chorus. The solo section on this song is another good one, providing the listener with some sweet Maiden-esque harmonies.
This song probably has the most vague lyrics on the album. I'm not too sure what goes on in terms of the story, but it describes Nikki's deeper resentment towards the government following his trial and his longing to destroy Dr. X.
9 out of 10

Speed Of Light: Ironic how a song with this title is one of the album's slower tracks. Some interesting spoken segments open this song before the verses come in at a mid-tempo pace. The verses feature some decent vocals and a riff that sounds like Led Zeppelin's "Kashmir" in a way. The chorus is a bit mellow and feature some interesting vocal patterns. The solo section isn't too flashy but it features some good riffs, a nice rhythm section, more samples, and some nice orchestra bits. The song ends with a slightly awkward duet between Tate and vocalist Pamela Moore reprising her role as the ghost of Sister Mary.
For an unspecified reason, Nikki is free again and his mood becomes somber as he realizes that half of his life is gone. In his depression, he is confronted by the ghost of Sister Mary who convinces him to go find Dr. X.
7 out of 10

Signs Say Go: Now we head straight into one of the heavier tracks on the album. The verses feature some strange but memorable vocal patterns, some cool riffs, and strong drumming. The chorus carries on in a similar fashion with some catchy vocals trading off, pretty much a better version of what "Speed Of Light" tried to do with its chorus... The solos on this song seem to be lower in the mix and the solo section is another excessively short one.
This song is basically about Nikki's determination in finding Dr. X.
8 out of 10

Re-Arrange You: Dark sounds of the orchestra open this track on a dramatic note before the vocals, drums, and bass come in for the opening verse. The chorus is another catchy one with more sweet vocals. The bridge is a dramatic one and the solos on this one are pretty nice. It's essentially like the track before it and the track that is next to come...
On this song, Nikki finally manages to track down Dr. X, who became a very wealthy man during the time Nikki was imprisoned.
8 out of 10

The Chase: Much of the album's hype was centered on this song and the fact that it features vocal god Ronnie James Dio singing the role of Dr. X. As expected, the music focuses greatly on the powerfully delivered vocals and Dio truly steals the show from Tate. Unfortunately, the song's structure and vocal patterns can get a little awkward at times and it feels like it could've been so more developed than it is (Come on, guys. Only three minutes long?). "Suite Sister Mary," this is not... The guitar solos at the end are pretty swee though...
This song portrays the confrontation that takes place between Dr. X and Nikki, ironically, in the same church where Nikki was sent to kill Mary in the first Mindcrime (go check that review out for more information...). Nikki manages to kill X after the two bicker and argue over the outcomes of their respective actions.
8 out of 10

Murderer?: The introduction of this song is truly one of the best on the album as it features some bright guitar riffs, some orchestral bits, and a strong bass riff that is soon accompanied by a dark rhythm guitar riff. The following verses and choruses are more erratic and feature some unique but slightly obnoxious vocals. The bridge is a bit more melodic before the song goes back to its erratic nature with Moore coming back as Mary. The song ends with some soft riffs, nice drums, and some somber sounding vocals. I get the feeling that it could've been way better...
Now that Nikki has accomplished his mission of killing Dr. X, he still feels unsatisfied and as empty as ever, leading him to wonder what he should do next...
7 out of 10

Circles: This song is a two minute interlude and focusing on some softer riffs, slightly awkward vocal patterns, and some interesting effects here and there. I get the feeling that this track is supposed to be this album's answer to the first Mindcrime's "My Empty Room." Nothing too xciting going on here.
7 out of 10

If I Could Change It All: This song features some mournful vocals and some softer riffs in the opening verses. The chorus is another one that features the vocal trade-off style. Moore takes over for the second verse and delivers it quite nicely. The song ends with some interesting Gregorian chanting and soft guitar squeals that bring to mind "Suite Sister Mary."
At this point, Nikki still remains unsure what to do with himself and the ghost of Mary comes and pities him.
7 out of 10

An Intentional Confrentation: The chanting of the previous track fades into this heavier number. The introduction features some unusual riffs and orchestral bits before the duet from the end of "Speed Of Light" comes in. After a few more lines, the song becomes a bit softer as the vocalists sound a bit calmer. Feels quite filler-ish.
Mary's pity turns to anger as her ghost (or Nikki's hallucination of her) yells at him and tells him to suicide as he has nothing else to live for.
7 out of 10

A Junkie's Blues: Judging by the song's title, you'd think this song would be a bit softer than it really is. Its introduction starts off kinda heavy but seems to soften up for the verses. The verses feature some soft guitar melodies, a bit of bass, some spoken vocals, and some awkward backing vocals that creep up every now and then. The following verses get a little heavier but feels rather directionless at times. The song ends with an interesting fade out that feature the riff from "Anarchy X" clashing with the drums and orchestra.
I really have no diea what goes on during this part of the story, if anything. At this point, it's extremely directionless. The lyrics are decent and feature some smart lines ("So cover your wounds so the dogs won't smell you coming.") and some questionable lines ("Everything else was like a Band-Aid.")...
6 out of 10

Fear City Slide: Here we have another soft track that starts off subtle bass, softer riffs, and softly spoken vocals. The following verses are a little louder and are played in an interesting key. The chorus feel a bit like more of the same though it is decent. After the second chorus, it heads into a softer sequence that features some softer vocals and riffs before the final chorus comes back in.
After spending some time wallowing in self pity, Nikki finally gives in and commits suicide by heroin overdose. I really like the lyric "When they find me face down in the river, will they just leave me there?"
6 out of 10

All The Promises: With its strange effects, the introduction of this song kinda reminds me of something Pink Floyd would do (only it's nowhere as creepy...). The rest of the song goes at a ballad style and features plenty of accoustic riffs, duets between Tate and Moore, and consistent drumming. It feels like they're trying to close out in an epic fashion similar to "Eyes Of A Stranger," but it doesn't quite work out as well...
As Nikki dies, his spirit with reunited with Mary and the couple realizes that they were only happy when they were together...
6 out of 10

Overall, the album gets 115 out of 160, 72%, and 3.5 stars. While this album does have its share of good songs and is consistently better than "Tribe," it really suffers from a weaker second half and a tad too much filler. Given the album's heavier style, it does make one wonder what the band's next album will be like (Not counting the cover album they just released...). I don't know about you, but I'll stick with the first Mindcrime...

Tribe (Queensryche)

When this album was released in 2003, it was hyped as being a return to form and the band's best record since "Empire." It was the first album to feature guitarist Mike Stone and it also features guitarist Chris DeGarmo as a special guest playing with the band for the first time since 1997's "Hear Now In The New Frontier." In terms of music, the album continues the band's more experimental tendencies though it has elements of their old school sound here and there. The album's spotlight seems to be on the introspective lyrics, which deal with themes of unity in the wake of the tragedies of 9/11.

Open: It all begins with what is probably its best and most misleading track. An uplifting Maiden-esque guitar harmony leads straight into the equally uplifting verses. The vocal patterns are quite neat and provide a mystical atmosphere. The pre-chorus is interesting and the chorus is a powerful one in its delivery. Also notable is the cool but brief bass solo that comes in before the guitars get their chance to shine. The drumming is pretty neat in some spots as well. All in all, an excellent opener.
10 out of 10

Losing Myself: Strange guitar effects, interesting drum fills, and interestingly sequenced vocals open this track. The chorus is a nice one and feature some nice riffs and echoing vocal effects. The solo section carries on with the distortion and it is neat though rather short. A nice upbeat number overall.
8 out of 10

Desert Dance: Some interesting percussion and some slightly softer guitar harmonies open this track on an interesting note before it gets a little louder. The verses continue with the distorted riffs and interesting drums. The vocals in the song are higher pitched though it sounds like vocalist Geoff Tate is straining a little. The pre-chorus has some unique vocal trade-offs and the chorus is slightly catchy though a little repetitive at times. The solo section and bridge go to the style in the introduction and feature some nice solos. Overall, it's a decent track. I'm not sure if it deserves a 7 or an 8...
7 out of 10

Falling Behind: Now we come to a more mellow track that features some interesting drums and strange sounding guitar melodies in its introduction. The verses continue in the style and also include some strange vocal lines. The chorus is a slightly somber one and features some nice harmonies, as does the bridge. The song does have emotion put into it, but it's another track that I'm not unsure as to whether it deserves a 7 or an 8...
7 out of 10

The Great Divide: This track continues the previous song's somber feel but is a little louder. It begins with some neat drums, riffs, and mournful vocals in the verses. The chorus is a little louder and retains the verses' passion. It does feel a little too lazy though and could afford a nice solo or two...
7 out of 10

Rhythm Of Hope: Accoustic guitars, a soft bit of bass, mellow vocals, and a subtle orchestra dominate this melancholic tune. The formula is a little too similar to the previous ballads, but the orchestral elements seem to make this track a bit better...
7 out of 10

Tribe: Now we go back to the heaviness with this track. It comes in with some heavy guitar chords and some interesting vocals. The verses feature some subtle drums, dark guitar riffs, and vocals that are almost rapped... The pre-chorus and chorus are loud but also have an uplifting feel to them. It's one of the album's better tracks but Tate really ought to work on his flow if he's going to sing like that...
8 out of 10

Blood: Mysterious guitar harmonies, subtle bass riffs and drums, and emotional vocals dominate the verses of this track. The chorus is catchy, melancholic, yet a bit uplifting as well. As a whole, this song is similar to the ballads before it but it is louder and seems more emotional. Easily the album's second best song.
9 out of 10

The Art Of Life: Interestingly heavy guitar parts open this track with some nice drums backing it. The verses are quite dissonant and feature some bizarre vocals and guitar riffs. The chorus is slower with more melodic vocals dominating yet retaining the strange sounds and spoken vocals here and there. It is unique though maybe a little too strange for its own good...
7 out of 10

Doin' Fine: You know, these last two tracks seem to have a slight Alice In Chains influence. Makes sense as DeGarmo played guitar on the AIC guitarist's second solo album. The album closes out with a final ballad. The verses are more laid back and the choruses are louder and uplifting. The riffs are interesting and there is a nice bass presence here and there.
7 out of 10

Overall, the album gets 77 out of 100, 77%, and 3.5 stars. While the album certainly has its good songs, I think that it may be a little soft for its own good and is rather bland at times. I suppose it's good for those lazy Sunday afternoons or if you feel like listening to something rather mellow in general...

