Sons Of Northern Darkness (Immortal)

While there is still snow on the ground here in this part of the country, anyway, it seems more than fitting for me to write a review for one of Norway's most famous black metal bands. This release is the band's seventh album and their most recent output as of February 2008. This album is also the final release with bassist Iscariah and the last album to come out before the band temporarily split up in 2003.
Musically, the band retains its latter day style of blackened thrash metal though the production done by Hypocrisy mastermind Peter Tagtgren does make the record one of their more accessible efforts. It is made distinct by the deep croaks of guitarist/vocalist Abbath, extreme drumming by Horgh, intense guitar riffs and solos, occasional flourishes of atmospheric melody, and lyrics penned by band member Demonaz that continue the band's obsession with winter themes.

One By One: Opening the album is a heavy wall of all out guitar dissonance backed by some solid blast beats; the opening verses continue in a similar fashion with strong vocals and more accessible riffs; the second batch of verses feature catchy riffs and strong backing drums; the third batch of verses return to a style similar to that of the opening verses with catchier vocals; the bridge's verses and solo sections feature some amazingly executed riffs and solos; and the final verses are a basically a repetition of the second batch. It may start off a little awkwardly, but it is made up for by the amazing guitar work. I'm debating whether it deserves a 9 or a 10...
9 out of 10

Sons Of Northern Darkness: A great drum solo starts the song off before it is joined by some excellent riffs and a great scream from Abbath; the verses continue with interesting vocals and driving riffs and drumming; the chorus focus on the intensifying drums and solid vocals; the bridge goes at a melodic style with more excellent riffs and drumming; and the solo section returns to the band's intense beginning. I do find it a little amusing how Abbath doesn't pronounce the 'h' in "northern"...
9 out of 10

Tyrants: Here we have what is probably the album's most accessible track. It starts off with a great mid-tempo riff and more basic drumming; the verses throw in catchy growls; the chorus is basic but features more growl-a-long vocals, open riffs, and sweet double bass; the solo section goes into a more melodic direction with some eerie accoustic guitar followed by an intense return to the verses' format. Truly a stand out track.
1o out of 10

Demonium: Now we get to the album's shortest and probably heaviest track. It opens right away with a piercing scream and slower riffs and drumming; the verses feature some of the fastest drumming I've ever heard, the vocals are quickly delivered, and the riffs in the background are pretty sweet; and the guitars and even lower pitched vocals take the spotlight during the bridge.
8 out of 10

Within The Dark Mind: Some triumphant guitar riffs open this track with a steady drum beat and even a bit of bass behind; the verses continue in a similar fashion; the numerous instrumental segments are wonderfully done (particularly the more melodic one around the three and a half minute mark); and the chorus is pretty catchy as well. There may not be much to say about it, but it really is an awe inspring track. It is kind of reminds me of a less accessible "Tyrants" in a way...
8 out of 10

In My Kingdom Cold: Another one of the album's harsher tracks that may be my least favorite. It opens with some solid riffs and more rapid fire drumming; the verses feature even harsher drums and quickly delivered (though slightly awkward) vocals; we then go into a sweet solo section about a minute into the tune that leads into the solid chorus; a memorable breakdown occurs just about the four minute mark. It's a good song though I think it may run for a little too long. I also find it amusing how the band uses the lyric "These mountains which I heart." Is Demonaz too grim and frostbitten to use the word "love"?
7 out of 10

Antarctica: Sounds of icy winds and eerie effects start the song and are soon overcome by heavy but catchy guitar and drums; the verses continue with solid mid-tempo riffs and great vocals; the instrumental sections go at a more driving pace; and the bridge features almost no drumming and more mysterious guitar melodies. One of the album's best tracks overall.
9 out of 10

Beyond The North Waves: Actually, this eight minute epic could be the best on the album. It opens with a few melodic guitar chords over subtle bubbling sound effects are eventually replaced by a strong mid-tempo riff and solid drum fills; the verses continue in a similar fashion with triumphant vocals and occasionally intensifying double bass work; the bridge features more driving drums under more great riffs and vocals; and a brief spoken segment is included just before the six minute mark. A most triumphant closer. I can only imagine how it was 5 years ago when people thought that would be the last Immortal song (Well, hopefully it won't be, anyway...).
10 out of 10

Overall, this album gets 70 out of 80, 88%, and 4 stars. I don't know too much about black metal, but this is a solid record that makes me even more interesting in hearing the rest of the band's material. It is recommended for extreme metal fans the world over and for newbies as their first album to get. It is easier to find here in the States than any of their other albums. Hell, I found this in a Hot Topic of all places...

Ecliptica (Sonata Arctica)

After spending 3 years playing hard rock under the band name Tricky Beans (and later Tricky Means), Sonata Arctica finally made a transition to their famous brand of power metal in 1999 with their first official album. Fortunately (or unfortunately, depending on who you ask), most of the band's signature elements were present even in their early days. The riffs are fast paced and upbeat, the keyboards often overtake the guitars in power, the drumming is at constant double bass, the vocals are often very high pitched, and the lyrics are heartfelt though sappy at times. In short, the sound is very focused but not quite as developed as it would soon become...

Blank File: Most SA fans consider this to be one of the band's best songs ever. It opens off with a quick drum bit; the verses and pre-choruses continue with the standard power metal elements; the chorus is solid and catchy; the solo section features great guitar and keyboard parts; and the lyrics appear to be about a dystopian society of sorts. It's a solid track, though it is rather overrated. Mostly due to its rather awkward method of opening the track...
7 out of 10

My Land: Already the album goes into a softer direction. It starts off with some lighter keyboards, a nice bass chug, and great guitar bits; the verses continue with driving verses and strong backing guitars; the pre-chorus features some catchy vocal melodies; the chorus features great vocal layering; the solo sections feature more guitar and keyboard parts; the final verse features softer keyboards and more of that sweet vocal layering; and the lyrics seems to portray a person fighting against a dystopian society not unlike the one portrayed in the opener.
9 out of 10

8th Commandment: This track opens with harsher guitar riffs, great backing keyboards, and strong drumming; the verses and choruses continue with raspier vocals thrown in; and the final choruses do a splendid job of building up suspense. The ae capella one is nicely done in particular.
9 out of 10

Replica: Now we come to the album's first ballad. It opens with a somber accoustic guitar melody and backing synths; the verses continue with lower pitched vocals and nice bass; the chorus builds up with memorable vocals thrown in; the solo section goes into faster and more upbeat territory; and the lyrics provide a heartfelt narrative about a guy coming home from "the war" (When was the last time Finland was even involved in a war?). A very good ballad that earns my respect for not going into the cliched soft/loud pattern...
9 out of 10

Kingdom For A Heart: Back to the fast route as a very keyboard melody comes in; the verses throw in some rapidly delivered vocals and great guitar chords; the pre-chorus and chorus are both very catchy; and the solo section features more excellent guitar and keyboard lines. It kinda sounds like it could've been a Nightwish track; I can really imagine Tarja singing this (yea, by Nightwish, I meant "Wishmaster" era Nightwish...).
10 out of 10

FullMoon: This is probably my favorite track on the album. It starts off with dark keyboards and piano; the opening verse continues in a very ballad fashion; the following verses then suddenly go at a much faster pace with a heavier guitar gallop and excellent vocals; the chorus is an infectious one with great backing vocals thrown in; and the solo section goes at a slower pace with spacy guitar/keyboard solos and a strong bass presence. The lyrics are also interesting as they deal with werewolves, probably the band's second favorite topic behind love...
10 out of 10

Letter To Dana: Speaking of love, we now come to the album's second ballad. It opens with some sweet flute and mellow accoustic guitars; the verses continue with mellow vocals and backing synths; the chorus is louder with a solid vocal pattern; and the lyrics are unfortunately a little too awkward for their own good. A sweet little ballad but the band would make better ones...
7 out of 10

UnOpened: Another rapid fire keyboard melody opens this track and is joined by the fast paced riffs and drumming; the verses continue with catchy vocals and riffs; the pre-chorus is a solid builder; the chorus features great vocal layering; and the solos are great as well. A classic song, though I'm a little tempted to take a star off as it sounds strangely similar to "Kingdom For A Heart."
9 out of 10

Picturing the Past: A sweeping guitar riff opens this track; the verses continue with oddly delivered vocals and sweet keyboard fills; the chorus features high pitched vocals and another catchy rhythm; the solo section features solid guitar riffs and keyboard melodies; and the bridge is interesting as well. A nice track, though not as exciting as the tracks surrounding it.
7 out of 10

Destruction Preventer: The final track is the longest song on the album at around seven and a half minutes. It starts off with an eerie keyboard bit followed by some very upbeat riffs; the verses feature great vocals, riffs, and drumming; the chorus throws in more noticeable keyboards, a grinding rhythm section, and plenty of high pitched vocals; the solos are very in your face; the bridge leads into a slower segment that is quite memorable; and the final verse features some melodic vocals and great accoustic guitars.
8 out of 10

Overall, this album gets 85 out of 100, 85%, and 4 stars. Much like the albums that would follow, this album is pretty much the ultimate manifestation of Finnish power metal. People who are already fans of the genre will enjoy it and people who already hate it will not have their minds changed. Personally, I think that it certainly does have its share of awesome songs...

Falling (Mickey Finn)

Not to be confused with the late T. Rex drummer of the same name, Mickey Finn was a rock band based in the Valparaiso area that I knew in high school. I actually purchased this album from the members themselves for about $5.00 during my junior year...
Musically, the band's style can be best described as a combination of old and new. I like to think of it as sounding like a more mellow Muse with a young Ian Anderson providing lead vocals. The guitar playing is catchy and accessible, the vocals are heartfelt, the rhythm section does its job well, the piano and keyboards are quite effective, and the songwriting is some of the best that I've ever heard from a band this young.

I'll Be Waiting: A fuzzy stream of guitar notes opens this song and is quickly joined by a mid-tempo rhythm section and a few catchy leads; the verses feature some great vocal/instrumental trade-offs; the chorus makes strong use of catchy vocal harmonies and more subtle riffs in the background; and the solos are done with good taste. In the midst of the song's accessible beats, you probably won't notice that it is a little over six minutes long...
9 out of 10

When You're With Me: This track starts off with a catchy guitar melody and catchy drumming; the verses throw in some great vocal lines and upbeat riffs; the chorus manages to build up a nice amount of power; and the lyrics are quite well written. One of my personal favorites.
9 out of 10

House Of The Rising Sun: We are now treated to the band's take on an old traditional tune that was originally made famous by the Animals. It opens with a somber guitar melody and the sound of a rising organ; the verses throw in a louder delivery; the numerous solos are quite good; and the closing verse has an eerie feel to it. I can't compare to any of the other versions of the song, but it is a great tune that makes me interested in hearing the Animals' version.
8 out of 10

Lemons And Lobsters: A mellow and almost muddy guitar riff opens this song; the verses follow with a more laid back delivery and abstract imagery caused by the unique lyrics; the instrumental sections that divide each verse features loud guitar riffs and a strong rhythm section performance; and the closing verse features an eerie piano melody, properly fitting vocal layering; and a building band performance in the background.
10 out of 10

In The Dark: The piano takes the spotlight during the song's spacy introduction and opening verses with a sweet backing rhythm and vocals behind; the chorus throws in some soft guitar into the mix; the following verses feature louder guitar riffs and more noticeable bass playing; the solos are great; and the final verse returns to the original verse's style only with guitar replacing the piano. I think the song's only major flaw is that the vocals sound a little strained on the higher notes at times.
9 out of 10

Falling: This track comes in with some louder and somewhat muddy guitar harmonies; the verses continue with the riffs more in the background; the instrumental segments between the verses feature great guitar solos and driving rhythms; and the solo segment features an awesome drum solo that is followed by a guitar solo that is just as impressive.
9 out of 10

Gem Of The Prairie: Now we go into an even more somber direction. The verses feature mournful vocals accompanied by a lonely guitar harmony; the instrumental segments between each verse feature louder riffs and more aggressive drumming; the chorus is done with more venom felt in the vocal delivery (for this genre anyway...) and more aggressive riffs; and the lyrics provide a simple but effective look on the superficial aspects of everyday life.
9 out of 10

Dreaming: I think this may be the most laid back track on the album, it's easily the longest at a little over eight and a half minutes. It opens with light guitar work and a soft rhythm; the verses follow suit with more drawn out vocals and subtle guitar leads; the guitar solos separating the verses are all well done; the chorus is simple with catchy vocal layering and solid drumming; and the lyrics are filled with good imagery. A great song that is even better when listened to at 2 am...
9 out of 10

Starlight Sonata: A brighter guitar riff and an almost liquid bass part start this song off smoothly; the verses are pretty laid back with sweetly delivered vocals, upbeat riffs, and driving drumming; the chorus goes into louder territory; and the guitar solo has an interesting sound to it. A very unique sounding track, though I suppose they all are...
9 out of 10

That Bird: I like to think of this song as sounding like a cross between "Dreaming" and "In The Dark" in style. The verses have solid vocals, great drumming, eerie piano, and soft guitar melodies in the background; the chorus features more driving riffs and drumming; and the solo section features plenty of great guitar bits.
9 out of 10

When You're With Me (accoustic): As a sweet little bonus, the album's final song is an accoustic version of the second song. I think I may actually prefer this version to the earlier version. It really showcases the vocals more and makes the atmosphere more intimate. Very nicely done.
10 out of 10

Overall, this album gets 100 out of 110, 91%, and 4.5 stars. This may not be the style that I'm accustomed to, but it is a truly unique release that is truly filler free. I'm not entirely sure if there are any copies of the album left, but it is worth checking out (at least their Myspace page is still up...). It is a shame that the band had to break up, but it is safe to expect great things from their individual endeavors.

Arise (Sepultura)

Before they gained a great deal of controversy for dwelling too deeply in the aesthetics of groove based "nu metal," Brazil's own Sepultura was famous in the underground metal community for possessing a deathrash style that truly made them sound like no other band at the time. This 1991 release in particular showcases a more pure sound that is considered by most fans to be their best yet. The album is made memorable by the awesome drumming talents of Igor Cavalera, the twin guitars of Andreas Kisser and Max Cavalera, the hollow growls of the latter Cavalera brother, and the intense politically inspired lyrics.

