The Soundtrack of My Life

A Manifesto For Domination (Halcyon Way)

2008-12-02T19:50:00.000-08:00

Based out in Atlanta, Georgia, Halcyon Way plays a unique style of metal that is difficult to specifically pinpoint. They use the technical playing of progressive metal, accessible song structures in the vein of classic metal, and a dark atmosphere that gives the song an almost gothic touch. Also worth noting is vocalist Sean Shields, a pretty skilled chameleon capable of going from a gruff Hetfield-esque snarl to a Tim Owens wail in no time flat.

Intro: Like most intros, this one opens the album with a bit of atmosphere before the musical carnage kicks in. It features some unusual vocal melodies, neat keyboards, and a nice series of spoken segments. Not too much to say other than that. . .
7 out of 10

A Manifesto Of Domination: Now we come to the album's first true song as a chugging mid-tempo riff and pounding drums open this song's brief introduction, the verses continue more subtle guitar trade-offs and Shields doing a strong Hetfield impersonation, the chorus brings in more melodic riffs and soaring vocals, the solo section features more prominent bass playing and sweet twin guitar harmonies, and the bridge brings more aggressive vocals before going into the final chorus. A pretty solid title track.
8 out of 10

Blind Eyes to the Sky: Some cool melodic/crunchy guitar trade-offs open this song's introduction smoothly, the verses and pre-choruses place more prominence on an upbeat rhythm and a variety of voices, the chorus is another melodic refrain and one of my favorites on the album, the solo section offers another cool twin guitar attack, and I'm still debating whether the lyrics are meant to be introspective, political, or kinky ("Take all that belongs to me/Pin me to the wall, until I beg for mercy"). . .
9 out of 10

The Hidden: Gritty guitar chugs and strong drumming start this song off, the verses throw in some interestingly sequencing vocal lines, the pre-chorus throws in a mix of clean vocals and death metal growls courtesy of Blaze Pearson, the chorus is another melodic affair, and the bridge features a brief spoken bit before returning to more melodic territory and a particularly shredding solo. Another solid song.
8 out of 10

Disconnected: If you're not paying attention, it can be tough to tell when the previous track ends and this one begins. It suddenly comes in with a fairly melodic guitar chug during the introduction, the opening verse throws in some unusually distorted vocals, the following verses and pre-choruses bring in a vocal character that brings to mind the Layne Statley of Alice In Chains, and the chorus features some pretty catchy vocal trade-offs that lead into a particularly uplifting refrain. It takes a little more effort to get into but it sounds like it'd be a good track for radio play (You know, if that's still possible in this country. . .).
8 out of 10

Deliver the Suffering: Squeaky keyboards, a steady drum beat, and subtle guitars open this song's introduction before another driving mid-tempo chug makes its way into the piece; the verses continue in a style similar to that of the first two tracks with more demented vocals thrown in; the chorus is another melodic but catchy segment; the bridge features more neat guitar/vocal trade-offs; the final chorus features a brief return of the intro's keyboards; and the song closes out with some nicely ad-libbed vocal constrasts. A pretty good song.
8 out of 10

Powderburn: A particularly menacing set of guitar/keyboard riffs open this song in an aggressive fashion, the verses continue with almost condescending vocal/guitar trade-offs, the chorus briefly slows the song down and offers an almost doomy refrain, and the solo section continues in a doomy style with spooky keyboards, more hostile guitars, and a bit of melody in between. One of my personal favorites on the album.
9 out of 10

A Thousand Points of Night: Slithering bass/guitar harmonies open this song's introduction nicely, the verses alternates between the Layne impersonation and interestingly distorted backing vocals, the chorus is similar with another catchy refrain thrown in, the solo section starts off with more bass prominence before going into more twin guitar shredding, and the bridge features some solid layering before going into the final chorus.
8 out of 10

Communicate With the Violence: More sinister bass guitars, soulful vocalizing, and Dream Theater-esque keyboards open this song's introduction in a pretty unique fashion; the verses continue with melodic vocals and solid backing guitar chords, the chorus features some elaborate vocal layering and subtle growls by Pearson in the background, the bridge brings in angrier vocals with a fairly angsty tone, and the solo sectionsshow off some neat keyboard/guitar melodies.
8 out of 10

I Fought the World: Another one of my personal favorites on the album. It opens with commanding guitar harmonies during the introduction, the verses and pre-choruses continue in a building style similar to that of the previous track, the chorus brings the heavier chug back in with more soaring vocals thrown in, the solo section have their share of cool guitar parts, and the closing chorus includes some sweet Tim Owens-esque wails into the mix.
9 out of 10

The Lonely Road: Muscular DT-esque guitar chords and nice backing keyboards open this song in the usual fashion; the verses suddenly go into near ballad territory with more of soaring vocal melodies, nicely complementing accoustic guitars and a solid bass line beneath; the pre-chorus brings the heavier guitars back in; the chorus provides another excellent refrain; and the bridge throws in a particularly nice wail that leads into a chug heavy solo section.
8 out of 10

Physician, Heal Thyself: Dedicated to a James P. Scotts, Jr., this song closes the album out on a particularly dramatic note. The introduction opens the song with crashing guitars, prominent keyboards, and a single soaring vocal line; the verses continue with the cleanest vocal lines on the album with more heavy guitars in between; the pre-chorus brings in angrier vocal layering; the chorus brings some excellently delivered vocal trade-offs; the solo section includes more simple but sweet twin guitars; and the song fades away with a pleasant piano melody brings to mind the closing segment of Iced Earth's "Travel In Stygian". A good way to close the album.
8 out of 10

Overall, this album gets 98 out of 120, 82%, and 4 stars. It may take a few listens to really get a taste for, but Halcyon Way's first album is a strong debut that is worth checking out for almost any type of metal fan. I think the album's only flaw is the songs' tendency to sound similar to one another. One can only hope that they'll improve even more with the follow-up. . .

High 'n' Dry (Def Leppard)

2008-12-01T13:29:00.000-08:00

Torn between the grit of "On Through The Night" and the more commercial aspects of "Pyromania" and "Hysteria", this 1981 effort may be the ultimate Def Leppard album. The hooks are excellently delivered, the production has become a little more polished, and the band's performance is a little more melodic than before. The album is also noteworthy for being the first to feature AC/DC producer Robert John "Mutt" Lange and the last to feature guitarist Pete Willis.

Let It Go: Gritty guitar harmonies and an upbeat drum beat open this song's introduction nicely, the verses place a more prominent bassline and catchy vocal lines with building guitars in the background, the chorus brings some infectious gang vocals, the solos section bring in some excellent leads thrown in, and the bridge brings in more melodic guitars and unusual vocal effects. A pretty awesome start.
9 out of 10

Another Hit And Run: This track comes off the opener with heavier guitar harmonies during the introduction, the verses suddenly bring in a style made memorable by more melodic guitar chugs and higher pitched vocals, the pre-chorus and the chorus bring in more cool vocal lines and nicely complementing backing vocals, and the solo section packs in some particularly strong Maiden-esque shredding. A solid song, though one of the weaker tracks on the album.
8 out of 10

High 'n' Dry (Saturday Night): A lone guitar opens this song with a solid melody before the rest of the band comes in, the verses continue at a solid mid-tempo and feature particularly prominent vocals, the pre-chorus is another builder, and the chorus brings in more infectious vocal trade-offs and heavier guitar playing. A pretty cool title track though somewhat overrated.
8 out of 10

Bringin' On The Heartbreak: Ironically, the band was reluctant to include this track due to its ballad nature. Fortunately, it is done in very good taste and features melodic guitars during the introduction, a spacy mid-tempo pace and soft croons during the verses, heavier guitars coming in during the pre-choruses, and the chorus features a explosive refrain. A little stereotypical in structure but it's not as bland as what they would later associate themselves with. In fact, it sounds like a heavier version of April Wine's "Just Between You And Me". . .
10 out of 10

Switch 625: As the ballad fades away, we go into this interesting instrumental. The song is made memorable by its chugging bass, upbeat drums, mysterious guitar riffs and solos, and excellently effective vocalizing towards the end. I suppose it's like a less melancholic version of Pink Floyd's "Great Gig In The Sky".
9 out of 10

You Got Me Runnin': Bright guitar riffs open this song's introduction in a way that reminds me of KISS's "King Of The Night Time World" with some backing bass, building drums, and solid vocal whoops; the verses continue at an upbeat pace with great vocals and muscular guitar playing, and the pre-chorus and chorus seem to write themselves with their excellent vocal lines. One of my favorite tracks on the album.
10 out of 10

Lady Strange: More upbeat guitars open this song with riffs that reminds me of Rush's "Limelight" in a way, the verses are performed in the vein of the song before it with higher pitched vocal lines, the chorus is another awesome chanter, and the solo section incorporates some gritty shredding. Another great highlight.
10 out of 10

On Through The Night: Perhaps a leftover from the previous album, this song comes in with faster guitars and steady drums during the introduction, more high pitched vocals thrown in during the verses, another great refrain during the chorus, and more cool shredding during the solo section. A pretty cool track.
8 out of 10

Mirror, Mirror (Look Into My Eyes): Now we come to one of the most unique tracks on the album and the song that made me interested in checking out this era of the band. The introduction brings some mystical guitar melodies and a mid-tempo rhythm in the background, the verses continue with solid vocal/guitar trade-offs thrown in, the chorus may be the most infectious on the album, and the final verse brings in a cool climax.
10 out of 10

No No No: Closing the album out is a track that reminds me of AC/DC's "Riff Raff". It features energetic guitars during the introduction, great vocal/guitar trade-offs during the verses with hard hitting drums underneath, and a decent refrain during the chorus. A pretty good closer, though not as catchy as it could be.
8 out of 10

Overall, this album gets 90 out of 100, 90%, and 4.5 stars. It's probably a little too lightweight for extreme metal die-hards, but this is a great album to check out for any fan of the bands that I associated them with or anyone that hates their more commercial era with a burning passion. There's no "Pour Some Sugar On Me" to be found. . .