Low (Testament)

It's not very often when an old 80's thrash metal band actually gets heavier as time goes on. After the commercial failure known as "The Ritual" and the departures of guitarist Alex Skolnick and drummer Louie Clemente, Testament decided to make their sound even heavier than before and take it into an almost death metal direction. The guitar twin duo of Eric Peterson and newcomer James Murphy is heavier and vocalist Chuck Billy also began experimenting with a deeper roar around this time. This is also the only Testament album to feature White Zombie/Exodus drummer and is also the last album (as of 2007) to feature longtime bassist Greg Christian. All in all, it's probably the best Testament record since "The New Order,"

Low: Previous albums have begun with a bit of guitar wankery before the actual opening song comes in; this album is WAY different... This song begins with some heavy guitar harmonies in its atmosphere and a deep growl from Billy. The verses go at a slightly mid-tempo pace, the pre-chorus picks up speed and catchiness, and the chorus is slow but extremely powerful. The solo section is a little more mellow at times and features some neat melodies. Perhaps the best and memorable track on the album.
10 out of 10

Legions (In Hiding): A dark, mid-tempo track follows the impressive opener. It begins with some booming guitar chords that fade into some mid-tempo verses and slow choruses. The lyrics deal with the frustration of living in a broken home. It's a little basic in structure but it's still a great track.
8 out of 10

Hail Mary: This track begins in a similar fashion with some molten guitar melodies roaring before the faster verses come in. The chorus is yet another slow one but is still nice. Seems to be slightly filler-ish but it's still good.
8 out of 10

Trail Of Tears: Every Testament album since "Practice What You Preach" seems to have a ballad track and this is no exception. In fact, this is probably the best one the band has ever written. It begins with some soft, forboding guitar melodies that carry on into the verses, which feature the softer side of Billy's vocals and feature some cool patterns. The chorus is one of those heavy, dramatic ones that is full of emotion and passion and the solo section features some beautifully played melodies throughout. Don't worry, it's not as cliched as it sounds and it is easily an album highlight. The lyrics portray the hardships faced by Native Americans through American history. What makes this song unique is that Chuck Billy is actually of Native American descent...
9 out of 10

Shades Of War: We now go back to the heaviness with the opening chugs of this track. The verses go at a mid-tempo pace but eventually pick up speed and the chorus goes at a heavier pace and is kinda catchy. It's another slightly average track but it's still pretty nice.
8 out of 10

P. C.: Some interesting sound effects and distorted riffs open this mid-tempo track on quite a strange note. The chorus is another one of the faster ones and kinda sounds like the pre-chorus from "Low." The solo section is probably the best part of the song. The political ranting of the lyrics seem to be the song's biggest focus. A good track.
7 out of 10

Dog Faced Gods: Some powerful guitar riffs and powerful drumming opens this track on quite a strong note before the verses come in. The verses are a little slower but retain the introduction's heaviness and the chorus is insanely catchy. The focus of this song seems to be on the vocals, which go from a complete death grunt during the verses to Billy's trademark snarl during the chorus. The solo section is also notable for going into a different but entertaining direction and the lyrics do a splendid job of showing some violent Egyptian imagery. Another classic track.
10 out of 10

All I Could Bleed: This track continues the album at a faster and slightly dramatic style that sounds fit for a stadium (or a mosh pit). The verses and choruses feature riffs with an upbeat vibe to them and the vocals are quite catchy as well. The bridge changes the key a bit and goes into a heavy solo section. It seems to lack the depth of some of the other classic on here, but it's a great song all the same.
9 out of 10

Urotsukidoji: Now comes with the standard Testament instrumental; this one ranks among the band's most unusual tunes. It begins with some amusing voices that complement a neat little bass solo and some nice guitar riffs. The song also feature some dramatic guitar chords here and there, some awesome double bass drumming, and some neat solos. Definitely a neat addition.
8 out of 10

Chasing Fear: This track begins with some interesting guitar melodies and a cool bass riff in its introduction. The verses are more mid-tempo and the chorus goes at a faster and catchier pace. The solo section is unique for its solid bass presence and for including some pretty spacy sounding riffs before becoming faster and heavier. It feels typical at times, but the unique quirks the song has give it an extra point.
8 out of 10

Ride: A really catchy drum pattern begins the song and some neat riffs follow. The verses feature some catchy vocals that seem to be built around the drums and guitars. The chorus is another catchy one and the closing segment features some neat higher pitched riffs. Obviously, this song is another winner.
9 out of 10

Last Call: Like several other albums before it, this album closes out with a final instrumental (So it wasn't a Skolnick thing...). It is a softer tune that features some nifty guitar lines, some solid drum fills, and even a bit of bass in the mix, making it a solid closer.
7 out of 10

Overall, this album gets 101 out of 120, 84%, and 4 stars. It may have some fillers here and there, but I'd consider this to be one of Testament's best albums. I'd recommend it for fans of heavier bands and Testament fans disappointed by the band's previous few efforts. Given that I got my copy for $9.99, you should find this one at a pretty cheap price (That is, if you can find it...).

Wolfheart (Moonspell)

Moonspell is a band hailing from Portugal and this is their debut album, having come out in 1995. The band's sound can best be described as doom metal with some aesthetics taken from gothic and black metal. Fernando Ribeiro is a talented vocalist whose growls bring to mind Morbid Angel's David Vincent and whose singing voice reminds me of Type O Negative's Peter Steele. In terms of lyrics, the band makes use of themes relating to the supernatural and the erotic...

Wolfshade (A Werewolf's Masquerade): A few dark guitar melodies open the album before the rest of the band comes in with a few heavy mid-tempo riffs and Fernando's screams. The opening verse's vocals are delivered in a raspy growl before turning into a slightly restrained croon that is accompanied by some neat riffs, strong drumming, and some nice choral sounds in the background. The song also features some neat melodic segments that make nice use of excellent riffs and solos, great bass playing, and some sweet double bass drumming. A great way to open the album.
8 out of 10

Love Crimes: This song begins with some upbeat riffs and keyboards, sweet drumming, and catchy growls during the verses. The chorus goes at a slower pace but features some faster drumming and dramatic female vocals. The verses following the second chorus feature some neat growls and bass playing and some neat Iron Maiden-esque guitar harmonies. The segment following the song's final chorus is quite neat as well and features some dark keyboard patterns, almost tribal drumming, and softly spoken vocals.
8 out of 10

...Of Dream And Drama (Midnight Ride): Probably the most accessible song on the album and one of my personal favorites. It begins with a sweet guitar melody that is followed by a dark croon that soon turns into a Danzig-esque shout as the rest of the band comes in. The rest of the song has an almost hard rock vibe in its delivery. The chorus is quite catchy and the song features some neat vocals, strong riffs, and some neat drumming. Hmm... Kinda reminds me of Danzig's "Mother" here and there. I do like the keyboard/guitar soloing around the three minute and the song ends with a slightly humorous echoing of the song's title.
9 out of 10

Lua d'Inverno: Here we have your standard interlude. This one seems to be better than average, perhaps due to the sweet sounding woodwind instrument and the sweet guitar melodies. It may be short but it's a sweet little highlight. I do feel like it could've been so much more developed...
8 out of 10

Trebraruna: Now we come to an almost folk metal sounding tune that is sung entirely in Portugese. It begins with the sound of bagpipes and a neat drum pattern before some heavier guitar chords come in. The verses feature some catchy harmonizing guitars and vocals, some interesting handclaps here and there, strong drumming, nice bass playing, and the persisting bagpipes. Certainly a memorable and enjoyable addition to the album.
8 out of 10

Vampira: This dark tune begins with some eerie keyboards and soft vocals before the bass and drums come in. The song relies heavily on the dark atmosphere the keyboard present us with, some neat drum patterns, and the dark words spoken by Fernando. I will say that his purr just might send chills down your spine... The female vocals are quite sweet as well, as is the heavy section that comes in around the 2:30 mark.
9 out of 10

An Erotic Alchemy: The scream heard at the end of the previous song fades nicely into this tune, which begins with some creepy keyboards, drums, and bass playing. The opening verses have an uplifting yet dark feeling and feature some neat keyboards and guitar riffs. The song also makes healthy use of female vocals which add strongly to the song's atmosphere. The slower spoken segments and solo sections are pretty creepy as well.
8 out of 10

Alma Mater: The final song on the album opens strongly with some dissonant guitar melodies, nice bass and drums, and some black metal inspired vocal patterns in the verses. The chorus is worth a mention as it is delivered in Portugese by some strange sounding clean vocals. Quite a sweet way to close the album.
9 out of 10

Overall, this album gets 67 out of 80, 84%, and 4 stars. It might not exactly be a classic album but I think this album is highly enjoyable and is recommended for fans of the darker metal genres. Of course, the lyrics and vocals can be unintentionally tongue in cheek at times...

Damnation (Opeth)

As this album is quite a dramatic departure from the style Opeth is loved and loathed for, it probably isn't the best album to write my first Opeth review for. While the band is better known for its excessively long song lengths and its progressive death/doom metal tendencies, this album showcases a bleak, melancholic, and almost jazzy style influenced greatly by 70's prog bands such as Pink Floyd and Camel. It also reminds me of Porcupine Tree's style at some points. This shouldn't come as a surprise as PT bandleader Steven Wilson co-produced this album, played piano and keyboards, provided backing vocals, and even wrote the lyrics to "Death Whispered A Lullaby."

Windowpane: Some dreamy bass and guitar riffs accompanied by soft drumming open the tune and flow smoothly into the softer verses. The vocal melodies are quite beautiful and the verses include some sweet but simple accoustic riffs and I'm guessing is a mellotron. After the song's second solo section, we go to an even more mellow section that features more beautiful vocals and smooth bass playing and drumming. After the third solo section, we get to a bleaker section that features some very somber guitar harmonies before the song goes back to its original style with some nice choral effects thrown in. All in all, an amazing way to open the album.
10 out of 10

In My Time Of Need: Sweet sounding accoustic guitar melodies open the tune before the rhythm section and vocals come in. The vocals in the verses are delivered in a neat sounding staccato that is quite effective. The pre-chorus and chorus are quite pretty and feature some passionate vocals flowing smoothly with the accoustic riffs and synth sounding keyboards. The bridge continues in a similar fashion that is quite pretty. The song is also noteworthy for its simple but looming bass playing. It is rather hard for a bassist to be noticed when you're constantly surrounded by blast beats and grinding riffs...
9 out of 10

Death Whispered A Lullaby: As evidenced by the work done by Wilson, this song sounds like it could be something Porucpine Tree would do. Like the rest of the album, it is another mellow piece. The song's imagery kinda reminds me of a forest in the middle of winter. The verses feature some wonderful vocals accompanied by some sweet accoustics. The chorus brings in the rest of the band as vocalist Mikeal Akerfeldt sings the dark lyric "Sleep, my child." The solo section features some strange but effective segments that add to the song's uniqueness.
10 out of 10

Closure: This song opens right away with some interesting vocals and accoustic guitar playing. The vocals go from beeing delivered in a slightly awkward but unique fashion to having some interesting effects put upon them. The song's solo section is mildly heavy but still retains that relaxing atmosphere. The final verses goes back to the song's original style but also makes use of some neat vocal harmonies and the following solo section features some almost tribal sounds. Not as classic as the three opening tracks but still pretty nice.
7 out of 10

Hope Leaves: This song begins interestingly as the previous tune ends abruptly. It begins similarly to the other tracks though Akerfeldt hits some higher notes than usual. The song features some strong bass playing and sweet sounding guitar melodies. The chorus is a pretty one with some lovely vocal layering. The solo section is made unique by some static that occurs here and there.
7 out of 10

To Rid The Disease: This song begins with a unusual but amazing guitar chord progression that is soon joined by some dark vocals, occasional bass drum pounds, and subtle keyboards. The chorus is another nice one and was taken from the song "Mordet I Grotten" from Akerfeldt's side project Sorskogen. The piano bit around the 4 minute mark is very elegant and extremely dazzling. All in all, it's another one of my favorites though the first three tracks are certainly better.
10 out of 10

Ending Credits: Now we are treated to a neat little instrumental. The song is a bit brief (around 3:40) but features some nice bass playing, neat percussion, and plenty of beautiful guitar solos.
7 out of 10

Weakness: The album ends with a neat sounding keyboard introduction feature some slightly distorted vocals come in with some soft guitar parts. Definitely a creepy way to end the album.
7 out of 10

Overall, this album gets 67 out of 80, 84%, and 4 stars. Some of the songs have potential to be major growers and this is easily the most unique Opeth album out there. It's a most excellent way to entice fans of softer music into the metal scene and is a great buy for open minded metalheads. Of course, it makes a terrible representation of what the rest of the band's catalog sounds like...

Human (Death)

On this album, Death completes their transformation from a raw band obsessed with gore and murder to a band with a more progressive style that focuses more on deeper topics in their lyrics. This is the first album to feature bassist Steve DiGiorgio and is also the only release to feature guitarist Paul Masvidal and drummer Sean Reinert, both of Cynic. The album also has an almost mechanical tone and is regarded by many fans to be the band's best.

