Out Of Exile (Audioslave)

After winning over the modern rock community with their self-titled debut album, Audioslave released what is seen by many as their best work in 2005. At this point, it could be argued that the band was at the peak of their career; this album managed to scale the top of the Billboard 200 and the band became the first American group to play a concert in Cuba. Musically, this album is a little more mellow than the debut and shows Audioslave truly forging their own sound and style (As opposed to just being the musicians of Rage Against The Machine fronted by Chris Cornell...). The lyrics are written in that standard cryptic style that Cornell managed to perfect in Soundgarden, but they seem more personal in many ways than usual...

Your Time Has Come: Like the debut before it, this album begins with a strong, energetic number. While it doesn't have the elaborate introduction that has made "Cochise" so well known, it has a main riff that sounds like it was taken directly from it. While I may have to take off a star for a bit of self plagarism, the band sound like they're in top form and the chorus is catchy and memorable. The lyrics are also intelligently written and lament the loss of loved ones and the inevitability of death; an interesting topic for such an upbeat tune...
8 out of 10

Out Of Exile: The title track slows things down to a mid-tempo pace and provides some intriguing imagery of waves crashing against a sea shore. The introduction features some neat guitar riffs and great military drumming, the verses are more mellow in their delivery, and the chorus is similar to the introduction with some smooth vocals thrown in. The lyrics on this song are about the relief brought to Cornell while his wife was pregnant.
8 out of 10

Be Yourself: Here we have the album's big hit and a source for much of the album's controversy. It's not quite a ballad but it is a mellow tune that is driven by a persisting bass line, soft guitar riffs, subtle drumming, and more introspective vocals during the verses. The chorus is a little louder, a bit more basic, but still pretty memorable. The solo section is pretty neat too. The lyrics seem to be about tragedies that can take place in the course of one's life and how important it is to just pushing forward.
9 out of 10

Doesn't Remind Me: This is another mellow tune that isn't quite a ballad. The verses are carried by a subtle rhythm section, softer riffs, and soft but still passionate vocals. The chorus is a little louder and is also pretty memorable. The bridge is even softer than the verses and lead into a cool though rather brief solo section. The lyrics are amusing yet almost melancholic at the same time; they actually describe a period of depression that Cornell after his parents divorced.
8 out of 10

Drown Me Slowly: This song's title reminds me of "Let Me Drown" by Soundgarden... This song is a bit different in a number of ways; the introduction starts the song off in a softer fashion, the verses are more energetic, and the chorus has a dissonant quality to it. It's not quite as good as some of the other tracks on here, but it's a solid addition.
7 out of 10

Heaven's Dead: Now we come to the song's first real ballad. The verses feature some softer riffs, some sweet vocals, and a subtle bass line. The chorus retains the melancholy but seems to soar in a way. It is a pretty little ballad though I think it could've been something more...
7 out of 10

The Worm: Some heavier bass/guitar chords open this song interestingly and start it on a mid-tempo note. The verses feature some guitar effects behind the vocals and the chorus is slightly dissonant but still pretty memorable. The solo section features plenty of guitar effects and squeals thrown throughout and the song's last verse is in more of a softer direction.
7 out of 10

Man Or Animal: Some neat guitar chords and rapid fire drumming open this track on a pretty strong note. The verses are a little faster and feature some catchy vocal lines and riffs. The chorus has some slower riffs but the drums remaining fast paced in the background. The solo section features more guitar effects that will either severly annoy you or make you chuckle a bit. The lyrics are full of bizarre metaphors and seem to be about a negative relationship. I really find the lines "You gave me a heart attack. I will give you more than that" to be particularly intriguing...
8 out of 10

Yesterday To Tomorrow: A groovy bass line opens this track on an interesting note that leads to some verses done in a similar fashion with some interesting melodies thrown in. The chorus is another mellow one with some sweet vocals. It is a more generic though the lyric "We'll squeeze the blood out of life" is somewhat disturbing...
7 out of 10

Dandelion: Around this time, the album seems to be losing a little steam. This is yet another mellow track with softer verses and such. I will say that the chorus features some neat vocal lines and the riffs have an almost "Over The Hills And Far Away" (Led Zeppelin song) feel to them in a way.
7 out of 10

#1 Zero: Probably my least favorite song on the album but I give it a bit of credit for the unique song title. The introduction of this song opens up with some mellow bass playing, slower drumming, and a few softer guitar effects. The verses and chorus on this song are more of the mellow stuff that has been on the previous tracks. The bridge and the following solo section take the song in a heavier direction though it retains its somber atmosphere.
7 out of 10

The Curse: Closing the album out is a heavier track with a somber feel to it. There's not too much to say about the song's verses that hasn't been said before, but the chorus has a more subtle delivery that is quite memorable. Not an amazing track by any means, but a nice way to close the album out.
7 out of 10

Overall, this album gets 90 out of 120, 75%, and 3.5 stars. This is certainly a solid album though it is personally my least favorite part of the Audioslave trilogy. It is a little disappointing compared to the band's stunning debut, but its only flaws are some same-ish songwriting and a weaker second half. It sounds like it'd be a good album to listen to on a day when you don't have much to do and I'd recommend it for fans who are more used to softer music...

St. Anger (Metallica)

I don't think this album needs much of an introduction. At that time of its release, it was seen as one of the most disappointing comeback albums in history and is still widely considered to be one of the worst metal albums ever recorded (By a previously successful band anyway...). It has become infamous for its horribly raw production, excessively low guitar tuning, tinny drum sound, often out of key vocals, bass playing by producer Bob Rock (Bassist Rob Trujillo hadn't joined the band yet...), sometimes stale songwriting, and often immature lyrics. Having said that, is it really the musical blasphemy that many Metallica fans proclaim it to be? Well, there's only one way to find out...

Frantic: Unsurprisingly, the album starts off with a fast track that is pretty the best one on here. It begins with some erratic drum lines and some pretty neat riffs before the more mid-tempo but still pretty energetic verses come in. The pre-chorus is a bit more elaborate from the harsher vocal trade-offs to the more melodic "Keep searching" segment. The chorus is a little on the obnoxious side but is certainly memorable. The closing segment is pretty cool as well although a nice solo would've made it even better. The lyrics are probably the best on the album (Though it's not saying much...) and is basically about dealing with the stresses of every day life.
8 out of 10

St. Anger: With an introduction like the one on here, you'd think you would get a classic track (Plus, you can never go wrong with a Metallica title track...). Unfortunately, this is not the case. The fast paced introduction awkwardly transcends into some slower verses that have some slightly off key vocals thrown in (And the "Flush it out" backing vocals seem a little awkward...). The pre-chorus and chorus both manage to pick up speed and are kinda catchy. Unfortunately, they're let down by the name dropping of previous songs and the unnecessary swearing. You know, the guitar riffs on this song really make me think of System Of A Down's "Prison Song" in a way...
7 out of 10

Some Kind Of Monster: The album's third track is truly a plodding monster (No pun intended...). Its introduction is around two minutes long and while it is quite drawn out (Lets' just say that it worked better on "For Whom The Bell Tolls."), it features some great slow, looming riffs. The verses continue the mid-tempo pace but have an erratic quality to them in the guitar and vocal deliveries. The song is unfortunately brought down by its sometimes obnoxious pre-chorus, excessively basic chorus, and its overall lacking sense of direction at times. The closing section on this one is quite strange and features some slightly creepy backing vocals. The lyrics feature plenty of intriguing metaphors though they seem choppy and hastily put together. All in all, probably the second best song on the album...
8 out of 10

Dirty Window: This track begins with a few drum rolls before the faster guitar riffs come in strongly. The verses continue in a similar style although the vocals seem rather out of key. The pre-chorus goes in a melodic bit that quickly fades into the slightly ploddy chorus. We are then treated to a nice music segment (I'd call it a solo section but it lacks solos...) that fades back into the song's pre-chorus. The song's final segment features some interestingly dissonant riffs and vocal patterns. The lyrics are particularly intriguing and describe a man who judges the world while he himself is more than worthy of being judged. I'm not sure if the track deserves a 7 or an 8, but it's probably better one of the better tracks on the album. Hetfield's attempt at an old lady laugh is making me learn more towards the 7...
7 out of 10