Arise: The album begins with some bizarre sound effects before a fast guitar riff and intense drumming come in; the verses continue in a similar fashion; the chorus throws in a sinister guitar harmony; the bridge goes at a strong mid-tempo pace with some nice echoing vocals thrown in; and the solo section brings the song back to its faster pace. A strong opener and probably my favorite track on the album.
9 out of 10

Dead Embryonic Cells: Another batch of strange sounds start this song off before they are replaced by dramatic mid-tempo guitar melodies, some sweet drum beats, and even a brief bit of bass; the first verse goes at a more upbeat pace (For Sepultura anyway...); the second verse and following solo are a bit harsher; the third verse is like the first; the chorus features some catchy vocals and mid-tempo riffs; the bridge is another fast part; the following solo segment starts off fast but then goes into an awesome breakdown riff; and the final verse is essentially a repeat of the first. Actually, this might be my favorite. Tis tough to decide...
9 out of 10

Desperate Cry: A lonely accoustic guitar melody opens this track accompanied by dark rhythm guitar chords before going into an even more sinister riff; the verses are more upbeat; the chorus features more of those cool echoing vocals; the bridge goes into harsher territory; and the solo sections feature some awesome leads, dramatic rhythms, and even a reprise of the song's melodic introduction. Another great addition.
9 out of 10

Murder: Now we get another thrasher done in the vein of the title track. It opens with a dissonant flurry of guitar riffs and drumming; the verses go at a more mid-tempo pace in a way similar to those of "Dead Embryonic Cells," the chorus features faster riffs and memorable vocal lines; and the numerous solos are also strong and full of variety. Judging by the usage of the word "Apartheid," I'm guessing this song is about South Africa. A strong track, though not as powerful as the three before it.
8 out of 10

Subtraction: Some sweet drums fade in and are joined by another driving guitar riff; the verses feature some dark riffs; the chorus features some interesting vocal layering and more melodic guitar leads; the bridge features more dramatic guitar harmonies and solid drumming; and the solos follow in a similar fashion with some great mid-tempo riffs and bass bits thrown in.
8 out of 10

Altered State: Dark sounds of a blowing wind start the piece and are started by some intriguing tribal sounds and looming noises in the background before the band makes its appearance in a very unusual fashion; the verses continue with a great mid-tempo riff, cool vocals, and creepy leads in the background; the pre-chorus is a nice builder; the chorus goes into a harsher direction; and the solo section follows suit. An excellent epic piece.
9 out of 10

Under Seige (Regnum Irae): A soft accoustic guitar melody opens this song in a way that kinda reminds me of Metallica's "Fade to Black" and is soon joined by a downtrodden mid-tempo crunch; the opening verse has some very bizarre vocal processing and strong underlying drums; the following verses continue at a more driving pace; the chorus is done in a way similar to the style of the opening verse (Cavalera's spoken vocals kinda remind me of Slayer's Tom Araya); the bridge and solo sections go at a mid-tempo style; and the final verse is a throw back to the first.
9 out of 10

Meaningless Movements: A very catchy guitar riff starts this song off nicely; the verses are done in a faster style; the chorus continues the speed after a brief mid-tempo instrumental segment; the bridge features some bright sounding vocals; and the solo sections feature some cool parts.
8 out of 10

Infected Voice: After a brief mid-tempo bit, we plunge straight into another intense number. The verses continue with rapidly delivered vocals; the chorus is brief but strong; and the bridge takes the song into a slower direction. A good song, though the listener may be a little tired at this point...
7 out of 10

Overall, this album gets 76 out of 90, 84%, and 4 stars. This is one of those rare albums that I consider to be entirely free of filler. Metal fans of all types should enjoy the effect for its intense performances and occasional flourishes of melody. Having said that, it can be tough to get into for some...

Toxicity (System Of A Down)

System Of A Down is one of the few mainstream metal bands that I am able to tolerate, mostly due to them being one of the first bands that turned me onto metal in general. Their style is truly a unique one as they combine elements of death metal, alterative, and Armenian folk music all into one unmistakeably SOAD sound and the band has also gained notoriety for their often political lyrics.
This particular album is the second one that the band released and became their first major hit in 2001. Ironically, it was also the number 1 album during the week of 9/11...

Prison Song: The album's opening track is the first of its many unusual affairs. It opens with random flurries of guitar chords that are separated by eerily spoken vocals; the verses continue with rapidly delivered vocals, groovy guitar crunches, and soft but fast drumming; the pre-chorus throws in more sarcastic vocals, a steady bass presence, and a quickly spoken prison statistic; the chorus throws in more intense riffs and bizarre vocal trade-offs with a brief glimpse at melody towards the end; the bridge goes into a breakdown segment with a nice grinding riff and more strange vocal trade-off; and the lyrics deal with America's prison system and anti-drog policies. A excellent way to open the album.
10 out of 10

Needles: As the opener's closing chord dies out, a brighter riff appears and is quickly followed by another crunchy guitar assault; the verses throw in more dissonant riffs and quickly sung vocals; the pre-chorus throws in a heavy mid-tempo riff; the chorus is upbeat and catchy; the bridge is a melodic sing-a-long; and the lyrics are full of disturbing imagery.
8 out of 10

Deer Dance: Another strong chug opens this track nicely; the verses feature softer guitar riffs, sarcastic vocals, and soft drumming; the pre-chorus throws in a more noticeable guitar riff in the background; the chorus has some strong chugs; and the bridge features more melodic vocals, folk instruments, and a light guitar gallop.
8 out of 10

Jet Pilot: Without an introduction to prepare the listener, we are thrust into this two minute track. The verses feature a lighter guitar gallop and almost mornful vocals and the chorus features a strong guitar crunch and shouted vocals. It is a little awkward, but it's a solid number.
7 out of 10

X: A light guitar gallop opens this song accompanied by rapidly flying drums and soft bass notes and is followed by some slower chugs; the ensuing verses and choruses throw in more rapid guitar riffs and drumming and harsher vocals; and the melodic bit during the middle of the song is interesting.
7 out of 10

Chop Suey!: Now we come to one of the band's most famous songs. After a quick drum count off, we are treated to some accoustic playing, excellent drumming, and lighter guitar melodies that quickly mutate into another furious guitar dive bomb; the verses that follow suit are famous for their rapidly delivered vocals and riffs; the pre-chorus goes a little slower and throws in some dramatic strings after the second verse; the chorus is even slower and more melodic in its delivery; the bridge is full of drama and emotion; and I've heard that the lyrics are some of many that deal with the Armenian genocide of the early 20th century. A strong track that hasn't gotten too horribly overplayed...
10 out of 10

Bounce: We now return to the band's more "normal" style with another quirky two minute track. The chorus features some dissonant riffs and catchy vocals; the verses continue with more fast vocals and brighter guitar riffs; a neat little instrumental segment is included; the bridge is quite creepy in a way that reminds me of Primus; and the lyrics are rife with innuendo. An odd but amusing listen.
8 out of 10

Forest: This song starts off with another great guitar gallop and consistent drumming that is soon discarded for a heavy guitar bit; the verses feature some solid vocals and some cool guitar trade-offs; the chorus is heavier in its mid-tempo style; the instrumental segment is pretty nice (I'm not too sure whether I can call them "solo sections" or not...); and the final verse features quieter vocals and riffs and strong bass playing.
8 out of 10

ATMA: This song opens with a much quieter guitar/bass melody than the songs before it; the verses throw in some quiet vocal melodies; and the chorus throws in louder riffs and screamed vocals. A nice song though there's not too much else to say about it...
7 out of 10

Science: Another light guitar gallop opens this track before a strong chug comes to provide some interesting harmonization; the verses throw some quickly delivered vocals into the mix; the pre-chorus provides a nice chance to build; the chorus throws the chug back in; and the instrumental segment features a sweet folk bit that makes the song interesting.
7 out of 10

Shimmy: Now we come to the shortest song on the album. It opens with a dark guitar riff that is soon joined by a strong rhythm section; the verses throw in some great vocal/instrumental trade-offs; the chorus is a heavy track that screams for moshing (not to mention vocalist Serj Tankian's voice kinda sounds like James Hetfield's for a second there...).
8 out of 10

Toxicity: Here we have the album's very popular title track. It opens with a melodic guitar melody that (predictably) falls out of view in favor of a heavy chug and awesome drum fills; the verses features the returning melodic riff and softly delivered vocals; the chorus throws in the heavier guitar riffs with some power vocals; and the song's final verse turns into a brief period of all out madness (by mainstream standards anyway...). Easily within the top 3 best tracks on here...
10 out of 10

Psycho: This track begins with a strong bass crawl before a weird but catchy guitar riff and cool drums come in; the pre-chorus is quite heavy but catchy; the chorus is brief but cool in its melody; the verses are done in a similar fashion as the chorus; they managed to squeeze in a brief guitar solo; and the lyrics are a thinly veiled nod to cocaine crazed groupies. It gets a little reptitive, but it is one of the album's better tracks.
8 out of 10

Aerials: Easily my favorite song on the album and the album's second biggest hit. It opens with a few soft strings and a beautiful guitar/bass harmony; the verses and pre-choruses continue with some passionate vocals and heavier guitar riffs; the chorus is an incredible display of Serj's abilities over the introduction's spiralling guitar riff; and the lyrics are quite abstract in their delivery (though probably meaningless within themselves...)...
10 out of 10

Arto: While many people often include this bit within "Aerials," I think it really stands on its own as a hidden track. It is a reworking of an old Armenian folk song that features folk legend Arto Tuncboyaciyan. The drumming is wonderfully done, the chants and vocal cries throughout are indeed powerful, and the other instruments provide excellent atmosphere. A most wonderful way to close the album...
9 out of 10

Overall, this album gets 125 out of 150, 83%, and 4 stars. It's not a personal favorite of mine, but I do have a soft spot for it and consider it to be one of the greatest mainstream metal records out there today. Its only real flaw is that the fact that 15 tracks are always a little overwhelming to take in all at once. Otherwise, I recommend this album for open minded music fans and anyone who enjoyed the album's more famous songs. There's plenty more where that came from!

Ozzmosis (Ozzy Osbourne)

For his seventh studio album and first release since his short lived retirement in the mid-90's, Ozzy Osbourne continued the more somber style that began on "No More Tears." He began working with several different songwriters and producers. Fortunately, guitarist Zakk Wylde is still around and the duo is also joined by journeyman drummer Deen Castronovo and bassist Geezer Butler, whom metalheads should recognize from the prime of Black Sabbath (Kind of ironic how Ozzy's band had more original Sabbath members in its ranks than the real thing...).
Musically, this album focuses on more of a melancholic style that features some slight vocal processing, a heavier guitar crunch, and a dominating amount of ballads. In terms of lyrics, the album is one of Ozzy's most personal as it reflects about his past and personal life. In short, it's probably the album that set him on the path of no return...

Perry Mason: The album opens with incredibly dramatic keyboards and bass playing that are soon joined by an awesome lead and a rhythmic chug; the verses continue with a great guitar riff and an inspired vocal performance; the pre-chorus briefly slow the song down with more awkwardly phrased vocals and guitar lines; the chorus is pretty catchy; the bridge is a little more melodic with some noticeable keyboards; and the solo section features some sweet bass and guitar segments. A strong opener and one of the best tracks Ozzy has ever recorded.
10 out of 10

I Just Want You: Here we have the first of the album's many ballads. The opening verse comes in with a bright keyboard line, subtly melodic leads in the background, and lower pitched vocals; the second and third verses feature the rhythm section making its entrance; the chorus is simple but takes the song into a louder direction; the bridge and solo section are both quite uplifting; the final verse takes the song to its loud, dramatic peak; and while the lyrics do have a few intriguing lines, they really feel like they're being cryptic and mysterious just for the sake of being cryptic and mysterious...
7 out of 10

Ghost Behind My Eyes: The second ballad is done in a pretty similar fashion. Its introduction and verses feature some spacy guitar melodies and a sweet bass presence; the pre-chorus is a nice builder; the chorus features some catchy though slightly screechy vocals; the bridge throws in a nice melodic crunch; and the solo section adds on to the song's spacy atmosphere. A pretty solid track.
7 out of 10

Thunder Underground: One of the album's rare heavy tracks pokes its head out of the shell. It opens with a strong guitar chug that is quickly joined by a lumbering drum pattern; the verses throw in some odd vocal lines and strange sounds in the background; the chorus is another melodic sing-a-long; and the bridge goes into spacy territory. A heavier track is welcome in this sea of ballads, but something with a little more energy would've been wonderful...
7 out of 10

See You On The Other Side: A slightly processed bass line and a simple drum line open the album's third ballad; the verses throw in some odd but interesting vocal lines and soft leads; the chorus is loud and with high pitched vocals; the guitar solo is pretty solid; and the bridge provides an even louder climax. It's probably the best of the ballads, though it's still not too amazing...
8 out of 10

Tomorrow: This song is a very unusual track; it has the feel of a ballad but the band's performance is a bit heavier than normal. It opens with a dark guitar/bass melody; the first and third verses continue with some sinister vocals and odd sound effects; the second and fourth verses throw in some more dissonant guitar riffs; the chorus is pretty memorable; and the bridge features some bizarre sound effects and creepily distorted vocals. Not quite a classic, but still somewhat interesting...
7 out of 10

Denial: The fourth ballad begins with a nice drum fill followed by more of those spacy guitar/bass riffs; the verses continue in a similar fashion with some robotic vocals; the chorus is a little louder with a few synths thrown in the background; and the bridge features a heavier guitar/bass bit and more vocal processing. It's not bad, but a little dull...
7 out of 10

My Little Man: Actually, this might be the most bizarre track on the album. While it is but yet another ballad, it features a very trippy sitar and guitar played by legend Steve Vai. The introduction starts off with the sitar in motion; the verses feature some powerfully delivered vocals and a thundering drum beat; the chorus throws in some nice keyboards over a memorable vocal melody; and the guitar solo is done with good taste.
7 out of 10

My Jekyll Doesn't Hyde: I suppose this could be considered the fourth heavy track (still debating whether "Tomorrow" is a ballad or not...). It opens with a distorted guitar squeal that leads into a strange sounding mid-tempo guitar riff; the verses follow in a similar fashion; the chorus features heavier guitar riffs and higher pitched vocals; and a mysterious bass solo starts off with the effect laden bridge.
7 out of 10

Old LA Tonight: The album closes out with its sixth and final ballad. It is made unique by including a sweet sounding piano throughout; the verses show some of Ozzy's more vulnerable vocals; and the chorus throws in a louder rhythm section, subtle guitar leads, and interesting backing vocals. It's a sweet track, though nothing above an 8...
7 out of 10

Overall, this album gets 74 out of 100, 74%, and 3.5 stars. While many Ozzy fans have declared this as his worst album ever (I think "Down To Earth" has earned that title...), it does have its share of good songs that are worth checking out for fans. Having said that, it is rather sad when an album's best song is a bonus track. . .

The Last Sucker (Ministry)

According to Ministry mastermind Al Jourgenson, this album is the third installment of the infamous "Bush Hating Trilogy" and the last original album that the band will ever release. While I am somewhat doubtful of that statement, they did leave us with something solid to remember them by.
As previously stated, this album is part 3 of the Anti-Bush saga and shares a style very similar to the previous installments as a result. The guitars remain intensely influenced by bands such as Slayer, the samples run rampant, the vocals are as hideously distorted as ever, and the lyrics are still full of hate and contempt towards the Bush administration. I can't help but feel that the band uses Bush hating as more of a lyrical crutch than to make a serious statement...