Flattening Of Emotions: A strong drum beat fades in first and is then joined by a nice grinding riff in the introduction. The verses and pre-choruses are delivered quickly and heavily with some interesting vocal patterns. The chorus is a subtle one featuring some nice lead guitar playing and some almost catchy vocals. The solo section features plenty of melodic leads sprinkled on top of the grinding riffs. A solid opener.
9 out of 10

Suicide Machine: This song opens with some catchy harmonized guitar playing and double bass drumming before going into the song's equally catchy verses. The pre-choruses are slower and feature some nice melodic riffs. The chorus has a absolutely crushing main riff and catchy riffs. The song's bridge is darkly delivered and goes fades nicely into the song's solo section. The lyrics on this one are well written and seem to be about involuntary military service or something along those lines. Probably my favorite track on the album.
10 out of 10

Together As One: Another drum fill begins the song and fades into the fast paced introducton and verses. The pre-chorus is equally heavy and goes at a slower and more sinister pace. The chorus is similar in delivery but has some nice leads in the background. The bridge goes at a slower pace before going into the aggressive solo section and second verse. The lyrics are quite cryptic and seem to deal with a couple that is controversial in the eyes of onlookers (perhaps a nod to society's general intolerance for homosexuality?).
8 out of 10

Secret Face: Melodic riffs and strong drumming open this track and remain during the fast paced verses. The pre-chorus features some trippy sounding effects in the riffs and the chorus is memorable. The solo section is a slower one at first and also has some dramatic sounding leads and solos. My interpretation of this song's lyrics are that it is about the superficial nature of some people.
8 out of 10

Lack Of Comprehension: I believe this song actually got a few plays on MTV's "Headbanger's Ball" back in the day, making this song the closest thing the band has to a hit. It begins with some slow and spacy riffs and some subtle bass in its introduction. The verses are fast paced and feature some catchy but aggressive vocals going against the equally aggressive guitar playing. The pre-chorus goes even faster and the chorus is an extremely powerful one. This song's solo section is another dramatic one and has plenty of amazing sequences. I have no idea what the lyrics are about, but they do some very smart lines.
10 out of 10

See Through Dreams: Here we have another track that starts out with a fast paced riff, strong drumming, and some interesting vocals. The pre-chorus goes at a slower but still heavy pace and also feature some melodic bits, which carry on strongly into the heavy chorus and solo section. The song's bridge is another mid-tempo grinder and feature some deeply growled vocals. The lyrics on this one are easily the best on the album and are some of the most powerful vocalist/guitarist Chuck Schuldiner ever wrote. They deal with a blind speaker who uses dreams to determine what the world around him looks like. The bridge's lyrics are extremely powerful ("Close your eyes and imagine to be without what we take for granted every time we open our eyes.")
9 out of 10

Cosmic Sea: The album's instrumental comes in smoothly merging with the scream heard at the end of "See Through Dreams." This song is a more melodic one and features a very spacy atmopshere and neat riffs and solos. The song also features a healthy amount of bass and even has a nifty bass solo thrown in there as well. I also dig the effects that creep into the song around the two minute mark that lead into the aformentioned bass solo and the heavier ensuing riffs.
9 out of 10

Vacant Planets: The spaciness continues and also throws some nifty double bass drumming in the mix during the introduction and verses. The vocal patterns are interesting as well. The pre-chorus is another fast paced one and the chorus features some neat riffs. The solo section is an excellent one and features some spacy sounding guitar harmonizing. I think it may be the weakest track but I do enjoy it quite a bit.
8 out of 10

Overall, this album 71 gets out of 80, 89%, and 4 stars. I'd say this album is pretty damn amazing though I'm not sure if this is the band's best album (I have a major soft spot for "The Sound Of Perseverance"). The album's only major flaw is its less than desirable production, as it almost totally drowns out the bass and makes the album harder to get into. Recommended for fans of extreme metal who want to hear something that will make them think while it's bashing their brains in.

Nevermore's Best To Worst

1) Dreaming Neon Black (88%)
2) The Politics of Esctasy (86%)
3) Dead Heart In A Dead World (86%)
4) This Godless Endeavor (86%)
5) Nevermore (84%)
6) Enemies Of Reality (83%)
7) In Memory (82%)

In Memory (Nevermore)

This EP is easily Nevermore's most obscure album and was originally released in the time span between their debut album and the monstrously heavy "The Politics Of Ecstasy." In terms of its musical content, it has similar aesthetics to the debut but shows the band coming out with some advanced songwriting.

Optimist or Pessimist: The EP opens with a powerfully straightforward thrasher. Its introduction is brief but features some pummeling riffs and some nice double bass flourishes and bass thumps. The verses and the pre-chorus continue in the same fashion with some erratic vocals thrown into the mix. The chorus is insanely catchy and also some really smart lyrics delivered. The bridge and the solo section on this one is memorable and has some nice melodic bits going with some smooth guitar and bass playing. A solid opening track.
9 out of 10

Matricide: I'm not sure if this song would be classified as a ballad as it features an equal balance of heavy and soft elements. The introduction starts off with some slow but heavy riffs with some nice drumming thrown in. The following verses feature some softer riffs, neat bass, and some darkly delivered vocals. The chorus is another powerful one and features some uplifting riffs and moving vocals. The lyrics describe the destruction of the earth and are written quite intelligently (though it gets a little preachy here and there...).
9 out of 10

In Memory: Now we come a dramatic seven minute epic track. It starts off with a softer riff that would soon become a Nevermore trademark (see "The Learning" and "The Lotus Eaters") and soft and passionate vocals. The following verses are heavier and the chorus is another uplifting one. The solo section is nice and feature some nice harmonies and some strong bass playing in the background. I consider it to be a good song although it's still growing on me.
7 out of 10

Silent Hedges/Double Dare: It's not very often when Nevermore performs cover tunes. This track is a medley of two songs originally recorded by Bauhaus. It begins with a spooky sounding riff and some mysterious vocals leading into some heavier guitar and bass riffs and some solid drumming. Eventually, the drums get faster, the riffs are heavier, the bass gets a few chances to shine, and vocalist Warrel Dane delivers a dark and clever lyric: "I dare you to be real." After that, we get some strong bass playing and some nice vocal patterns before ending with a heavier version of the song's second verse. A more unusual number but enjoyable.
7 out of 10

The Sorrowed Man: The EP closes out with a softer ballad track that kinda sounds like a more dramatic version of something Alice In Chains would be. It starts off with a sweet accoustic riff that is accompanied by some interesting guitar squeals. The verses and choruses are soft and feature a sense of foreboding in the atmosphere. The guitar solo on this one is quite strong as well.
9 out of 10

Overall, this EP gets 41 out of 50, 82%, and 4 stars. While I prefer the full-length albums more, this is a solid and inexpensive buy for fans of the band. Hell, I only bought it for around $5 on iTunes.

The Ritual (Testament)

For their follow-up to 1990's "Souls Of Black," Testament began slowing their tempos down and attempted to create an even more accessible sound in the vein of such releases as Megadeth's "Countdown To Extinction" and Metallica's "The Black Album." Unfortunately, the band didn't quite have the songwriting skills to pull it off smoothly and the album does feel rather forced at times and has a choppy consistency. The album is also noteworthy for being the last one to feature drummer Louie Clemente and guitar hero Alex Skolnick, bringing an end to the band's classic lineup (although Skolnick came back to the band a few years back...).

Sign Of Chaos: Like SOB before it, this album starts with a brief guitar instrumental before the album really starts. It sounds neat and demonstrates some awesome soloing but it is essentially filler. Still good though.
7 out of 10

Electric Crown: Now we get to the real album opener and I will say that this is the best track on the album. Its introduction starts off smoothly with some strong guitar chords and a few sweet bass thumps before the verses come in. The verses and pre-choruses are very catchy and feature some upbeat riffs, a nice energetic pace, and great sounding vocals. The chorus is equally catchy and sees vocalist Chuck Billy going into a higher register here and there. Is it any wonder that this song is the most well known on the album?
10 out of 10

So Many Lies: Things slow down to a groovy mid-tempo pace with this song. The introduction starts off with some nice guitar riffs and a few nice drum fills before the leads begin to appear in the background. The verses continue in a similar fashion and the vocal patterns are memorable. The chorus isn't a catchy one but it is quite memorable. The solo section is pretty nice and the samples thrown in towards the end make the song unique.
9 out of 10

Let Go Of My World: This song begins with a nice bass crawl and some neat leads before the rhythm guitar come in and we go into the verses. The verses feature some interesting vocals and the chorus is another one that is not exactly catchy but is pretty memorable.
7 out of 10

The Ritual: The mid-tempo pace now turns into a slower song that sounds like it could be doom metal (Now that I think about, it kinda reminds me of something Alice In Chains would do...). It starts off great with some softer guitar playing and some nice laughter in the background. The verses are softer and have softer vocals going with the softer riffs and the chorus is louder and features some heavier riffs and vocals. It is an eerie tone and sounds cool at first but it gets a bit repetitive and could've used a bit more energy.
7 out of 10

Deadline: We now return to a mid-tempo pace with this tune. As the album goes, it is another slightly average tune but solid. The vocal harmonies throughout are pretty nice.
6 out of 10

As The Seasons Gray: The introduction is another nice one before settling back into the mid-tempo verses. I find the song to be similar to "Let Go Of My World" during the verses and the choruses are really strange sounding but effective.
6 out of 10

Agony: This song is probably the closest you will get to hearing thrash on this album. It starts off with a promising growl and some neat riffs before the mid-tempo verses come back. I do like the chorus of this tune as it features some catchy vocals and some nice riffs. The lyrics deal with prisoners of war. Still a more average track but certainly an improvement from the last two tracks.
7 out of 10

The Sermon: This song begins dramatically with some harmonic riffs and some sweet drums before the verses come in. The mid-tempo pace comes back in (at this point, how many songs on here are actually fast?) during the verses but it is done with good taste. The lyrics continue the political theme and have some neat lines ("KKK or CIA, they are one in all the same").
7 out of 10

Return To Serenity: Bringing in a splendid change of pace is the album's mandatory ballad. It begins with some dark and majestic guitar harmonies and some dramatic sounding bass riffs before going into the slower verses. The vocals are softer than the rest of the album (now that's saying something...) and are quite mellow and passionate. The chorus features some neat harmonizing vocals and some trippy sounding bass/guitar riffs. The solo section is quite beautiful. I'd consider this song to be one of the band's best ballads though it needs a bit more emotion before it becomes a 10.
9 out of 10

Troubled Dreams: The album ends with a more aggressive tune, especially when it's coming out of a trippy ballad. The riffs are heavy and the drums get their chance to provide some strong fills. The verses are interesting and the chorus is a pretty catchy one. The lyrics are also nice and describe the thoughts of a nomad. A good way to end the album.
7 out of 10

Overall, this album gets 82 out of 110, 75%, and 3.5 stars. This album certainly has its share of good songs, but it also has feelings of laziness in its delivery. It can be a little inconsistent at times and remains to be one of the band's weaker albums. Fortunately, Testament would soon re-raise the bar with the following album...

Once (Nightwish)

While Nightwish has always been successful in their native Finland, this album got the band out of the underground and into the collective thoughts of the mainstream worldwide. In terms of music, this album delves deeply into everything that was merely hinted at in "Century Child." The symphonic elements are emphasized even further and I believe this is the same orchestra used in the "Lord Of The Rings" movies. The guitar tone sounds almost nothing like their previous albums and has been compared to bands such as Rammstein. Also worth noting is the further streamlining of vocalist Tarja Turunen's style and more emphasizing on bassist Marco Hietala's voice. Thankfully, the songwriting saves the album from a ghastly fate...