Invisible Kid: I find this song's introduction to similar to the one on "Frantic" but with a much brighter tone overall. The verses are similar in style and the vocal patterns are memorable. The vocals during the pre-chorus are excessively whiny at times, the chorus has some decent backing vocals and a soaring quality to it, and the bridge unfortunately features more whining. I will say that the riffs are pretty nice but the song as a whole seems directionless and a little too long... The lyrics are about a child who loses connection with the outside world. Unfortunately, it just seems to have a bit too much angst for its own good...
6 out of 10

My World: This song's introduction is like many of the ones before it but the verses are unique for using an almost call-and-response structure. The pre-chorus is memorable in a slightly bone-headed way and the chorus seems to go into almost breakdown territory. The bridge features an interesting spoken/shouted vocal trade-off above a riff that brings to mind "Some Kind Of Monster." In terms of lyrics, this song seems to be a sort of sequel to "Invisible Kid;" the boy who shut himself off the world seems to wanting to get his place back in it. Unfortunately, an intriguing concept is ruined by some cheesy lyrics ("Mama, why's it rainin' in my room? Cheer up, boy, clouds will move soon.")...
6 out of 10

Shoot Me Again: At that point, your average listener is probably a little bored of the album (You know, if they weren't already...). The introduction starts off with a more basic riff this time around that builds up to some "SKOM"-esque chugging. The verses on this song feature more melodic vocals and the chorus is angrier though a bit more basic. The song gets progressively angrier and heavier though it stays directionless and slightly repetitive all the while. The lead guitar does play some interesting notes throughout but don't expect any solos here. The lyrics deal with the band's response to the infamous Napster trial and all they criticism they have recieved over the years...
7 out of 10

Sweet Amber: This song starts off a little quietly before an almost old school thrash riff makes its way into the song's introduction. The verses seem to be a little lighter than normal and the vocals are a little easier on the ears. The pre-chorus isn't quite as strong and the chorus reminds me of the title track in a quite frankly negative way. I do think the song would've been even better if they were performed in a faster fashion. The lyrics are particularly intriguing in their cryptic nature and seem to be about a bad relationship or a drug addiction (Perhaps hinting at the time vocalist/guitarist James Hetfield spent in rehab...).
7 out of 10

The Unnamed Feeling: The introduction to this tune starts off interestingly; kinda reminds me of Danzig's "Mother" with a bit of a Southern influence on the lead guitar and some interesting drum patterns. The verses go at a mid-tempo pace and feature some interesting vocal patterns and a dramatic tone cast over them. The chorus is a bit melodic and is quite an interesting addition. I get the feeling they should've expanded on that a little more. The bridge would be a lot better if it didn't hate those god-awful lyrics ("Get the fuck out of here. I just wanna get the fuck away from me. I rage, I glaze, I hurt, I hate. I hate it all. Why? Why? Why me?). Angst, angst, angst...
7 out of 10

Purify: The introduction is pretty much more of the same; lots of chugging riffs and such. The verses are a little awkwardly structured but the faster paced chorus features some memorable backing vocals thrown in the mix. The lyrics on this one just might be the most cryptic on the album and match the album's raw atmosphere nicely. Nicely as in it fits, not nicely as in it sounds good. Fortunately, it is one of the shorter songs on the album...
6 out of 10

All Within My Hands: Aside from the song's singles, this track has recieved a bit of infamy. It starts off with some slightly tinny drumming and some interesting guitar noodling before the rhythm guitar makes its appearance with the standard chugging riffs. The verses have a slightly creepy feel to them and the vocals are delivered in a slightly quieter fashion. The pre-chorus is moderately heavier and the chorus has some slightly dissonant chugging and seems excessively drawn out in a way. I do find the lead guitar lines to be pretty unsettling yet intriguing at the same time. The song gets heavier and faster during the bridge and leads interestingly into the song's infamous "Kill, Kill, Kill" section. You'll either love it or hate it; personally, it's rather "meh" for me. The lyrics on this one deal with keeping control over your loved ones, perhaps about the circumstances surrounding bassist Jason Newsted's departure...
6 out of 10

Overall, this album gets 75 out of 110, 68%, and 3 stars. It's not the god-awful piece of shit that everyone proclaims it to be but it's easily the worst album that Metallica has recorded. I get the feeling that this album would've been so much better if the production was done in a more professional fashion, the song lengths were cut down by a few minutes each, and the songwriting hadn't been so stale and directionless. It is clear that this album was written and recorded during hard times as evidenced by the "Some Kind Of Monster" DVD. It will do absolutely nothing for your seasoned metalhead and will provide nothing but hatred for the long suffering Metallica die-hards. Having said that, it does make me curious to see how this album's follow-up will sound when it's released next year. In the meantime, I suppose it makes a hilarious gag gift...

An Absence Of Empathy (Frameshift)

Frameshift is the creation of Chain instrumentalist Henning Pauly and made its debut with 2004's "Unweaving The Rainbow," which featured Dream Theater frontman James Labrie providing lead vocals. This album was released the following year and features the ever popular former Skid Row singer Sebastian Bach attacking our ears with his signature voice. As a result, the album's music is a bit grittier than the previous release and also has some influences ranging from prog rock/metal, hard rock, and even a few modern elements here and there. While it is not exactly a concept album, the album's lyrics are based around the ideas and questioning of the violence of human nature. Unfortunately (Yet somehow unsurprisingly...), a vicious war of words would eventually take place between Bach and Pauly over songwriting credits...

Human Grain, Part 1 (An Absence Of Empathy): Sound effects of changing radio stations and ambient static open the album before the actual song begins. The song's introduction starts off erratically leads into some verses that feature strangely sequenced riffs and static and some memorable vocal lines going at a mid-tempo pace. The chorus is quite memorable and really picks up the pace. The song's bridge is darker in tone and features more static and some creepy spoken vocals. The solo section is a little too short but leads into the song's final verse, which is like the ones before it but has some echoing vocals here and there. The lyrics do a nice job of opening the album's concept and introduce a character who wishes to look into the mind of a violent person to see what drives them to commit their crimes...
8 out of 10

Just One More: Aside from the keyboard presence and modern elements here and there, this song is the closest you'll probably get to hearing the Skid Row sound. The verses have a catchy feel to them, the pre-chorus is brief but makes an excellent bridge in the song's structure, the chorus is a great sing-along worthy of "Youth Gone Wild," the solo section is another brief one, the bridge is a little creepier and has an unsettling feel to it, and the closing segment features some strong screaming by Bach thrown in the mix. The lyrics are about a serial killer who seems to have a voice in his head egging him on and he always seem to be overcome by his psychotic urges...
9 out of 10

Miseducation: This track opens with some melodic guitar chords that remind me of a modernized Iron Maiden in a way. Much of the song's strength lies in its chorus, which makes another great sing-along. Other than that, the verses are pretty cool and the pre-chorus has a soaring quality to it. Not to mention the keyboards and riffs are pretty neat and Bach hits some higher notes here and there. The lyrics deal with violence in schools and are told from the point of view of an uncaring teacher.
9 out of 10

I Killed You: Now we come to the album's first epic. Its first two verses are dark and mellow though not quite depressing, the pre-choruses are pretty similar in their delivery, and the chorus is memorable though more melancholic lyrically. After the second chorus, we get to a softer segment that makes use of a layered vocal canon that suddenly heads into a heavier verse that has an almost rapped vocal delivery. The rest of the song seems to alternate between some pretty neat solo sections and the constantly returning vocal canons. While it is delivered in a great fashion, the vocal canon is more effective when it is used by bands such as Savatage... The lyrics continue the serial killer concept and deal with the acts of an impulsive murderer.
9 out of 10