The Years Of Decay (Overkill)

2008-11-25T11:09:00.000-08:00

Along with the following "Horrorscope", this 1989 effort is considered one of the strongest albums in both the Overkill catalog and in the general field of thrash. Musically, the album is a hybrid of sorts and combines the more epic nature of "Taking Over" with the more raw aspects of the previously released "Under The Influence". It was the first album to be produced by Terr Date and was unfortunately their last album to feature founding guitarist Bobby Gustafson.

Time To Kill: Ominous guitar feedback fades in and soon leads in some dramatic guitar/bass chords and a strong drum heavy romp during the introduction, an upbeat pace with vocalist Bobby Ellsworth at his best during the verses, a solid one-liner and more menacing bass during the chorus, a smooth breakdown during the bridge, and some sweet solos in between. Not quite a classic but a pretty sweet start.
8 out of 10

Elimination: One of Overkill's famous songs comes in with an introduction with riffs similar to those of Metallica's "Master Of Puppets", the verses continue at an even more active pace and amusingly delivered vocals, the choruses feature great backing chants and rapidly delivered lead vocals, the bridge brings in a uplifting sound that reminds me of "Blood Money" off of the following album, and the solo section packs in some cool shredding. All in all, classic thrash.
10 out of 10

I Hate: Bright guitar riffs and subtle backing bass open this song's introduction nicely, the verses provide more enegetic rhythms and rapid fire vocals, the choruses remind me of Anthrax's cover of "Got The Time" for some reason and feature lyrics that would sound quite bitchy if Ellsworth wasn't the one singing ("I hate people that make you feel small/I hate having my back against the wall/You know, I hate being talked down to/I hate your rules/I hate 'em all/Hate being marked to take the fall/Planet's not big enough for me and you/But most of all/I hate you..."), and the solo section is another great shred fest. Another great track.
9 out of 10

Nothing To Die For: More building guitar harmonies start this song off before an upbeat groove that sounds like a better version of Exodus's "AWOL" comes in, the verses continue with more dissonant riffs and solid vocal/guitar trade-offs, the chorus features more cool trade-offs, and the solo section features more great guitar solos and even a little slap bass around the 2:20 mark. Another cool addition.
8 out of 10

Playing With Spiders/Skullkrusher: Here we truly embrace that epic nature I was talking about earlier. The introduction (I'm guessing that's the "Playing With Spiders" part) comes in with strange guitar noodling that soon leads into doomy guitar riffs that wouldn't sound out of place on a Black Sabbath album, the verses continue at a foreboding album with more melodic vocals thrown in, the chorus are similar with a particularly catchy refrain thrown in, and the bridge and solo section unsurprisingly leads into a much more violent direction. One of my favorite Overkill tracks and perhaps their best track done in the doom metal style.
10 out of 10

Birth of Tension: Back to thrash we go as this track comes in. The introduction comes in with crashing guitar chords and speaking voices in the background before going into another intense thrash rhythm, the verses continue at an upbeat pace like the songs before it, the chorus brings in heavier drums and guitar riffs, the bridge goes into another interesting breakdown accompanied by the most unusual lyrics on the album ("did you kill your father, sleep with your mother/idolize your sister, jealous your brother/did ya kick the dog, were you beat a strap/were you really be abused, were you fakin' all that"), and the solo section returns the song to its original style. A pretty cool track.
9 out of 10

Who Tends the Fire: Melodic guitars and a backing melody that bares resemblance to Diamond Head's "Am I Evil?" open this eight minute in a most dramatic fashion, the verses continue with groovy mid-tempo guitar chugs and more melodic vocals, the chorus slows the song down with a smooth refrain thrown in, and the bridge is another fast paced segment with driving guitars and unusual vocal effects on display. Not as powerful as "Skullcrusher", but it's probably not supposed to be. . .
9 out of 10

The Years Of Decay: Now we come to a strong ballad, quite a rarity in the Overkill catalog. This song is dominated by somber accoustic guitar and an emotional vocal performance during the verses, a much heavier mid-tempo chug and angrier vocals during the bridge, soaring guitars during the solo section, and a climactic chant towards the end. A great track that kinda reminds me a more melodic version of Megadeth's "In My Darkest Hour". All apologies for the numerous comparisons, I make too many random associations. . .
9 out of 10

E. vil N. ever D. ies: Closing the album out is the fourth and final (Until 2007's "Immortalis") installment of the band's "Overkill Saga". Spacy guitar effects similar to those of Metallica's "Damage Inc." start this introduction off in an interesting fashion before going into a much angrier thrash assault, the verses continue with more intense riffs and more quickly sung vocals, the chorus features some unusually catchy vocal lines and a brief melodic flourish, a great bass solo leads into a doomy direction, the bridge follows suit until angrily returning to thrash territory, and the second solo section packs in a brief moment to shred before the final verse comes in. A most powerful closer.
9 out of 10

Overall, this album gets 81 out of 90, 90%, and 4.5 stars. If you consider yourself to be a thrash metal fan by any means, then this album is required listening. It showcases a strong band performance and awesome constrats between thrash and doom. Not to mention you should be able to get a copy cheap if you can find it. I got mine for about $7.99 at the Greenwood mall. . .

Floodland (The Sisters Of Mercy)

2008-11-24T11:07:00.000-08:00

One of the sacred cows of the goth rock scene, The Sisters of Mercy are made distinct by their dark imagery, danceable tempos, solid timekeeping by the literal drum machine Doktor Avalanche, and the eerie vocals of bandleader Andrew Eldritch. This 1987 effort is the group's second release and is the first to feature Eldritch as the only remaining member of the original line-up.

Dominion/Mother Russia: Right away we get into the album's spirit with one of its upbeat tracks. The song features an infectious drum beat, typically lower pitched vocal lines, great female backing during the chorus, a cool horn solo, and guitar/synth flourishes throughout that kinda remind me of "Goodbye Horses" by Q Lazzarus (AKA the part in Silence of the Lambs where Buffalo Bill does his "tucking dance). It may be a little overlong, but it's an excellent opener.
9 out of 10

Flood 1: As the opener fades away, we come to this menacing mid-tempo track. This song features an interesting drum beat, almost overwhelming synths, more drawn out vocals, and an overall eerie atmosphere. Not as catchy as the song before it but a good song.
7 out of 10

Lucretia My Reflection: This song may be the band's best known tune and my personal favorite on the album. The song is made memorable by its mesmerizing bass lines, eerily whispered vocals during the verses, explosive chorus, and synth heavy bridge. Truly a classic track.
10 out of 10

1959: Now we come to the album's first ballad track. It is made memorable by its emphasis on the synthesized piano playing and mournfully mumbled croons.
8 out of 10

This Corrosion: Dramatic choirs open this song in a most theatrical fashion before another upbeat rhythm comes in, the verses and pre-choruses continue with some unusual but fun vocal trade-offs, the chorus may be the best song on the album, the guitar solos throw in a little grit, and the riffs remind me of Devo for some reason. It could just be the general 80's atmosphere. . .
9 out of 10

Flood II: The second "Flood" is similar to the first, but may be a little more haunting in its delivery. It features a more upbeat rhythm, a nice plodding bass line, exotic melodies in the background, melodic accoustic guitar strums that provide an uplifting feel, and direct vocals. In fact, I think I might like this "Flood" a little more. . .
9 out of 10

Driven Like The Snow: Mystical keyboards open this song with imagery that makes one think of the Northern Lights before a solid mid-tempo rhythm makes its way in, the verses bring in some solid vocal lines and a barely detectable guitar melody in the background, and a few synth melodies from the previous song seem to make their way into this piece. Another cool tune that sounds like it'd be fun to make babies to. . .
9 out of 10

Never Land (A Fragment): This brief two minute track is dominated by the same drum beat used in Led Zeppelin's "When the Levee Breaks" (People sure do love sampling that song), spooky keyboards thrown in over the top, and eerily whispered vocals come in halfway through the tune. An interesting addition.
8 out of 10

Torch: We now come to the album's second ballad, which I think may be even more emotional than "1959". The track is made memorable by a solid drum beat, prominent accoustic guitars, somberly sung vocals that do sound a little silly when drawn out, an emotional chorus, soft bass thumps, and what appears to be a pleasant flute solo. Another great album highlight.
9 out of 10

Colours: Closing the album out is its most unsettling track. It features a dark atmosphere that brings to mind a sinister military march, more overwhelming keyboards, and more eerily whispered vocals. A cool song to space out to, though it may be another overlong track.
8 out of 10

Overall, this album gets 86 out of 100, 86%, and 4 stars. I can see why people would either love or hate this album. Most of the songs are fairly accessible and are filled with some great hooks but they may also be a little too unsettling and not organic enough for the average listener. It's certainly worth checking out if you're a fan of the darker music genres.

Dream Evil (Dio)

2008-11-23T13:55:00.001-08:00

Dio's fourth album was a fairly interesting turning point in the band's history and sound. It is the first to feature Rough Cutt guitarist Craig Goldy, the last to completely feature keyboardist Claude Schnell, and the last to feature drummer Vinny Appice and bassist Jimmy Bain until 1994's "Strange Highways" and 2000's "Magica" respectively. Musically, the album retains the theatric keyboards of past efforts but uses them to create a dark, menacing sound that the band has continued to elaborate upon in the modern era. The lyrics have also changed and appear to hint at personal conflicts overcoming Dio's infamous fantasy metaphors.