Dark Chest Of Wonders: After a brief sentence is spoken with some nice synths in the background, the guitars come in with a bang and are soon complemented by some neat sounding orchestrations, bass, and keyboards. The verses continue the orchestral fury as the lyrics are sung by both Tarja and a backing choir that adds for powerful effects. The chorus is a strong, uplifting one with sweet vocal melodies and some nice drums and riffs. The bridge goes at a slower pace and features some ploddier riffs and squeals, more operatic vocals, and some neat parts played by the orchestra before going to the song's final chorus.
9 out of 10

Wish I Had An Angel: This song has proven to be the song's controversial track, mostly due to its stop-start riffing and almost techno atmosphere. The verses are a little softer, focusing more on the vocals, but have the subtle chugs in the background. Both Marco and Tarja have spots in the chorus and both provide a unique, catchy touch to the tune. The bridge is also unique as it goes from Marco's harsher yells to Tarja's more melodic style. Overall, it's a little goofy but it's quite catchy as well...
9 out of 10

Nemo: Probably the album's most famous song and the album's first ballad. It starts out sweet with a cutesy keyboard melody before the harsher riffs come in. The verses are soft and feature some nice basslines, subtle drumming, and a passionate performance by Tarja. The chorus on this one is quite neat and has a strong amount of emotion in its delivery. The song is noteworthy for being one of the few to have an honest to god solo section. It may be simple and dominated by the orchestra, but I suppose it's something and leads nicely into the song's bridge and final chorus. It feels a little commercial (unsurprisingly) but is a great track. No, it's not about the fish...
10 out of 10

Planet Hell: A dark choir, some subtle drums, and some equally dark orchestrations lead the way into what is probably the heaviest track on the album. The verses feature some pummeling riffs and alternate between Marco's harsh vocal delivery and Tarja's angelic calls (Perhaps musically symbolic of Heaven and Hell...). The chorus is also heavy and makes use of the backing choir. The bridge features some harsher vocals delivering a dark sentence before we go into a sweet sounding keyboard solo accompanied by some muscular riffing.
8 out of 10

Creek Mary's Blood: As evidenced by such songs as "Indians" by Anthrax and "Run To The Hills" by Iron Maiden, metalheads have quite a fascination with Native American folklore. Quite interesting to see a Finnish band interpret it...
The song begins with some interesting chanting, Native American flute sounds, and some nice strings in its introduction. The first two verses and the first chorus make passionate use of some accoustic guitars, moving vocals, and some atmospheric strings in the background. The song gets heavier as the second chorus becomes infected with some heavier riffs. After that, we get to hear some nice military drumming, a bit more flute, and soft strings before going into the song's guitar solo. The atmosphere builds up with more chanting, strong strings, and some nice percussion before the song gets heavier again with some beefy riffs and chanting wails. The song's final verse is soft like the ones beforehand before going into the final chorus. But wait, the song doesn't end there! The last minute or so of the song consists of guest musician John Two-Hawks delivering a poem in his native tongue as he is backed by some neat strings and Native American instruments. It is a really neat song though I feel it may be rather pretentious at times. It is good to fall asleep to though...
8 out of 10

The Siren: Strong strings, great bass playing, and erratic guitar playing open this mysterious track with a smooth start. The verses are pretty neat as they feature Tarja playing the role of the Siren quite beautifully with some powerful bass backing her. Marco delivers the lyrics of the chorus mournfully as Tarja soars overhead angelically. The interludes are quite neat as well. It is another great song though I feel that it could've been structured a bit more...
8 out of 10

Dead Gardens: Some static filled keyboards, bass chords, and interesting riffs open this song strongly. The verses are interestingly sequenced and feature some neat vocal patterns. The song's pre-chorus and chorus are also pretty neat and feature some nice vocal harmonies and solid riffs. The spoken bridge is quite strange as well.
7 out of 10

Romanticide: One of the heavier tracks that begins with some heavier riffs, bass, and vocals. The verses are similar to "Dead Gardens" though they are angrier in their delivery. This is especially noted in the powerful pre-chorus. The chorus is nice though a little cringeworthy in its delivery. One could just imagine one of those crappy screaming bands performing it, especially in the breakdown sequence and the heavier closing verses (though I suppose they are pretty neat). Not to mention the title sounds like a damn HIM song...
7 out of 10

Ghost Love Score: Now we come to the album's second epic, this one being a 10 minute monster. It begins with some great sounding strings and some amazing choral vocals before the riffs come in. The verses are softer with their melodic vocals and strong bass. The chorus feature a choir delivering the powerful lyrics as Tarja majestically soars above them. After the second chorus, a few softer verses follow as the vocals retain their power and are joined by the strong bass, a bit of piano, and the always lurking strings. A sweet but simple solo follows and fades into some soft orchestrations. Some heavier verses come crashing in with some powerful vocals, strong riffs, darker strings, and a powerful choir and the song thus ends with some last repetitions of the song's strong chorus.
8 out of 10

Kuolema Tekee Taiteilijan: Following the monstrously epic track is a soft ballad that is sung entirely in Finnish. The song is a little directionless and focuses strongly on the piano bits, the softer strings, and Tarja's beautiful sounding vocals. I believe the title translates to "Death Makes An Artist." Beautiful though slightly filler-ish.
7 out of 10

Higher Than Hope: The album closes out with a final ballad. It begins with some sweet accoustic guitar playing and some softer vocals and the pre-chorus follows suit (Hmm... Kinda sounds like "Creek Mary's Blood"...). The chorus is a heavy and powerful one that seems to come out of nowhere. The song's bridge is interesting as it features a few interesting samples wrapped around the song's riffs and strings. A sweet way to close the album out.
7 out of 10

Overall, the album gets 88 out of 110, 80%, and 4 stars. Overall, the album is a little inconsistent but it's also pretty accessible and full of variety. Recommended for Nightwish fans and people who are getting tired of Evanescence...

The Living Dead (Paul Di'Anno)

Of all of the Iron Maiden singers who have launched solo careers, vocalist Paul Di'Anno's is easily the most underrated. Ironically, this album is actually a re-release of his 2000 album "Nomad" that finally got distribution here in the United States. His voice seems to have changed over the years, going from the punk edged snarl found in Maiden's first two albums to a harsher growl that brings to mind bands such as Pantera. The music itself is also heavier to follow suit although there are some melodic flourishes here and there. Also interesting are the lyrics, as the album's recurring theme seems to be the state of the world today.

The Living Dead: The album begins with a track that is slow, emotional, and goes into ballad territory in some spots. It begins quite softly with some mournful accoustic guitar melodies, a bit of bass, and some soft and grieving vocals. A few heavy chords send the song into its powerful pre-chorus and passionate chorus. Di'Anno sounds a little strained at times but his performance is full of emotion. The song is also complemented by some strong riffs, solid drumming, and sweet synths in the background. The lyrics also add strongly to the song and provide some bleak, nomadic imagery.
10 out of 10

Mad Man In The Attic: After a nice drum solo at the beginning, we get to hear some chugging riffs, strong drumming, and some vocals that go from rasps to growls. The chorus isn't the catchiest around but it is memorable and fits the song well. The bridge goes at a nice mid-tempo pace and features some strange vocal layering. The lyrics describe a speaker who longs to escape from the current state of the world. I just noticed a double error in the lyric "I won't ever not forget." Was that intentional?
9 out of 10

War Machine: The carnage continues with some solid riffs, strong drumming, and aggressive vocals in the verses. The chorus is another solid one. It's a good track though not one to write home about. The long note Di'Anno sings towards the end of the song is pretty neat.
7 out of 10

Brothers Of The Tomb: A beefier riff and some nice drums open this tune. The verses continue in similar fashion and the vocals are sequenced interestingly. The chorus is unique as the vocals alternate between anthem chants and higher pitched squeals. Another good song.
8 out of 10

P. O. V. 2005: We now get to another paced track that is a re-recorded version of "P. O. V. 2000" from "Nomad." It is a good song with strong riffs, great drumming, aggressive vocals, and some neat gang vocals during the chorus. The song's lyrics deal with the events of World War II and the Nazi regime, one of metal's favorite topics. Unfortunately, the song suffers from slightly immature lyrics ("Fuck you and your point of view!").
7 out of 10

Nomad: Now a longer epic track plays after some faster numbers. It starts off smoothly with a sweet bass riff, soft guitar leads, emotional vocals, and solid drums in the opening verse. The song's verses have a somber tone and feature some nice riffs and cool drums. The chorus is one of the album's catchier tunes and featuring some nice vocal trade-offs. The solo section is another neat one as it revists the song's beginning and also features some neat harmonies.
9 out of 10

S. A. T. A.N.: This is another fast tune, though it's a bit more distinct than the others on here. It begins with a few dramatic chords, a few neat growls, and some chugging in its introduction. The verses carry on with the chugs and feature some almost sarcastic sounding vocals that fit the lyrics well. The spelling of the song's title kinda gives the song a goofier, almost country aspect to the song. The solo section is pretty great on this one; I'd say this song is one of the album's bigger highlights.
9 out of 10

Cold World: Another fast paced track opens this track with more great riffs and drumming and some interesting vocal lines. The chorus is pretty neat and has more cool trade-offs. A good track though another one of those songs that doesn't really stand out that much...
7 out of 10

Do Or Die: For some reason, this song sounds almost exactly like "S. A. T. A. N." during the verses. The chorus are pretty unique though so I suppose that keeps it from being a 7 or 6.
7 out of 10

Dog Dead: This song begins with a similar sounding riff to most of the album's other songs but the drumming gives this song a bit of a unique style. The verses are solid and the chorus is pretty catchy. The breakdown during the bridge is quite interesting and even includes a little bass in the mix.
7 out of 10

Symphony Of Destruction: Closing the album out is a cover of the popular Megadeth song of the same name. I'm not sure if Di'Anno's vocal style fits the song well, particularly during the chorus, but he does give a nice performance. In contrast, the riffs are played perfectly and sound almost exactly like the original. The song also features plenty of cool solos and the ones during the last minute of the song are quite nice.
8 out of 10

Overall, this album gets 88 out of 110, 80%, and 4 stars. On the whole, the album is mostly an average one but certainly its share of great tracks. It's worth tracking down for fans of Maiden and of more modern metal (well, modern as in 90's Pantera type of stuff...)

Metal Church (Metal Church)

Metal Church is but one of the many thrash bands that made a strong impact in the mid-80's metal scene. Like many of the band's other releases, this one focuses greatly on the guitar playing of Kurdt Vanderhoof and Craig Wells and the often screeching wails of vocalist David Wayne. This album in particular also puts the spotlight on drummer Kirk Arrington, who constantly provides the songs with stunning fills and plenty of double bass. In short, it's probably the band's best album.

Beyond The Black: The song begins with some strange sounding vocals delivered over some neat accoustic harmonies and some soft drum patterns. After that, the accoustic pluckings turn to electric wails and the drumming turns to a heavier sound as some sweet sounding bass carries on in the background. The verses continue in the similar fashion and the chorus is brief but uplifting. The solo sections features both heavier riffs and softer sequences similar to the introduction. The bridge goes at a faster and heavier pace and features some great drumming and a healthy amount of screams. The lyrics provide imagery related to the aftermath of a great war. All in all, a great opener.
8 out of 10

Metal Church: Some sound effects of wind and a few drum fills open this tune before the riffs, bass, and Wayne's evil laughter come in. The verses go at a mid-tempo pace but feature some fast harmonizing and the chorus continues the same. The solo sections are full of great harmonies that give the song a Maidenesque atmosphere. The song's dark atmosphere also brings to mind the aesthetics of Black Sabbath.
8 out of 10

Merciless Onslaught: With this instrumental, the album goes into a faster direction. The song features plenty of twists and turns in its riffs and structure, but it is mostly made memorable by its impressive drumming. After hearing songs like this, I can't help but feel that they really downplayed his role in the band on their follow-up material. Tis a great song though...
9 out of 10

Gods Of Wrath: After the "Merciless Onslaught" of the last song (pun intended...), we go to a dark ballad. The song begins with some soft guitar riffs, some nice bass, and some unusually soft and passionate vocals by Wayne. Of course, the following verses go at a faster pace and gain a little heaviness in the process. Fortunately, the emotional aspects are retained and add to the song's power. The shrieking during the chorus is particularly strong and the solo sections are quite strong as well. Overall, an excellent track that serves as a nice preparation for future tracks such as "Watch The Children Pray."
9 out of 10

Hitman: Now comes a faster track that has an almost hard rock flavor that brings to mind bands such as Motorhead and AC/DC. The verses are rapidly delivered and feature vocals full of sarcastic venom, great bass playing, and awesome riffs. The chorus is a catchy and memorable one due to Wayne's wails of "It was you." The lyrics are fun but self explanatory...
9 out of 10

In The Blood: The hard rock flavor continues on this track, mostly in the riff department. The verses and pre-chorus are a bit more dissonant than the rest of the album and feature some good riffs, howling vocals, and plenty of drum fills. A good song though probably the weakest on the album. The lyrics are also silly in some spots ("Everyone wants a piece of your ass")...
7 out of 10

(My Favorite) Nightmare: We now go to an even faster track that starts off with some great riffage and some catchy sounding percussion. The verses are also great and feature the continuing riffs and some rapidly delivered vocals. I especially enjoy the last verse as it consists as some extremely fast vocals accompanied only by the pounding drums and the bass. The screaming at the end of the song is also done with good taste, as is the song's solo section.
9 out of 10

Battalions: This just might be my favorite track on the album. It starts off with some Motorhead inspired twin guitar riffs, some nice bass, and great drumming. The verses are fast paced, the pre-chorus features some excellent backing vocals, and the chorus is an awesome one and features the best vocals Wayne has ever recorded. The solo section is also great as it features more awesome harmonies, excellent drumming, and strong bass. The lyrics describe a military invasion upon innocents, perhaps paving the way for the lyrics found on "Beyond The Black."
9 out of 10

Highway Star: The song closes out with a cover of the famous Deep Purple song. It goes at a significently faster pace than the original and also features some catchy vocals, fast riffs, and excellent drumming. Of course, it's nowhere near the original but it's a great homage.
9 out of 10

Overall, this album gets 77 out of 90, 86%, and 4 stars. It's an excellent album to get and is probably one of the top thrash metal albums out there. Recommended for old school fans who don't have it and for newer fans who want to hear some stuff that REALLY kicks ass. The only flaws I'd say the album has are its slightly dated sound and a poor distribution (of course, what metal band doesn't have that problem?).