This Is Gonna Hurt: This song begins with some creepy wordless vocal harmonies before some staccato keyboard/guitar riffs round out this song's introduction. The verses have some groovy guitar and bass riffs and the vocals are delivered with a sense of humor. The chorus is another catchy one that features some great vocal lines and cool riffs. The song's brief solo segment makes use of some neat riffs and the return of the introduction's wordless vocal lines. The song's final verse is a little softer and fades smoothly into the song's final chorus. The lyrics on this song deal with the subject of torture and are told from the perspective of the torturer...
9 out of 10

Push The Button: Some tribal drumming, strange keyboards, and some interesting guitar melodies open this song's introduction on a pretty unique note. The verses aren't much to write home about but the chorus really brings up this song's rating for me and makes it another guaranteed sing-along. The lyrics are about the impersonal nature of modern war and how an entire civilization could be killed with just the push of a button...
9 out of 10

In An Empty Room: The album's direction changes with the coming of this fragile ballad. It is mostly dominated by a simple but effective piano and Bach's intimate vocals. I'm not quite sure if he has much of a voice for ballads (Though Skid Row's "18 And Life" and "I Remember You" just came to mind...) but he really puts his heart into the piece and the layering on the vocals during the chorus is excellently done. The solo is also pretty nice and the bridge is another uplifting one with some great melodies. The lyrics deal with a speaker who is trying to reach out to a loved one who had previously been raped...
9 out of 10

Outcast: For some reason, the guitar and keyboard riffs during this song's chorus have an almost AOR element to them. The verses are heavier and feature some distorted spoken vocals that add to the song's atmosphere. Other than that, there's not much to say about this song but the bridge seems to take the song deeper into an even darker level. The lyrics are about school violence and are now told from the perspective of the tormented culprit.
7 out of 10

Blade: Another nine minute epic track that is seen by many reviewers as the best song on the album. Its introduction begins with an elaborate, ancient sounding tribal sequence that really adds on to the song's drama and provides the listener with a bit of suspense before the verses (And one of Bach's screams) fade in. The drama continues during the verses and the vocals range from the higher pitched singing to the raspy singing. The pre-chorus is also memorable and features Bach hitting plenty of high notes. The chorus is truly one of the greatest parts of the album, making use of a dark choir that is truly moving to say the least. The lyrics deal with ancient warfare and are about a man who defends his home from invaders. Anyone else get reminded of 300?
9 out of 10

How Long Can I Resist: After the previous song's softer ending, the opening chords of this tune's introduction seem to come out of nowhere. The verses are rather strange, going from chugging bits that bring to mind commercial Megadeth to random piano bits here and there. I do like the chorus as its has some nice soaring vocals and catchy riffs. Other than that, it's another song that I think could've been a bit better. The lyrics on this song are particularly intriguing and are told from the point of view of a desperate rapist...
8 out of 10

When I Look Into My Eyes: Slightly dissonant keyboard bits and occasional guitar chords open this track on a strange note. The verses continue the strange sound effects and the chorus has more soaring vocals/riffs done in a darker fashion. The second half of the song seems to go into a softer direction that paves the way for the song's final chorus. The lyrics on this one describe torture for the second time, this time from the perspective of the tortured... Is anyone else suddenly thinking about the controversial events that occured in Abu Ghraib?
7 out of 10

Human Grain, Part 2 (What Kind Of Animal): Our story ends on a softer note. Its opening verse features some softer backing instruments and passionate vocals, though it's not quite as heartbreaking as "In An Empty Room." The chorus is done in a similar fashion. The lyrics on this song go back to the speaker from the opening track as he wonders if there will be any hope in the future of victims and criminals of violence...
7 out of 10

Overall, this album earns 100 out of 120, 83%, and 4 stars. It can be a little awkward at times and takes a couple listens to get into, but I think it's a great purchase to make for fans of grittier prog metal. I still find it a little strange to see Sebastian Bach singing for a prog project but it does make me more interested in checking his solo material and the albums he made with Skid Row...

Enemy Of God (Kreator)

Thrash metal bands from the Bay Area aren't the only ones that have managed to come back with a vengeance since this millenium began. After spending nearly a decade experimenting with industrial and groove metal aesthetics, Kreator finally went back to their enraged brand of thrash metal with 2001's "Violent Revolution" and have continued to do so with this album. This album is extremely harsh both musically and lyrically; making strong use of some melodic death metal influence, relentless drumming, venomous vocals, and some graphic imagery.

Enemy Of God: The album's opener doesn't waste any time, choosing to start right away with some chugging riffs and fast paced drumming. The first two verses, pre-choruses, and choruses are all also fast paced and feature some catchy but angry sounding vocals. The song goes into a different direction after its second chorus runs down your throat; going at a slower pace with more melodic riffs and vocals. The bridge before the solo section is really great and has an almost uplifting quality to it. After that, the song's fourth verse returns to its heavier style though it has a triumphant feel to it. A great way to open the album.
9 out of 10

Impossible Brutality: As the last chord of the previous song fades away, we are greeted by dark drum patterns and melodic guitar riffs in this song's introduction. The verses go at a mid-tempo pace and feature some strong drums, chugging riffs, and catchy vocal patterns. The chorus is done in a similar fashion with even catchier vocals that will probably sound even better when sung in a flooding crowd. The solo sections are great and feature of sweet guitar harmonies with some fastest double bass drum fills I've ever heard and the following verse goes in an even faster direction. Not quite as developed as the title track but a great track nevertheless.
9 out of 10

Suicide Terrorist: Wow,this song probably has the goofiest song title I've ever read when it comes to thrash metal (Though "Kraf Dinner" may be up there as well...). This track continues the album at a pace that is slightly mid-tempo but seems to be heavier and more energetic than the previous song. The song picks up the following verses and the chorus features some great drumming and guitar chugs. Other than that, there's not much to say about it.
7 out of 10

World Anarchy: This song's introduction is made distinct by some interesting guitar leads and a slightly out of place scream by vocalist/guitarist Mille Petrozza. The verses go at a relentless pace and the chorus is slightly slower but still retains heaviness. After the second chorus, the song goes into an interesting breakdown that features some nice chugging riffs, more subtle drumming, and echoing vocals. The second half of the song's bridge features some brief accoustic guitars and softer vocals before going into a heavier segment and solo section.
7 out of 10

Dystopia: Another reviewer I've read stated how this song reminded them of early 90's Slayer (The "Seasons Of The Abyss" era); I can definitely see where they're coming from. This track continues with more mid-tempo guitar harmonies in its introduction that lead into some similar sounding verses. The chorus seems to get a little heavier and features some subtle screaming from Petrozza. The solo section picks up speed, features plenty of dissonant riffs and leads, and leads into a solid breakdown sequence. Another solid track.
8 out of 10

Voices Of The Dead: Probably my favorite song on the album and probably the closest they have to a ballad on here. Its opening verses makes use of some dark bass playing, melancholic leads, and somber vocals. A cry of rage leads into the faster and heavier verses. The leads are faster but retain a melodic quality and the double bass keeps the song going at a strong pace. The chorus is one of the greatest on the album and features some passionate vocals and an uplifting quality in its catchiness. The song's bridge leads it into another breakdown sequence before the uplifting solo section takes control. The lyrics are also written with great emotion and seem to deal with the passing of loved ones and such.
10 out of 10

Murder Fantasies: Now we come back into another thrasher with the standard fast leads and drumming. The verses are similar in structure and the chorus is slower but still energetic and heavy. The bridge goes at a mid-tempo pace, features some creepy sounding vocals, and paved the way for the song's smooth solo section.
8 out of 10

When Death Takes Its Dominion: This song fades in with some slightly wanky melodic guitar lines and more sutble rhythm guitar chugs and drums. The chugging and drumming take over nicely for the remainder of the song's introduction and seep into the song's verses. The echoing vocals are interesting as well. The slower pre-chorus seems to come out of nowhere; it has a nice feel to it though I think it is kinda awkward. The chorus seems to inject some speed back into the song and does its job nicely. The song's bridge goes in an even faster pace and features some solid screaming.
7 out of 10