Let's Go: A strong guitar gallop fades into the piece and is soon joined by samples of traffic noise and a preacher's ranting; the verses and choruses feature the guitar riff at a higher volume and angry sounding vocals thrown in; the solo sections show off some strong speed metal worship; and the final chorus throws in another nice repeating sample. A basic but excellent way to open the album.
10 out of 10

Watch Yourself: Sounds of static open this track before another sample, a grinding mid-tempo riff, and subtle drum fills makes their appearance; the verses follow in a similar fashion; the pre-chorus features lowered pitched vocals, great guitar trade-offs, and odd sound effects; the chorus has a brighter tone to it; the guitar solo has a healthy amount of wah thrown in; and I'm assuming that the lyrics deal with the infamous Patriot Act. Not quite as exciting as the opener, but a pretty groovy track (in a good way).
8 out of 10

Life Is Good: The sound of an explosion and ensuing battle lead to a strong but subtle drum beat, a heavy guitar gallop, and Middle Eastern sound effects in the background; the verses continue with a great guitar groove and gruff vocals; the chorus has an almost Rob Zombie feel to it; the solo section features an Eastern sound and a following breakdown with a strong drum sound underneath; and the lyrics are told from the perspective of a solider back from the war in Iraq.
9 out of 10

The Dick Song: No, that's not what this song's lyrics are about, get your head out of the gutter...
Another sample opens this tune and leads to another strong mid-tempo grind; the verses follow in a similar fashion; the pre-chorus throws in a more driving guitar gallop and vocal trade-offs that bring to mind "Lieslieslies" off of the previous album; the chorus is simple but solid; and the lyrics deal with everyone's favorite Vice President...
7 out of 10

The Last Sucker: I like to think of this song as being a distorted version of something Exodus would write during the 80's; it does have a catchy "Brain Dead" vibe to it. Much of its strength lies in the infectious main riff and the strong driving rhythm that appears during the song's introduction and verses; the pre-chorus features a more dissonant guitar gallop, great drum fills, and catchy vocals; the chorus has brighter riffs and higher pitched vocals; and the lyrics consist of a humorous "narrative" provided by President George W. Bush.
9 out of 10

No Glory: Darkly whispered vocals and a dissonant mid-tempo come in strongly; the following verses are empowered by an excellent guitar riff, driving drums, and rapidly delivered vocals; the pre-chorus manages to get even more intense; and the chorus consists of a memorable riff/sample trade-off. It's a great track, though it lacks a certain something that would give it a full rating...
8 out of 10

Death And Destruction: In a way similar to "Rio Grande Blood," this song begins with an upbeat drum pattern and a heavily edited speech "delivered" by dear ol' W; the verses throw in a heavy guitar riff and angry vocals; the pre-chorus features catchy vocals and bright sound effects; the chorus features some strong chanting and more Bush sampling; and the guitar solo really needs to be longer...
9 out of 10

Roadhouse Blues: It's a little hard to tell, but this track is a cover of the Doors song of the same name. In contrast to the original tune's bluesy, mid-tempo leanings, Ministry's version of the song goes at a rapid fire pace with intense riffs, awesomely delivered vocals, driving drums, and a great duet between Jourgenson and Casey Chaos thrown in. Fortunately, the cover is done with good taste and good for headbanging. Given the concept of the album, the lyric "The future's uncertain and the end is always near" really gives the song a whole new meaning...
8 out of 10

Die In A Crash: Without a chance to breathe, another fast number comes in. The song starts out with a fast drum pattern and extremely happy sounding riffs; the verses throw in a memorable duet between Jourgenson and Fear Factory frontman Burton C. Bell; the pre-chorus may be one of the happiest moments on a Ministry album; a few excellent bass solo is thrown in during the second and third verses (Rest in peace, Paul Raven...); and the chorus features quieter vocals over the consistently grinding guitar and random sound effects. A very odd but welcome addition.
8 out of 10

End Of Days (Part 1): We are now treated to another mid-tempo track that is made memorable by its unusual structure, grinding guitar riffs, and gruff vocals. It's a decent track, though it's probably the weakest track on the album.
7 out of 10

End Of Days (Part 2): Closing the album out (and the band's career...) is a ten and a half minute epic that is one of the longest songs in the band's history. It begins with a very bright sounding guitar riff over an almost melancholic rhythm section; the verses continue with a solid spoken delivery by Bell during the first two verses and Jourgenson during the final verse; the chorus throws in what sounds like a children's choir; and the closing segment features the farewell address made by Dwight Eisenhower, a speech that Jourgenson believes has made an ironic foreshadowing...
9 out of 10

Overall, this album gets 92 out of 110, 84%, and 4 stars. Like the two previous albums before it, I recommend this album for open minded thrash fans and anyone who is a serious Bush hater (once again, I will say that I really don't care that much about the whole thing...). The ending of Ministry is indeed bittersweet, if it actually happens, but I look forward to what Jourgenson has to offer his fans on his future endeavors.

Beyond Hell (GWAR)

On GWAR's tenth album and their most recent effort (as of February 2008), we find the band composing their most complete rock opera since the days of "RagNaRok." Of course, the plot isn't too hard to figure out. Basically, the band takes an epic journey through the bowels of Hell and battles some of its more interesting denizens along the way. It's kinda like "The Divine Comedy" with a bit more toilet humor...
Musically, the album continues the heavier direction brought back on 2001's "Violence Has Arrived" and is made memorable by more technical guitar riffs and drumming and more complex song structures. The album is also noteworthy for being metal eccentric Devin Townsend, who brings out the band's heavier elements and performs some of the backing vocals here and there...

Intro: Before the slaughter begins, we are treated to a brief introduction that provides atmosphere. Unfortunately, the atmosphere it provides isn't too great. The subtle keyboards and accoustic guitars in the background are interesting, but the speech it gives is a little too awkwardly sequenced. Interesting but rather dull as a whole...
6 out of 10

War Is All We Know: A brief guitar riff opens this song in a thundering fashion; the rapid fire verses then come in out of nowhere with dissonant riffs and odd vocal patterns at its side; the chorus is made memorable by some solid gang vocals; the bridge takes the song into a more mid-tempo direction with a variety of vocals, dissonant guitar chords, and occasional drum fills; and the lyrics are amusing and philosophical at the same time...
This is where the story really begins as GWAR's stronghold is suddenly attacked by human forces by the Nazi Pope. The group manages to put up a good fight but is forced to retreat when "the pigs set off a nuke."
8 out of 10

Murderer's Muse: Strong double bass drumming, almost melodic guitar riffs, and a sample taken from the 1964 movie "Evil Brain From Outer Space" open this song strongly; the verses continue the mayhem started by the previous song with a few extra quirks thrown in (The "I hate them, they hate me, I hate you, Wheeee!" part during the second verse never fails to make me chuckle); the chorus is simple but catchy; the bridge is another mid-tempo bit with nice chugs and interesting croons by vocalist Oderus Urungus; and the solo section features some dramatic melodies over consistent chugging.
As GWAR's castle is destroyed, the band somehow ends up "trapped in the underearth" and comes across Jitler, a bizarre cross between Jesus Christ and Adolf Hitler that is essentially this album's answer to Dante's Virgil. The band may have a goofy sense of humor, but at least they're well read...
9 out of 10

Go To Hell!: This song's introduction starts off with sweet guitar chords, a strong bassline, and extremely bizarre snarls and squeals; the verses continue in a similar fashion with some impressive croons and a solid drum line thrown in; the chorus has some memorable backing vocals; and the closing segment features Oderus singing melodically with the poppy backing vocals. One of the album's more upbeat tracks.
After a little bit of confusion, the band finally manages to find the entrance of Hell and wonders what awaits them there.
8 out of 10

I Love The Pigs: A strong drum solo opens this song; the opening verse showcases some intense riffs and vocals that brings to mind "War Is All We Know;" the chorus is a punk inspired sing-a-long; the following verses continue with more upbeat riffs and vocals; the bridge is similar to the style of the opening verse; and the closing segment features an amusing spoken segment over a descending vocal line, police sirens, and consistent drumming. It's a little tough to get into, but the chorus definitely makes it a solid addition.
In front of the Gates of Hell, GWAR battles their first enemy; a demon that paddles the entering souls with "a big fucking stick." It is revealed that the demon was originally a corrupt police officer that was made a guardian of Hell upon his death.
8 out of 10

Tormentor: A brighter guitar melody opens this track before the heavier chugs and drumming come in; the verses go at a fast pace with excellent double bass drumming, brighter guitar riffs, and strong vocals; the pre-chorus is similar in style; the chorus is another fun sing-along featuring Townsend's backing vocals; and the solo section is pretty solid.
GWAR faces their second foe on this song, a being known only as the Tormentor. Given that this isn't the last song on the album, it's safe to say that the band manages to defeat him...
7 out of 10

Eighth Lock: This song's chugging riffs really come out of nowhere; the verses continue with strong drumming and a great guitar crunch; the pre-chorus features some simple but effective gang vocals; the chorus features some quickly delivered vocals; and the bridge features squeaky guitar riffs and a bizarre variety of vocals.
On this song, GWAR enters the Eighth Plane of Hell and proceed to battle some of Hell's most evil prisoners.
7 out of 10

Destroyed: We are treated to a rapidly delivered two and a half minute long track. The verses come in right away with squeaky guitar harmonies, strong drumming, and plenty of Oderus's growls; the chorus is another sing-a-long, though not quite as catchy as the ones before.
After emerging victorious from the Eighth Lock, the band does battle with Toe Enamel, a drugged up rock star that ended up in Hell after overdosing on heroin...
7 out of 10

The Ultimate Bohab: This song is another one of my personal favorites, mainly due to the particularly amusing lyrics. After a quick burp, the opening verse comes in with mid-tempo pace and mocking vocals; the following verses go at a faster pace with great double bass drumming and more melodic riffs; the chorus is another catchy one with creepy backing vocals; and the final verse slows things down and showcases some darker vocals.
Some bands have written loving songs dedicated to their loyal fans, GWAR is a little different. The band's fifth battle is with none than other than the Ultimate Bohab, a rabid fan that commited suicide just so he could follow "GWAR to Hell..."
8 out of 10

The One That Will Not Be Named: The opening verse comes in somewhat awkwardly with howling shouts and dissonant guitar riffs; the following verse throws in a heavier crunch; the chorus throws in more dissonant chugging; the bridge features a brief spoken segment by Matt Maguire; and the brief solo section features strange sounds of battle. It's a decent track, though a little too awkward for its own good...
GWAR finally makes it to the lowest plane of Hell and does battles with none other the Prince of Darkness himself, Jewcifer (I don't think I need to explain that...).
7 out of 10

Back On Crack: This song's opening verse starts the song off with some spacy riffs, more somber vocals, and subtle drumming; the following verses are heavy with more of that standard guitar dissonance; the chorus features an upbeat guitar riff and strange vocal layering; the final verses feature an interesting breakdown riff and a solid bass line; and the closing bit ends the story on a dark note.
Just as quickly as GWAR defeat Jewcifer, they suddenly find themselves back at their castle by reasons unexplained and wonder if their adventure was really worth anything. Then, they are sent a nine ton boulder of crack by their manager Sleazy P. Martini and decide that their quest was "good for some kicks."
7 out of 10

School's Out: At this point, the story is over and the band was encouraged by their record company to record a cover song in an attempt to gain some exposure. This song is made memorable by a main riff heavier than the original, a melodic chorus, some amusing ad-libbing towards the end, and an hilariously over-the-top performance by Orderus. Not a classic by any means, but it is an amusing listen...
7 out of 10

Overall, this album gets 89 out of 120, 74%, and 3.5 stars. For the millions of people that have been turned off of GWAR because of the band's strange lyrical themes, a few more may be turned off by the sometimes awkward performance and inconsistent songwriting. The Bohabs will devour it like Maggots and regular Sounds Of The Underground patrons will want to check this out. One can only wonder what the Scumdogs will do next...

ReliXIV (Overkill)

There's not too much that can be said about this album that hasn't already been said about the rest of Overkill's material. This is the third of the (so far) four albums released with guitarists Dave Linsk and Derek Tailer in the ranks of the band and this is also the last album to feature the skills of drummer Tim Mallare, who had been with the band since the "I Hear Black" era. Musically, it is similar to the other more recent Overkill albums done in the groove metal vein though it is made unique by occasional punk influences and an universally panned production. While many fans have seen this album as the worst Overkill has released, I have a bit of a soft spot for it due to it being the first album I managed to find of theirs...

Within Your Eyes: An interesting guitar effect opens this song's elaborate introduction before it is followed by dark and doomy guitar chords and subtle drumming; the verses go at a much faster pace with rapidly delivered vocals, chugging riffs, and a more subtle rhythm section; the pre-chorus features some interesting vocal lines and solid drum fills; the chorus returns the song to a mid-tempo pace with some nice gang vocals thrown in; a strong but brief bass solo then leads into the erratic bridge; the second solo section showcases some nice guitar shredding; and the lyrics provide the song with dark imagery, especially during the chorus. A strong, classic opener.
9 out of 10

Love: I find this song to have an almost classic rock influence thrown in with the usual groove metal elements. The song starts off with its groovy main riff and subtle drum fills; vocalist Bobby "Blitz" Ellsworth really shows off a strong Robert Plant inspired shriek during the verses; the pre-chorus is a loud builder; the chorus features great gang vocals complementing the return of the main riff and a particularly ugly scream; the bridge goes in a more driving direction with great guitar riffs, aggressive vocals and solid drumming; and the solo section goes into more melodic territory.
8 out of 10

Loaded Rack: This song was the first Overkill tune I ever heard and remains one of my favorites to this day. Its introduction is another elaborate one that benefits from a dramatic twin harmony and creeping outbursts every now and then; the verses and pre-choruses go at a faster pace with almost rapped vocals thrown in; the chorus is an ugly sounding sing-a-long; the brighter bridge leads smoothly into the shredding solo section; and the lyrics are full of goofy phrases, especially during the second pre-chorus ("Screaming like a hog tied, pig slut crunch in my own private Slaughterhouse 5?").
10 out of 10

Bats In The Belfry: The guitar riffs that open this song are also a little dramatic, though not quite in the same way; the verses go at a mid-tempo pace; the pre-chorus and the chorus are mindlessly catchy in a way; the bridge features solid gang vocals over a brighter guitar groove; and the final verse is a bizarre combination of the first verse and the chorus with a brighter riff buzzing over it. It may be a little silly, but it's a song that you can definitely groove to...
7 out of 10

A Pound Of Flesh: While the rest of the album is dominated by groove, this song is pretty much all out thrash metal. It opens with a rapidly grinding guitar harmony; the verses throw in the standard rapidly delivered vocals; the pre-chorus keeps up the intensity; the chorus is memorable (Though in a rather negative way) due to the shrieky vocal lines; the bridge features more erratically delivered guitar riffs; the bridge features even angrier though more retrained vocals; and the solo section features even more shredding. It's a good song, though I disagree with other reviewers that have called this the best track on the album...
7 out of 10