Circle Of Snakes (Danzig)

As of 2007, this is the most recent album released by the ever-popular Danzig (not counting "The Lost Tracks Of Danzig" released this year). The style shown on this album is a continuation of the more straight forward style shown on the previously released "I Luciferi." It does have a strong amount of melancholic touches, perhaps due to vocalist Glenn Danzig's slightly withered sounding vocals. In standard Danzig fashion, the lyrics deal with the standard horror/occult themes though they are based on atmopsheric touches than ever before. The album is most noteworthy for being the only Danzig release to feature Prong guitarist Tommy Victor (who also appeared on Ministry's "Rio Grande Blood."), whose simple but catchy riffs are placed front and center in the sound of this record...

Wotan's Procession: Like "I Luciferi" before it, "Circle Of Snakes" starts off with a nice, dramatic, and brief instrumental. The song is mostly centered around its dramatic main riff but also has a nice harmonizing bass crawl and some choral vocals that add to the song's eerie atmosphere. Pretty solid I'd say.
8 out of 10

Skincarver: After the dramatic opening, we go straight into the bowels of Hell with this slow, mid-tempo number. The verses and pre-chorus are made memorable by the sinister riffs, occasional double bass drumming, and the soft but sinister vocals. The chorus features some dark whispers from Danzig, a few neat guitar squeals, and more strong drumming. The solo section goes in a more energetic direction and features some great guitar harmonizing before going into the song's final chorus.
9 out of 10

Circle Of Snakes: This song starts off strongly with its infectious main riff and goes into its slower paced verses and pre-choruses. The vocal harmonies are quite strong and add nicely to the song's flow. The chorus on this one is a really catchy one and makes use of some catchy vocals and a revisiting of the song's introduction riff. The lyrics have a slightly kinky tone to them that I find amusing. The song is a fun and easy song to play on bass guitar (only two riffs to learn...). The solo section could afford to be longer though...
9 out of 10

1000 Devils Reign: Now here's where the album really gets catchy. We are greeted with a catchy drum beat that goes greatly with the song's main riff. The verses continue with this pattern but add in some neat vocals and a few guitar squeals in the background. The chorus is also catchy and mildly heavier as well. The solo section has a nice grind though it is a little short as well. Then again, Danzig was never exactly a solos type of band...
9 out of 10

Skull Forrest: An entirely different song follows the upbeat "1000 Devils Reign." Here we have a doomy, depressing number that conjures very ghastly imagery in its lyrics. The guitar harmonizing in the introduction and verses is soft and dark and goes nicely with the bleak vocals and driving drums. The chorus retains the melancholy though it seems almost uplifting in a way. A great song though the band has had more depressing numbers (essentially anything from "Danzig 4...")
9 out of 10

Hellmask: Danzig does speed metal? Well, it certainly makes for a great number. The riffs on this one are powerful and played in a rather interesting key. In a way similar to "Skincarver," the drumming has some nice double bass flourishes here and there. Danzig's voice sounds a little strained during the verses and choruses but the loud whispering (if there is such a thing...) at the end of the song is nicely done. The solos throughout the song are quite nice as well.
8 out of 10

When We Were Dead: This song is another melancholic, mid-tempo tune that begins with a heavy but bleak riff. The verses are a little softer with some softer riff textures and more mournful vocals. The chorus is a little louder but retains the atmosphere. It's a neat track but "Skull Forrest" is slightly ahead.
7 out of 10

Night, Besodom: In the vein of such songs as "Kiss The Skull" and "Bodies," we get a grinding anthem of a tune. It starts out with a slow and dramatic riff that then proceeds to go at a strong pace for the verses. The vocals are nicely delivered and the chant-whisper trade-off during the chorus are done with good taste. The drumming is also nicely done on this chorus. Even the bass gets a chance to shine on this track, providing with a nice foundation and even a neat little solo during the bridge.
8 out of 10

My Darkness: This song begins with an Eastern sounding melody before going into the slower but heavy start-stop sounding riffs that occur during the refrain. The vocals during the refrain but the softer vocals during the pre-chorus are pretty neat. The imagery conceived during the pre-chorus's lyrics provides some interesting imagery. A neat track though not much to write home about.
7 out of 10

Netherbound: The riffs that open the track are pretty neat and go at a nice pace as the drums carry on smoothly in the background. The riff during the verses is another grinder and the vocals are more of the slightly restrained howls. The chorus is similar to the one found on "Skull Forrest." Overall, it's a neat track but probably the weakest on the album...
7 out of 10

Black Angel, White Angel: Closing the album out is a neat track in the vein of "Hellmask," only this track is done a bit more dramatically. The introduction starts off with a neat sounding riff that fades smoothly into the subtle but effective verses. The vocals are delivered with passion and go great with the riffs. The pre-chorus is great and the chorus is another catchy one with some of the quickest vocals delivered on the album. The lyrics are quite interesting and seem to reference Danzig's favorite topic of the Cain and Abel myth ("Would you kill your brother?").
9 out of 10

Overall, this album gets 90 out of 110, 82%, and 4 stars. It's slightly out of the range of his classic material, but I find this one to be a worthy release for fans of the band. The main flaw I'd say the album has is the tendency for each song to have the exact same structure. Just don't listen to this and expect progressive epics...

Rio Grande Blood (Ministry)

Wow, this is certainly an unexpected release coming from the industrial metal giants. In fact, the only things that really make this qualify as industrial are the random samples and the huge amount of distortion that appear throughout the album. Instead, the album has a very strong thrash metal style and relies heavily on its heavy and hell riffs and solid songwriting. In terms of lyrics, this album is the second installment of the anti-Bush trilogy that started with "Houses Of The Mole" and ended this year with "The Last Sucker." Obviously, the album is extremely political and goes through topics such as the war in Iraq, conspiracies surrounding 9/11, and the way the United States is run...

Rio Grande Blood: The album begins right away with some amusing (and edited) samples of Bush speeches with some heavy chords in the background. After this introduction, we get to hear some sweet sounding drums, heavy riffs, and some aggressive screaming vocals. The chorus consists features more Bush samples after the screaming of the song's title. The song's bridge features more samples before going into the fast and relentless (though rather short) solo section. It may make one chuckle a little bit, but I can't help but feel bad for Bush...
9 out of 10

Senor Peligro: This song starts off strong with some heavy guitar riffs and strong drumming before going into the slightly mid-tempo verses. The vocal harmonies during said verse are quite catchy and the chorus goes at a fast and catchy pace. After the bridge, we go into a sweet sounding solo section which features another sample going into the wailing guitars. The lyrics are quite interesting on this one and deal with the current rift between Bush and the president of Venezuela.
9 out of 10

Gangreen: This song is a slower one and begins with a Marine figure making crazy ramblings backed by some nice riffs and a few military chants. The verses go at a mid-tempo and feature some strong riffs and higher pitched vocals. The chorus features some interesting sounds in the background as the riffs and vocals continue in a vein similar to the verses. The chants and solos also add on nicely and make the song an interesting one. The lyrics provide a most satirical look at the military mentality.
7 out of 10

Fear (Is Big Business): This tune begins with some electronic sound effects contrasting with the opening guitar harmonies, giving it a nice dramatic feel. The opening verse goes at a slower pace and the vocals sound a bit more hoarse than the proceeding songs. After that, the song goes into a faster pace with some sweet sounding drums and solid riffs. The following verses continue in the faster direction and also feature some rapidly delivered vocals. The chorus features some interesting vocals and a quick little sample. The solo section on this one is quite erratic and features plenty of great parts. The lyrics describe the paranoia felt by a speaker due to the extensive media coverage of the war.
7 out of 10

Lies Lies Lies: After a few brief samples, the song begins with a nice mid-tempo riff before going into the faster and almost upbeat verses. The pre-chorus is even more upbeat and features some catchy riffs and vocals. The chorus has an almost melodic feel to it and features some neat vocal harmonizing. The song's bridge goes at a mid-pace to deliver a few more samples. The lyrics to this one deal with the idea that terrorists weren't the only ones responsible for the attacks on 9/11...
9 out of 10

The Great Satan: Yet another sample occurs before we get some awesome riffs and great double bass drumming (though that seems to pretty much be a constant on this album...). The verses and choruses are very catchy and feature the strong riffs, drumming, and some gruff sounding vocals. Also amazing are the solos and showcase that strong thrash metal influence.
9 out of 10

Yellow Cake: With a nice drum pattern, crowd shouting, and another Bush sample, we start another great tune. The riffs on this one are pretty unique and are a bit higher pitched. The verses and chorus continue at the fast pace and feature some strong vocals going against the catchy riffs and drumming.
8 out of 10

Palestina: Sounds of static open the song before the riffs and drumming take over. The vocals during the chorus are kinda catchy. The chorus on this one is a bit more subtle but effective. A nice track though one of the album's weaker tracks. The track seems to be about a girl named Palestina who became a suicide bomber (women can be suicide bombers?).
7 out of 10

Ass Clown: I wonder if Office Space had anything to do with the writing of this tune...
I'd say that this just might be the best track on the album. It is memorable for featuring punk legend Jello Biafra providing several funny yet disturbing speeches throughout the song. I must say his laughter really creeps me out... The verses and choruses feature some excellent riffs and pitch harmonics and the vocals are particularly angry sounding. The pre-chorus features some higher pitched vocals before turning up the intensity for the chorus. The chorus is a lot of fun to sing along to as it consists of a yelling of the song's title. The solo section is another awesome one. The lyrics on this one are particularly hostile and violent as they deal with anger felt towards the leaders in Washington DC...
10 out of 10

Khyber Pass: The song ends with a dramatic, Eastern styled track. The song goes at a slower pace than the rest of the album and features a nice drum pattern, some slower riffs, and some interesting Eastern vocals. Around the three minute mark, the song gets heavier and features some lower and quite powerful sounding vocals. What little lyrics there are deal with the question of why the government still hasn't caught Osama Bin Laden after five years of searching (six, as of 2007...).
7 out of 10

Overall, this album gets 82 out of 100, 82%, and 4 stars. The album has a few hidden tracks after the album itself ends, but they're nothing to write home about (mostly consisting of more military rambling...). This album is not recommended for those who adamently support Bush and the war in Iraq. Even Bush haters may turned off by the slightly repetitive political themes and samples. Personally, I really don't care and enjoy the album for its actual songs. I'll tell you one thing: this album will look extremely dated when future generations check it out. I will say that this sure kicks the crap out of Green Day's political ramblings...

Leprosy (Death)

While this album is nowhere near as influential as the previously released "Scream Bloody Gore," it does show a bit of progression in the band's sound. The songwriting and style are still in the brtual death metal vein, but it appears to be a bit more focused than before. Also noteworthy are the slowly progressing lyrics. They are still filled to the brim with gory imagery and occasionally juvenile phrasing. Having said that, sme songs appear to be more thought out and hint at the way lyrics would be written on the band's later days...