One Evil Comes (A Million Follow): This song starts off at an energetic pace with more melodic riffs and neat vocals in the midst of the verses. The chorus has a catchy feel to it and features some cool riffs and vocals. The song's bridge is done a similar style as the chorus and fades into another melodic solo. While it is one of the more melodic tracks on the album, I'd consider it to be another average number. It could probably grow on me in time though...
7 out of 10

Dying Race Apocolypse: Some strange accoustic guitars and bass open this track on a unique note. Of course, we all know that accoustics never last long in thrash metal and they are soon replaced by heavier (but still melodic) guitar harmonies. The verses continue at an energetic pace, the pre-chorus features some insane double bass drumming goes against the slower riffs and vocal patterns, and the chorus seems to be even faster than the parts before it.
8 out of 10

Under A Total Blackened Sky: This track starts off heavier than the track before it and features more solid riffs and drumming. The verses go at a cool pace that brings to mind Exodus's "I Am Abomination" (without the groove influences), the pre-chorus slows things down, and the chorus is another one done in an uplifting fashion.
7 out of 10

The Ancient Plague: The album's closer begins with a mournful melodic segment that is a bit more unique than the songs before it. The opening verses begins with a mid-tempo chug and some more mellow vocals. The song's speed kicks in during the song's first chorus and the following two verses and choruses carry on in a similar fashion. The song's bridge is another breakdown but seems more unique than the others with more melodic riffs, subtle drumming, and slightly restrained but still angry vocals. The following verse is done in an even more restrained style that leads into an interesting spoken word/solo section. Definitely a strange but neat way to close the album.
7 out of 10

Overall, this album gets 94 out of 120, 78%, and 3.5 stars. As of now, this is the only Kreator album I own, so I can't really compare it to their classic 80's/early 90's material. While it does feel a little same-ish as the album goes on, I'd recommend it for fans of heavier metal and I'm sure it'll keep growing on me with more listens. Definitely makes me interested in hearing some of their older material...

Among The Living (Anthrax)

While the other members of the Fab Four of Thrash released their classic albums in 1986, Anthrax bided their time and released this magnum opus a year later. The band's sound has changed quite dramatically in the two short years between the release of this album and 1985's "Spreading The Disease." The band's songwriting skills have really improved and the songs on here have solid structures and well though out patterns and refrains. The riffs also seem to be heavier than before and the rhythm section also gets its chance to shine. The lyrics are what truly separate Anthrax from their heavier peers as they cover a wide variety of topics in a tongue in cheek fashion (I wonder if SOD had anything to do with this little transformation...). Along with the high pitched wailing of vocalist Joey Belladonna, the lyrics will probably whether you will love this album or target it with the hate you can muster...

Among The Living: The album opens with a few dark and dramatic guitar chords that are eventually joined by some heavier riffs and muscular drumming. The verses go at a faster pace and feature some rapid fire vocal patterns going against the relentless riffs and drumming. The pre-chorus is similar though slightly catchier; the chorus goes at a slower pace and also features some nice vocal lines and riffs. The lyrics on this one are inspired by "The Stand" by Steven King and seem to be told from the perspective of the infamous Randall Flagg...
10 out of 10

Caught In A Mosh: This is probably the most famous track on the album and that has been hailed as a classic within and outside of the thrash metal genre. It is a great song though it is rather underrated. The lyrics are pretty much terrible ("Stomp, stomp, stomp the idiot convention?"), the verses's vocal lines are extremely awkward, and the backing vocals during the pre-chorus and chorus sound like a bunch of yelling retards. Having said that, the song does feature some great riffs and the pre-choruses and chorus are really catchy...
9 out of 10

I Am The Law: Now we go to a song that goes at a slower pace. It begins with a riff that sounds similar to the title track's but is done in a more energetic and less dramatic fashion. The verses continue at a mid-tempo and feature some neat vocal lines, cool riffs, smooth bass, and some persistent drumming that did an excellent job of rallying the mosh pits back in the day... The pre-chorus continues to go at the verses's pace but the chorus seems to pick up a bit of speed with some gang vocals thrown in. The song turns into an all-out thrash assault that sounds like something off of "Fistful Of Metal" for its solo sections and repeated bridge. The lyrics on this one are based upon the stories told by the British publication "2000 AD," particularly focusing on the plights of Judge Dredd.
10 out of 10

Efilnikufesin (N. F. L.): In case you were wondering, the title of this song stands for "Nice Fuckin' Life" and the lyrics are about the life and death of famous actor John Belushi (Otherwise known as the fat guy from "Animal House."). This song begins with some eerie sounding guitar harmonies, persistent drums, and strong bass grinding before the equally fast verses come in. The pre-chorus seems to be even heavier than the verses and the chorus features more rediculous shouting in the background.
9 out of 10

Skeleton In The Closet: We come back to another slower number before it begins to go at a faster pace as the verses come in. The riffs are pretty neat, the vocal lines are cool, the drumming can get really intense in some spots, and I dig the bass fills that drill their way in after each line during the verses. The pre-chorus and chorus continue the fast pace and feature some catchy vocals and riffs. Once again, the band takes some lyrical influence from Steven King; this time the novella "Apt Pupil" is featured.
9 out of 10

Indians: This song begins with some dissonant sounding riffs (kinda like the ending of "Gung Ho" in a way), interesting drumming, and sweet bass playing before the even faster verses come in. The pre-chorus is a little too wordy but the chorus makes up for it by inserting a little bit of melody in the mix. The bridge's breakdown and the following solo section are pretty interesting as well. The lyrics are also worth noting on this one, as they describe the suffering felt by Native Americans in both the past and present ("Run To The Hills," anyone?).
9 out of 10

One World: This track begins with some dramatic guitar chords and harmonies, subtle drums, and even a little bass solo before the verses come in. The verses go at a fast though not exactly thrashy pace. The pre-chorus takes the song at an even faster pace that features some effective backing vocals and the chorus brings the song back to a slightly slower level. Like many bands, Anthrax has written a song about the paranoia felt at the peak of the Cold War. There are the standard cliche moments but it's smartly written as a whole.
8 out of 10

A. D. I. (Horror Of It All): I'm not too sure what this song's title stands for, but I think it's something along the lines of "Accoustic Douche Intro." I suppose that title is somewhat fitting as the song begins with a dramatic and drawn out accoustic guitar introduction. The song then turns into another mid-tempo mosher that persists through the rest of the song's introduction, verses, pre-chorus, and chorus. It does pick up some speed for the last couple verses and solo sections. It's a good song though probably one of the weakest songs on the album.
7 out of 10

Imitation Of Life: After one of those dramatic mid-tempo introductions and opening verse, the albums closes out with a powerful punk inspired thrasher. The riffs are strong and the drumming is great but I think the vocal patterns are extremely choppy and poorly constructed. The lyrics deal with the issues of conformity and trends and use some rather goofy phrases to prove their point ("Some bogus piss-on saying "Let's do lunch, babe.")...
7 out of 10

Overall, this album gets 78 out of 90, 87%, and 4 stars. While I personally have a soft spot for "Spreading The Disease," I consider this album to be deserving of its classic status and recommend it for metal fans of all genres. Of course, sometimes it takes an open mind and a sense of humor to get past the songs's excessively goofy lyrics...

Cowboys From Hell (Pantera)

Pantera is another one of those bands that I should hate with every bone in my body; they popularized the groove metal sound that has caused so many thrash bands to dumb down their sound and has indirectly paved the way for almost all of the crappy modern metal bands that have been crapped out in the last 15 years. Not to mention the hoopla surrounding the late guitarist Dimebag Darrell (It was very tragic, but with all due respect, it's been nearly 3 years. Can't we just give it a rest, people?).
Despite releasing four previous albums in more of a glam metal style, this album is regarded by many fans and the band themselves as being their "official" debut album. There are many indicators of the band's future groovier sound but the album remains rooted deeply in the sound of thrash metal as a whole with some Southern asthetics thrown in here and there. This album is also different than the future efforts due to the vocal stylings of Philip Anselmo; his voice here sounds a little gruffer than after this and he also makes use of Halford-inspired shrieks from time to time with great effect.