Keeper: Here we have the third epic track. This one opens in the elaborate fashion, though the riffs are darker and the leads are squeakier; the verses have odd but cool vocal lines and dissonant guitar chords; the pre-chorus features some catchy vocal lines; and the chorus is made memorable by the vocal trade-offs and more intense riffs and drumming. The only thing missing is a steller solo section...
9 out of 10

Wheelz: Now we come to the trilogy of songs that everyone seems to despise. This song opens with a dissonant guitar groove and a brief venture into brighter territory; the verses feature the returning main riff and more of those almost rapped vocals (though Blitz sounds a little calmer this time around...); the pre-chorus is bright but brief; the chorus features some memorable vocal trade-offs; and the solo section features some bizarre chords and leads. It's a solid song, though a little dull compared to the songs before it...
6 out of 10

The Mark 2:14: This song comes in with a bright riff above some sweet drumming; the verses and pre-choruses feature some interestingly vocals; the chorus features another vocal trade-off (they seem to get less and less interesting as the album goes on...); and the solo section and bridge feature bizarre riffs and vocals, respectively. Pretty much filler I'd say...
6 out of 10

Play The Ace: The introduction, verses, and pre-chorus all feature vocals and riffs quite similar to those from "Wheelz;"the chorus has some subtle vocal layering and an interestingly morbid flavor to it; and the bridge throws in a riff that kinda reminds me of a brighter version of "Ace Of Spaces" by Motorhead with touches of "Love" thrown in. I think the cool gambler lyrics are what save this song from being rated a 6...
7 out of 10

Old School: After seeing that the trilogy of mediocrity really does live up to its name, this track comes in like a holy beacon. The song's main riff is very upbeat and punk influenced; the verses throw in some solid riffs and vocal trade-offs that actually work again; the pre-choruses feature a neat cameo made by legendary metal DJ Eddie Trunk; the chorus is another mindlessly fun sing-a-long; the solos are great though brief; the chanting between each verse really adds to the atmosphere; and the lyrics provide an amusing look at the band's early days. Some metalheads despise this one, but it's definitely a fun track and sounded awesome when I heard them perform it in concert...
9 out of 10

Overall, this album gets 78 out of 100, 78%, and 3.5 stars. This album is rather inconsistent as a whole and is mostly saved by its more classic tracks. Hardcore Overkill fans should enjoy it and modern thrashers may want to look into it. It's better than "Immortalis" anyway (although that album has much better production...).

Silence (Sonata Arctica)

Sonata Arctica is one of those power metal bands that gets a bad rap from some metal fans for their fast and almost excessively upbeat guitar harmonies, strong emphasis on the keyboards, constant double bass drumming, and extremely high pitched vocals. For their second album, the band seems to break away from the Stratovarius worship that was all over the previously released "Ecliptica" and begin to add ballads and more epic material to their resume. In terms of structure, I like to think of this album as being a very bouncy counterpart to Iced Earth's "Something Wicked This Way Comes."

...Of Silence: Starting the album off is a minute long introduction intended to set the album's atmosphere in standard metal fashion. It is made memorable by effective keyboards and a solid narration by special guest Nik Van-Eckmann.
7 out of 10

Weballergy: As the opening bit fades away, we fly straight into the album's first fast track. It opens with a rapid fire flurry of keyboards, drums, and guitar riffs; the verses continue in a similar fashion; the pre-chorus is uplifting and catchy; the chorus features some even more high pitched vocals and catchy backing vocals; and the solo section features plenty of great keyboards and heavier guitar riffs. Pretty much your standard power metal track and a great addition.
9 out of 10

False News Travels Fast: A smooth keyboard layering opens this song's introduction; the verses return to the fast and louder style; the pre-chorus throws in more noticeable double bass drumming; the chorus is another catchy one with some backing vocals by Stratovarius castrato Timo Kotipelto; the bridge features solid vocal layering; and the solo section features keyboards in the vein of the introduction, a solid bass presence, and heavier guitar melodies.
9 out of 10

The End Of This Chapter: We now come to a more epic ballad track that features several different "chapters" over the course of seven minutes. The song starts off with an unintentionally amusing telephone conversation between Van-Eckmann and a Renay Gonzalez; the opening verse consists of lower pitched vocals and a lonely keyboard/piano melody; the following verses throw in more driving guitar riffs, twinkling keyboards, and occasional vocal layering (Is that a death grunt I hear at 1:25?); the pre-chorus is a great builder; the chorus is a heavier sing-along; the bridge features higher pitched vocals and brighter guitar riffs; the solo section is brief but features some great bass, keyboard, and guitar parts; the final verse shows more restrained vocals, more subtle keyboards, and occasional guitar chord outbursts; the song fades out with a sweet piano solo; and the lyrics provide an excellently creepy stalker narrative. Easily my favorite track on the album.
10 out of 10

Black Sheep: Back to the faster style we go as this track's opening keyboards, guitars, and drumming set the scene. The verses continue with excellent riffs and solid vocals; the pre-chorus is another builder; and the chorus is probably the catchiest on the album. Unsurprisingly, the song has become quite the fan favorite...
9 out of 10

Land Of The Free: Foreboding keyboards open this tune in a more mystical fashion; the verses come in with erratic guitar riffs, more of that strong drumming, and the soaring vocals; the pre-chorus throws in even higher pitched vocals; the chorus is done in a similar fashion; and the solo section is made memorable by great keyboard and guitar lines and a bizarre but welcome chanting segment that sounds like something that wouldn't be too out of place on a 2 Unlimited album. Then again, I just might like that because of how I used to listen to that band in junior high. . .
. . .it's not something that I'm proud of.
9 out of 10

Last Drop Falls: While I consider "The End Of This Chapter" to be something resembling a ballad, this is where the lighters will really be swaying in the air. It opens with another keyboard bit that is joined by somber keyboard/guitar melodies; the verses and pre-choruses throw in some emotional vocals; the chorus is a louder sing-a-long with some lower pitched vocals; and the lyrics are very heartfelt though they contain a few chuckle worthy lines. It sounds like it'd be a good song for high school slow dancing. Oh, the memories...
10 out of 10

San Sebastian (Revisited): Once again, we return to a faster track. The introduction opens with even more rapidly delivered keyboards, guitars, and drumming; the verses continue in a similar fashion; the pre-chorus is another solid builder; the chorus is uplifting with strong vocal layering thrown in; and the solo section keeps the song from being too generic by throwing in a strong bass foundation and awesome guitar/keyboard bits.
9 out of 10

Sing In Silence: Now we come to the album's third ballad. It opens with the standard keyboards; the opening verses throw in some lower pitched vocals; the following verses throw in a subtle rhythm section; the chorus throws in heavier guitar riffs and higher pitched vocals (Though they're nothing like how they are on the speed metal numbers).
8 out of 10

Revontulet: The album's second interlude is quite different than the one before it. It is entirely instrumental and dominated by catchy though somewhat silly keyboard lines and a subtle rhythm section in the background. A little excessive on the wankery, but it's only a minute and a half long...
7 out of 10

Tallulah: Another ballad comes in with a sweet piano melody that is joined by the lower pitched vocals during the opening verse. The following verses and pre-choruses throw in the rhythm section and more subtle keyboards in the background; and the chorus is solid though nothing too dramatic. It's a good song, though it doesn't have too many stand-out qualities and may be my least favorite track on the album...
7 out of 10

Wolf & Raven: The standard keyboard/guitar flurry opens this track with the strong double bass drumming behind; the verses features vocals that are more rapidly delivered than usual (and I heard a nice little growl during the second verse); the pre-chorus is like the others; the chorus is another catchy one though not quite as amazing as some of the past ones; and the solo section is filled with more rapid fire guitars and keyboards and plenty of bizarre but welcome mood changes.
9 out of 10

The Power Of One: Closing out the album is truly a rare beast in the Sonata catalog, an eleven minute epic track. Its introduction opens with sounds of a storm, lonely melodic guitar, and a particularly somber spoken segment; the opening verse throws in some soaring vocals and subtle keyboards; the second verse throw in the driving drums and steady guitar gallops; the pre-chorus is a soaring one with solid backing vocals; the third verse suddenly gets faster, as does the pre-chorus following it; the fourth verse suddenly slows down and features only the somber vocals and creepy keyboard; the following chorus is done in the standard ballad fashion; the following solo section begins to pick up speed; the second repetition of the chorus is more rapidly delivered with higher pitched vocals; the following verses have an uplifting quality; another cool solo section follows; the final chorus is sung in the ballad fashion; and the song finished off with a final spoken segment over a sweet vocal canon and a solid rhythm section. It may be a little too much to take in at times, but it definitely doesn't get boring...
9 out of 10

Overall, this album gets 112 out of 130, 86%, and 4 stars. With the exception of the more romantically influenced lyrics, this is probably the ultimate flower metal cliche. Fans of the melodic style should eat it up like the ear candy it is and the extreme metal elite will hate it with the white hot intensity of a thousand suns. The faster tracks are worth checking out for any fan of bands like Helloween and the ballads will certainly appeal to sensitive people everywhere...

Journey Into Mystery (Dream Death)

It's amazing what you can find on iTunes these days if you look hard enough...
Even though if this the only album that Dream Death has released in their extremely obscure career, it seems to have been quite influential in the development of doom/death metal during the late 80's and 90's (Think My Dying Bride, Paradise Lost, etc). The album is musically made memorable by the often unorthodox song structures, sludgy Black Sabbath worshipping guitar riffs, and the rhythmically spoken growls of guitarist/vocalist Brian Lawrence. Like many bands at the time, the album's lyrics are deeply rooted in the supernatural and deals with everything from vampires to evil serpent men...

Back From The Dead: Right away, the introduction begins with slow guitar chords and a slow but steady drum pattern; the verses throws in some faster riffs and strongly shouted vocals; the pre-chorus features some dissonant vocal/guitar trade-offs and strong drumming; the chorus suddenly comes back to the slower pace; and the bridge and solo section go at a more mid-tempo. All in all, a great track though I think there may be a song or two on here that would've served as a better opener...
8 out of 10

The Elder Race: A fuzzy sounding riff starts this song off before it is joined by a driving mid-tempo crunch; the verses go at a similar pace with nicely sequenced vocals thrown in; the chorus features a nice guitar/vocal harmony with some sweet drum fills behind it; the bridge is done in a more dissonant fashion; the solo sections dividing the song are solidly delivered; and everything about the lyrics seems to scream HP Lovecraft worship.
9 out of 10

Bitterness & Hatred: A nice drum pattern opens this tune before some dissonant guitar riffs make their appearance; the opening verse features more open guitar chords and an overall slower pace; the following verses go at a more driving pace; and the lyrics seem to have more of a political touch to them. Not as strong as the opening tracks, but a nice addition.
7 out of 10

Black Edifice: This song starts out with a riff that may be even slower than the ones before it; the song picks up a bit of speed for the verses; the chorus is a little awkwardly delivered; and the solo segments feature plenty of interesting riffs and great drum fills. It's not a bad song, but nothing really stands out about it.
6 out of 10

Divine In Agony: Without a warning, the opening verse comes in with some dissonant riffs and rapidly delivered vocals; the following verses continue in a similar style though they're a little easier to handle; and the various solo segments and the bridge's verses go at a slower pace. It gets props for uniqueness, but it really is a little too awkward for its own good. Probably my least favorite song on the album.
6 out of 10

Hear My Screams: After a few duller numbers, we finally get a more thrash inspired track. It first opens with a few slow, muddy guitar chords before making way for a solid guitar gallop and strong drumming; the verses continue in a similar fashion; and the solo sections are pretty solid as well. It may get a little awkward at times, but it's one of the better tracks on the album...
8 out of 10

Sealed In Blood: Now we come to my favorite on the album and what, I think, should've been the album's opener. Its introduction starts off with some dramatic guitar riffs and more steady drumming; the verses go at a pace similar to that of "The Elder Race" with catchier vocals and even darker riffs thrown in; the chorus is interestingly delivered; the solo section continues at that slower pace but soon picks up speed; the bridge is done in a thrashy fashion; and the lyrics are full of great vampire imagery. Truly an excellent track.
10 out of 10

Dream Death: Ending the album's cycle of doom is a final thrasher. It starts with another batch of dissonant guitar chords; the verses continue at a more driving pace; the pre-chorus is a little more intense but catchy; the chorus makes a great shout-a-long; the bridge takes the song to a mid-tempo crawl; and the solo section returns the song to its more driving pace. All in all, a solid closer.
9 out of 10

Overall, this album gets 63 out of 80, 79%, and 3.5 stars. I'd recommend this release for any fans of old school doom/thrash metal or fans of obscure 80's metal in general. The band may be a bit of a one trick pony with a bit of inconsistent songwriting, but the album does have its share of good songs. I do wonder how much further the band's sound would've evolved if they had been around a little while longer back in the day...

The Sound Of Perseverance (Death)

On their seventh studio album, Death seemed to really come a long way from the rancid (In a good way) sound of the band's first two albums. The riff and song structures have become more technical; greater emphasis has been placed upon the abilities of the rhythm section; the production has gone from ugly and raw to crystal clear; the vocals have gone from vomiting grunts to high pitched shrieks; and the album's melodic moments seem to pave the way for the sound heard on guitarist/vocalist Chuck Schuldiner's next project Control Denied. In addition, this album is also the only one to feature drummer Richard Christy, bassist Scott Clendenin, and guitarist Shannon Hamm. Unfortunately, this would also prove to be the last Death album released as Schuldiner sought to pursue Control Denied full time and eventually died of a tumor in 2001...