Night People: As expected, this album's first song is a strong speed metal number. The song features brightly prominent keyboards during the introduction, fast paced guitar riffs and solos, soaring vocals, and a steady drum beat through it all. One of the album's greatest tracks, even if its lacks a truly outstanding chorus.
9 out of 10

Dream Evil: Bluesy guitar melodies open this song in a way similar to Rainbow's "Man On The Silver Mountain", the verses and pre-choruses continue at an upbeat pace with excellently delivered vocals and chugging guitars/bass, the chorus provides an excellent hook and a return to the introduction's style, and a few odd effects are thrown in for good measure. An excellent example of a great Dio title track.
10 out of 10

Sunset Superman: Dramatic keyboards open this song's introduction before a particularly bright guitar gallop makes its way into the piece, the verses continue in a similar style with Dio at his most erratic, the chorus suddenly goes to a mid-tempo pace and throws in an arena ready drum beat and refrain, the solo section features some solid guitar experimentation, and the ad libbing features some neat though dated vocal layering in the vein of "One Night In The City". A pretty cool track.
9 out of 10

All The Fools Sailed Away: Now we come to what is often considered to be the album's centerpiece. The introduction and opening verse feature atmospheric keyboards and accoustic guitars accompanied by a somber vocal performance, the following verses bring in almost symphonic mid-tempo riffs and more aggressive vocals, the chorus is simple but uplifting, the bridge returns to the ballad style before going into a theatrical solo section. A great Dio epic
9 out of 10

Naked In the Rain: While this song is nowhere near as epic as the song before it, it retains a hint of its drama. The introduction fades in with more keyboards and a more subtle guitar riff, the verses and pre-choruses continue with more drawn out vocals and bombarding chords and keyboards in the background, and the chorus is another great one-liner. Not as hard hitting as the songs before it, but a great addition.
9 out of 10

Overlove: I find this track to be quite similar to Rainbow's "Kill The King" (If Dio hadn't been a member of that group, I'd be a tad concerned). The introduction comes in with more bluesy guitar riffs, the verses suddenly bring in more aggressive riffs and soaring vocals, the chorus keeps the speed flowing with another one-liner, and the solo section throws in some great shredding and neat rhythm fills. Slightly derivative, but another great song.
8 out of 10

I Could Have Been A Dreamer: Like "Mystery" and "Hungry For Heaven" before it, this song is the album's blatantly commercial track. Fortunately, it has a darker tone not seen on those songs and features sinister but catchy guitar playing, more great vocal lines, and slightly overwhelming keyboards during the chorus. Still a solid addition that reminds me of what would come on the band's next effort. . .
8 out of 10

Faces In The Window: This song returns to the speed metal style. The introduction starts off slow but leads into more energetic riffs and solos, the verses bring in some catchy vocal lines, the chorus provides another great refrain, and a melodic bridge leads into some varied ad libs. You could consider it to be more of the same, but it's another cool track that makes a catchy anthem.
8 out of 10

When A Woman Cries: Closing the album out is another dynamic mid-tempo track. The introduction comes in with strange sound effects and solid guitar/drum patterns, the verses bring in more excellently drawn out vocal lines and plodding riffs beneath, the chorus is another one-liner with more keyboard emphasis, and the bridge goes in a more uplifting direction with the solo section continuing in the same style. Probably my least favorite track but a good closer.
8 out of 10

Overall, this album gets 78 out of 90, 87%, and 4 stars. I think this album may be one of Dio's strongest efforts and stands up to the classic "Holy Diver" as their greatest album of the 80's era. The only flaws I can point out are a few dated effects, the heavy keyboard emphasis (Dream Theater, this is not. . .), and a few simplistic song structures. Unfortunately, it would soon introduce an era typically seen as being the band's downward spiral. . .

Lateralus (Tool)

2008-11-17T06:42:00.000-08:00

Despite being a fan of some unusual bands (Pain Of Salvation comes to mind), I have found Tool to be a fairly tricky band to get into. Musically, the band is best known for their strange song structures, constantly changing time signatures, and generally dark overtones. This 2001 effort was the group's third album and saw them achieve even greater critical and commercial success.

The Grudge: Sounds of a starting machine briefly open this song before a building bass heavy rhythm makes its way into the tune and the rest of the song continues with an almost robotic vocal delivery and strange soft/heavy constrasts all the way through. A very interesting opener though there isn't as catchy as it could be.
8 out of 10

Eon Blue Apocalypse: The album's first instrumental is noteworthy for having been about the death of vocalist Maynard James Keenan's Great Dane. The song itself features some interesting eastern styled melodies and an appropriately mournful atmosphere.
7 out of 10

The Patient: More building guitars open this song's introduction in a spacy but unsettling fashion, the verses continue with a soft rhythm and melodic vocals thrown into the mix, the chorus features louder riffs but keeps the melodic vocals in tact, the bridge features more drawn out vocals and eerie whispers, and the song eventually returns to its quieter style. A pretty cool song that astonishingly never completely gives in to aggression.
9 out of 10

Mantra: Another instrumental. This one features a strange sound apparently made by a cat being squeezed (Or a whale song, depending on who you ask). Strangely intriguing, but another slight filler track.
7 out of 10

Schism: If I'm not mistaken, this track won a Grammy back in 2002. It starts with melodic guitars/bass that remind me of Opeth for some reason before going into its signature bass melody, the verses feature some infectious bass/vocal harmonizing, the chorus brings in heavier riffs and angrier vocals, the solo section features some cool guitar effects, and the bridge comes out with softly drawn out vocal lines. A great track that may be the most accessible on the album.
9 out of 10

Parabol: This three minute interlude is made memorable by its spacy guitar/bass melodies and its soft vocals. A nice melodic space, but it doesn't seem to have much energy. Then again, that could just be the lack of percussion. . .
7 out of 10

Parabola: Heavier riffs immediately come in just as the previous track fades away, the verses continue with solid croons and building chugs above some strong drum patterns, the chorus brings in some solid layering, and the bridge goes in an even more melodic direction. A pretty cool track, though not as strong as "Schism".
8 out of 10

Ticks & Leeches: Strong drum patterns and powerful backing bass open this song's introduction nicely, the verses continue with an almost rapped vocal delivery and nicely complementing guitar dissonance, the chorus brings in an angry refrain that may or may not be directed towards the band's critics ("Hope this is what you wanted/Hope this is what you had in mind/Cuz this is what you're getting/I hope you're choking/I hope you choke on this."), the solo section finally continues into a melodic direction, and the bridge sounds even more pissed than before before going into an erratic guitar solo. Easily the most pissed off track on the album and one of its most dissonant.
8 out of 10

Lateralus: Yet another wave of melodic guitars/bass open this introduction smoothly with a building rhythm beneath, the verses continue with eerie vocal layering and prominent percussion above melodic guitars in the background, the chorus brings heavier riffs but retains the soft croons, the solo section features a few soaring guitar wails, and the bridge is another soft segment before reaching a building climax. A solid addition, though not as memorable as the songs before it.
7 out of 10

Disposition: Not quite an instrumental, but a solid interlude nevertheless. It features more of those trippy guitar melodies, odd sound effects in the background, and quietly delivered vocals.
7 out of 10

Reflection: Now we come to the album's longest song. This eleven minute epic comes in with more tribal percussion, a sinister but catchy bass melody, and eerie guitar effects that remind me of Rush during the introduction; the verses bring in oddly sequenced vocal lines; and the solo sections feature more cool guitar effects. Perhaps a little overlong, but it's a greatly memorable piece.
9 out of 10

Triad: Unlike the instrumentals before it, this tune could be considered a stand alone piece. It features plenty of crashing guitar and bass riffs, consistent drumming, some interesting effects and solos every now and then, more soft/heavy constrasts, and a minute of silence towards the end. Another decent addition though I wish it was a little more energetic.
7 out of 10

Faaip de Oiad: Closing the album out is a short spoken segment about a guy who is apparently on the run from Area 51 (Hey, that rhymed). It's definitely an interesting bit that makes a pretty decent closer.
7 out of 10

Overall, this album gets 100 out of 130, 77%, and 3.5 stars. I can understand how this album came to be so influential; it features some interestingly complex tunes and demonstrates the members' technical abilities. However, it is definitely a challenging task to take in all at once and a few fillers disrupt the album's already unstable flow. Just because the compact disc can hold 80 minutes of music doesn't mean it should actually be used to its full compacity. . .

Heartwork (Carcass)

2008-11-14T05:59:00.000-08:00

Originally beginning life as an influential grindcore band, Carcass turned to a more accessible death metal style for their fifth effort. Musically, the album emphasizes more groove laden segments and simpler song structures that hide a more complex band performance. Lyrically, the album moves away from the pathological obsessions of the band's past and into more introspective material not unlike Death's transition around the same time. The album is also noteworthy for being the last to feature Arch Enemy/Spiritual Beggars guitarist Michael Amott and for being a major influence in the development of melodic death metal.

Buried Dreams: Building drums and powerful guitar harmonies open this song's introduction, the verses continue at an almost bouncy mid-tempo pace with some echoing growls thrown in, the chorus features some catchy vocal lines, and the bridge brings in a solid breakdown that leads into a squealy solo section. A pretty groovy start.
9 out of 10

Carnal Forge: Faster guitar harmonies open this song nicely, the verses continue with angry vocals thrown in, the choruses briefly slow the song down, and the first solo section leads into a more mid-tempo direction with the bridge's stanzas continuing with a similar style, and the second solo section returns to the more intense style. A solid addition.
8 out of 10

No Love Lost: Now we come to another groovy mid-tempo tune. It features more downtrodden guitar harmonies, memorable vocal lines, angry pre-choruses, a strong hook during the chorus, and more upbeat guitar solos. One of my personal favorites on the album.
9 out of 10

Heartwork: Dissonant guitar squeals open this song before going into another intense guitar chug, the verses continue at an energetic pace with more direct growls, the chorus features a more uplifting refrain, and the solo section offers more melodic guitars before going into another angry breakdown. A pretty cool track.
8 out of 10

Embodiment: Another downtrodden set of guitar harmonies open this song in a way that reminds me of "South Of Heaven"-era Slayer, the verses have that almost bouncy style, the pre-chorus returns to the downtrodden style, and the chorus goes in a more upbeat direction with uplifting solo sections following suit. Another cool track that reminds me of late period Death for some reason.
8 out of 10

This Mortal Coil: A strange mix of melody and dissonance open this song in an interesting fashion, the verses continue with a particularly upbeat set of guitar gallops, the chorus returns to the introduction's style, and the solo section continues in a melodic mid-tempo style.
8 out of 10

Arbeit Macht Fleisch: This track comes in with yet another upbeat set of riffs, the verses throw in some interestingly sequenced vocals, the chorus goes in a more violent direction, and the solo sections throw in more melodic guitar shredding. A good song, though the solo section is rather brief. . .
8 out of 10

Blind Bleeding the Blind: Without warning, another batch of violent gallops open this song's introduction before suddenly into a slower direction with looser rhythms and sweet guitar fills, the verses continue with more restrained vocals and solid fills kept in the background, the pre-chorus and chorus provide more faster segments, and the solo section keeps the intensity flowing with some great guitar trade-offs. Another particularly groovy tune.
8 out of 10

Doctrinal Expletives: This song opens with more of the same, the verses continue with angry guitar/vocal trade-offs with some strong drumming in the background, the chorus offers a solid refrain, the various solo section provide uplifting guitar parts, and the lyrics are filled with some interesting puns.
8 out of 10

Death Certificate: Drawn out guitar melodies and ticking drums open this song's introduction before another charging set of riffs come in with a more noticeable bass line beneath, the verses continue with more sweet guitar/vocal trade-offs, the chorus offers another great refrain, and the solo sections offer some great variety. A pretty sweet closer.
9 out of 10

Overall, this album gets 83 out of 100, 83%, and 4 stars. Death metal isn't exactly my forte, but I can certainly acknowledge this album for its major influence and for providing some sweet songs. I imagine it would be a good way to get a new listener within the metal scene. All in all, it's another one of those albums whose rating may go up once I get a better taste for it. . .