Cowboys From Hell: Strange swirling guitar effects open this song in a neat way before the rest of the band comes in for the remainder of the song's introduction. The verses feature a catchy main riff, a subtle bass line, and some of Anselmo's higher pitched vocals, the pre-chorus goes at a faster pace and features some nice backing vocals and some lower pitched vocals, and the chorus returns to a style similar to the verses. The solo section has an almost dramatic feel to it and features plenty of great guitar lines. The lyrics provide some amusing imagery of Western showdowns and seem to poke a little fun at the band's Texas roots.
10 out of 10

Primal Concrete Sledge: The previous song's intensity goes into a full on assault with this two minute tune. The introduction is easily the best part as it features some dissonant riffs, powerful double bass drumming, and a few neat shrieks before the verses come in. The verses and chorus are a little awkward in their structures but it is still a good song. The solo section is pretty neat though the song as a whole could afford to be a little longer...
7 out of 10

Psycho Holiday: This is my personal favorite songs on the album and probably the catchiest to be found. The introduction is another great one that features some solid machine gun drumming, plenty of catchy riffs, and persistent bass playing. The verses and pre-choruses are similar in their delivery and the chorus features some catchy riffs and vocals. Anselmo shows a lot of variety in his delivery and the solo section is another great one as well.
10 out of 10

Heresy: The song begins with some almost bouncy sounding riffs before the rest of the band joins in and takes the song in a slightly heavier direction. The vocals show some variety during the verses and the shrieks during the end of the choruses are great. It's not quite at the level of the album's classic tracks but it's still a great track. The "Lick my sack" lyric does feel rather immature and out of place though...
9 out of 10

Cemetery Gates: Speaking of classic tracks, this ballad is seen by many as one of the greatest (and most ironic) songs the band had ever written. Its opening verses features some beautifully played accoustic guitar and vocals that sound absolutely tortured and filled with misery. The song gets progressively heavier during the verses and goes all out in its slightly drawn out (though very catchy) chorus. The guitar playing is very phenominal overall, from the accoustics to the song's very catchy main riff. Also amazing is the final chorus, which features Anselmo's falsetto vocals and Dimebag's guitar squeals forming a very powerful harmony. Truly an amazing song...
10 out of 10

Domination: With this track, we plunge straight into a song that seems to be even heavier than the songs before it. The introduction is another cool one that features some faster riffs and strong bass playing. The verses feature some dissonant vocal patterns and some simply played though memorable guitar riffs. The pre-chorus and chorus are also interesting though not as memorable as the ones before them. The extended solo section is pretty neat too.
9 out of 10

Shattered: As with most of the other tracks, the introduction is another neat one that features some neat riffs. The verses are similar and feature some higher pitched vocals complementing the faster guitar playing. The chorus is brief but features some cool vocals as Anselmo goes from his gruff yell to an all out shriek. For some reason, this song reminds me of something a band like Overkill would write (only without the high pitched vocals...).
9 out of 10

Clash With Reality: Unfortunately, this seems to be where the album starts to go into some of its lesser material. It begins with some solid riffs that are backed by an equally solid rhythm section before picking up a bit of speed and some strange samples. The verses go into more dissonant territory that carries on into the chorus. It's a good song though there's not much else to say about it...
7 out of 10

Medicine Man: I find this track to be the most unusual track on the album. Its introduction fades in with some almost tribal drumming that is then joined by the bass and guitar riffs. The verses are quite dark and feature some creepy riffs that go well with Anselmo's spoken vocals. The pre-chorus is neat and the chorus features some strange but effective vocal layering. Also noteworthy are the lyrics, which portray themes related to Faust and the idea of the Devil's Deal. Well, it certainly beats the band's usual "Don't fuck with me" themes...
8 out of 10

Message In Blood: Here we have another slightly average song that goes at a standard mid-tempo pace. The introduction is pretty neat and the riffs remind me of old school Exodus in a way. The verses are delivered in a similar fashion as "Medicine Man" though the vocals on this song are a bit angrier and the chorus isn't quite as memorable. Having said that, I do find the lyrics and the song's title to be quite intriguing.
7 out of 10

The Sleep: The darker tone of the previous tracks seems to make its way into this track. It begins with a neat accoustic guitar sequence before the heavier riffs and interesting vocals come in. The chorus is another one that isn't too memorable but features some more mellow vocal lines. Other than the accoustic guitar lines and the song's darker tone, there's nothing too special about it.
7 out of 10

The Art Of Shredding: You'd think this song would be an instrumental judging by its title. It begins with an energetic bass/drum line that is then joined by some neat sounding riffs during the song's introduction. It's not a bad song though I think it would've been a 9 or a 10 if they had just took out the vocals and expanded the introduction a bit. I do like when the band speeds up for the song's chorus...
7 out of 10

Overall, this album gets 100 out of 120, 83%, and 4 stars. While it is easy to see that this is a great album and deserving to be as influential as it is, I do feel that it gets a little inconsistent in some spots (Particularly during the second half). I'd recommend it for open minded thrash fans and for newer metal fans who wish to see where Lamb Of God got all of their ideas from...

The Atrocity Exhibition... Exhibit A (Exodus)

At this point in Exodus's career, it seems that they have become a whole new band. The riffs and solos of guitarists Gary Holt and Lee Altus seem to be even more influenced by groove metal than ever before and the yelling of vocalist Rob Dukes sometimes brings to mind your typical hardcore screamer (Only he doesn't suck as much...). In terms of the actual music, it seems to be more focused and a bit more mature than their past albums; the slightly cartoony gore lyrics have been replaced by angry tales dealing with the horrors of politics and religion. The songs also have become a bit more longer than before and are about 6 minutes long on average (Perhaps they're taking cues from "The Blackening" by Machine Head...). Given that the band has hyped this album as the one to change the face of thrash metal as we know it, it has not been without controversy...

A Call To Arms: Our journey starts with one of those dramatic introductions that every band seems to use at some point. Despite its slightly filler presence, I do like the melodic guitar playing and the military styled drumming in the background. A solid introduction.
8 out of 10

Riot Act: Not counting the previous track, this is the shortest track on the album and the album's first single. It is a fast paced thrasher that features some aggressive riffs and solos, strong drumming all the way through, and some venomous sounding vocals. While it is a good track, I do think the song could've benefitted greatly from more unique riffs and a bigger chorus.
7 out of 10

Funeral Hymn: Things slow down to a mid-tempo pace for this song's long, dramatic introduction before picking up speed for the song's verses and choruses. The verses flow nicely and the chorus is a catchy one, as is the song's main riff. The bass solo before the bridge is pretty neat and takes the song back to its mid-tempo beginning for the bridge and following guitar solo section (Well, most of it anyway...). The lyrics are written intelligently and seem to be told from the Grim Reaper's point of view.
8 out of 10

Children Of A Worthless God: While it is a common cliche for metal bands to make harsh critiques of Christianity, it's not very often when a band decides to insult the more dedicated followers of Mohammad. That is precisely what Exodus does with this song, accusing Muslims of being killers who wish for us Westerners to become "The United States Of Islam." The music itself is quite strong, going at a mid-tempo pace that brings to mind "Shroud Of Urine" in some spots. The pre-chorus is noteworthy as it shows off some convincing and catchy clean vocals before going into the harsher (and also catchy) chorus. The solo section is also pretty great. This song is probably my favorite on the album although it sounds a little too much like "Shroud Of Urine" and the sound effects in the last two minutes of the song are a little unneccessary. I get a feeling that they won't be allowed to step into the Middle East anytime soon...
8 out of 10