Scavenger Of Human Sorrow: Without a chance to prepare, the album begins with a rapidly delivered drum solo that is soon joined by some heavy but dramatic guitar harmonies. The verses continue in a similar style with some dramatic shrieks thrown in; the pre-chorus is more elaborate with a mostly mid-tempo pace, strong bass presence, more dissonant riffs, and oddly sequenced vocal patterns; the chorus goes at a much faster pace with strong riffs and drumming; and the song's solo section starts off with a dark bass bit that gradually fades into an awe inspring guitar solo with excellent drumming throughout. A strong opener and one of my favorite tracks on the album.
10 out of 10

Bite The Pain: More emotional guitar harmonies start this song off smoothly before the vocals come in strong during the opening verse; the following verses feature faster riffs and angrier vocals; the pre-choruses go at a slower pace and features an excellent guitar/bass harmony and powerful vocals; the chorus throws in some sweet guitar squeals, drum fills, and occasional vocal layering; the bridge does a nice job of building up before this song's awesome solo section; and the lyrics are full of dark imagery, especially during the opening verse and the first pre-chorus ("Beware of the sharp-edged weapon called 'human being.'").
9 out of 10

Spirit Crusher: A strong bass introduction opens this number backed by subtle drum fills; the verses continue at a mid-tempo pace with melodic guitar riffs and more restrained vocals; the drawn out pre-chorus has more uplifting guitar harmonies, grinding guitar chords, and some of the most powerful vocals on the disc; the chorus goes back to a faster pace; the solo section features even more amazing guitar riffs and leads; and the lyrical imagery is powerfully felt during the pre-chorus and the second verse. Truly an amazing number though it may be a little too long for some...
10 out of 10

Story To Tell: Another emotionally powerful guitar harmony opens this track before the darker riffs and drumming settle in; the verses continue with great guitar parts, awesome drumming, and unique vocal patterns; the pre-chorus is a sweet builder with an erratic guitar lead; the chorus features dissonant riffs delivered in a more subtle fashion; the solo section is another amazing one with plenty of awesome stops, starts, twists, and turns as it slithers through the listener's ear. Funny how this track may be the worst on the album, yet it's still amazing...
8 out of 10

Flesh And The Power It Holds: This track starts off with a guitar harmony that brings to mind "Bite The Pain" as the rhythm section carries the tune quite steadily; the verses suddenly go at a faster pace with some rapid drumming, great riffs, and awesome screams; the pre-chorus makes a great scream-a-long with intense drumming; the chorus throws in a strong chugging riff, dissonant vocal patterns, and a return to the rapid fire pace of the verses; and the solo section starts off with a dramatic mid-tempo chug, fades into a softer guitar harmony segment followed by a sweet bass solo, and then back to the rapid fire style of the verses.
9 out of 10

Voice Of The Soul: After five tracks of the heavy but melodic intensity, we finally get a chance to take a breather with this instrumental ballad. The drums are gone and there are no screams to be found; only the lyrical wails and delicate picking of Schuldiner and Hamm's accoustic and electric guitars and the very subtle bass in the background. While it was already a very emotional piece, it seems to have gained even more significence after Schuldiner's tragic death and I just might have to call this my personal favorite track on the album. It may be a little cliche, but play this fucker at my funeral!
10 out of 10

To Forgive Is To Suffer: And back to the heaviness we go as another drum fill starts this song off and is joined by one of the most driving riffs on the album; the more mid-tempo verses feature more of the typically odd but melodic guitar/vocal patterns; the pre-chorus is another builder with excellent drumming, chugging riffs, and sweet leads; the chorus's guitar/vocal harmonization is truly powerful to behold; the solo section goes back to the mid-tempo direction with strong guitar chugs and sweeping solos (though it is rather brief...); and the closing segment features more erratic guitar leads, strong drum fills, and strange but cool effects that bring to mind "Cosmic Sea" from the "Human" album. Aside from the instrumental, this is probably the most accessible track on the album.
9 out of 10

A Moment Of Clarity: Some strong guitar chugs and a steady rhythm section open this track quite dramatically; the verses are at a faster pace; the pre-chorus features a heavy vocal/guitar harmonization followed by more unusual vocal and guitar lines; the chorus features powerful guitar leads, strong bass playing, and consistent drumming; the solo section is another awesome one with plenty of rising guitar harmonies and awesome drumming; and the closing segment is really quite breath taking. While this probably would've made an excellent album closer, there is still one more track to analyze...
10 out of 10

Painkiller: Is it possible for a cover to totally outdo the original? Death just might have done so with this impressive take on the popular Judas Priest standard. The drumming is just as intense as it is on the album's original material and does Scott Travis justice; the band's signature guitar sound provides the song with a more cosmic atmosphere; and a few of the words are changed to fit the more aggressive mood (For example; the word "smiter" is used instead of "savior"). Schuldiner's vocals really steal the show on the track as he starts the song with a ear piercing scream, delivers the verses and choruses in an extremely high pitched wail, and even uses some lower pitched clean vocals during the song's final verses. Rob Halford would indeed be proud...
10 out of 10

Overall, this album gets 85 out of 90, 94%, and 4.5 stars. This just might be the greatest heavy metal of all time. It has just about everything that a metal fan could want; prog fans will enjoy the band's technical abilities, death metal fans will enjoy the persisting heaviness, power metal fans should enjoy the more melodic guitar playing, and the cover is mandatory listening for everyone who calls themselves a Judas Priest fan. The album's only flaw is that it can be hard as Hell to get into...
Buy or die, kiddies!

Rage For Order (Queensryche)

Kinda like how Judas Priest briefly attempted to go glam with 1986's "Turbo," Queensryche began to experiment with a more mainstream sound the same year on their second full-length album. The band's sound itself is even polished than before as keyboards are even more prominent than the guitar riffs and the songwriting has become more accessible. Fortunately, the band's progressive tendencies remain, as do the band's complex lyrical themes and the high-pitched howl of vocalist Geoff Tate. In short, this remains one of the most despised albums of the band's pre-"Empire" era...

Walk In The Shadows: Opening the album is none other than a major fan favorite. It is made memorable by its introduction's strong guitar harmonies; the verses' mid-tempo guitar gallop and odd vocal lines; and the chorus's sing-along vocals. All in all, a short but direct anthem.
9 out of 10

I Dream In Infrared: You could call this track a ballad. It opens with a gentle guitar melodies and a subtle rhythm section; the verses keep up the mellow atmosphere; and the chorus is louder and catchy in standard power ballad fashion. It's a good song, though the band has made plenty of better ballads...
8 out of 10

The Whisper: This track opens with a dramatic guitrar melody and keyboards that set up a foreboding atmosphere; the verses go at a more mid-tempo pace; the chorus's vocal melodies kinda sound like something from a Journey song; and the closing segment throws in some odd effects.
8 out of 10

Gonna Get Close To You: Now we come to one of the album's more bigger hits, a cover of the Lisa DalBello song of the same name. The introduction starts off with a slow, robotic drum pattern and some odd synth effects; the verses throw in some odd sounding vocal lines; the pre-chorus is a melodic builder; the chorus features a noticeable bass line and creepy vocals; and the lyrics deal with a stalker hunting down their prey. It's gathered some controversy, but I find it to be rather enjoyable.
9 out of 10

The Killing Words: A poppy keyboard bit opens this song before a solid guitar/bass harmony comes in; the verses feature the usual dramatic vocals and melodic guitar bits; the chorus is another loud sing-along; and the guitar solo is strong.
8 out of 10

Surgical Strike: We finally get to a fast track after the mid-tempo plodders and ballads. This track opens with a dramatic guitar melody and rolling drums; the verses features some cool vocal harmonies against open guitar chords and a steady rhythm section; the chorus is another great sing-along; and the solo section features great guitar and keyboard parts. I've heard this song compared to "The Needle Lies" off of "Operation: Mindcrime" and it does seem like an accurate comparison to make.
9 out of 10

Neue Regel: Some keyboards build this song up before some exotic accoustic guitar melodies come in; the verses features some oddly distorted vocals over a robotic bass line and eerie keyboards; the chorus has a more natural feel to it; and the closing segment features plenty of strange effects over a neat guitar riff. A solid track though maybe one of those songs that's a little too digital for its own good...
7 out of 10

Chemical Youth (We Are Rebellion): I like to think of this song as being an unofficial extension of "Take Hold Of The Flame" in terms of lyrics. It opens with a solid guitar melody; the verses feature some dissonant placement of gang vocals and bizarre sound effects; the pre-chorus throws in a nice guitar gallop; and the chorus features more bizarre vocal layering; and the solo section suddenly goes into softer territory before throwing in more of those crazy sound effects... It would've been even better if not for all of the erratic elements...
7 out of 10

London: A virtual bass thump and melodic guitars open this song smoothly; the verses throw in the usual vocal work, a slow drum beat, soft guitar bits, and subtle keyboards; the pre-chorus is a nice builder; and the chorus is a slightly virtualized sing-along.
7 out of 10

Screaming In Digital: This song is probably the most hated track on the album. Its introduction starts off with creepy sound effects and a dissonant guitar riff; the mid-tempo verses keep the keyboards out in front with creepy vocals and occasional guitar fills here and there; the chorus features more soaring vocals and dramatic riffs and keyboards; and the solo section goes at a more driving pace. Overall, I think it's a good tune that kinda sounds like a more keyboard heavy version of "NM 156" off of "The Warning."
7 out of 10

I Will Remember: This song opens with some foreboding keyboards and dark accoustic guitar melodies; the verses follow in a similar fashion; and the chorus features more delicate vocal melodies; the bridge takes the song into a more energetic path with some neat percussion and vocal acrobatics thrown in (Including some of Tate's infamous whistling.); and the solo section is sweet though a little too short. All in all, a great way to close the album and a soft track that thankfully doesnt go too deeply into the cliches of the style...
9 out of 10

Overall, this album gets 88 out of 110, 80%, and 4 stars. Some listeners may find this album to be too dated and keyboard laden, but it is a good purchase to make for fans of Queensryche and 80's metal in general. In a way, some of the its more political themes seem to set up for the opus that would follow...

Streets: A Rock Opera (Savatage)

With this album, Savatage managed to perfect the epic Broadway metal style that was introduced that was introduced in a slightly awkward fashion on 1989's "Gutter Ballet." This album showcases more solid songwriting as a whole, the excellent guitar playing of Criss Oliva, emotional piano playing and a wide variety of vocals performed by Jon Oliva, the strong rhythm section of Steve Wacholz and bassist Johnny Lee Middleton, and the best lyrics that the Oliva brothers and producer Paul O'Neill have ever written.
As evidenced by the album's title, this is a concept album that tells the tale of a rocker named DT Jesus who searches for the meaning of life on the streets of New York City in between his rises and falls. I've read that the story is based upon a book that O'Neill had written a decade before (Ironically titled "Gutter Ballet") and has nothing to do with the life Jon was leading at the time. Unfortunately, this is the last album to feature him performing lead vocals until 2001's "Poets And Madmen but he contributed vocals on a few of the band's later songs and stayed on board as a keyboardist and songwriter...

Streets: Instead of opening the album with a minute long overture or spoken segment, Savatage decided to start off with a six minute track to set the atmosphere. The introduction begins with sounds of a children's choir and soft keyboards; the first verse comes in with a foreboding guitar/bass melody and dissonant vocal lines; the following verses go at a solid mid-tempo pace with a riff that brings to mind "Thorazine Shuffle" off of "Gutter Ballet;" the chorus features a solid guitar riff and excellent vocal trade-offs between Oliva and the choir; and the solo section and bridge feature sweeping performances from Criss's howling guitar squeals and Jon's howling shrieks and interesting sound effects. A little tough to get into, but an excellent opener.
9 out of 10

Jesus Saves: This song is probably one of the band's most famous tracks as its video earned them a small slot on MTV back in the day. It opens with sounds of the city and the ramblings of a homeless man about the characters on the streets ("Never thought I'd be one of them though...") that lead into the song's catchy main riff and bright sounding keyboards; the verses feature solid guitar/keyboard melodies and excellently delivered vocals; the pre-chorus is an upbeat builder; the chorus makes use of great chants and revisits the song's main riff; and the solo section goes at a more mid-tempo pace.
9 out of 10

Tonight He Grins Again: I've read that Jon Oliva considers this to be one of his favorite Savatage tracks ever. A sweet piano melody opens this track and is joined by sweet guitar wails and mournful vocals during the verses; the pre-chorus gets a little louder and features powerful vocals that soon turn into emotional shrieks during the chorus; and the lyrics feature some dark imagery, especially during the pre-chorus ("Walk the streets just staring out, 'cause in the dark the strange come out".).
9 out of 10

Strange Reality: Here we have a more happy sounding track that relies heavily upon its bright and catchy guitar riffs, driving verses, upbeat pre-chorus, basic but strong chorus, and memorable bridges. It's a song that's basically just nice to groove to and makes a good sing-along.
9 out of 10

A Little Too Far: Despite being a wonderful tune, there's not too much that can be said about it musically. It is a ballad that only features Jon playing piano and singing; the verses are softly delivered; and the chorus manages to build up smoothly without becoming totally cliche. The lyrics are excellently written and I find the song's last verse to be a little amusing due to its Star Trek reference ("Spork and Kirk have had enough, and no one's left to beam me up.").
9 out of 10

You're Alive: This song is another upbeat number in the vein of "Strange Reality," though it's less than two minutes long. It opens with a strong chug that leads into the verses's upbeat guitars, vocals, and background; the pre-chorus is a standard builder with almost poppy guitars/vocals and sweet drum fills; and the chorus is another one that is basic but effective.
9 out of 10

Sammy And Tex: Just when you thought the previous song would go into a guitar solo or something, we instead go into the next track without warning. The verses go at an energetic pace with rapidly delivered vocals and strong riffs; the pre-chorus is more subtle in its catchiness; the chorus is brief like many of the others with a faster fast performance; and the solo section keeps up the pace but goes into darker territory. It serves more of a turning point in the story, but it also makes a good thrasher with a few slower tunes...
9 out of 10

St. Patrick's Speaking of slower tunes, we now come to the album's second ballad. The opening verse feature Jon's vulerable vocals above a somber piano melody; the chorus throws in some louder guitar riffs and some desperate sounding shouts; the following verses replace the piano with an emotional guitar riff and atmospheric organs; the bridge goes into an even louder direction and throws in some dramatic orchestral bits; the closing verses return the song back to the original piano/vocal pattern; and the lyrics are full of deep religious questioning with some awesome lines thrown in here and there.
9 out of 10

Can You Hear Me Now: This song goes into a darker direction as a sinister accoustic guitar melody and booming drums dominate the introduction and verses; the chorus throws in some louder guitar riffs; the solo section throws in more noticeable keyboards and erratic guitar riffs and solos that bring to mind the style of "Hall Of The Mountain King;" and it seems to end as it began...
9 out of 10

New York City Don't Mean Nothing: This song starts off as another ballad though the piano is replaced by an accoustic guitar riff during the opening and closing verses and chorus; the following verses feature a strong bass line, louder guitar riffs, and strong vocals; the solos are strong; and the lyrics are rife with smart but paranoid words of wisdom delivered to DT by one experienced hobo. The structure is a little odd and awkward at times, but it manages to stay entertaining throughout.
9 out of 10

Ghost In The Ruins: I find this track to be a combination of "Can You Hear Me Now" and the title track in a way, though it is stronger than the two. It starts off soft and foreboding before a heavy mid-tempo slithers into the song; the verses continue in a similar direction; the pre-chorus is a little more melodic; the chorus features some strong chanting above the riffs and lead vocals; the solo section starts off with a great bass bit before more melodic guitar parts enter; and the closing segment features some catchy shrieks above the strong guitar solos.
9 out of 10

If I Go Away: Another ballad starts off with an extended piano introduction before the mournful vocal melodies come in; like the other choruses, this one gets louder and throws in some sweet guitar leads; and the following verses keep the guitar parts in the midst of the vocals and piano; and the lyrics portray longing for a long lost love.
10 out of 10

Agony And Ecstasy: Back to a heavier track we go as this introduction brings in a driving guitar riff and manic vocals; the following verses throw in a sweet gallop and more rapidly delivered vocals; the solo section is a little too short but the wild squeals are quite cool; and Jon presents a strong personification of heroin...
8 out of 10

Heal My Soul: I don't think there's anything on here that hasn't been said already. It's pretty much another ballad that makes solid use of gentle sounding vocals and piano playing though it's made distincted by using the old Welsh lullaby "Suo Gan" as the basis of its melody. Basically, it's "A Little Too Far" with a choir in the background...
7 out of 10

Somewhere In Time: Yet another ballad. The opening verse is based upon the quiet vocals and piano; the chorus gets louder; the following verses are a bit more bright; but the solo section really takes the song into more interesting territory that brings to mind the upbeatness of "Strange Reality" and showcases Criss's guitar skills.
7 out of 10

Believe: While it is easy to be bored of this song due to it being a third ballad in a row, this one is even more powerful than the ones before it and just might be one of the best songs that the band has ever written. The vocals are at their most emotional; the verses feature piano and guitar playing; the chorus is a powerful builder; the guitar solos are quite heartfelt; and the lyrics have an emotional but uplifting message to them (And even manage to quote "When The Crowds Are Gone" without sounding stale...). Bottom line, if this song doesn't raise any emotion in you in any way, shape, or form, you pretty much have no soul...
1o out of 10

Overall, this album gets 141 out of 160, 88%, and 4 stars. It's not exactly "Operation: Mindcrime," but I think that this is a solid concept album and one of the band's best efforts overall. I think that its only real flaws are a few too many ballads towards the end and only a small number of tracks that are really able to stand on their own as songs (Then again, what do you expect from an album with 16 tracks?). I recommend it as a first purchase for people interested in the band and for anyone who feels like hearing some emotionally insightful lyrics.