Into The Electric Castle (Ayreon)

2008-11-12T05:45:00.000-08:00

After releasing a few albums on a more obscure scale, Ayreon (Aka Arjen A. Lucassen) finally reached a new level of success with the release of his third effort. Musically, this album is the standard Ayreon mix of light and heavy constrasts with multiple vocalists and a few eclectic experiments along the way. Lyrically, the album tells the story of eight different souls of Earth that are taken from their respective time periods by a mysterious alien and forced to go through with his little research project. Kinda like a trippy sci-fi version of Saw. . .

Welcome to the New Dimension: Our journey begins with the usual ambient opening meant to build up some atmosphere. This particular bit is made memorable by spooky keyboards, crashing guitar chords towards the climax, and an unsettling spoken segment performed by Kaleidoscope/Fairfield Parlour vocalist Peter Daltery as the mysterious alien. A pretty decent start.
7 out of 10

Isis and Osiris: Now we come to the album's first real track, an eleven minute four part epic. The first part ("Let the Journey Begin") features vocal trade-offs between the Highlander (Played by the legendary Marillion vocalist Fish) and the Indian (Within Temptation vocalist Sharon den Adel) with some sweet accoustic backing and the Knight (Rick Wakeman/Threshold vocalist Damian Wilson) coming in towards the end, the second part ("The Hall Of Isis and Osiris") features more aggressive but exotic riffs backing a more commanding duet between the Roman (Omega vocalist Edwin Balogh) and the Egyptian (The Gathering vocalist Anneke van Giersbergen), the third part ("Strange Constellations") features a quieter spoken bit performed by Fish followed by some keyboard heavy jamming, and the final part ("Reprise") returns the song to its original style. A pretty awesome track that may be my favorite on the album.
10 out of 10

Amazing Flight: The alien's second spoken segment opens this song in a foreboding style, the first part of the song ("Amazing Flight In Space") features soulful trade-offs between the Barbarian (Bodine vocalist Jay van Feggelen) and the Hippie (Arjen himself. Leave it to Arjen to give himself the most amusing role. . .) backed by an unusual but welcome bluesy rhythm, and the other two parts of the song ("Stardance" and "Flying Colours") feature spacy keyboards and jazz flute, bass heavy guitar playing, and wordless vocals performed by the Indian. Another great tune, even though I still think the choice for Barbarian was quite an unusual one. Feggelen is certainly an awesome crooner, but he might not be as savage as the lyrics require. . .
10 out of 10

Time Beyond Time: We are now introduced to the remaining Earthling, who is none other than the Futureman (Kayak vocalist Edward Reeker). The song itself is a fairly mellow track that features gentle accoustic strums; subtle keyboards; vocals by the Futureman, the Knight, and the Roman; and another spacy solo section. Not as powerful as the songs before it, but still pretty good.
8 out of 10

The Decision Tree (We're Alive): The alien's third spoken segment opens this tune in a haunting fashion, the verses continue with a duet between the Barbarian and the Highlander backed by accoustic guitars and a bouncy rhythm, the chorus features more uplifting guitars and backing vocals performed by the other members of the cast with the Highlander in the lead, and the solo seciton brings in a heavier crunch. Another great addition.
9 out of 10

Tunnel Of Light: Another spoken bit opens this song; the verses continue with more somber accoustic guitar playing and melancholic vocals by the Highlander in his final song; the chorus provides more pleasant vocals courtesy of the Egyptian, the Knight, and the Roman. Not quite depressing, but an effective way to kill off Fish. Of course, I can't help but wonder why they terminated the most popular singer on here so quickly. . .
9 out of 10

Across The Rainbow Bridge: Dripping sounds and another spoken part open this song's introduction in a particularly dark fashion, the verses feature spooky guitars and mournful vocals by the Knight, the chorus features heavier riffs and vocals performed by the Roman, the bridge features soft/heavy riff trade-offs and amusing vocal lines performed by the Hippie ("I must be dead/Or stoned out of my head") followed by a spoken bit by the Alien that reminds me of a showman, and the song closes out on a heavier climax and a catchy duet between the Knight and the Roman. A pretty great close of the first act.
9 out of 10

The Garden of Emotions: After the sixth spoken segment, we go into another strong ten minute epic. The first part ("In The Garden Of Emotions") features a duet between the Hippie and the Egyptian backed by soft guitars/keyboards, a haunting chorus, and a few symphonic outbursts in between; the second part ("Voices In The Sky") brings in more menacing guitar chugs, trade-offs between the Barbarian and the Roman during the verses, and a keyboard heavy chorus sung by the Indian; and the third segment ("The Aggression Factor") comes to a quietly tense style dominated by the Indian, the Knight, and the Futureman; and the solos in between offer cool guitar and keyboard parts. Not as commanding as the first disc's main epic, but a great track.
9 out of 10

Valley of the Queens: One of the few solo tracks on the album. This song features melancholic guitars, nicely complementing keyboards and strings, a smooth flute solo, dark roars towards the end meant to symbolize Death, and soaring vocals performed by the Egyptian in her final song.
9 out of 10

The Castle Hall: Roars from the previous track mix with the alien's spoken parts during this song's introduction before a heavier Rush-esque riff opens the actual song, the verses and choruses continue in a haunting style with vocals contributed by the Barbarian and the Knight, and the instrumental sections throw in a mix of heavy and soft elements. Another neat track, though it would've been even better if a little more aggression thrown in.
9 out of 10

Tower Of Hope: As evidenced by the title, this may be the most upbeat track on the album. The dark sound of the previous track persists during the spoken introduction, the verses and choruses continue with a heavy but pleasant mid-tempo chug and a duet between the Hippie and the Futureman, and the solo section features some gritty guitar/keyboard trade-offs with a nice bass line underneath.
9 out of 10

Cosmic Fusion: Foreboding winds effects and spooky guitars/keyboards open the first part of the song ("I Soar On the Breeze") with haunting vocals by the Indian in control; the second part of the song ("Death's Grunt") suddenly takes the song into a more menacing direction and features the personification of Death (Within Temptation guitarist/vocalist Robert Westerholt and Orphanage vocalist George Oosthoek) in his/their sole performance, effectively killing off the Indian; and the final part ("The Passing Of An Eagle") is an instrumental bit that features shredding keyboards and guitars that remind me of Pink Floyd. Both of the women are now dead; anyone else thinking what I'm thinking?
8 out of 10

The Mirror Maze: Now we come to what may the album's most somber track. Yet another spoken bit opens this song in the usual haunting fashion, the first half ("Inside The Mirror Maze") continues with melancholic piano and echoing vocals courtesy of the Hippie (Wow, the one time he isn't the comic relief. . .) and the Futureman, and the second part ("Through The Mirror") features a heavier climax and catchy vocals provided by the Knight and the Roman. Where's the Barbarian? This song would've been quite fitting for him considering his less than favorable character. . .
10 out of 10

Evil Devolution: Another solo song with the Futureman performing the lead role. The song features bubbling sounds and the usual speech during the introduction, building keyboards and desperate croons during the verses, the chorus features some neat strings and nicely echoing vocals, and the solo section finally brings some crashing guitar riffs and haunting keyboard solos. Not as powerful as it could be, but a spooky addition.
8 out of 10

The Two Gates: The introduction of this song brings in the usual before going into some interesting keyboard parts, the verses continue with some strange vocal/keyboard harmonies dominated by the Barbarian, the chorus features backing vocals and heavier riffs accompanying the Roman's wails, the bridge features quieter keyboards and echoing vocals performed by the Barbarian in his final role, and the Knight closes out the final verse. Not as epic as it could've been, but a cool scene that would inspire a good deal of cheering if it was converted into a film. . .
8 out of 10

Forever of the Stars: Like the opening introduction, this song is completely dominated by the alien's particularly robotic spoken vocals (Revealing himself to be a mystic entity known as Forever Of The Stars) and more ambient keyboards. Another unsettling addition, though not quite a musical stand-out.
7 out of 10

Another Time, Another Space: More unsettling guitars and keyboards open this song nicely, the first set of verses continue with segments sung by the Hippie and the Futureman, the chorus is sung by both with heavier riffs thrown in, the second set are dominated by the Knight and the Roman with more uplifting piano and guitars joining in, the solo section features even heavier guitars/keyboard and echoing parts from previous songs, and Forever closes the song out with a single quotation. An unusual closer.
8 out of 10

Overall, this album gets 147 out of 170, 86%, and 4 stars. Like most Ayreon albums, its two disc format can be a lot to take in and the vocalists can be hit or miss at times. However, this album may be his best effort and is a strong example of an excellent rock/metal opera. It's probably be a good first purchase for a potential fan.

Helloween (Helloween)

2008-11-09T12:28:00.001-08:00

In a way similar to bands such as Queensryche, Helloween released a self-titled EP before going into a completely full-length career. Unsurprisingly, the work is identical in style to the following "Walls Of Jericho" and features fast tempos, aggressive but still fairly melodic guitar playing, and lead vocals performed by guitarist/vocalist Kai Hansen.