As It Was, As It Soon Shall Be: In terms of lyrics, this song is essentially Holt's take on the war in Iraq, believing it to be a never-ending cycle that began during the Crusades. Musically, this is another slower song that reminds me of "Shudder To Think" at some spots. The vocals on this song seem to be lower pitched during the verses and return to normal for the song's chorus. The riffs on this song are pretty catchy and the rhyming of democracy and bureaucracy is pretty interesting as well...
8 out of 10

The Atrocity Exhibition: Now we come to the album's ten minute title track, which opens with a slow, dramatic introduction before becoming fast and furious. The riffs sound quite erratic and the vocals are full of absolute hatred. The song slows down for the chorus, though the riffs remain heavy and the vocals full of rage. The song's first solo section carries on the chorus's slower pace and sends the song's bridge in a similar direction before the following solo section sends everything back into thrash mode. It feels a little overlong and has a formula a little too similar to "Funeral Hymn," but I really like the verses on this tune. A little unsure if the track deserves an 8 or a 9...
8 out of 10

Iconoclasm: Some screechy guitar leads usher in this song's raging though slightly generic introduction. The verses feature some strange distortion on the vocals in a few spots, the riffs retain an erratic quality, and the drums pound strongly throughout the song. The chorus is also strong and features some nice gang vocals thrown in. From out of nowhere (yet subconsciously expected), the song then goes at a slower speed for the song's bridge and then gets progressively faster in the song's solo section. A slightly generic tune but the song's lyrics are most interesting.
8 out of 10

The Garden Of Bleeding: This track gets a strangely soft start a long introduction with some eerie guitar lines, sweet bass playing, and subtle but persistent drumming. The verses go at a pace that brings to mind "Funeral Hymn" and the chorus seems to be a bit slower than the verses. Aside from the stop-start riffs and softer bits here and there, this song is another slightly generic number. I do find the lyrics to be extremely intriguing and the graphic imagery reminds me of their earlier material.
7 out of 10

Bedlam 1-2-3: For some reason, the opening riffs to this song kinda remind me of Alice In Chains's "Godsmack" with some nice bass and drum fills thrown in for good measure. Of course, the verses go into faster territory, the pre-chorus seems to go even faster and kinda reminds me of "44 Magnum Opus," and the chorus is similar in delivery. The solo section is interesting and features some nice guitar squeals here and there. Judging by the song's lyrics, I'm gonna guess that this song was written for the sake of getting to bash someone's in while in the mosh pits. Still a good song though "Bonded By Blood" and "The Toxic Waltz" do this type of thing better...
7 out of 10

Overall, this album gets 69 out of 90, 77%, and 3.5 stars. It is a good album, but I think the band is going through the motions with this album and that it just might be one of my least favorites of theirs to date (Then again, I still need to hear all of their 90's material...). I suppose it'll keep growing on me and I will check out "Exhibit B" when it comes out in mid-2008. Until then, I'll stick with the Baloff/Zetro eras...

Never, Neverland (Annihilator)

With the possible exception of their debut album "Alice In Hell," Annihilator's sophomore release is often considered their best. It is most notable for being the band's only album to feature ex-Omen vocalist Coburn Pharr, who eventually became involved in the plastics industry of all things after he left the group. In terms of music, it continues the heavier style forged in the debut though it is a bit more melodic and almost accessible in a way. The lyrics are probably some of the best written in the band's career (For the most part...) and deal with a wide variety of topics.

The Fun Palace: The album starts off with one of its more famous numbers. The introduction features some dramatic guitar harmonies and nice sutble bass playing. The verses go at a faster pace and feature heavier riffs and interesting vocals. The vocals during the chorus are delivered in some catchy (though slightly silly at times...) patterns with some strange riffs backing it. The bridge is a bit more melodic and features some mystic riffs, interesting percussion, and higher pitched vocals and the solo section features more neat harmonizing. The lyrics provide an interesting narrative and describe the trials of a man who is tormented by his subconscious for the crimes he has committed in the past. Definitely a strong and memorable opener.
10 out of 10

Road To Ruin: Following the opener is a song that goes in a much heavier direction. The introduction opens with some fast paced that are joined by some catchy vocals during the verses. The chorus is slightly slower but heavier and quite catchy. I also dig the dramatic solo section as well. In terms of lyrics, guitarist Jeff Waters describes the song as a cross between KISS's "Detriot Rock City" and Deep Purple's "Highway Star" and that it is about the perils of drunk driving.
10 out of 10

Sixes And Sevens: This track begins with some melodic guitar harmonies that pave the way for the heavier riffs. The verses go at an even faster pace, the chorus is another slower but memorable one, and the solo section is also quite neat. The lyrics are essentially about the stresses of daily lives and feeling that it can be too much. Aside from a different lyrical theme and the more melodic moments here and there, I find it to be similar to "Road To Ruin" in several ways.
8 out of 10

Stone Wall: Here we have another one of the album's more famous songs. The chorus makes use of some healthy gang vocals, the song itself is full of both heavy and melodic moments, and the riffs provide both chugging riffs and soaring solos. The lyrics on this one are about pollution and the destruction of the environment. Maybe a little preachy but it has some great lines.
9 out of 10

Never, Neverland: Like "Alice In Hell" before it, this album's title track is a dramatic and epic tune. The song begins with some heavy riffs that possess a brighter tone and soon pick up speed at the end of the introduction. The two verses are delivered in a softer fashion with some nice accoustic guitars riffs and sweet melodic bits, The next two verses are delivered in a faster and heavier style, and the song's fifth verse goes back to the song's slower style. It is a great track although I feel like it could've afforded to be a bit more heavy and powerful, especially the "Get Back" sequence. I've heard that it sounds pretty sweet when it's performed live though...
10 out of 10

Imperiled Eyes: A rather complicated introduction opens this tune strongly with some slightly dissonant riffs that carry on into the mid-tempo but energetic verses. The chorus goes at a faster pace and feature some nice shrieking towards the end. The solo sections are also quite strange and feature everything from melodic bits to weird echoing effects here and there. The lyrics don't quite match the uniqueness of the music and appear to be about the ever popular topic of nuclear warfare. I will say that some of the lines are written intelligently.
8 out of 10

Kraf Dinner: Annihilator seems to have always written some of their lyrics in a tongue in cheek style; with lyrics dealing with a speaker's obsession with macaroni and cheese, this song is certainly no exception. The music itself is quite entertaining and is done in an almost punky style. The riffs and drumming are relentless and the vocals are delivered in a very goofy fashion. The chorus is a little awkward but it's fun to sing along to. It's not as bad as some people think it is, though I will have to take a star off for the hilariously bad lyrics. "Kraf Dinner is full of love and butter..."
9 out of 10

Phantasmagoria: This song's introduction is all over the place with some great mid-tempo and thrashy riffs that are joined by some neat drum fills and double bass. The verses are even faster and the chorus goes into slower and harsher territory. It very well could be the heaviest track on the album. The lyrics carry on Waters's obsession with mental illnesses. According to the album notes, Phantasmagoria is a disease in which its sufferers see ghostly hallucinations that eventually drive them insane. Quite intriguing...
9 out of 10

Reduced To Ash: In terms of lyrics, this song could be a sequel of sorts to "Imperiled Eyes," as it evokes imagery of the ruined world after nuclear war. Musically, it is another fast paced thrasher with plenty of strong riffs, some bass bits here and there, constant drumming, and fast paced yet soaring vocals. The verses are strong though the chorus is rather dumbed down.
8 out of 10

I Am In Command: After going through another one of those cool though slightly drawn out introductions, we get to the album's final thrasher. The verses carry on a fast pace with relentless riffs and harsher vocals and the chorus is a catchy one that was obviously meant to chanted by legions of fans in the mosh pits. The lyrics are about an empowered individual's fight against the religious forces that once held him down. An excellent way to close the album.
9 out of 10

Overall, this album gets 89 out of 100, 89%, and 4 stars. I'd consider this album to be one of the band's best and one I'd recommend for all fans of thrash metal. The only flaws I'd say it has are the sometimes repetitive songwriting techniques and the occasionally choppy performances. Unfortunately, this also proved to be their most consistent and well-received album for over a decade...