Grand Illusion (Nocturnal Rites)

Nocturnal Rites has a sound that I like to call "play it safe metal." Originally started as a melodic death metal band in their native Sweden, they eventually became more of a power metal band as time went on. This album showcases that style with a bit more of an accessible edge to it (Hell, the title seems to be borrowed from the famous Styx of the same name...). The album also features a wide variety of guitar and vocal parts performed by guest contributors coming from the realms of power metal, black metal, and skiing...

Fools Never Die: Coming in loud and clear is the introduction's bright main riff and solid drums; the verses continue in an upbeat pace with the raspy vocals of Jonny Lindkvist; and the chorus is a nice layered sing-along; and the lyrics are rife with social commentary. A solid way to start the album.
8 out of 10

Never Trust: A few darker riffs and keyboards fade in during this song's introduction and lead to some louder harmonies; the verses and pre-chroruses go at a more mid-tempo pace with chugging riffs and soaring vocals; the chorus features some catchy vocals and effective backing vocals; and the solo section is pretty sweet.
8 out of 10

Still Alive: A more heavier guitar harmony and strong drum fills open this song strongly; the verses feature more mid-tempo chugging and soaring vocals; and the chorus is another soaring one. It's pretty similar to the previous track, though I think this track is better executed musically and has better lyrics.
8 out of 10

Something Undefined: I find this song to be a bit more upbeat than the ones before it. It opens with a solid drum introduction that leads into a strong crunch; the verses are like the ones before though more upbeat; the brief pre-chorus feature quieter vocals and riffs; the chorus is slower with some strong vocals and subtle keyboards in the background; the bridge leads smoothly into the more mellow and slightly bass heavy solo section.
8 out of 10

Our Wasted Days: Soft keyboards fade in and lead to a furious chugging riff; the verses are more rapidly delivered and feature strong vocals and guitar chords; the pre-chorus is an uplifting builder; the chorus is another catchy one; the bridge goes into more mid-tempo territory; the guitar solos are excellently done; and the lyrics have a solid structure.
8 out of 10

Cuts Like A Knife: Here we have a bizarre power/black metal experiment that brings to mind "March Of Mephisto" by Kamelot. It opens with a darker guitar riff, backing keyboards, and strong chanting; the verses go at a mid-tempo pace with some interesting trade-offs between Lindkvist and Naglfar vocalist Kristoffer Olivius; the pre-chorus features some soaring vocals and solid drums; the chorus is done similarly as the verses in terms of vocals but features the introduction's riffs; and the lyrics have some morbid imagery. A neat experiment, but Kamelot did it better...
7 out of 10

End Of Our Rope: This song has a more of an epic feel to it. It sounds with some sweet strings and keyboards before fading into some dramatic guitar riffs; the verses go at a mid-tempo pace; the pre-chorus is a nice builder; and the chorus is catchy though the melodies sound eerily similar to those of Hammerfall's "Glory To The Brave." A neat track though another song done better by the original thing...
7 out of 10

Never Ending: This track opens with a solid crunch and some uplifting guitar melodies; the verses go at a decent pace; the pre-chorus is more mid-tempo; and the chorus is another memorable one. Pretty much more of the same, though still solid.
7 out of 10

One By One: A brighter guitar harmony opens this track; the verses and pre-choruses go at a pace and atmosphere that sounds oddly like "Something Undefined;" and the chorus is another solid one. It's not bad, but it's frightfully generic and you'd think they're going to break into the chorus of "Something Defined" any second...
7 out of 10

Deliverance: Closing out the album is one that manages to stick out a bit. It opens with a dramatic guitar/keyboard melody; the verses are a little quieter with a strong bass presence and more unique vocals than before; the pre-chorus is a little louder; and the chorus is another uplifting one, though it isn't quite as what was before. I think that this track could've been better if it had more developed...
7 out of 10

Overall, this album gets 75 out of 100, 75%, and 3.5 stars. Despite the album being a little shallow and generic at times, I think the album does have its share of good songs and would probably be a good album to get for those interested in hearing more melodic metal. Its only real flaws are some somewhat stale songwriting and a rather faceless band performance. Fans of the band are encouraged to check this one out, the rest of you aren't really missing that much...

The Black Halo (Kamelot)

It's not very often when a sequel is considered to be superior to the original work. When this album was released in 2005, it brought the band a great deal of underground acclaim and brought them into the attention of a whole new legion of fans (Hell, this is the first album that I managed to find of theirs...). The music is some of the strongest the band has ever written and is made memorable by vocalist Roy Khan's splendid phrasings, guitarist Thomas Youngblood's heavier than before riffs, keyboardist Miro's effective orchestrations, the awesome songwriting, and the variety of guest performers brought in to play different character roles. The album's lyrics finish the story that began with "Epica" and is largely based on the famous legend of Faust. I won't go into much detail as the story is rather complicated and also requires listening to "Epica" in order to understand...

March Of Mephisto: The introduction starts out with some dark orchestral effects as Shagrath from Dimmu Borgir (Playing the character of Mephisto) delivers a dark sounding speech before a dramatic guitar riff comes in; the guitar dies down during the verses as the vocals come in strongly and the orchestra lingers in the background; the heavier chorus features some effective trade-offs between Khan and Shagrath; the bridge features some melodic vocals and a nice bass presence; and the closing chorus is particularly strong. All in all, an excellent way to open the album and probably my favorite track.
10 out of 10

When The Lights Are Down: Here we come to a song that's a bit more straight-forward than the opener. The introduction starts off with some almost virtual sounding guitar parts before turning into a riff/double bass drum assault; the verses are a little slower and feature some slightly awkward vocal patterns (Mostly during the first verse) but great bass and guitar riffs; the chorus is a really catchy one; and the bridge goes in a slower direction and fades smoothly into some sweet guitar solos. Another great track.
9 out of 10

The Haunting (Somewhere In Time): Actually, this might be my favorite song on the album; it is one of the album's biggest singles and the one that got me interested in the band. It opens with some eerie but bouncy keyboard harmonies; the verses feature a ghostly atmosphere with every musician in top form; the pre-chorus is a nice builder; the chorus is incredibly catchy with some solid female backing vocals; the solos are quite good; and the bridge features Khan dueting with Epica singer Simone Simmons (Playing the role of Marguerite). Maybe a little too commercial but absolutely amazing...
10 out of 10

Soul Society: As sounds of sirens end the previous number, we run straight into another strong straight-forward number. The opening verse features more expressive vocals going against the subtle keyboards and guitar chords; the following verses throw in some nice chugging; the chorus feature some uplifting vocals and effective orchestra and backing vocals without sounding too much overwhelming; and the instrumental segment throws in some more melodic orchestra and guitar parts and interesting sound effects. I do find the lyrics on this one to be particular intriguing; while the Faust theme is kept in tact, I also think that the song may have been written as a way for the band to express their feelings about the war in Iraq. Then again, that could just be my interpretation...
9 out of 10

Interlude I - Dei Gratia/Abandoned: After a brief spoken segment delivered in Latin, we get the album's first big ballad track. It opens with a sweet piano part that is soon by the orchestra; the vocals during the verses and first two choruses are powerfully expressive; the bridge features vocalist Mari Youngblood (as the character of Helena) singing a beautiful reprise of "Helena's Theme" from "Epica," the brief instumental segment features a rising orchestra; and the final chorus closes the song out in a heavy, dramatic fashion. All in all, a splendid ballad and definitely better than the ballads that are out there these days...
10 out of 10

This Pain: We finally come to a more average track after hearing five classics in a row. It begins with a slow but sweet guitar/keyboard melody; the verses throw in a mid-tempo plodding riff and soaring vocals; the chorus is a little bizarre but catchy; and the instrumental segment features some cool guitar solos and strong drumming. A harder to get into than the tracks before it, but still strong.
8 out of 10

Moonlight: I'm not quite sure whether this track should get a 9 or a 10. The introduction opens with a dramatic piano/orchestra harmony that is joined by an almost industrial rhythm and another mid-tempo riff; the verses are more softly delivered; the pre-chorus throws a cool riff back in; the chorus is a solid sing-along; the bridge features some melodic instrumental work and higher pitched vocals; and the solos do a fine job of following suit.
9 out of 10

Interlude II - Un Assassinio Molto Silenzioso: Even though the second interlude is only 40 seconds long, it is truly a stand-out. Instead of the dark power metal, we are treated to a brief carabet performance sung (in Latin) by singer Cinzia Rizzo and some effective backing instruments. It would've been cool to see a full song of this style, but for now it'll just be a cool installment that is bound to gain the attention of all the listeners who are spacing out at this point...
8 out of 10

The Black Halo: Back to that dark power sound we go as some thunderous guitar riffs and backing orchestration; the verses aren't quite as bold but they feature driving vocals; the pre-chorus features an awesome guitar/vocal harmony; the chorus makes strong use of orchestra and backing vocals; and the instrumental segment features some awesome but brief choral vocals and a great guitar solo. I get the feeling that this song sounds awesome live.
9 out of 10

Nothing Ever Dies: A sweet gutar harmony opens this tune and is joined by solid drumming and backing orchestrations; the verses feature some lower pitched vocals than usual and a slightly sinister; the chorus is pretty catchy; the bridge is another melodic one; and the solo section on this one could be one of the best on the album.
8 out of 10

Momento Mori: Now we come to what may be the album's centerpiece; an almost nine minute epic that clsoes the album's story. It opens with an ominous piano part that is then joined by some splendid vocals and the backing orchestra; a solid instrumental sequence throws in some strong guitar parts; the verses and pre-chorus are a little more laid back but still driving; the chorus features a powerful choir and distorted vocals from Khan; the fourth verse features Mari and Shagrath returning to perform a brief duet over a cool guitar solo and strong drumming; you may not even know there's a fifth verse as the vocals are extremely distorted and the riffs and drums are strong; the final verse closes the album out the way it began; and the lyrics are pretty much some of the most brilliant on the album. It may be a little bloated at times, but it's quite a strong track.
10 out of 10

"Interlude III - Midnight/Twelve Tolls for a New Day: The album's third and final interlude is truly one of the most bizarre. It fades in as the last song dies away, features sounds of a record playing backwards, and the sound of a crowd comes in. It is revealed that the story of this album and "Epica" was just an elaborate play put on to celebrate a new year. Definitely an interesting thought and the sounds are pretty well done.
8 out of 10

Serenade: Just so we're not totally confused by the end, the album closes out with a song that isn't part of the story but still sums up the moral pretty well. It opens with a softer orchestral bit and bright sounding riffs; the verses and pre-choruses keep up the upbeat atmosphere with some higher pitched vocals; the chorus features more interesting vocals and solid riffs; and the bridge and solo segment feature some slower and more noticeable riffs.
8 out of 10

Overall, this album gets 116 out of 130, 89%, and 4 stars. I think that this album just might be one of the greatest in the realm of power metal and one that can appeal to fans of all subgenres. More mainstream and newer fans may be lured in by the accessible songwriting, symphonic metal fans will latch onto the orchestra work and the theatric atmosphere, and even extreme metal may appreciate the album's dark tones (And the inclusion of Shagrath might not be a bad idea either...). I highly recommend picking this one up if you can find it.

The Eternal Idol (Black Sabbath)

If this album is remembered by anyone for anything, it'll be for coming out during the most obscure and unstable period in Black Sabbath's history. It was released during the winter of 1987 and is the first Sabbath album to feature the previously unknown vocalist Tony Martin (Who was actually brought in at the last minute after Badlands singer Ray Gillen was fired), the last one to feature KISS drummer Eric Singer, and the only one to feature Ozzy Osbourne bassist Bob Daisley.
Musically, I like to think of this album as being a combination of the bluesier style found on "Seventh Star" and the dark gothic sound featured on the following albums. The lyrics also return to more occult themes, though there are nothing like what is to come...

The Shining: Probably the most well known track on the album and obviously inspired by the film/novel of the same name. It opens with some nice melodic guitar and bass melodies; the verses throw in some darker guitar riffs, subtle keyboards, and powerfully clear vocals; the chorus is a sweet little sing-along; the bridge is a little more melodic; and the guitar solos are smooth additions.
9 out of 10

Ancient Warrior: Some spacy keyboards open this album as some uplifting riffs fade into the piece; the verses continue with some strong vocals and a bass presence well felt; the chorus is subtle but catchy; the solo segment is a little heavier though keeping the melody; and the lyrics are rife with intriguing imagery (Particularly the lyric "My blood will spill my blood.").
8 out of 10

Hard Life To Love: Now we come to one of the album's bluesier numbers. Much of this song's strength lies on the catchy main riff and Martin's strong Dio-esque croons. The verses do go at a nice steady pace, the pre-chorus is simple but catchy, and the chorus is slower and a bit more melodic before turning into a brief gallop. Not exactly the work of the gods, but a damn catchy tune.
8 out of 10

Glory Ride: We now return to a more darker sound as a few dramatic guitar riffs and steady drums forge a solid path; the verses throw in some solid vocals and uplifting keyboards; the chorus is pretty nice though nothing too amazing; the bridge is a little softer; and the lyrics feature themes related to dogfighting. It's not exactly "Aces High," but it's a pretty solid piece.
7 out of 10

Born To Lose: Another bluesier tune though this one is a little more energetic. The main riff is another catchy one; the vocals are nicely perform and even throw in a little grit here and there; the pre-chorus is brief but fun; and the chorus throws in a lighter melody. Basically, another track that's a bit bone headed but terribly infectious.
8 out of 10

Nightmare: The keyboards that open this track are a little more sinister than before; the first two verses feature soaring vocals over a more dissonant main riff; the chorus continues in a similar direction with more noticeable keyboards; the laughter after the second chorus is all that remains of Ray Gillen's recorded vocals; and the final verses go at a faster pace. A pretty solid track I'd say.
7 out of 10

Scarlet Pimpernel: In standard Sabbath tradition, the album includes a brief little instrumental to lighten the mood. The accoustic guitar melodies on this track are a little murkier than the albums past, but that may just be due to the production. Other than that, there's not much else to say about it...
7 out of 10

Lost Forever: A strong guitar gallop opens this track on a high note before the rest of the band comes in; the verses and pre-choruses continue at that strong driving pace; the chorus features some solid wailing; the solos are excellently delivered; and Martin really belts it out during the bridge. It could be one of the best tracks on the album.
8 out of 10

Eternal Idol: Closing the album out is its dark title track. It opens with a soft guitar melody that turns into a doomy crunch, subtle keyboards, and muddy sounding drums; the verses range from the ones that are delivered in a sinister fashion with softer riffs and vocals to the ones that feature dissonant plodding riffs and strong wails; and the lyrics are filled with bizarre imagery. A strange but solid way to close the album overall.
7 out of 10

Overall, this album gets 69 out of 90, 77%, and 3.5 stars. Consider yourself lucky if you manage to find this album anywhere in stores (I bought my copy on iTunes...), but the effort is really worth once you've become accustomed to the sound of the underrated Tony Martin era. The songwriting might not be as strong as "Headless Cross" or "Tyr," but it is an interesting addition to the record collections of those who can look past the accomplishments of Ozzy Osbourne...