Starlight: In a way similar to songs such as KISS's "Detriot Rock City", we must endure a minute or so of pointless sound effects before going into the smashing opener. The song itself is a strong speed metal track that features a sweet series of shrieks and building guitar chords during the introduction, fast paced riffs and vocals during the verses, and a soaring chorus. A pretty good example of quality power metal but I ought to take off a point or two for the pointless introduction (Though I do find the "Happy, happy Helloween" bit to be fairly amusing).
8 out of 10

Murderer: Gritty guitar/bass harmonies open this track's introduction in a Maiden-esque fashion, the verses continue in a style similar to that of the introduction with darker vocal lines, the chorus features some catchy vocal exchanges, and the guitar solos continue with an uplifting atmosphere. One of my favorite tracks on the EP.
9 out of 10

Warrior: Sounds of battle open this track in what is now a somewhat cliche fashion, the song itself proceeds to come in with upbeat mid-tempo guitar harmonies, the pre-chorus briefly slows the song down, and the chorus throws in another catchy chant. A pretty cool track, even if it isn't as commanding as the songs before it.
9 out of 10

Victim Of Fate: Now we come to a more dramatic track. The introduction comes in with crashing guitar chords that immediately lead into the gritty mid-tempo verses and pre-choruses, the chorus is quite catchy in its subtle delivery, and the bridge brings in a darker spoken segment and eerie guitar lines before going into a more upbeat solo section. A pretty cool track.
9 out of 10

Cry For Freedom: Mysterious accoustic guitar playing and more melodic vocals open this song's introduction and opening verses, the following verses continue with predictably (but still enjoyable) fast guitar playing and more sinister vocals, and the solos keep the intensity flowing. A pretty cool closer.
8 out of 10

Overall, this album gets 43 out of 50, 86%, and 4 stars. Needless to say, you will enjoy this EP if you enjoyed "Walls Of Jericho" or old school power/speed metal in general. Of course, the reverse can be applied for Hansen's vocals, the raw riffs, and the primitive lyrics can be acquired tastes. Get the "Keepers" before checking this one out.

Dreamweaver (Sabbat)

2008-11-08T22:39:00.000-08:00

Before Andy Sneap gained fame as one of the most in-demand producers of the metal scene, he played lead guitar in a thrash metal by the name of Sabbat with the likes of Skyclad vocalist Martin Walkyier, bassist Fraser Craske, drummer Simon Negus, and rhythm guitarist Simon Jones. This was the band's second effort and is a concept album based on the novel The Way of Wyrd, a novel written by Brian Bates that deals with a Christian missionary encountering paganism within the ancient British Isles.

The Beginning of the End/The Clerical Conspiracy: Spooky sound effects and a brief spoken segment dominate "The Beginning of the End" and open the album in a sinister fashion. "The Clerical Conspiracy" then continues with violently delivered riffs and drums, quickly sung vocals over the top, solid hooks during the chorus, and more melodic guitar solos. A few of the transitions are a little awkward, but it's a pretty powerful start.
9 out of 10

Advent of Insanity: Suddenly, we go into the most melodic track on the album. This two minute tune features a more melodic vocal delivery, haunting use of accoustic guitar melodies, nautical sound effects in the background, and some neat cello in the background. While I wish it was a little longer, this may be my favorite track on the album and provides a nice foreshadowing of the sound that Walkyier would later pursue with Skyclad.
9 out of 10

Do Dark Horses Dream Of Nightmares?: Back to the thrashing style we go as this track comes crashing in. The track features some erratic vocal lines and drum fills during the opening verse, the following verses continue at a more direct style similar to those of the opener, the pre-chorus brings more sinister vocal/guitar trade-offs, the chorus provides some particularly catchy vocal lines, and the build-up to the solo section features a few accoustic flourishes before going into some intense shredding. Another great track that manages to stay memorable in its complexity.
9 out of 10

The Best Of Enemies: Another brief spoken bit opens this track before going into a bass heavy groove, the opening verse throws in more quickly sung vocals into the mix, the following verses with at an energetic pace with more melodic guitar/vocal trade-offs, the pre-chorus throws in some dark whispers among the carnage, the chorus provides a nice breakdown, the bridge continues with unusual melodic/heavy contrasts going before into another intense solo section. Not as strong as the tracks before it, but still a great track.
8 out of 10

How Have The Mighty Fallen?: Buzzing of flies open this song before giving way to the melodic guitars and energetic vocals of the opening verses, the following verses return to the familiar style, the pre-chorus features even more intense guitar/vocal melodies, the chorus features more melodic guitars and vocals that remind me of a heavier "Advent of Insanity", and the bridge leads to the ripping solo section at a solid mid-tempo pace. Another pretty cool track.
8 out of 10

Wildfire: More erratic guitar/vocal trade-offs start this song's opening verses off nicely, the following verses and pre-chorus continue with tense vocals and melodic guitars below, the chorus features some echoing vocal trade-offs, and the fast paced bridge leads into an equally fast paced solo section. The chorus may be a little oddly sequenced, but it's another cool track.
8 out of 10

Mythistory: Menacing guitar/bass trade-offs and sweet guitar solos open this song's introduction smoothly, the verses continue with more fast paced riffs and vocals, the pre-choruses and choruses bring in a solid mid-tempo pace, the solo section continues with soaring guitar trade-offs before coming back to a faster style, and the closing segment brings the introduction's melody back in with some sinister female vocals joining in. Another good song, though it may be my least favorite on the album.
8 out of 10

Happily Never After: Closing the album out is a minute long instrumental that features more pleasant accoustic guitar melodies that bring to mind Metallica's "To Live Is To Die" before fading away in a ghostly fashion. A pretty nice closer.
8 out of 10

Overall, this album gets 67 out of 80, 84%, and 4 stars. Note to self: If I'm ever lucky enough to have Andy Sneap to produce an album that I'm on, make sure he plays at least one guitar solo on it...
This album may be a little tough to get into for some listeners and a little wordy at times, but it offers some excellently complex tunes and some of the amazing lyrics that you may ever listen to. I imagine its rating will only get higher once I've truly gotten used to it.

Amped (Seven Witches)

2008-11-04T18:17:00.000-08:00

Better known for their love of "taking back the metal", Seven Witches underwent a great number of changes for their sixth album. Guitarist/bandleader Jack Frost remains, but the exiting members have since been replaced by Non-Fiction bassist Kevin Bolembach, Winters Bane drummer Jeff Curenton, and Satan/Watchtower vocalist Alan Tecchio, resulting in a much different sound. Musically, the album completely sheds the melodic sound of the band's past and completely embraces what were once mere modern hintings. Even the lyrics have changed, with the cheesy metal themes being abandoned in favor of even cheesier tales of real life and fantasy topics. Unfortunately, not all of the experiments are successful. . .

West Nile: Energetic mid-tempo riffs and solid wails open the opening track's introduction, the verses continue with soaring vocals interacting with harsher guitar chugs, the chorus brings the wails back in, the bridge offers a more melodic breakdown, and the lyrics deal with the virus of the same name. A solid opener, though the song itself is somewhat awkwardly sequenced.
7 out of 10

Sunnydale High: Lyrically inspired by the popular Buffy the Vampire Slayer series, this song is one of the album's more accessible tracks. It comes in with interesting percussion and a dark mid-tempo chug during the introduction, the verses continue with some solid vocal lines thrown in, and the bridge offers a fairly decent refrain. It may be closer to the band's older style than some of the other songs on here, but it ultimately lacks a truly strong hook and fails to truly make an impact.
6 out of 10

Dishonor Killings: Dark bass playing opens this song in a sinister fashion with another gritty guitar chug soon joining in, the verses continue with awkwardly sequenced vocal lines and the chug retained beneath it all, the chorus offers a more uplifting refrain, and the solo section brings in some interesting effects. It had potential but it ultimately falters due to its awkward structure and even worse lyrics ("I believe that it's each to their own/Except when honor killings are the norm/Can't convince me/That offing your sister ain't wrong/Or your wife, or your mom/That's the point of this song/Inhumane tribal custom/I bid you so long"). I do believe that the topic at hand is quite a severe one, but the wording could've been a lot more poetic. Not to mention there should be some kind of law against breaking the musical fourth wall. . .
6 out of 10

GP Fix: Sounds of a revving motorcycle open this song in a slightly cliche fashion before going into a mid-tempo chug similar to that of "West Nile", the verses continue with more awkward sequencing with a solid mid-tempo chug beneath it all, the pre-chorus throws in some decent layering, the chorus is more uplifting but not as powerful as it could be, and the bridge offers a decent breakdown. Another track that could've been better if it had been structured better. And there needs to be another rule stating that songs about motorcycles HAVE to be set at a fast pace (Manowar's "Warlord" for instance. . .).
5 out of 10

Be: Now we come to the album's ballad. The introduction comes in with some sweet piano playing and echoing guitars in the background, the vocals continue with nicely building vocals and a steady guitar chug that manages to work with the song's atmosphere, the chorus is another uplifting, and the solo section is simple but effective. It may not be as strong as a few of the band's past ballads, but it is one of the better tracks on the album.
7 out of 10

Fame Gets You Off: Another menacing set of guitar squeals open this song in a dark fashion, the opening verse throws in some interestingly echoing vocals, the following verses go at a more energetic pace with more aggressive vocal lines, the chorus provides an interesting breakdown and soaring vocal trade-offs, and the song closes out on a fairly memorable breakdown. It's a little similar to "Dishonor Killings", but it features a good number of musical improvements. Unfortunately, the lyrics weren't so lucky ("I'm not impressed by anyone/No not anymore/When Mr.Orange Juice can rush one/Last yard out the door/Jacko jackin' children off is just beyond belief/Acquit him just like Mr.Blake/Set filth loose on the streets"). . .
6 out of 10

Flesh For Fantasy: Finally, we get back to an old Seven Witches tradition; the cover song that appears on almost every album. I can't compare this version to the one made famous by Billy Idol, but the track does feature some neat guitar/bass trade-offs during the introduction, strong croons during the introduction, gritty vocal trade-offs during the chorus, spooky effects throughout that add to the atmosphere, and a somewhat silly chant at the end. A good song but it is a little sad when a cover song may one of the best tracks on the album. What stopped Tecchio from singing like this on the originals?
7 out of 10

Red: A particularly erratic guitar groove opens this song's introduction with a more energetic drum beat behind it, the verses suddenly go at a bass heavy mid-tempo pace with soaring vocals thrown in, and the chorus is another melodic segment that unfortunately doesn't quite deliver. Another song that sounds like it could've had potential. . .
6 out of 10

Widows and Orphans: Closing the album out is a song with a bit of an epic flavor. The introduction comes in with a mix of crashing chords and melodic piano playing with solid accompanying wails, the verses continue with a Maiden-esque gallop and more soaring vocals thrown in, the chorus is another uplifting segment, and the solo section is similar to the introduction in style. A pretty smooth closer that makes me wish more of the album could've been like this. . .
7 out of 10

Overall, this album gets 57 out of 90, 64%, and 3 stars. A few of the modern aesthetics may attract to listeners that were previously turned off by the band's classic metal past, but the reverse may be also applied and divide the fanbase that the band originally had. Personally, I think it has potential but ultimately doesn't match up and may not be worth the risk for a newcomer. Get something from the James Rivera era or "Xiled to Infinity and One" first. . .