Leprosy: Starting the album off is its most dramatic and probably greatest song. The song's introduction features some dark chords contrasting some eerie harmonzing with some bass and drumming in the background. We are then treated to a throaty yell by vocalist "Evil Chuck" Schuldiner with some nice double bass action added in. The verses are in the same style of the introduction except with vocals added in. The pre-chorus and chorus are delivered at a faster pace with some neat riffs thrown in between. The bridge is also neat and the solo section just screams Slayer worship. The lyrics aren't too hard to figure out and deal with the symptoms and suffering of those afflicted with leprosy (though it doesn't say anything about the colonies...).
10 out of 10

Born Dead: This song starts out strong with a great twin guitar attack, some nice bass, and sweet drumming. The verses continue with some erratic riffs and rapidly delivered vocals. The chorus is a bit dissonant and goes at an almost mid-tempo pace. The solo section is really great on this one and feature more neat harmonzing and some strong bass in the background. The vocals during the bridge are sequenced quite uniquely. As opposed to talking about gore, the lyrics speak of inevitable death in general.
7 out of 10

Forgotten Past: This might be my favorite track on the album. The drumming is great and the riffs are strong for both the introduction and verses. The vocals are catchy as well during the verses. The pre-chorus goes at an even faster pace and the chorus features some sweet sounding guitar chords and more catchy vocals. I find the lyrics on this one to be extremely intriguing as they deal with someone who does not know that their other side is a sadistic murderer.
9 out of 10

Left To Die: After a brief but unique guitar tidbit, we get to more thrashing and a high pitched shriek before the verses. The verses start out slower but get faster and heavier. The chorus is also fast paced and is quite nice as well. The bridge goes at a slower pace and features a nice riff before going into the song's solo section. The coughs made by Evil Chuck add to the atmosphere...
7 out of 10

Pull The Plug: This fan favorite begins some dark bass and guitar riffs, slower drums, and angry sounding vocals. The pre-chorus takes the song at a faster pace before the chorus slows things down again. The chorus is quite powerful in its catchiness and features a really great riff. As expected, the bridge goes at a faster pace and leads nicely into the dramatic sounding solo section. The lyrics bring to mind imagery similar to Metallica's "One," only without the intense emotional aspects.
8 out of 10

Open Casket: The song begins excellently with a really cool sounding riff, some dark chords in the background, and absolutely mindblowing drumming. The verses are fast paced and feature some strange sounding vocals with the intense drumming and riffs. The pre-chorus has slower riffs and vocals though the drumming keeps going. The chorus goes back to its faster pace quite nicely and the solo section is great as well. After an interesting bridge, we go to a bit that feature Evil Chuck screaming against the introduction's awesome riffs and drumming.
8 out of 10

Primitive Ways: Like the other songs, it is another fast paced tune. This one features some fast drumming, neat riffs, and the standard grunts. The chorus on this one is pretty unique. It feels a little average, but it's a good tune. The lyrics are interesting as they bring to mind tribal imagery similar to Exodus's "Pleasures Of The Flesh."
7 out of 10

Choke On It: Closing the album out is a song that starts out in a slow and dramatic fashion with some neat guitar harmonies with some neat drum patterns. After that, we get some of the usual fast verses. The guitar and bass harmonizing during the pre-chorus is pretty neat and the chorus goes at a faster pace and is quite memorable.
7 out of 10

Overall, this album gets 63 out of 80, 79%, and 3.5 stars. It may be a little inconsistent here and there, but I'd say that this album is quite underrated. Worth checking out for fans of thrash and old school Florida style death metal. It should also be one of those albums you can get for a pretty cheap price...

Thane To The Throne (Jag Panzer)

Jag Panzer is best known for being one of the longest lasting veterans of the American power metal scene. This album is a fine example of the band's twin guitar talents of Mark Briody and Chris Broderick, the occasional touches of symphonic elements, and the strong baritone of vocalist Harry Conklin. This also shows a more well read side of the band as the work is a concept album based upon the story "Macbeth." Fortunately, I have read the play (Junior year English Literature class...) so I know what the Hell's going on...

Thane Of Cawdor: The album begins with some soft symphonic sounds and a little choral effect with a nice military drum pattern in the background. The song itself is a loud, mid-tempo track that has a bold and triumphant feel to it. The verses feature some higher pitched wails going against the riffs and the chorus makes use of some neat vocal layering. The solo section goes in a faster direction and features some harmonies as well. It ends on a soft note that goes nicely into the following track...
The song begins as Macbeth becomes the Thane of Cawdor after slaying the old Thane in battle. Praised for his victory and nobility, he is considered to be in line for the throne and thus begins to plot the assassination of King Duncan.
8 out of 10

King For A Price: This is probably my favorite track on the album. It is a strong, fast track that features plenty of awesome riffs and vocals that are really belted out. The verses feature some great vocal melodies trading off with the riffs and the pre-chorus/chorus is insanely catchy and powerful in its delivery.
The lyrics of this song deal with Macbeth plotting Duncan's assassination and the associated paranoia that goes with it.
9 out of 10

Bloody Crime: This tune continues the album's heavier direction and sorta reminds me of a style similar to Megadeth's "Countdown To Extinction" era. The main riff is quite crushing and matches the vocal harmonies quite excellently. I also like the solo section and the heavy riffs within. The vocals deserve props for this tune as he uses two "characters" so to speak: his normal voice to represent Macbeth and a slight falsetto is used to speak for Lady Macbeth. King Diamond, eat your heart out...
On this song, Macbeth finally carries out his plan and slays the King, receiving the crown in turn. He then frames two servants for the crime he commited and eventually slays them as well. He feels guilty about his acts, but is convinced by the Lady Macbeth to stand strong and fulfill his ambitions.
8 out of 10

Treachery's Stain: This track begins with some neat drum fills and some heavy riffs. The riffs during the verses are quite dissonant yet match the interestingly sequenced vocals. The chorus is a little awkward but is memorable and effective. I like how the vocals go into almost a growl during the chorus and the layering done at the end of the song is quite eerie. The solo section is quite interesting as well as it goes into faster and darker territory.
As the blood continues to spill, Macbeth's friend Banquo begins to suspect that the Macbeths are responsible for the carnage. In fear of him telling others the truth, Macbeth sends assassins to kill Banquo and his son. They manage to kill Banquo but his son escapes.
7 out of 10

Spectres Of The Past: This song starts out with a few triumphant sounding riffs and some neat vocal melodies during the verses. The chorus on this one is memorable as well. Like several other songs on here, it seems to get heavier and more energetic during the solo section. I do like how it gets faster for the final verse. A neat track though another fast track (all the way through) would be awesome...
After Banquo is killed, MacBeth begins to think that everything has been covered up. Unfortunately for him, Banquo's ghost appears at a party MacBeth is holding, adding on to his guilt. Of course, only MacBeth can see him and it apparently drives him to near madness...
7 out of 10

Three Voices Of Fate: Another nominee for greatest track on the album. Here we have another triumphant track that is mostly made memorable for the choir that dominates the album. It is especially powerful when they complement Conklin during the chorus. Tis truly amazing. The riffs, drumming, and violin is also really great and adds strongly to the song's kick some ass tone. As always, the solo section is quite great and uplifting. In a way, the song reminds me of the sound of Iced Earth's "The Glorious Burden," only better...
As MacBeth becomes more paranoid, he seeks the Three Witch Sisters for aid and advice (as they predicted that he would become Thane and King...). Of course, the Witches mess with his mind and give him bizarre prophecies that he believe will never happen, one of them being that "no one of woman born" can kill him. He also swears to kill the family of MacDuff, another Thane who poses a threat to his reign.
10 out of 10

Hell To Pay: Now we go into heavier territory with this track. Starts off great with a crunchy guitar tone and some nice drums in the background. The verses feature some strange but cool strings in the background and some well done vocals. The chorus is pretty neat and has an almost murky tone in its delivery. It feels like a little directionless here and there but I dig it.
On this song, MacBeth sends assassin to kill MacDuff's wife and son. In his moment of weakness, MacDuff asks Malcolm, the son of Duncan and the one originally in line for the crown, for assistence and an army.
9 out of 10

Insanity's Mind: Continuing the heaviness is this tune with its chugging main riffs and sweet leads behind them. The vocals are higher pitched (part of portraying Lady Macbeth) and go into an absolute falsetto during the powerful chorus. The verses are a little slower and focus more on the vocals. The solo section on this one is quite dark. It seems to get softer for the final verses (though the loud chorus is still kept in tact...).
We now go to the perspective of Lady MacBeth, who is suffering from the guilt of having manipulated MacBeth to carry out the murders. She spends her time contemplating and eventually commits suicide.
9 out of 10

Face Of Fear: As if things weren't heavy and dramatic enough, the next few tracks become a bit more dramatic with the next few tracks. The introduction is quite powerful and feature strong drumming and dramatic riffs. Kinda reminds me of "Am I Evil?" in a way. The verses feature some powerful vocals going against the heavy riffs. The chorus of this one is another catchy one and features some nice choral vocals in the background.
The next three songs deal with a battle between MacBeth's forces and the invading army led by MacDuff. Seeing several prophecies coming true, MacBeth begins to feel that he won't win the battle, but decides to not go down without a fight.
9 out of 10

Fall of Dunsinane: This song begins softly with dark guitar parts, military drumming, and an interesting bell in the background which then fades into strong and dramatic guitar harmonizing. The verses are heavy and feature some dissonant riffs and vocals going at a mid-tempo pace. The solo section keeps the song going in a heavy direction and the song ends in the way it began.
The battle rages on as MacBeth searches the castle for MacDuff, killing several soliders along the way.
8 out of 10

Fate's Triumph: The dramatic tone continues with the track and it features some great riffs and a soft violin here and there. The verses have some nice drumming and Conklin delivers his lines with power and conviction. The chorus is quite powerful as well as is the solo section.
The climatic battle between MacBeth and MacDuff commenses, each man fueled by vengeance. MacDuff eventually kills MacBeth and ends his reign of terror, citing that his mother died in childbirth and he was born by Ceasarian section (not of woman born, you see...).
9 out of 10

The Downward Fall: While there are several interludes found on the album, this one is the most noteworthy. It is an accoustic driven instrumental that showcases the talents of the guitarists. It starts out soft and then goes into some fast paced flamenco inspired territory.
This doesn't have much significence to the story itself...
7 out of 10

Tragedy Of Macbeth: Closing the album out is a sweet epic track with a slightly ballad-ish feeling to it. It starts out off soft in its first few verses with its accoustic guitar playing, mournful strings, and operatic vocals. The chorus is quite beautiful as well as it features a great duet. The song gets heavier and a bit more dramatic after the song's second chorus. The riffs are pretty neat and the vocals are higher pitched. The chorus is more powerful in its heavy mode and features a nice choir singing for Conklin in the chorus. Of course, the song has plenty of sweet sounding solos and the song gets faster towards the end. In a way, it kinda reminds me of Queensyrche's "Eyes Of A Stranger" in its dramatic fashion of closing out the grand concept...
The lyrics don't add much to the story and retell the whole thing in a broader fashion. It describes everything from the Witches's initial prophecy to the death of MacBeth at the hands of MacDuff. A clever way to close the album in terms of lyrics.
8 out of 10

Overall, this album gets 108 out of 140, 77%, and 3.5 stars. Sometimes it goes a little slow and it may get a little inconsistent here and there, but Jag Panzer has crafted a really great work. I'd recommend for fans of both power metal and classic literature. Hmm... I wonder how many of those there are...

Souls Of Black (Testament)

I'd consider this album to be Testament's most underrated effort. While this release has a darker atmopshere similar to the band's first two albums, it also showcases a more streamlined songwriting technique that was first seen on the previously released "Practice What You Preach." In a way, it also seems to foreshadow the sound the band would pursue on the following album "The Ritual."