Battalions Of Fear (Blind Guardian)

Like many other bands before and after them, Blind Guardian's debut is almost nothing like the sound they would later become associated with. Instead of featuring their usual brand of dramatic Queen inspired symphonic/power metal, this album shows the band's wild roots as a thrashy speed metal band greatly influenced by the work of old school Helloween. It does take some getting used to at times, but it remains a solid effort to this day.

Majesty: Opening the album is a furious track that remains a major fan favorite to this day. A few bouncy sound effects give this song the classic false start before the dissonant opening verse's guitars and raspy vocals come in; the verses continue with more straight-forward riffs, furious drumming, strong vocals, and a great bass presence; the pre-chorus is a little more melodic; the chorus is a great sing-along; the numerous solos are strong and effective; the bridge has a sweet guitar gallop and cool vocal lines; and the lyrics are filled to the brim with Lord Of The Rings imagery. It takes some getting used to, but it is a great track.
9 out of 10

Guardian Of The Blind: A strong drum roll opens this tune before some dark thrashy gallops begin to make their appearance; the verses features more uplifting riffs below some solid vocals; the chorus is a really catchy one; and the lyrics are based upon "It" by Steven King. In a way, the riffs on this song sound like a more melodic version of Exodus or old school Metallica...
8 out of 10

Trial By The Archon/Wizard's Crown: An elaborate introdution begins the song and shows off some sweet sounding Iron Maiden-esque guitar trade-offs; the verses feature more melodic riffs and vocals than the song before it; the chorus is another catchy one with higher pitched vocals; and the solos include more of that sweet Maiden worship.
8 out of 10

Run For The Night: Some darker riffs and effective drum fills open this song nicely; the verses continue as the others have; the chorus is solid though not quite like the ones before it; and the bridge features some strong wailing. Not too much to say besides that.
7 out of 10

The Martyr: Into an even darker direction we go as some foreboding riffs start the song off; the verses are fast though retain the dark atmosphere; the chorus kinda sounds like the one from "Wizard's Crown" though the vocals are a little rougher; the bridge's vocals are even more sinister; the numerous solos and guitar passages bring to mind the sound of early Testament; and the lyrics depict the final days of Jesus Christ.
7 out of 10

Battalions Of Fear: Here we go straight into the opening verses as some screeching vocals come in under a dark gallop; the following verses and pre-choruses are in the traditional fast and furious vein; and the chorus features more melodic vocals. What really makes the song interesting are the lyrics, as they criticize the policies of then President Ronald Reagan. What really makes them interesting is the fact that the members of Blind Guardian are all German...
7 out of 10

By The Gates Of Moria: Closing the album out is an instrumental that is largely inspired by Antonin Dvorak's "Symphony 9" (aka the "Jaws" theme). Basically, it's another neat little insturmental with melodic guitar melodies and consistent drumming. A solid way to close the album.
7 out of 10

Overall, the album gets 53 out of 70, 76%, and 3.5 stars. The album's raw sound may turn off fans of the band's metal opera material, but the album is a solid slice of speed metal that is worth picking up for a good price. The only flaws this album has some classic power metal same-ish songwriting and a less than desirable production job...

Load (Metallica)

Like just about every other album that Metallica has released, this release really needs no introduction. It was released five years after "The Black Album" came out and really shows the band breaking away from the thrash metal sounds of their early material. The band's performance remains loud and somewhat heavy, but the album also features influences from blues, hard rock, and even a bit of country in some spots (Contrary to popular belief, there is no alternative rock found on the album...). The lyrics have also changed quite dramatically and now deal with more introspective problems and use more vague metaphors than before. In short, it is probably one of Metallica's most hated albums to date (but "St. Anger still reigns supreme...)

Ain't My Bitch: The opening track starts off with some muscular riffs and pounding drums; the verses go into a more driving pace; the pre-chorus slows the song down for a little bit; the chorus go back to the driving pace; and the lyrics and song title seem to have a rather white trash vibe to them. All in all, a strong and somewhat amusing opener that sounds like it'd be a good driving song...
8 out of 10

2 X 4: Now we come to a more mid-tempo track that relies greatly on its groovy main riff. The introduction starts off with a brief drum firing that leads to the song's main riff; the verses throw in some loosely delivered vocals into the mix; the pre-chorus features some almost virtual sounding backing vocals as the riffs seem to die down in a way; and the chorus is pretty much the same sort of style.
8 out of 10

The House That Jack Built: Things slow down for this tune, though it's more to a doomy crawl than a ballad (By doomy, I don't mean doom metal...). The song opens with its slightly mellow pre-chorus; the verses throw in some mid-tempo chugs and echoing vocals; the chorus has more of an uplifting tone to it; and the solo section features interesting use of talk box.
8 out of 10

Until It Sleeps: Here we have the album's first ballad and one of its biggest hits. It opens with a somber bass riff and memorable drum pattern; the verses throw in more somber vocals and glistening guitar leads in the background; the pre-chorus throws in a bit of a crunch in the guitar department; the chorus is similar in style; and the lyrics were apparently written about the deaths of guitarist/vocalist James Hetfield's parents at the hands of cancer. Of course, the one thing that the song lacks is a solid guitar solo right in the middle...
9 out of 10

King Nothing: Some strange sound effects open this tune before they are joined by the song's catchy main riff; the verses continue at a solid pace; the pre-chorus is a brief build-up; the chorus is catchy and memorable; and the final verse shows off more of the virtual vocals going against the main riff as played by bassist Jason Newsted. A good song though it may easily be written off as an "Enter Sandman" rewrite (as evidenced by Hetfield's repetition of "Off of Never Neverland" as the song fades out...).
9 out of 10

Hero Of The Day: The second ballad opens with some melancholic guitar/bass melodies and mournful vocals during the verses; the pre-chorus is simple but effective; the chorus really builds up musically and emotionally; and the bridge throws in some darker sounding vocal echoes, heavier guitars, and stronger drumming. A solid Metallica ballad, though nothing like "One" or "Welcome Home (Sanitarium)."
9 out of 10

Bleeding Me: Another ballad styled track makes its entrance, though this one is a little more epic than the ones before it. The opening verses features some excellently delivered vocals, a strong bass presence, and sweet guitar squeals and flickers; the chorus is similar though it features heavier riffs in the mix; the solos are varied and excellently delivered; and the final verses are more angrily delivered though they retain the melancholic tone. A pretty good song though I think it may be a little too long...
8 out of 10

Cure: The opening verse begins with a solid drum pattern, main riff, and robot vocal layering; the pre-chorus is decent; and the chorus features of the odd vocal layering. An odd tune with a nice dark tone.
7 out of 10

Poor Twisted Me: I'd consider this track to be one of the weakest tracks on the album and quite possibly the worst that Metallica has ever written. It opens with a few echoing guitar riffs; the verses go at a mid-tempo with more of the robotic vocals and dissonant guitar riffs; and the lyrics are some of the most cringe-worthy on the album.
6 out of 10

Wasting My Hate: The guitar riff that opens this song is similar to that of "Until It Sleeps" though it has more of a groove to it; the verses go at a driving pace with dissonant guitar riffs and leads; and the chorus is a little slower with more unusual vocal patterns. It may be a bit of a toe tapper in the vein of the opener, but it isn't quite as memorable...
7 out of 10

Mama Said: In a way that brings to mind "Nothing Else Matters," this song may as well one of the most infamous that Metallica has ever released. It is the album's fourth ballad track and has been hated by many listeners for its country leanings. Its verses consist of a simple accoustic guitar melody and Hetfield's mournful vocals; the chorus just scream "outlaw country," the bridge is a little more uplifting; and the lyrics may be some of the best on the album (despite the whole borderline white trash country vibe...). Not quite an amazing track, but it is a neat experiment and a good one to play for Mum...
7 out of 10

Thorn Within: We now come to a more hard rock track after the little country experiment. It begins with a more dramatic introduction with a sweet guitar/bass trade-off; the verses feature more mellow vocals and riffs with a dark underlying drum pattern; the chorus features a unique vocal echoing over a riff that vaguely reminds me of Danzig's "Twist Of Cain." It's definitely a neat track, though I'm not sure whether it deserves a 7 or an 8...
7 out of 10

Ronnie: This song is another one with a bit of a country tinge to it (though you could say that for the entire album...), but it's more within the groove of the main riff. The verses feature some decently delivered vocals over the song's main riff; the chorus features brighter vocals; the bridge features a dark though somewhat chuckle worthy spoken segment; and the lyrics appear to be about the classic tale of a school shooter. I think Nightwish "The Kin Slayer" may have done it better...
7 out of 10

The Outlaw Torn: With the possible exception of the Mercyful Fate medley found on "Garage Inc," this is the longest song that Metallica has ever recorded. It fades in with some guitar squeals and chugs that bring to mind Alice In Chains; the verses go at a slow and almost doomy pace with a nice bass groove and darkly whispered vocals; the pre-chorus features some expressive vocals and wailing guitar crunches; the chorus features more unusual vocals; but the solo sections do go into some bizarre territory that keeps the song interesting enough. I get the feeling that this song could've been even better, although it sounds a little too much like "Bleeding Me" in some spots. Not to mention, putting a 10 minute epic at the end of a 78 minute album is a definite no-no...
7 out of 10

Overall, this album gets 107 out of 140, 76%, and 3.5 stars. The album's biggest problem has nothing to do with the band "selling out" as everyone and their mother never fails to spout out; it's about the band putting too many tracks on the album and having it run for WAY too long. This could've been a much better effort if at least 3 or 4 tracks were trimmed off of it. I suppose the newer Metallica fans will love it for the hits and more open minded fans may find a thing or two they like about it, but hardcore fans should keep away from this album with all of their might...

Immortalis (Overkill)

In many ways, Overkill could be seen as the AC/DC or Motorhead of thrash metal; while they have changed their sound on occasion, their style and strong work ethic have kept fans consistently happy as the years have gone by. This record is their most recent to date and provides a few minor tweaks to the band's signature sound. I find the album to be a bit of a hybrid as it showcases songwriting similar to the 2005's "ReliXIV" with a dark atmosphere that brings to mind 2003's "Killbox 13." Along other things, the album is also the first to feature former Hades drummer Ron Lipnicki.

Devils In The Mist: Old school Overkill fans ought to enjoy this tune the most. Its introduction is a little more elaborate and features some trippy guitar harmonies and strong bass playing; the verses are more aggressively delivered; the chorus features some catchy vocals; the bridge takes the song into a heavier direction that carries on into the solo section; the final verse features some lower pitched vocals and sweet guitar and bass playing; the final segment features some strong shrieking from vocalist Bobby "Blitz" Ellsworth; and the lyrics are full of neat imagery. A very strong way to open the album.
9 out of 10

What It Takes: This song is a little a more straightforward in its delivery. The introduction features some groovy bass and guitar riffs; the verses go at a steady pace that kinda reminds me of "Infectious" in a way; the pre-chorus throws in some nice hardcore shouting; the chorus is a little slower with more groove thrown in; the bridge's verses go into a driving, catchy direction; and the lyrics just may be the most rediculous the band has ever written. It is definitely a song you can tap your foot to...
8 out of 10

Skull And Bones: Now this song remains to one of the most controversial in Overkill's career due to the inclusion of Lamb Of God's Randy Blythe providing vocals here and there. While we all know about my feelings concerning LOG at this point (well, it's more of their fans than the band itself...), Blythe puts on an excellent show and he kinda sounds like GWAR's Oderus Urungus in a way. The song itself is pretty another fast paced number with a nice bit of groove in it. The introduction starts the song off strongly; the verses go at a sweet driving pace; the pre-chorus is a little more melodic; the chorus features some strong vocals; the bridge goes into a more mid-tempo direction. All in all, an odd but welcome addition...
9 out of 10

Shadow Of A Doubt: Here we have a more upbeat track. The introduction and first two verses feature some bright sounding guitar and bass riffs; the pre-choruses feature some higher pitched vocals; the third verse features some interesting shouting; the solo section goes into more dissonant territory (and even throws in a sample in there...); and the final verses feature solid vocals and sweet solos delivered between them. A good song though nothing that amazing...
7 out of 10

Hellish Pride: The introduction to this song opens the song in a slower fashion that leads to a neat mid-tempo riff; the verses continue in a similar direction; the pre-chorus is another melodic one; and the chorus is somewhat catchy in its chugging mid-tempo pace. A cool tune though it doesn't seem to really catch fire...
7 out of 10

Walk Through Fire: I find this song to have an almost hard rock flavor to it compared to most of the other numbers on the album. The introduction opens with an energetic guitar harmony and a driving rhythm section; the verses throw in some catchy vocals; the pre-chorus features even catchier vocals; the chorus makes a good sing-along; and the solo section is excellently done. I also find the lyrics to be interesting as well; some lines are quite smart ("Are you wishing on a constellation? Do you find that your throat's always sore?") and some are...not quite as smart ("Got an itty-bitty-shitty-over now start the fire..."). All in all, probably my favorite song on the album.
9 out of 10

Head On: This song opens quite interestingly as some darkly melodic guitar riffs make an entrance; the verses go at a strong mid-tempo pace with some awesomely delivered vocals; the pre-chorus throws in some nastier vocals; the chorus throws in some effective shouting and sweet guitar riffs; the main riff kinda reminds me of Blaze's "Alive" in a way; and the bridge goes into a faster direction. I do think that this song is another song that had potential to be a classic track.
7 out of 10

Chalie Get Your Gun: A sweet drum solo starts the song off before some sweet, slightly dissonant riffs come in; the verses feature some odd but cool riff patterns and excellently delivered vocals; the chorus is decent though nothing too amazing; and the bridge's verses go into a heavier direction; and I've read that the lyrics are about the band's famous winged skull mascot. Funny, I was not aware that it had a name...
7 out of 10

Hell Is: Here we get another track that opens with a few slower riffs, though they're not quite as dramatic as those on "Head On;" the verses do a nice job of building up; the chorus gets a little faster; and the bridge is a nice driving one with some excellent gang vocals thrown in.
7 out of 10

Overkill V... The Brand: Closing this album out is the fifth installment of the band's infamous "Overkill" saga and the first heard since "Evil Never Dies" off of "The Years Of Decay." The introduction opens with a simple but dark bass introduction that is accompanied by some doomy guitar harmonies; the opening verse comes in with some strong snarls and dissonant mid-tempo chugging (and also serves as a recurring chorus); the following verses continue in a heavier direction; the solo segments are quite cool; the drumming is strong and consistent; the guitar riffs go into some dramatic territory; and the song eventually ends as it began...
8 out of 10

Overall, this album gets 78 out of 100, 78%, and 3.5 stars. It's not quite an amazing album and it may turn off some older fans that are still around, but Overkill remains a strong force to this day and this album does have its share of good songs. If not for the band's stunning live performances, one would not help but wonder how much steam the band has left in them...