A Light In The Dark (Metal Church)

Having come out in the summer of 2006, this is the most recent album Metal Church has released and the third album that has come out since the band reunited in time for the new millenium. By this time, guitarist Kurdt Vanderhoof is the original member of the band left as longtime drummer Kirk Arrington has left the band due to his diabetes complications and has been replaced by Savatage/TSO drummer Jeff Plate. As Vanderhoof writes almost all of the music, the band's style hasn't really changed since the last album although the atmosphere seems to be darker than before.

A Light In The Dark: Strong, dark, and fast (though not quite thrashy) riffs take command of the riff right off the bat and soon accompanied by pounding drums and a cool shriek from vocalist Ronny Munroe. The verses goes at a slightly slower pace but the chorus is catchy and uplifting. The bridge is a bit heavier and goes smoothly into the solo section. The lyrics are pretty neat on this one; I really like the line "The privilege of power gives the privilege to sin." All in all, an excellent opener.
9 out of 10

Beyond All Reason: This track is a bit more melodic than the opener. It begins with some interesting keyboards, softer riffs, and some nice drum fills. The vocals are delivered in a more melodic fashion during the verses and are accompanied by some neat chugging riffs. The chorus is even more melodic and goes at a slightly slower pace as well. The slower nature is carried into the bridge and also features some nice bass bits in the mix. The solo section is cool as well. While the song does feel a little awkwardly structured, it is certainly enjoyable.
8 out of 10

Mirror Of Lies: All traces of melody are blown away with the coming of this song's heavy introduction. The harmonization throughout the song is pretty well, the bass makes it heard every now and then, the drumming is strong and constant, and the vocal lines are pretty nice. The chorus of this tune is a little simple (your standard repetition of the song's title) but is quite catchy and the solo section has some gritty moments that are nicely done. The high pitched shriek at the end of the last chorus is pretty cool too.
9 out of 10

Disappear: Things slow down again for this interesting track. The harmonizing guitars are pretty neat and the feel of the song's introduction brings to mind "Beyond All Reason" in a way. The verses feature some trade-offs between the grittier vocals and muscular riffs and the chorus is subtle but memorable. The song's bridge takes the song in a faster pace that continues into the solo section before slowing back down for the song's final chorus.
7 out of 10

The Believer: This track starts off with a strong riff before the rest of the band comes in to finish the song's introduction. Its verses go at a mysterious mid-tempo pace and make use of some slightly melodic vocals and bass playing. The chorus is also delivered in a memorably melodic fashion that works nicely. The brief storm effects during the solo section is pretty effective in casting the song in some mystical imagery, as do the song's intriguing lyrics. I also like how the song seems to pick up a bit of speed in the closing segment.
7 out of 10

Temples Of The Sea: Like most of Metal Church's other albums before this, we are treated to an epic track that showcases some of the band's more progressive influences. It begins with a smooth accoustic guitar introduction, some soft leads, and mellow vocals during the first verse. After a mellow but brief solo segment, we get to hear some heavier riffs that are followed by some louder though still laid back verses. The vocals are still a bit more mellow and there is a strong bass presence. The song's pre-chorus features some sweet vocals and accoustic guitars that get heavier for the song's chorus. The song gets even heavier for the song's third and fourth verses and goes into a cool solo section that features some great guitar lines and great bass thumps. The song gets louder and faster for the song's following verses and solos before closing out with a slightly sped up reprise of the song's chorus. I find the lyrics to be particularly intriguing, as they seem to depict the fall and aftermath of an Atlantis-like society. While I get the feeling that the song is epic for the sake of being epic, it is a pretty neat tune.
8 out of 10

Pill For The Kill: Now we go back to a heavier track that opens with some muscular riffs and manic laughter from Munroe. The verses continue the fast pace but the riffs are toned down in favor of the bass and vocals. The pre-chorus comes out of nowhere with some memorable vocal lines and the chorus is another catchy one. The solo section is also great and features some upbeat riffs and smooth bass playing. From what I interpret, the song's lyrics appear to be about an addiction to pills (Perscribed, perhaps?).
9 out of 10

Son Of The Son: The fast paced nature of the last song becomes even faster as this track comes in with some strong riffs and bass playing during the introduction. The same can be said for the verses, which are sequenced pretty uniquely and feature some fast vocals delivered. The solo section on this one is really dramatic and kinda vaguely reminds me of Queensryche's "Anarchy-X" in a way. A great addition and certainly an unexpected pleasure to come upon (Or, better yet, to have come upon you...).
8 out of 10

More Than Your Master: A smooth accoustic guitar introduction opens this album before it is joined by some neat mid-tempo riff harmonies and drum fills. The verse features a really catchy verse that sems to overshadow the neat vocal lines. The chorus is another melodic one that works pretty nicely. A great song although it'd probably be an 8 without that awesome riff during the verses and solo section.
8 out of 10

Blinded By Life: The album closes out with one last fast paced track. The riffs are quite powerful, the rhythm section is consistent and pounding, and the vocals are more of the same sort of thing. The verses are quite catchy and the chorus is also memorable; the song itself kinda reminds me of "Mirror Of Lies" in a way. A solid way to close the album out.
7 out of 10

Overall, this album gets 80 out of 100, 80%, and 4 stars. This song won't exactly start any dramatic revolutions but it is certainly worth being picked up by any Metal Church lovers or fans of melodic thrash metal in general. Also noteworthy is the inclusion of a re-recorded version of "Watch The Children Pray" as a neat bonus track that serves as a fitting tribute to the deceased David Wayne. It seems a little unneccesary, but it is done with good taste...

The Joshua Tree (U2)

Just about everyone knows who U2 are (or, better yet, who vocalist Bono is...). They have achieved both acclaim and controversy for their political activism and charity work for the last few decades and have also generated millions in record sales over the years. This particular album is often seen as the band's magnum opus. While I can't compare it to many of the band's previous releases, it has been described as being greatly influenced by the band's growing obsession with American culture. The lyrics are influenced by politics and personal introspection and the music itself features the band's brand of 80's alternative rock mixed in with styles such as folk music, country, and blues.

Where The Streets Have No Name: My personal favorite song on the album opens it on quite a strong note. It begins with some neat keyboard sound effects that are eventually joined by some neat guitar playing, cool bass thumps, and persistent drumming before the verses enter in a similar style. The chorus is a little simple at first but is extremely dramatic and quite powerful. The lyrics are neat as well and provide some brilliant imagery of a desert plain.
10 out of 10

I Still Haven't Found What I'm Looking For: This popular tune is dominated by some Eastern influenced riffs and drumming, a great bass riff, and passionate vocals. The verses go at a mid-tempo pace and feature some memorable vocal lines and the chorus is more subtle in its delivery. Along with the Eastern influences, I also notice a bit of country and gospel influence as well. This is reflected in the lyrics, which describe the band's faith in Christianity and their search for the meaning of life and all that.
9 out of 10

With Or Without You: This track continues in the soft but passionate aesthetics that were pioneered by the track before it. It is driven by its simple but catchy bass line, strong drumming, eerie guitar lines in the background, and more somber vocals during the verses. Its pre-chorus is also soft but Bono's voice gets stronger during the chorus. He really belts it out during the song's final choruses and the wordless vocal lines that occur here and there. Is it any wonder this song was the album's lead single?
10 out of 10

Bullet The Blue Sky: The previous songs' mellow and soul searching mood soon turn to anger as this song opens with a muscular drum pattern and some heavy riffs (for U2 anyway...). The vocals during the verses are angrier than normal and match the music well. The chorus is memorable and also includes some neat backing vocals. The song's second half continues the heaviness musically but soon turns into a few neat though little awkward spoken word segments and a solo section that end the song strongly. As evidenced by bands such as Sepultura and Queensryche covering it, I'd say that this is probably the closest one will get to hearing heavy metal...
9 out of 10