Beginning Of The End: Apparently, the band decided to just put the mandatory instrumental in as its first song to get it over with. Like most of the others, it's pretty decent and has a bit of a flamenco influence in its delivery. A neat though unnecessary way to start. Plus it's less than 40 seconds long...
7 out of 10

Face In The Sky: Now this is where the album begins. Its introduction starts off energetically with some sweet harmonizing riffs, a little bit of bass, and a neat scream before the verses come in. The verses are quite catchy and the chorus is quite interesting as well. The vocal parts are pretty memorable and the echoing scream in the last verse. The riffs are also great, especially towards the end of the solo section where a few squeaky notes are heard.
9 out of 10

Falling Fast: This song continues the slightly faster pace with some nice riffs and drumming in its introduction. The verses are pretty interesting as they feature some sharper vocals in front of the riffs, giving the song a memorable touch. The chorus is also nice and features contrasting between vocalist Chuck Billy's wails and growls.
8 out of 10

Souls Of Black: Sounds of thunder, sweet guitar riffs, and an eerie bass pattern open this slow but dark track. The verses are equally slow but a little heavier than the introduction. The chorus is a little subtle but I find it to be really catchy. The lyrics also provide dark imagery and seem to have a bit of political influence.
9 out of 10

Absence Of Light: Back to the thrash we go with this song. The introduction features some nice riffs and some strong bass and the verses continue in a similar fashion. The vocal melodies are nicely done though they're slightly predictable as well. The solo section has a nice Eastern vibe that only guitarist Alex Skolnick can deliver.
7 out of 10

Love To Hate: This song takes the album into a faster and heavier direction. The song makes healthy use of the standard thrash metal gang vocals, especially in the chorus. While I appreciate the song's erratic structure, it does get a bit awkward at times.
7 out of 10

Malpractice: It only gets faster though it seems to easier to handle in this track. The guitar sound is sharper and the vocals take on the style found on "Falling Fast" during the verses. I get the feeling that the choruses aren't quite as powerful as they could be though. The lyrics are also interesting as they seem to describe greedy physicians (Metal Church's "False Healer," anyone?).
7 out of 10

One Man's Fate: A sweet sounding bass pattern, some interesting drumming, and some neat riffs open this fast track. The verses are uniquely sequenced and the chorus follows in a similar fashion. The bridge features some nice gang vocals before going into the solo section. The song ends with a slower solo section that has some scales exhibited and the return of the introduction's neat drum pattern.
7 out of 10

The Legacy: Perhaps as a follow-up to "The Ballad," we are treated to (you guessed it) a ballad. It starts sweet with some harmonzing guitar and bass riffs with a sweet melancholic tone and mid-tempo pace. The vocals are softer on this tune and recall the melodies found on "The Ballad." The song also features some neat solos within its interesting structure. Are there any metal ballads where the choruses AREN'T loud? Oh well, it's still a pretty neat track and a nice change of pace. The lyrics seem to reflect upon the band's history (of course, that may be based on the fact that the song is named after the band's old name...).
7 out of 10

Seven Days Of May: The closer starts off with some nice dramatic riffs and some storng drums in the background. The verses and choruses are quite energetic and feature some nice lines throughout. From what I can understand, the lyrics appear to be about the history of China or perhaps communism/fascism in general...
7 out of 10

Overall, this album gets 75 out of 100, 75%, and 3.5 stars. It is slightly average as Testament goes and is just below some of their classic albums, but it's worth buying for the right price. I got the album for the cheap price of $5.99 at a used record store.

Century Child (Nightwish)

I think this album is where the band's more recent sound has its roots. The biggest example of this change is the recruiting of bassist Marco Hietala, whose unique growl provides a two-deminsional aspect in the vocal department that doesn't sound cliched (Lacuna Coil cough cough...). The album also features some heavier riffs (though not as heavy as on the following albums), less operatic vocals by Tarja Turunen, and a heavy emphasis on the orchestra in the background. Fortunately, the songwriting is done in the classic Nightwish fashion and results in another solid effort.

Bless The Child: The album begins with a choir-like vocal effect that is complemented by some nice riffs, synths that kinda reminds me of the ones from "Passion Of The Opera," and a nice spoken segment before the real song begins. The vocals on this song are softer than usual and contrast interestingly against the heavier riffs. The chorus is memorable and the solo section features some riffs and strings. A nice way to open the album.
8 out of 10

End Of All Hope: The album goes into a much heavier and louder direction with this song, starting off right away with its powerful and hard hitting chorus. The verses continue the heavy direction though it returns to a softer vocal style. The song also features plenty of solo sections that add nicely to the song's structure.
9 out of 10

Dead To The World: After a sudden start to the song, we go into a sequence featuring some nice keyboards and riffs. The vocals are supplied by both Marco and Tarja on this song and provides some nice harmonzing in some spots. I think it would be better if I had a real introduction though...
8 out of 10

Ever Dream: Now we get a softer song after the trio of heavy numbers. This song makes use of some piano, sweet orchestrations, and vocals. I wouldn't consider it to be a ballad though as it still goes at a nice pace. The solo sections are pretty nice as well. A good track though a little overrated.
8 out of 10

Slaying The Dreamer: This is one of the heaviest tracks on the album and probably my personal favorite. The riffs in the introduction kinda remind me of something from a Megadeth song. The riffs get slightly pushed into the background as the vocals and drums go into the spotlight. The vocal melodies during the chorus are pretty neat. After a fast paced bridge and solo section, we go into an intense section (for Nightwish anyway) that features some aggressive riffs, strong snarls from Marco, great drumming, and Tarja's vocal melodies provide some excellent apocalyptic imagery.
9 out of 10

Forever Yours: Another ballad arrives after the intense meltdown of the previous song. The song puts the spotlight on Tarja's softer vocals and some orchestrations in the background. Like most metal ballads, it gets heavier as time goes on but it never gets in the way of the song's more mellow aspects.
7 out of 10

Ocean Soul: This song begins with some interesting keyboards and eerie choirs in the background before it gets a little louder after the first segment. In a way it's like the other ballads though its chorus is a little heavier...
7 out of 10

Feel For You: This track begins pretty uniquely as a nice bass subtly slithers under the keyboard lines. The verses get a little heavier as the riffs come in but the bass presence remains strong. The vocals on this one are soft during this tune though Marco chimes in on some occasions.
7 out of 10

Phantom Of The Opera: No, this isn't a cover of the Iron Maiden song; this is Nightwish's arrangement of the classic Andrew Lloyd Webber tune and boy do they make it awesome. If you've heard the original before, you should know what to expect. Of course, it may be a little heavier than you're used to. Another album highlight though I'm not 100% sure if Marco is the type of singer that fits this type of tune...
10 out of 10

Beauty Of The Beast: Closing the album out is a ten minute epic track. It begins nicely with some sweet keyboards and choirs. The first part of the song ("Long Long Love") goes at a slower pace and has a nice chorus. The second part of the song ("One More Night To Live") goes in a heavier direction and has a nice dramatic tone to it that was only hinted at in the song's first part. Probably the best part of the song. The final part ("Christabel") features a spoken segment before ending the song on a heavy, dramatic note. A solid epic though I think it could be better...
7 out of 10

Overall, the album gets 80 out of 100, 80%, and 4 stars. It takes a few listens to get a taste for but I'd say it's still a good album with great songs in its midst. It's probably a good first album to get for newer fans as it shows aspects from both the band's classic and modern sounds.

Dead Winter Dead (Savatage)

Following up the ever underrated "Handful Of Rain" is the first band effort since the days of "Edge Of Thorns." This is the first album to feature current Metal Church drummer Jeff Plate and future Megadeth guitarist Al Pitrelli. The album also marks the return of Chris Caffery on guitars and Jon Oliva performing lead vocals on 2 tracks as well playing the piano and keyboards. Musically, the album is classic Savatage though it has a darker and more epic tone than usual. The album is also the band's first rock opera since "Streets" and deals with the civil war that occured in Bosnia in the 90's.

Overture/Sarajevo: Like many rock operas, this album begins with a few shorter songs that set up the atmosphere both musically and lyrically. The overture features some dark sounding guitar riffs and keyboard lines and the Sarajevo sequence carries on the atmopshere but relies heavily on the strong piano playing and the gentle but effective vocals. The keyboards and riffs at the end are also pretty neat as well.
The lyrics paint a portrait of the city of Sarajevo, briefly going into its long history and describing its ancient town square. It also mentions a sentient stone gargoyle on a church's belfry that observes humanity over the centuries in hopes of understanding emotion...
8 out of 10

This Is The Time: This is the album's first "real" song and what a way to begin! It feels almost like a ballad but it has a strong triumph feeling in its delivery. The riffs are great, the vocals are strong and slightly raspy, and the piano flourishes every now and then are pretty nice too. I also enjoy the song's choruses, the one after the first verse is pretty soft and the ones following the other verses are loud and uplifting. The solos are great as well. The song gives me a feeling similar to "When The Crowds Are Gone," though it's nowhere near as depressing...
We now go to the year 1990. The Berlin Wall has fallen, communism is at a decline, and the people of Bosnia are finally free after over a millenium and are thinking optimistically for the future.
9 out of 10

I Am: Now the song goes in a much darker direction as Jon Oliva steals the microphone and lets out his signature snarls and evil laughter. In the background, the song features plenty of dark riffs and eerie backing vocals. The verses and choruses are both rapidly delivered and probably the catchiest on the album. The solo section on this one is quite melodic and focuses more on the keyboards and piano with some awesome harmonizing and drum rolls in the background. Probably my favorite track on the album.
Unfortunately, the opportunities in the wake of Bosnia's freedom are not all positive. Some darker causes rise from the underground and eventually start war in the developing nation.
10 out of 10

Starlight: This song begins slow with an eerie guitar pattern, creepy piano playing, and some softer vocals in the introduction and first verse. The following verses retain the slow pace but go in a heavier and more frightening direction. The chorus is quite a catchy and features some effective backing vocals merging nicely with vocalist Zak Steven's angry rasps. The solo section returns to the softer sound with some creepy choirs in the background before going into the heavier guitar solos. I also like the really fast solo section that occurs right before the song's last chorus. It feels a little too slow at times but it's a great track.
As more and more people are manipulated into bloodshed, the conflict begins to escalade. Nightly bombings begin to occur and give the sky some interesting "starlight..." I will say that the lyrics and music work great together in crafting the song's battlefield imagery.
8 out of 10

Doesn't Matter Anyway: Once again, Oliva takes the spotlight with some rapidly delivered rasps. The verses feature some strong mid-tempo riffs, some nice drum fills, and almost rap-like vocals. The chorus feature some nice harmonizing between the riffs and vocals. The solo section is notable for its ssmooth bassline, a quirky riff here and there, and some sweet solos.
On this song, we go back to the point of view of the arms dealers and war monger who supply soliders on both sides with weapons and keep the war going.
7 out of 10

This Isn't What We Meant: This is one of the album's softer songs and begins with some nice piano and soft, emotional vocals. The chorus sounds similar to the one from "This Is The Place" though it has a more somber tone. The bridge returns to a style similar to the beginning before going into an interesting solo section for both guitar and piano to shine. I like its tone though the band has better ballads.
The story takes an interesting turn as we are introduced to a famous cello player who has returned to his home in Sarajevo only to find it all in ruins. In his melancholy, he prays and cries out that the people of Bosnia did not intend for civil war to take place as a result of their independence.
7 out of 10

Mozart And Madness: We now go to an instrumental track that signifies the old cello player playing Mozart music in the middle of Sarajevo's square as shrapnel continues to fall around him. The song is pretty neat in its unpredictability and exercises some pretty neat melodies, harmonies, and transitions. The strings sound great and go nicely with the piano playing and guitar riffs. A great track recommended for the classical listener.
9 out of 10

Memory/Dead Winter Dead: This song begins with a neat melody based on Beethoven's "Ninth Symphony." After that, we get a heavy mid-tempo song that kinda reminds me of "Conversation Piece" from "Edge Of Thorns." The riffs are aggressive and the vocals go at a fast and sneering tone (No, it isn't Oliva singing. This is Stevens again...). The guitar fills found every now and then are quite nice.
By this time, December has arrived and with that the snow of winter. Unfortunately, the war continues into greater seriousness.
7 out of 10