Elements Of Persuasion (James LaBrie)

After releasing two solo albums under the Mullmuzzler moniker, Dream Theater vocalist James Labrie finally unleashed his first true solo effort in 2005. This is the first of his efforts to feature guitarist Marco Sfogli, who also took part in a solo album by DT keyboardist Jordan Ruddess two years later. As expected, the album's music style is similar to LaBrie's work with DT though it has more modern elements than his main band. I like to think of it as sounding like a less heavy version of "Train Of Thought."

Crucify: A slow accoustic/electric guitar harmony that vaguely resembles "A Change Of Seasons" opens the tune before some heavier riffs come in; the verses are more rapidly delivered with stronger riffs and distorted vocals; the pre-chorus briefly slows the song down and throws in some lighter riffs and keyboards; and the fast paced chorus throws in some higher pitched vocals. All in all, a strong opener.
9 out of 10

Alone: This song has been the source of much criticism due to its overtly moder influences. Its introduction starts with some guitar riffs fading in as numerous sound effects and turntables make themselves known; the verses and pre-choruses throw in some louder guitar riffs and decent vocal lines; the chorus is a little more melodic; the solo section is filled with more random effects; and the bridge features a mellow tone with some sweet vocal harmonies. It's a song that some will not like, but it's not really as bad as it sounds...
8 out of 10

Freak: This song opens with a bouncy keyboard pattern that is soon joined by a solid mid-tempo crunch and some strong double bass drumming; the verses continue at that strong mid-tempo pace with some of LaBrie's ugliest vocals to date; the pre-chorus shows off some strangely distorted vocals; and the chorus is pretty catchy in a subtle fashion.
9 out of 10

Invisible: The previous song's more vicious atmosphere turns into bitter despair. The introduction is a little more elaborate with some sweet keyboards, solid riffs, and even a little bass solo towards the end; the verses go at a driving pace with a strong rhythm section and vocals; the pre-chorus continues with some catchy vocal lines and more noticeable guitar riffs and keyboards; the chorus features more robotic vocals and keyboards; and the lyrics are particularly strong.
9 out of 10

Lost: Now we get a softer tune, though it is more laid back than ballady. It starts off with a recurring spoken sample that is joined by some driving drums, bass, and piano; the verses throw in some calmer vocals; the chorus is basic but catchy; the solo segment throws in some sweet sounding guitar playing with a bit of a jazzy feel to it; and the lyrics on this one are pretty well done as well.
9 out of 10

Undecided: Some interesting riffs open this track before a dramatic guitar/keyboard harmony barges in; the verses continue at a mid-tempo; the pre-chorus throws in some randomly varied vocals; the chorus is pretty memorable; and the lyrics portray the classic questioning of organized religion. Kind of ironic considering that LaBrie used to openly declare himself to be Christian back in the early 90's...
7 out of 10

Smashed: Here we have the album's first pure ballad. It opens with some sweet piano playing and drumming; the verses throw in some lighter vocals and soft accoustic guitar playing; the chorus features some looming keyboards and memorable vocals; and the lyrics appear to be about a disaster of sorts (perhaps another song about 9/11?).
7 out of 10

Pretender: This song opens with a more active guitar riff in its introduction; the verses throw in some soaring vocals; the pre-chorus goes at a slightly slower pace; the chorus is a unique plodder with some odd keyboards and interesting backing vocals in some spots; and the bridge is a little more mellow. Good, though there are some things that probably would've worked better in a different way.
7 out of 10

Slightly Out Of Reach: The album's second ballad opens with some trippy keyboard effects; the verses feature some gentle vocals and piano playing and a strong rhythm section; the pre-chorus is a little softer; and the chorus is louder but retains a mellow atmosphere. The song is pretty upbeat overall and brings to mind DT's "The Answer Lies Within" in a way...
8 out of 10

Oblivious: This song opens with quieter riffs before more dissonant guitar playing takes its place; the verses are interestingly sequenced; the pre-chorus throws in some half-rapping; and the chorus is a little more melodic. It's a good song though this one is a little too much like "Freak," not to mention the rapping is a tad cheesy...
7 out of 10

In Too Deep: Unlike the introduction of "Slightly Out Of Reach," this song's ambient introduction is a little more sinister; the verses feature some darker than before riffs, strange vocals, and subtle keyboards in the background; the pre-chorus features a powerfully delivered vocal ascension over a strong riff and drumming; the chorus features some strong drumming, melodic vocals, and effective keyboards, and more subtle riffs; the bridge features some harsher vocals that sounds almost exactly like Dave Mustaine of Megadeth; and the song's closes out with a haunting piano melody accompanied by a sweet guitar solo. A welcome addition after the more average tracks before it.
9 out of 10

Drained: By this time, the listener probably will be a little drained as well... The song opens with a more upbeat keyboard melody that is accompanied by a sweet bit of bass; the verses feature some distorted vocals/keyboards and sweet call-and-response style riffs; the pre-chorus is a little more melodic; the chorus features some odd but catchy vocals; the bridge leads into a trippy solo segment; and the lyrics portray some pretty cool imagery, especially in the first verse. A sweet way to close the album.
7 out of 10

Overall, this album gets 96 out of 120, 80%, and 4 stars. The album isn't quite as consistent as LaBrie's work with Dream Theater, but it does show he is a good songwriter capable of releasing good quality time with a little help from a few of his other friends (mostly keyboardist Matt Guillory). Recommended for hardcore fans of Dream Theater and modern prog metal in general.

Let There Be Rock (AC/DC)

While AC/DC remains famous to this day for rarely changing their music's style (if ever), I think that this album might be the heaviest that was released during the Bon Scott era. The previous two international albums' sense of fun and dirtiness is retained for the most part, but this album really begins to showcase the band's more skilled songwriting and tighter performance as a unit. This album is also the last to feature bassist Mark Evans, as he was fired from the band after butting heads with the guitarists Angus and Malcolm Young.

Go Down: After a soft count-off, the introduction comes in with some loud, ugly guitar chords; the verses go at a bluesy mid-tempo pace; the chorus is an odd one but definitely catchy; the closing verses features the classic guitar/vocal call and response; and the lyrics provide some thinly veiled innuendo that brings to mind the lyrics found on "Dirty Deeds Done Dirt Cheap." All in all, a solid opener though it's taken me a while to really get into it.
8 out of 10

Dog Eat Dog: This track opens with the classic AC/DC chord introduction; the verses feature some driving drums and riffs; and the chorus features some catchy lead and backing vocals. Basically, it's your typical AC/DC track, though the lyrics seem to have more philosophy to them than usual...
8 out of 10

Let There Be Rock: Now this is one of the band's greatest title tracks and one of my personal favorite songs on the album. It opens with a really heavy guitar riff; the verses and choruses focus more on Bon's excellent delivery (but keep the driving rhythm section in tact); the guitar solos between each verse are effectively memorable; and the lyrics tell an amusing and not exactly truthful story about the origin of rock 'n' roll...
10 out of 10

Bad Boy Boogie: Another count-off begins this tune before the riffs make their appearance; the verses go at an energetically mid-tempo pace; and the chorus is similar though a bit more upbeat. Another good tune though one I'm never crazy about.
7 out of 10

Problem Child: Keep in mind that the only reason this song gets an 8 is because this song was already included on the American version of "Dirty Deeds Done Dirt Cheap." Apparently, the record company didn't think that we could handle the raunchy "Crabsody In Blue" that was included on the other editions of the album. A good song, though it was obviously put on here on filler purposes...
8 out of 10

Overdose: Probably one of the album's more overlooked tunes. The introduction opens in a more mellow fashion than usual (kinda foreshadows "Hell's Bells" in a way), the verses continue in the mellow direction with more driving riffs and drumming thrown in, the chorus is simple but nice, and the closing section gives the song a bit of a unique edge. Slightly filler-ish but nothing bad.
7 out of 10

Hell Ain't A Bad Place To Be: We now get back to a stronger number after a few missteps. The introduction's guitar chords and bass bits come in strongly between each other; the verses feature an energetic pace and catchy riffs; the pre-chorus features more open chords and memorable vocals; and the chorus is simple but effective. One of my favorites on the album, though I have a soft spot for the live version.
9 out of 10

Whole Lotta Rosie: Closing the album out is none other than its greatest and most famous tracks. The opening verses feature a great vocal/guitar trade-off; the following verses are louder with roaring riffs and dynamic vocals; the chorus makes for a good sing-along; and the solos are excellently sequenced.
10 out of 10

Overall, this album gets 67 out of 80, 84%, and 4 stars. I find this album to be one of the top albums during the Bon Scott era and a recommended purchase for fans who are used to the old AC/DC's dirtier sound. The only flaw is the more inconsistent second side, though that seems to be a problem for bands everywhere...

Led Zeppelin I (Led Zeppelin)

I always find it interesting how Led Zeppelin has become such an influential band over the years yet they spent a great deal of their first few albums relying heavily on their own influences. Of the nine songs that are found on this album, only three of them ("Good Times, Bad Times," "Your Time Is Gonna Come," and "Communication Breakdown") are pure Zeppelin originals with the other six being uncredited covers of old blues and folk standards. Having said that, the album does feature an exceeding stellar band performance that shows off guitarist Jimmy Page's sludgy riffs and accoustic melodies, John Bonham's power behind the drum kit, John Paul Jones's intriguing bass and keyboard lines, and the constant howls of vocalist Robert Plant. In hindsight, it's quite obvious to see the influence this effort had in the development in what are now known as hard rock and heavy metal...

Good Times, Bad Times: The album opens with a few guitar chords backed by some drum tinkering that quickly turns into an all-out assault; the verses continue in a similar fashion with a few more guitar and drum fills thrown in; the chorus features some catchy vocals; and plenty of guitar and bass solos are found throughout the piece as well. All in about two and a half minutes...
9 out of 10

Babe, I'm Gonna Leave You: We now come to one of my personal favorite songs on the album, a cover of an old folk song written by Anne Bredon and originally made famous by singer Joan Baez. Its introduction starts the song off with a sweet accoustic guitar melody that is soon joined by Plant's passionate vocals; there are frequent periods in which some heavier riffs are thrown in; and the chorus showcases heavier guitar/bass lines and some of Plant's most heartbreaking howls to date. It's also a pretty fun and easy track to play on the bass guitar as well...
10 out of 10

You Shook Me: Things really slow down on this tune, though to a traditional blues pace rather than that of the melancholic folk ballad. This tune was originally made famous by blues legend Willie Dixon and was one of the many factors involved in his suing the band in the late 80's. The song itself is a solid one; the introduction opens with a few sludgy guitar squeals before the rest of the song comes in slowly and strongly; the verses throw in some awesome guitar/vocal harmonies; the song's extended solo segment shows off keyboard playing, a fitting harmonica performance by Plant, and plenty of guitar wailing; and the song's closing call and respose is quite powerful. Overall, a strong tune that sounds like a great addition to the band's live set.
9 out of 10

Dazed And Confused: Though commonly regarded as one of the band's best and most well known songs, the tune is actually a cover of a song written by Jake Holmes. It opens with a strong bass riff that is soon joined by some squealing guitar riffs and bold vocals; the chorus throws in some wordless wails from Plant and a healthy amount of drumming; and the song's solo section throws in some sweet guitar/vocal harmonizing, sweet bass and drum fills, and a faster segment with some wailing guitar and a driving rhythm section.
9 out of 10

Your Time Is Gonna Come: This song takes the album back to more mellow, folk inspired territory. Much of the song's strength lies on Jones's organ playing and the accoustic guitar playing. The introduction is dominant in organ effects; the verses throw in a steady drum pattern, sweet accoustics, and more subdued vocals; and the chorus makes for a good, loud sing-along.
9 out of 10

Black Mountain Side: As the previous song's closing chorus fades away, we now go into a reworking on an folk instrumental previously known as "Blackwaterside." The song makes strong use of some odd but cool sounding guitar playing and some neat percussion played by Viram Jasani. An interesting and certainly welcome addition.
9 out of 10

Communication Breakdown: Of all the songs on the album, this one is easily the most obviously influential on metal bands everywhere (Hell, the main riff kinda sounds like the one later found in Black Sabbath's "Paranoid."). The introduction and verses make healthy use of the song's very famous main riffs and Plant's wailing vocals; the chorus features some catchy vocals; and the closing segment features one of Page's rare appearances as a backing vocalist as Plant continues his wailing. Again, all in a little over two minutes time...
10 out of 10

I Can't Quit You, Baby: I'll always remember this song as being one of my dad's favorite Zeppelin tunes. It opens with an unaccompanied vocal performance before the rest of the band comes in; the verses go at the familiar bluesy pace, though they are more mellow in delivery and feature some awesome guitar squeals and a driving rhythm section; and the guitar solos are excellently done. Not as dramatic as "You Shook Me" (The other tune borrowed from Willie Dixon), but a nice addition.
9 out of 10

How Many More Times: Closing the album out is its longest track. It essentially be seen a blues medley, as it features portions of songs originally performed by artists such as Albert King and Howlin' Wolf. Having said that, it does include a bit of original material here and there. The actual song is made memorable by Jones's cool basslines, Page's riffs and squeals, Bonzo's persistent rhythms and fills, and Plant's commanding performance. All in all, a good closer.
8 out of 10

Overall, this album gets 82 out of 90, 91%, and 4.5 stars. While knowing of the album's constant plaigarism does leave a bitter taste in my mouth at times (Maybe I'm just anal...), it is a great album that is recommended to every hard rock fan. Given the reputation that the band would develop in the following years, it is also interesting to see where the band developed its less than modest roots...