Black Ice (AC/DC)

2008-11-03T05:50:00.000-08:00

Nearly eight years have passed since the release of AC/DC's last album, 2000's "Stiff Upper Lip", but you wouldn't guess that it was that long when you listen to their 15th effort. In terms of the album's style, the band continues to showcase the more mellow blend of hard rock and blues that has dominated the last few albums before it. However, a number of changes have been made in comparison to the band's past, including a new producer in Soundgarden/Stone Temple Pilots producer Brendan O'Brien and more soulful singing courtesy of vocalist Brian Johnson.

Rock 'n' Roll Train: Starting the album off is its first big single. The song sets the tone for the album and features laid back guitar/vocal trade-offs during the verses and pre-choruses, catchy gang vocals thrown in during the chorus, and a driving drum beat through it all.
9 out of 10

Skies On Fire: Now we go to an even more laid back number. It features a solid bass heavy main riff, sly vocals thrown in during the verses, and a simple but fairly catchy chorus. Not as strong as the opener, but another solid track.
8 out of 10

Big Jack: Something about this song seems to have a bit of a "For Those About To Rock" vibe to it. The verses feature some great vocal/guitar trade-offs, the pre-chorus is brief but effective in its building intentions, the chorus features some particularly infectious chants, and a consistent bass line gives the song an energetic feel. One of the best tracks on the album.
9 out of 10

Anything Goes: A poppy introduction opens this song in a way that reminds me of "Sink the Pink" in a way, the verses continue at a mid-tempo pace with some interesting falsetto vocals thrown in, and the chorus is catchy though not as powerful as it could be. A decent track, though not quite a classic.
7 out of 10

War Machine: Another one of the album's singles, this is one of the more menacing tracks on the album. The introduction opens with building guitars and bass in a way similar to that of "Hail Caesar", the verses continue in a building style before gaining volume, and the chorus brings in some menacing gang vocals. A pretty neat track even if it is eerily similar in structure to "Hail Caesar" (I still think that song is really underrated. . .).
9 out of 10

Smash 'n' Grab: It's right around this time that we go into a bit of a dry spell. A nice bass heavy rhythm opens this song smoothly, the verses continue with soulful guitar/vocal trade-offs, and the chorus is a pretty mindless sing-a-long. A good song, but not a highlight.
7 out of 10

Spoilin' For A Fight: Just when you thought "Smash 'n' Grab" was a questionable title, they get even better. . .
The introduction comes in with more building guitar harmonies and a driving bass line, the verses continue with guitar/vocal trade-offs similar to those of "Big Jack", and the chorus is another one-line chanter. A decent song, but "Big Jack" did this kind of thing better. . .
7 out of 10

Wheels: This song's introduction comes in like a less dramatic "War Machine", the verses continue at a solid pace similar to those of the previous tracks with some interesting vocal lines thrown in, and the chorus is a pretty catchy one despite the somewhat grating backing vocals. Not a highlight, but it's worth debating whether this song is better than the last few or not. . .
7 out of 10

Decibel: Bluesy riffs open this song in the vein of "Cover You in Oil", the verses continue with some particularly gritty vocal lines, and the chorus is another one-liner. I must say I was expecting a much louder song when taking its title into consideration. . .
6 out of 10

Stormy May Day: I would describe the opening of this track as being some kind of somber "Riff Raff" at work, the verses continue with some strong vocals thrown in, the chorus is a catchy but grating touch like that of "Wheels", and the track is also noteworthy for its inclusion of slide guitar. A pretty soulful addition.
7 out of 10

She Likes Rock 'n' Roll: And the winner of the most Spinal Tap-esque song title is. . .
The introduction comes in with an dissonant groove, the verses continue with more decent guitar/vocal trade-offs, the chorus features a catchy though somewhat silly refrain, and the gang vocals seem to make me chuckle for the wrong reasons ("She digs rock n roll/She gives rock n roll/She gives rock n roll/I like rock n roll". Well, I'm glad you do but the statement is somewhat redundant. . .).
6 out of 10

Money Made: Given that the album has now gone platinum here in the United States, I must ask if this song was written before or after the Walmart deal was announced? The introduction comes in with this silly but infectious chorus and the verses throw in an interesting chord progression that reminds me of late period Audioslave for some reason. It certainly is better than the last few tracks before it. . .
8 out of 10

Rock 'n' Roll Dream: Here we have one of the album's more melodic tracks. It comes in with atmospheric guitar melodies, a subtle drum beat, and particularly melodic vocals during the verses; the chorus brings some louder riffs and a fairly smooth refrain; and the final verse features some interestingly echoing vocals. A pretty neat track.
8 out of 10

Rocking All The Way: Finally, an energetic track that can be compared to "Big Jack"! It opens with another building introduction, gruff vocals thrown in the opening verse, more typical vocals during the following verses, and fun layered vocals during the chorus. Kinda reminds me of a darker "Shot Of Love".
9 out of 10

Black Ice: Closing the album out is its bluesy title track. The introduction comes in with a riff similar to that of "Decibel", the verses continue with some decent guitar/vocal trade-offs, and the chorus is a little more subtle in its gritty delivery. A fairly decent closer.
7 out of 10

Overall, this album gets 114 out of 150, 76%, and 3.5 stars. I hate to be rude, but I do hope that this will be the band's last album. There are a few too many tracks included, the sound isn't as electrifying as it could be, and the band itself sounds like they're on auto-pilot and feeling somewhat desperate (Just look at the song titles!). Having said that, the 14 year old in me still manages to find a few catchy songs on here. Just don't expect "Back in Black", or even "For Those About to Rock" for that matter. . .

Warriors of the World (Manowar)

2008-11-02T17:35:00.000-08:00

I find Manowar's ninth album to be similar in style to 1988's "Kings of Metal". Like its more famous ancestor, this album features a pretty strange mix of heavy metal scorchers, dramatic power ballads, and a few more experimental tracks thrown in for good measure. It is also noteworthy for being the only one of their albums to feature cover songs. A result of writer's block, perhaps?

Call to Arms: Fortunately, the album starts off with one of its heaviest tracks. It comes in with dramatically plodding riffs and matching choirs in the background, the verses continue at a solid mid-tempo pace with foreboding vocals thrown in, and the solo section brings in some uplifting
solos. It lacks a powerful chorus, but it's a cool opener that reminds me of a heavier "Kingdom Come".
8 out of 10

Fight For Freedom: The first of the album's ballad comes in with gentle piano during the introduction, melodic croons during the verses, the chorus brings in heavier riffs and more uplifting vocals, and the bridge leads into the solo section leads into the solo section with heavier guitar chugs. A cliched structure but a pretty decent Manowar ballad.
7 out of 10

Nessun Dorma: The album's first cover song is an Italian opera song composed by Giacomo Puccini. It's not metal, but it does feature skillfully executed vocals and nice backing orchestrations. I suppose it's one of those things that my inner choir nerd has to appreciate. . .
8 out of 10

Valhalla/Swords in the Wind: "Valhalla" is a brief interlude that emphasizes some dramatic orchestral elements. "Swords In The Wind" is another power ballad that features somber accoustic guitars and lower vocals during the verses, epic choirs and heavier guitar undertones thrown in during the pre-choruses, another dramatic refrain during the chorus, and guitars completely taking over during the solo section. Another by-the-numbers bit, but still a neat track.
7 out of 10

An American Trilogy: Originally made famous by Elvis Presley, this is another bizarre choice for a cover song. (I hate to sound closed minded, but why didn't the Kings of Metal cover any actual METAL songs?!) It opens with mellow guitars and bass that evoke a country feeling, the verses continue with some over the top crooning thrown in, and the chorus takes the song into a heavier direction. Definitely an interesting addition. About time they acknowledged their patria after all the European fan service ("Hail To England", anyone?). . .
7 out of 10

The March: Now we come to another instrumental piece. It shows off some building strings and dramatic choirs before bringing in louder orchestral bits and a strong bass line. Another slight filler, but I imagine it sounds quite cool when you're marching into battle somewhere. (Do they still do that?)
7 out of 10

Warriors of the World: As if rewarding for all the ballads that we went through, we finally return to a heavier style. This track is a mid-tempo anthem in the vein of Judas Priest's "United" and "Take On The World". It features a similarly moronic drum line, gritty bass and guitar riffs that have an almost modern feeling, a few epic overtones typical of the era, menacing vocals, a fist raising chorus, and a melodic bridge. Not quite a classic, but a solid highlight.
8 out of 10

Hands of Doom: Now here's where we really get rewarded! The introduction comes in at a fast pace with shredding leads and choirs thrown over the top, the verses keep the speed flowing with even more menacing vocals thrown in, the chorus is the catchiest on the album, more shredding guitars appear during the solo section, and the bridge brings in an aggressive breakdown. Perhaps the album's best track and more evidence that Manowar needs to write more fast tracks. . .
9 out of 10

House of Death: More shredding opens this song in an interesting fashion with some nice backing chords and drum fills, the verses continue at a faster pace with aggressive vocals thrown in, the chorus brings in some interesting backing vocals, the bridge brings in melodic guitars and demonically distorted vocals. Another solid speed metal track, though not as cool as the tune before it.
8 out of 10

Fight Until We Die: Closing the album out is a final speed metal bit. The introduction comes in with fast riffs and strong drums, the verses continue with powerful vocal trade-offs and strong backing bass, and the solos pack in some more shredding. A solid closer, even if it lacks that definitive chorus. I suppose it's kinda like a faster "Call To Arms" . . .
8 out of 10

Overall, this album gets 77 out of 100, 77%, and 3.5 stars. Like "Kings Of Metal" before it, this album definitely has a few flaws. The song order is somewhat awkward with a few too many ballads clogging up the album's first half and there are a few songs that seem out of place. However, the heavier tunes should make it something worthwhile for die-hard fans. No need to purchase it though; just about all of these songs can be found on Youtube set to some 300/Lord Of The Rings montage. . .