One Child: The song starts out with some nice guitar chords coming between the nice piano flourishes and mournful vocals. After that, we get a heavier mid-tempo track with some heavy riffs. The bridges goes into a faster segment with nice piano, cool drum fills, and cool vocal melodies and harmonies. At this moment, it goes into a sweet vocal canon that kinda sounds like "Chance." It's a neat idea though "Chance" does it way better.
The lyrics deal with a speaker by the name of Serdjan, a Serbian soldier, and the thoughts and feelings he finds as he stumbles upon a school that was the victim of a bombing and the corpses of the children caught in the crossfire...
7 out of 10

Christmas Eve (Sarajevo 12/24): Actually, this might be my favorite track. It is essentially a metal version of "God Rest Ye Merry Gentlemen" and "Carol Of The Bells" with some other bits and pieces thrown in for good measure. The harmonies and melodies found throughout are pretty frigging amazing and the song also features well done riffs, piano, keyboards, string sections, and even a few bells here and there. Everyone should know this track as it is the unofficial prototype for the sound found on the famous Christmas metal product Trans-Siberian Orchestra. It is guaranteed to send chills down your spine...
In terms of the story, the song deals with the rising intensity of a particular battle that results in the death of the old cello player.
10 out of 10

Not What You See: The song ends with a final ballad that begins with (You guessed it) soft vocals and mournful piano. The low notes Zak hits during the verses are really great and add some feeling to the tune. I also like the strings in the background. As with most ballads, the song gets a little heavier during the second verse. Good thing it's pulled off pretty well. The bridge features another vocal canon; I think this one is better than the one found on "One Child." A powerful way to end a solid album.
Finding out that the cello player is dead, two soliders of the opposing sides (not to mention, opposite sexes) come to investigate in the town square and stumble upon each other. They eventually decide to flee together after coming to the conclusion that the war is doing nothing to accomplish the hopes of each side.
9 out of 10

Overall, this album gets 91 out of 110, 83%, and 4 stars. It may get a little inconsistent and excessively soft at times, but I find it to be another great Savatage album with its own share of classics. It'd probably be a great album to start with for fans of the Trans-Siberian Orchestra who want to hear where the roots of that band started...

Crucible (Halford)

This is the second album released by the third band formed by vocalist Rob Halford after his departure from Judas Priest (did you catch all that?). Like many of his post-Priest works, it features a heavy backing band and a more vicious aspect of the man's banshee cry. This album has a bit more of a modern influence in its sound, especially when compared to the previously released "Resurrection." This also proved to be the last album Halford released before his return to Judas Priest the following year.

Park Manor/Crucible: Perhaps with "The Hellion/Electric Eye" in mind, the song begins with two song that are closely connected. Of course, this song is much darker and more dramatic than that well known piece. It begins with some strong sound effects, nice riffs, and a neat bass bit before going into the rest of the song. The verses feature a powerful main riff and Halford delivering the bleak lyrics with conviction with some sweet drums in the background. The chorus is also strong with catchy vocal harmonies and dark imagery in the lyrics ("drowning in a grail of blood. The weapon of stigmata..."). The bridge goes at a faster pace and features some heavier riffs and quickly delivered vocals that soon turn into vicious shrieks before going into a final chorus and strong shrieks closing out the song. I do wish it had a solo though...
10 out of 10

One Will: An upbeat and fast paced anthem follows up the powerful title track. It features some nice riffs during the verses and the chorus is a nice uplifting one that sounds like it'd be cool to hear live. It is a little shallow but it is a nice track. The lyrics kinda remind me of "The Sentinel" by the Priest, except they're not as gory...
8 out of 10

Betrayal: If you think the last song was fast, just wait until you hear this one! It begins with a catchy drum introduction and then goes into a riff that reminds me of one Annihilator would write ("Both Of Me" or "Refresh The Demon," to be exact...). The verses and choruses are distinct for their rapidly delivered high pitched vocals and their strong riffs. I also dig the solo section as it features some awesome harmonizing thrown in the mix. The lyrics are pretty neat as well.
9 out of 10

Handing Out Bullets: Just when you thought it couldn't get any heavier, we get this number... The verses feature some aggressive riffs and more soaring wails. The chorus continues the trend but also has a bit of a power metal flair in its soaring tendencies. The lyrics on this one do a fine job of portraying a violent environment and remind me of some of the lyrics Halford wrote during his days in Fight.
9 out of 10

Hearts of Darkness: This song slows things down a bit but retains an energetic pace. The song is notable for its driving main riff and interesting vocal melodies during the verses. The chorus is full of distortion and the bridge goes at a slower, slightly melodic pace before going into the heavy solo section. I love the riff that starts off the solo section. It is a little predictable at times but a winner nevertheless.
8 out of 10

Crystal: This is where the song gets slow. The introduction features some dark riffs and softer vocals in the background before the softer verses come in. I like the harmonizing the guitars do during the verses. The chorus is memorable as it is both short and subtle. The solo section is dark and features more harmonizing in there. The lyrics are quite bleak and describe a dark lifestyle of crystal meth addiction
7 out of 10

Heretic: We now return to an upbeat tone with a strong mid-tempo track. If there's one cool thing about this album are the riffs; this song is no exception. The riffs on this song are pretty damn awesome and order your head to bang. The vocals are darkly distorted and fit the riffs quite well. The verses are quite strong and the chorus is another catchy one. In standard metal fashion, the lyrics describe the sinister state of the world.
9 out of 10

Golgotha: This song is a more dramatic tune and has an almost doom metal style to it, especially in the verses. The verses feature some dramatic vocals alongside the dramatic riffs and subtle drumming. The chorus is a more subtle one and features some nice vocal melodies. After the second chorus, the song goes into a much faster pace for the bridge. The riffs are strong and the vocals are delivered in quite a dark fashion. The lyrics during this section are quite effective ("Pile of skulls crunched under foot"). Also, the way Halford bellows "Salvation" reminds me of how he sang the word "Jawbreaker" in the song of the same name. After that, it goes to its original pace...
8 out of 10

Wrath of God: This is easily the most dramatic song on the album and another one of my personal favorites. It begins strong with powerful riffs and strong double bass drumming. The verses carry on the trend quite nicely. The chorus on this one is one of the greatest of Halford's career and is quite triumphant. The overall song gives me imagery and a mighty battle between Good and Evil. For some reason, it doesn't sound so stale on this song...
10 out of 10

Weaving Sorrow: This just might be the heaviest track on the album and starts off with a vicious main riff. The vocals have a healthy amount of distortion in both the verses and choruses. The lyrics are a little personal though there are a few bone headed lines here and there ("Your fucking life is like a circus!").
8 out of 10

Sun: I find this song to be one of the mellow tracks on the album. It starts off with a nice main riff and softer vocals before the following verses continue in a heavier direction. The bridge is quite interesting and does a nice job of preparing for the mellow solo section. The overall song has a theme of finding oneself and a "search for serenity."
8 out of 10

Trail of Tears: Closing the album out is a dramatic epic ballad of a track. It starts off with a soft guitar introduction before picking up some distortion and pounding drums. The verses feature some mournful vocals amidst some interesting riff patterns. I really dig the chorus on this one; so full of emotion. I really like the lyric "God is with you but won't save you;" really adds to the song's power.
8 out of 10

Overall, this album gets 102 out of 120, 85%, and 4 stars. I'd consider this to be a good album to check out for fans of the Metal God and modern metal in general. My edition also contains 2 bonus tracks by the titles of "She" and "Fugitive." Buy it if you can find it...

The Blessed Hellride (Black Label Society)

Black Label Society should be a band you know pretty well by now. They have gathering quite a following in recent years and are probably best known as being the creation of Ozzy Osbourne gunslinger Zakk Wylde. Fortunately (or unfortunately, depending on who you ask), Wylde's band doesn't retain as many of the pop sensabilities as his now part-time employer. This band's style can best be described as Southern metal and is essentially a combination of Pantera and Alice in Chains with a cross between Layne Statley and Ozzy on lead vocals.

Stoned And Drunk: With a rising crescendo and a badass guitar riff, we begin the album with a hefty bang. The verses are equally powerful and feature fast, heavy riffs and some gruff but catchy vocals. The pre-chorus continue in a similar fashion though Wylde's hits a few higher notes here and there. The chorus sacrifices some of the song's speed for some just plain heaviness. Also worthy of note are the solo section and the lyrics, which describe the life of a drug addict...
9 out of 10

Doomsday Jesus: Continuing the speed of the last song but in a slightly less epic fashion. This one features a basic rolling riff and slightly distorted vocals during the verses. The choruses come in heavy with a few rough screams before bringing out the slow chugging riffs and pitch harmonics. The solo section on this one is also great and features some sweet harmonies. I also find the last chorus to be milding amusing as it sounds like Wylde is echoing "meow" over and over...
9 out of 10

Stillborn: Here we have the album's most famous track, a dark number that possesses a particularly doomy atmopshere. The song is also noteworthy for featuring Ozzy performing backing vocals (given how identical Zakk and Ozz's vocals are, it's hard to tell when Ozzy is actually singing...). The verses feature some bitter vocals in front of a simple but strong riff and pounding drums. The chorus is memorable for its simple nature and harmonzing vocals. The lyrics describes a speaker whose love for a woman eventually decays due to her neglect.
9 out of 10

Suffering Overdue: This song is memorable for its slightly awkward but likeable main riff that is full of squeals and chugs. The verses and choruses continue the mid-tempo pace with some interesting vocals in the mix. I find the chorus to be mildly catchy as well. The bridge is more melodic and features some softer vocals and mellow guitar harmonies before going into a fast guitar riff that brings to mind Sabbath's "Children Of The Grave." After a fast solo section, we go back to the song's chorus.
8 out of 10

The Blessed Hellride: Remember that Southern influence I was talking about? This song is a damn good example of it. The song is dominated by sweet sounding accoustic guitars but it doesn't sound like a ballad at all. The verses are nicely executed and feature some smoother vocals and even a little bit of bass backing the accoustic riffs. The chorus continues the style and is pretty memorable. I also dig the electric guitars in the song's solo section. Overall, the song provides an atmosphere that is really mellow and reminds one of hanging out in a pub Saturday morning (or something like that...).
9 out of 10

Funeral Bell: The beefy chugs return in a more dramatic fashion with this charging song. The best part of the song is easily the driving main riff that appears through most of the song but is also memorable by some sweet sounding vocals and a few pitch harmonics here and there. The chorus is also great on this one. One of my favorites on the album.
9 out of 10

Final Solution: Another slightly mid-tempo track. The main riff is a chugger with some squeals and the vocals are sequenced in an interesting fashion. The solo on this one is slower and has some interesting harmonizing. A unique track though nothing too ass kicking...
8 out of 10

Destruction Overdrive: This track goes at a faster pace though isn't quite a thrasher. The main riff is quite erratic and brings to mind "Stillborn." The vocals are sung in a slower pattern and are nice as well. Other than that, there's not too much to say about the song...
7 out of 10

Blackened Waters: Another Southern styled track though this is done in a heavier and more melancholic fashion. The introduction is quite powerful and lead into the softer verses and pre-choruses. The riffs are soft, the vocals are full of subdued emotion, the bass is strong, and the drums go at a nice pace. The chorus gets heavier and provides the song with another injection of passion. All in all, a very powerful track.
9 out of 10

We Live No More: I'd consider this to be a slightly ballad-ish track, though it is nothing like the stuff it is sandwiched between. The harmonizing done by the guitars is quite powerful and the vocals have a more somber tone. The vocal melodies during the chorus are quite powerful and add to the song's uniqueness. The lyrics describe the flaws of organized religion, a topic one would expect would be saved for a thrasher...
9 out of 10

Dead Meadow: Now here's where the album really gets a heartbreaking ballad. The song makes prominent use of the piano, a few guitar leads in the background, active drums, and some extremely soft sounding vocals by Zakk. The chorus is quite a beautiful one and provides a hefty amount of emotion. The lyrics also add strongly to the song's bleak atmosphere. A very strong closer.
9 out of 10

Overall, this album gets 95 out of 110, 86%, and 4 stars. I'd consider to be one of the band's best albums and a good one to check out for newer fans. Unfortunately, this would be the last album done in a gruffer fashion as Wylde soon assumed the responsibility of completely imitating Ozzy as the Ozz's voice seems to be getting more and more processed...