Running To Stand Still: In contrast to the previus album, this tune is a bit softer in its delivery. It begins with some country influenced guitar twangs before the rest of the song comes into play. The song is dominated by some simple piano playing, subtle riffs, and some mellow but passionate vocals. The song gets a bit more powerful in its closing sections as the drums come in stronger and the vocals get louder and more determined. The harmonica solo that closes the song is pretty effective as well. From what I've read, the lyrics are about a friend of the band who suffered from an addiction to heroin. Not quite a classic but great nevertheless.
9 out of 10

Red Hill Mining Town: While not heavy, this song is a bit more powerful than some of the other songs on here. Its verses are filled with some neat sounding riffs, strong bass playing and drumming, and strong vocals and the chorus features a brighter tone, passionate vocals, and effective backing vocals. The vocals do sound a little strained though. Because of Bono's difficulty to hit the higher notes, it is the only song from this album that hasn't been played live. Tis a shame as it is a neat tune... As evidenced by the title, the lyrics are written about the frustrations of coal mining.
9 out of 10

In God's Country: At less than three minutes long, it is the shortest track on the album. The guitar playing on this song is similar in style to the riffs found on "Where The Streets Have No Name." The subtle bass lines are pretty neat and I really like the vocal lines on this one. The chorus is simple but memorable as well.
8 out of 10

Trip Through The Wires: In comparison to the other songs, this song is done in a noticeably more country/blues style. The song is driven by a strong drum pattern, neat harmonica solos played by Bono, softer guitar and bass riffs in the background, and an almost sassy vocal delivery. Due to it being a bit more different than the other tracks, it is certainly one that one may notice right away...
9 out of 10

One Tree Hill: I would describe the opening of this song to be similar to "Where The Streets Have No Name" with a bit of reggae flavor thrown in for good measure. The verses are similar with a nice groove to them and the chorus is another one that is catchy but subtle. The vocals in the last chorus are powerful and are soon joined by some distorted riffs. The lyrics are pretty cryptic as well. I especially like the lyric "I don't believe in painted roses or bleeding hearts when bullets rape the night of the merciful." Definitely a neat number.
9 out of 10

Exit: This song begins with some neat little gospel inspired segment that is meant to make a transition between "One Tree Hill" and "Mothers Of The Disappeared." The song itself begins with a soft but dark bass line, whispered guitar lines, and some softly sung vocals. It progressively becomes louder as the vocals become more vicious and the guitars pick up distortion. It is easily one of the stranger and darker songs on the album.
7 out of 10

Mothers Of The Disappeared: The last song on the album starts off with foreboding ambience and mournful guitar lines that carry into the rest of the song. The vocals start out lower pitched than usual and get higher and charismatic as the song goes on. I've read that the lyrics are about the thousands of people who were mysteriously kidnapped and killed by miltary officials in the country of Argentina during the 70's and 80's.
7 out of 10

Overall, this album gets 96 out of 110, 87%, and 4 stars. It is certainly an album that is outside of my normal learning tastes and seems a little pompous at times (It is U2, after all...), I'd say that this is an excellent album that should be listened to by everyone at some point in their lives. Speaking from personal experience, this is probably the best album to start out with if you're curious as to what all the hype surrounding the band is about...

Ghost Opera (Kamelot)

Having just come out last April, this is Kamelot's most recent studio album. While this release has brought the band more acclaim than ever before, many fans believe that this is their worst album since vocalist Roy Khan joined. While Kamelot's brand of dark, symphonic power metal has always had an accessible edge to it, this album seems to be a bit more streamlined than the previous albums before it and also has influences from such genres as electronica and industrial. In terms of lyrics, the band decided to write about more theatrical "normal" topics after having their last two albums centered around the story of the famous Doctor Faust...

Solitaire/Rule The World: The opening track(s) starts the album off nicely with some ambient keyboards and a bit of violin before the dark riffs and synths bring up the rear of the introduction. The verses go at a mid-tempo pace and feature some solid vocals, softer riffs and synths, and some driving drum beats. The chorus is subtly catchy and is done in a similar style as the verses. Its structure feels a little basic at times but it makes a great opener. I also like the choral vocals after the song's last chorus.
9 out of 10

Ghost Opera: Theatrical synths and fast paced guitar riffs and solos open this song with a dazzling introduction before the slower but catchy verses come in. Despite their brief durations, the pre-choruses do a splendid job of building up suspense for the dramatically catchy chorus. All in all, it's the best track on the album and a perfect choice for the album's first single. Apparently, the lyrics are about the rape of a prima donna. Quite bizarre indeed...
10 out of 10

The Human Stain: An interesting guitar riff, some dark sound effects, and sweet keyboards open this note on a dark note. The verses are dominated by Khan's distorted vocals, some sweet piano tinkling, and some subtle guitar riffs and the chorus features some muscular riffs and some sweet backing vocals. The final verses's "tic-toc" sequence provides a sense of uniqueness before the song's final chorus comes in.
8 out of 10

Blucher: More strange sound effects open this tune before some sharp guitar and keyboard harmonies enter the introduction. The verses feature some interesting vocals and virtual sounding riffs, there are some electronic effects here and there in the pre-chorus's vocals, and the chorus seems to have a nice uplifting quality to it. The lyrics are intelligently written and deal with the destruction of a warship during World War II. I really like the bridge's lines; "Say your prayers loud and clearly, all who still believe in God..."
8 out of 10

Love You To Death: This track is a softer one that starts off with some mellow riffs and keyboards and some looming drums in the background. The verses continue in a similar fashion and feature guest vocalist Amanda Somerville dueting with Khan. The chorus has some nice, loud riffs and dramatic vocals (Although Khan is always dramatic...) and the solos are pretty neat as well. It is a pretty tune although it may be a little too sappy for its own good. Not to mention the title is a little unoriginal...
7 out of 10

Up Through The Ashes: Now we come back to a heavier track that starts off with some mid-tempo riffs, drums, and orchestral instruments in its introduction. The verses aren't quite as heavy but seem to be more driven at the same time. I dig the vocal patterns and the riffs that are placed underneath them. The pre-chorus is pretty cool and the chorus is another one that is catchy and uplifting. From what I understand, the lyrics are about the trials faced by Jesus Christ.
8 out of 10

Mourning Star: This song's introduction feature some sweet keyboard ambience and some Gregorian chants that are followed by some strong riffs and synths. The verses bring the return of Khan's more distorted vocals and also feature some driving riffs and drumming. The chorus is another subtle one and features more sweet backing vocals and riffs.
8 out of 10

Silence Of The Darkness: The song's title brings to mind something that would be on "The Black Halo" (Probably due to it coming from a lyric from "When The Lights Go Down."). Musically, it is another tune with a fast paced introduction, some driving verses, and a fast, catchy chorus. The song features a neat little keyboard solo as well.
8 out of 10

Anthem: Now we come to what is probably the album's only true ballad. It is a soft piano driven tune that is complemented nicely by some orchestral bits and more of Khan's distorted vocals. The verses flow smoothly and the chorus is optimistic and memorable. I've heard the song described as something you would hear during a figure skating performance. Despite the lyrics that question organized religion and such, I definitely could see that happening...
8 out of 10

Eden Echo: The album closes out with one of my personal favorites. It begins with some sweet piano playing, chugging riffs, and some orchestral elements that go into the mid-tempo verses. The pre-chorus is another one of those that provides the song with some solid suspense. I really like the chorus on this one; it is insanely catchy and is guaranteed to be in your head for quite some time. The melodic bridge is also cool and features some great choral vocals, piano, and riffs.
9 out of 10

Overall, this album gets 82 out of 100, 82%, and 4 stars. While this album isn't quite as good as the release before it, it is certainly a great release that is recommended for all types of metal fans. It would also make a great starting point for more mainstream metal fans wanting to check the band out. Have at it, gents!