Killer (Alice Cooper)

2008-10-30T15:58:00.001-07:00

Alice Cooper's fourth album showcases the band's continuously growing talents after the previously released "Love It To Death" broke into the mainstream. While their previous albums had their share of dark songs, this album may be one of the band's darkest to date with its menacing lyrics, erratic but melodic vocals, and muscular guitar playing. Of course, the increased theatrics would only increase their nortoriety. . .

Under My Wheels: The album starts off with one of its best known tracks. It features some dramatic guitar harmonies during the introduction, a more conventional hard rock feel during the verses with great riffs and vocals thrown in, a chorus that is solid though not as catchy as it could be, what appear to be some interesting horns thrown in during the solo section and final verse, and more erratic vocals towards the end. A pretty good start.
9 out of 10

Be My Lover: This track has more of a blues touch in comparison to the driving opener. It features a mid-tempo riff that may have inspired AC/DC's "TNT" (and the hundreds of rip-offs to follow), poppy backing vocals during the chorus, a theatrical finish that brings your average Broadway chorus line, and some pretty amusing lyrics ("Told her that I came from Detroit City/And I played guitar in a long-haired rock and roll band/She asked me why the singer's name was Alice/I said listen, baby, you really wouldn't understand"). Another awesome tune.
9 out of 10

Halo of Flies: Now we come to an eight minute epic that seems to serve as this album's "Black Juju". It features mysterious guitar harmonies that soon lead into a 70's Rush-esque chug during the introduction, the verses continue with some strange but transquil guitar/vocal harmonies, the bridge brings in building guitars and mystical vocal lines that soon explode into a faster direction, the second half of the song features some neat jamming, and the lyrics are some of the most cryptic the band has ever written ("I've got a watch that turns into a lifeboat"). A cool track, though one you need to get used to. . .
9 out of 10

Desperado: Written as a tribute to The Doors vocalist Jim Morrison, this track brings in a much more somber style. The song features melancholic guitars that evoke a Western feel, vocals that do a pretty cool Morrison imitation during the verses, a heavier chorus, and soaring strings during the solo section. One of my personal favorites.
9 out of 10

You Drive Me Nervous: Another solid hard rock track. The guitars are fairly dissonant but energetic, the vocals deliver a mocking style that is true to the amusing lyrics, and the chorus features some odd vocal/guitar trade-offs. Not a favorite track but still enjoyable. It does seem to be a little too short. . .
8 out of 10

Yeah, Yeah, Yeah: Without an introduction, the verses continue with some neat vocal/guitar trade-offs, the chorus is another one that is solid though not as catchy as it could be, some neat harmonica playing is thrown in during the solo section, and I detect a few S&M undertones in the lyrics. Probably my least favorite song on the track, but it's still enjoyable. Could just be the mindless title that makes me think that. . .
8 out of 10

Dead Babies: While this track is quite similar to "Desperado", this song is much darker. It features melancholic guitar/bass melodies coming in for the introduction, restrained vocals during the verses, a heavier chorus with some nice bass fills and slightly tongue in cheek backing vocals, the bridge brings in soaring calls by Cooper, and some interesting court noises lead into the next track. . .
9 out of 10

Killer: Closing the album out is another seven minute epic track. The introduction comes in with a bluesy bass heavy groove and echoing guitar effects, the verses feature more melodic vocals in the vein of the ballad tracks with some building guitars in the background, the solo sections provide plenty of cool jamming moments, the song's climax features some unusually whispered vocals becoming prominent, and the song closes out with some bizarre sound effects that are apparently meant to symbolize the killer's hanging. A pretty cool closer though it seems to be a little directionless at times. . .
9 out of 10

Overall, this album gets 70 out of 80, 88%, and 4 stars. While "Love It To Death" is close behind, this album may be the strongest to come out of the Alice Cooper band era. Fans of the band should appreciate the album's darker flourishes and it could be a good first album to get if you don't already have "Billion Dollar Babies".

The Triumph Of Steel (Manowar)

2008-10-29T05:52:00.001-07:00

After reclaming a great portion of their fanbase with the strong but inconsistent "Kings Of Metal", Manowar sought another new direction for their seventh album. The music became even more epic and complex, the lyrics feature even more variety than before (Don't worry, they still write about war and true metal, but they just wrote about different wars and true metal this time), and guitarist Ross the Boss and drummer Scott Columbus were replaced by the technically superior David Shankle and Rhino respectively. Unfortunately, this has proven to be the only album to feature the new recruits. . .

Achilles, Agony and Ecstasy in Eight Parts: What better way to start off an epic album than with a twenty eight minute long rock opera divided into eight parts and with lyrics about the Trojan War? (Yea, I can think of better ways as well. . .) "Hector Storms The Wall" gives the album a triumphant start with chugging guitars and confident vocals; "The Death of Partoclus" is a dramatic ballad sequence in the vein of "March For Revenge"; "Funeral March" continues the melancholic atmosphere with somber guitar harmonies; "Armor Of The Gods" provides a jazzy though excessively lengthy drum solo; "Hector's Final Hour" is another melodic segment that appears uplifting vocals, "Death Hector's Reward" provides one of the most intense segments of the epic, "The Desecration of Hector's Body" is an extended solo section with some neat bass and guitar parts, and "The Glory of Achilles" closes out the epic out with more powerful guitar chugs and plenty of strong shrieks. A pretty neat track, even if it could've been cut down by a few minutes. . .
8 out of 10

Metal Warriors: Thankfully, the album's longest track is followed by its shortest. It is another one of Manowar's signature "tr00 metal" tunes and features pounding vocal/guitar trade-offs during the verses, an infectiously uplifting chorus, and amusingly quotable lyrics ("Wimps and posers leave the hall" and "if you're not into metal, you are not my friend" being a few of the band's bold statements). A pretty fun track.
9 out of 10

Ride the Dragon: Now we come to what may be the fastest track on the album. Guitar/bass effects simulate the roars of dragons during the introduction with some fast riffs coming in soon after, the verses continue with a chugging gallop and quickly sung vocals, the chorus is another uplifting bit though not as heavy as the rest of the song, and the solo section features shredding guitars above an extremely powerful bass line. A pretty cool track that sounds like a heavier version of classic Helloween.
9 out of 10

Steel Horse Of The Cherokee: Sounds of a Native American origin open this track along with an unusually layered speech that is spoken in both a Native American language, the verses continue with a menacing bass heavy chug and building vocals, the chorus features building guitars/drums and vocals that eventually climax to erratic screams, and the bridge leads into a particularly powerful climax. A personal favorite of mine, even if it does lack a solo section. . ..
10 out of 10

Burning: Echoing guitar harmonies open this song in a fairly interesting fashion before another solid mid-tempo rhythm makes its way in, the verses suddenly becomer quieter with eerily whipered vocals and spacy guitar backing, and the song eventually becomes louder as time goes by. It makes a little tricky to get into, but even the weakest track on the album is still a pretty cool tune.
8 out of 10

The Power Of Thy Sword: Another strong power metal tune. Its introduction consists of swords clashing followed by some wonderfully building guitar riffs, the verses continue like those of "Ride The Dragon", the chorus provides one of the album's most triumphant moments, and the bridge features a more melodic segment that soon returns to a heavier style.
9 out of 10

The Demon's Whip: A particularly dark tune written to mock those who accused the band (and heavy metal fans in general) of Satanism. The introduction comes in with demonic vocal distortion, the verses continue at a grinding mid-tempo pace with strong vocal/guitar trade-offs thrown in, the chorus is another uplifting whip with catchy vocals, the solo section provides some neat guitar effects and more demonic vocals, and the final verse provides one of the album's thrashiest moments. Another cool addition.
9 out of 10

Master of the Wind: Closing the album out is a signature Manowar ballad and one that is a major fan favorite. It features extremely passionate vocals, mellow instrumental backing, an inspirational chorus, and even more inspirational lyrics. Something about it seems out of place, but it's a great closer.
9 out of 10

Overall, this album gets 71 out of 80, 89%, and 4 stars. Some Manowar fans may consider one of the band's first four albums to be their strongest, but I think this album just might be the greatest they've ever put out. Each member gives it his all and the songs may be the most powerfully structured in the band's career. Unfortunately, the following albums would see the band going into an epic overload. . .

Exodus' Best To Worst

2008-10-28T09:24:00.000-07:00

1) Bonded By Blood (92%)
2) Tempo Of The Damned (87%)
3) Pleasures of the Flesh (85%)
4) Shovel Headed Kill Machine (83%)
5) Fabulous Disaster (82%)
6) Force Of Habit (82%)
7) The Atrocity Exhibition. . . Exhibit A (77%)
8) Impact Is Imminent (67%)

Fabulous Disaster (Exodus)

2008-10-27T11:08:00.000-07:00

"Bonded By Blood" may be the sacred cow of Exodus, but this 1989 effort was their most commercially successful. While a few aggressive elements of the band's first two albums still persists, their third album features a more accessible sound that focuses on more melodic twin guitar attacks, more elaborate song structures, and a devil may care attitude reflected in the screechy vocals of Steve "Zetro" Sousa and the often tongue in cheek lyrics. Of course, this was the last album to feature founding drummer Tom Hunting until 2004's "Tempo Of The Damned".

The Last Act of Defiance: I find the album's opener to be fairly similar to "Deranged" from the "Pleasures of the Flesh" album. Its introduction opens the song with a slightly cheesy spoken segment before going into thrashy territory, the verses and choruses continue with wordy vocals and fast riffs, the solo section is filled with the band's signature guitar squeals and dive bombs, and the lyrics depict the New Mexico State Penitentary riots. A solid way to start things off but the phrasing is on the wordy side (Fortunately, it's not as bad it would be on the following album. . .).
7 out of 10

Fabulous Disaster: Soaring guitar harmonies open this song in a building fashion, the verses continue with a strong mid-tempo pace and more wordy vocals, the chorus picks up the pace and brings in catchy vocal lines, and the lyrics depict nuclear war with a few amusing phrases ("they should call Dr.Ruth/On how to give the people the real big screw"). A pretty cool track.
9 out of 10

The Toxic Waltz: Now we come to the album's most track. The introduction comes in with upbeat riffs and an accessible (but still mosh-able) rhythm, the verses continue with vocals that are actually wordy in a good way, the pre-chorus and chorus throw some infectious gang vocals into the mix, the solo section provides more fun squeals, the song closes out with a solid breakdown, and the lyrics provide a look at your typical mosh pit. Although the actions they're referring to are now only used by douchebag hardcore kids, this is one of the best songs the band has ever written.
10 out of 10

Low Rider: Exodus always had a thing with performing strange cover songs. They covered the Rolling Stones and Elvis Costello on "Force Of Habit" and chose to give an old War standard the Exodus treatment. It may be another fun listen, but it slightly falters due to missing the original's soulful vocals and its catchy saxophone melody (Then again, the RS cover would later prove that Exodus and horns don't really mix. . .).
6 out of 10

Cajun Hell: Swamp sounds open this song in an appropriate fashion with another upbeat rhythm and an interesting harmonica soon coming in for the song's introduction, the verses continue with more melodic vocals being thrown into the mix, the chorus brings in some catchy gang vocals, and the lyrics provide an amusing glimpse at the daily life of a Louisiana resident. A fun track that I find to be pretty underrated.
9 out of 10

Like Father, Like Son: At a little over eight minutes, this is the longest track on the album. The introduction comes in with a baby's cry followed by a dark mid-tempo riff, the verses continue at a faster pace and angrier vocals thrown in, the pre-chorus keeps the speed flowing with more melodic vocals, the chorus brings the mid-tempo riff back in with some particularly dramatic vocals by Zetro ("Please Daddy, no more!"), the solo section takes the song to an accessible romping pace, and the lyrics depict child abuse in an interesting fashion. It's a little tough to tell whether it should be taken seriously or not. . .
9 out of 10

Corruption: Soft cymbals open this song before heavy guitar trade-offs make their way into the tune, the verses continue with more snarling vocals and steady guitar riffs, the pre-chorus brings in more gang vocals, the chorus is another wordy portion, and the lyrics provide some odd social commentary ("You can take this all to hell/Shove it up your ass where the sun ain't shining"). Not a brilliant track, but still an enjoyable tune.
8 out of 10

Verbal Razors: Perhaps the heaviest track on the album, I find it to be eerily similar to Megadeth's "Liar". The introduction comes in with building riffs and drum fills, the verses continue with more rapidly sung vocals, the pre-choruses and chorus continue with more gang vocals thrown in, and the lyrics are some of the angriest and most hilarious on the album ("You said your father died in Vietnam/But you're a bastard son with a whore for a mom". . . "Now look in the mirror, and tell me what you see/A strung-out junkie with a college degree!"). A pretty solid track that reminds me of Overkill for some reason. . .
9 out of 10

Open Season: Another solid riff opens this song nicely, the verses bring in some unusually sequenced vocal lines, the pre-chorus continues like the songs before it, the chorus is solid though not as solid as it could be, and the lyrics seem to be hunting (what the prey is may be an entirely different debate. . .). A decent track, though somewhat generic compared to the songs before it.
7 out of 10

Overdose: Closing the album out is a cover of a fairly obscure AC/DC tune. Thankfully, the band manages to do this song some justice in comparison to some of their other covers. . .
8 out of 10

Overall, this album gets 82 out of 100, 82%, and 4 stars. Like most other Exodus albums, this album has its share of inconsistencies but I think the strongest moments make up for them and make this an enjoyable listen. It'd probably be a good first purchase for any fans-to-be; it's a little more accessible than "Bonded By Blood" and features a few songs that are just as strong.

Kings Of Metal (Manowar)

2008-10-26T16:28:00.000-07:00

Due to the negative reception received towards the commercially oriented "Fighting the World", Manowar sought a stronger sound for their sixth effort. The guitars return to an aggressive but melodic style, the vocals are as dynamic as ever, and the songs are as driving and epic. However, the band also includes a number of different tricks such as dramatic ballads, an even more theatrical atmosphere, and a few more unusual segments. Unfortunately, this is also the last album to feature guitarist Ross the Boss and drummer Scott Columbus (Until 1996's "Louder Than Hell" in the case of the latter. . .).

Wheels Of Fire: Starting the album off is a solid biker anthem in the vein of "Warlord" and "Death Tone". The introduction comes in with sounds of a revving motorcycle, the verses continue with a thrashy rhythm and interesting vocal trade-offs, the chorus brings more uplifting guitar chords and shrieks, and the solo section keep the speed flowing with some nice shredding thrown in. An energetic way to begin the album, but it's also a little awkward at times. . .
7 out of 10

Kings of Metal: One of the most accessible tracks and one that sounds like it was meant to be played live. It features an upbeat guitar/bass chug, catchy vocal/guitar trade-offs during the verses, and fun fake crowd noise thrown in during the infectious chorus. It'd probably get a perfect score if not for its slightly goofy atmosphere. . .
9 out of 10

Heart of Steel: Now we come to the album's first ballad. It may be somewhat stereotypical but it features beautiful piano playing, theatrical vocals, a heavier rhythm coming in during the second verse, and a lighter worthy layered chorus. A solid addition.
8 out of 10

Sting of the Bumblebee: This instrumental is one of the infamous segments that highlights the bass playing talents of Joey DeMaio. It feels like a filler, but it does manage to prove that DeMaio is a pretty talented bass player. At least it's not as bad as "Black Arrows". . .
7 out of 10

The Crown and the Ring (The Lament of the Kings): The album's second ballad comes in with atmospheric funeral organs and a dramatic choir during the introduction, the verses push the organs back in favor of charismatic vocals, and the chorus is another layered declaration in the vein of "Heart Of Steel". A pretty good song, though not as emotional as the ballad before it.
7 out of 10

Kingdom Come: Nowhere near a ballad, but one of the more accessible tracks on the album. The song features echoing vocals, a steady guitar chug, a solid mid-tempo drum beat, and a few moments of neat layering. I was expecting something a little faster but it's a pretty good track.
8 out of 10

Pleasure Slave: A bonus track exclusive only to the American and European versions of the album and it's fairly obvious why once you get the gist of the theme. The lyrics may be amusingly sexist but the song itself features unusual sounds of women having orgasms, a plodding mid-tempo rhythm, amusing vocal lines, and a fun sing-a-long chorus.
8 out of 10

Hail and Kill: Commonly regarded as the most powerful Manowar song of all time, it's certainly up there in the ranking. The introduction comes in with dramatic guitar melodies and crashing bass chords, the opening verse continues in a ballad style with building bass/guitar melodies and more theatrical vocals, the following verses suddenly throw in a much faster rhythm and plenty of hellraising shrieks, the chorus is a powerful chanter, and the solo section provides more amazing shredding and leads into an infectious breakdown. An amazing song that also features the most amusing Manowar lyric of all time ("May your sword stay wet like a young girl in her prime". Quite a hilarious line considering the song before it. . .).
10 out of 10

The Warrior's Prayer: It's interesting how some albums can go from their best songs to their worst in no time flat. This "song" has received a great deal of hatred due to it just consisting of spoken vocals and backing sound effects (Apparently, Manowar fans have no concept of the spoken word genre. I can only wonder how the Black Flag fans handle it. . .). It does provide neat atmosphere, but it gets old pretty quickly. . .
6 out of 10

Blood of the Kings: Thankfully, the album closes out with one of its most triumphant and intense tracks. The introduction comes in with crashing chords and more demonic battle cries, the verses continue with a powerful gallop and strong vocals, the chorus brings some unusual but catchy vocal trade-offs, the solo section continues to blaze the trail with excellent guitars and subtle chants in the background, and the lyrics manage to name-drop both the band's previous songs and several European nations (With no mention of their American homeland. I guess we're just not tr00 enough. . .). An excellent song, though it does take a little too long to end. . .
9 out of 10

Overall, this album gets 79 out of 100, 79%, and 3.5 stars. Some of the album's experiments are not as successful as they could've been, but the stronger tracks certainly make this album a worthwhile purchase. However, I would get one of their older albums before giving this one a try.

Xiled To Infinity And One (Seven Witches)

2008-10-23T09:41:00.000-07:00

Following a brief touring stint with the legendary Savatage, guitarist/bandleader Jack Frost made a few changes within his own band. While the group still clings to their more traditional power metal past, they also include more modern elements for an occasionally cheesy feel. This is also the last album to feature bassist Billy Mez, the first to feature drummer Brian Craig, and the only album to feature Crimson Glory/Leash Law vocalist Wade Black.

Metal Tyrant: Opening with a Tenacious D-esque spoken statement about how the band is "taking back the metal", the album's first track is a pretty powerful starting point. It features driving riffs and solid vocal lines throughout, a more intense pre-chorus, a catchy chorus with a few falsettos thrown in, and a few Halford-isms that keep the song interesting.
9 out of 10

Incubus: One of the heavier tracks on the album. It is made memorable by its fast pace, crunchy riffs, solid verses and pre-choruses, and a slowed down chorus with some neat echoing vocals thrown in. Not quite a highlight, but a solid number.
8 out of 10

Salvation: An a capella version of the song's refrain opens this song in an interesting though slightly awkward fashion, the verses improve the song and throw in more energetic riffs and vocals, the pre-chorus feature a brief but catchy breakdown, the chorus provides a solid refrain, and a guitar solo is provided by ex-Annihilator vocalist/Overkill guitarist Joe Comeau. A pretty good track.
9 out of 10

Xiled to Infinity and One: Despite its silly title, this song offers some pretty epic moments. It comes in with melancholic guitar playing and matching vocals for the opening verse, the following verses continue with powerfully uplifting riffs, and the chorus is one of the most infectious on the album. A very strong SW number.
9 out of 10

Warmth of Winter: Now we come to one of the band's signature mid-tempo tracks. It features doomy guitar harmonies throughout, a pummeling rhythm, sly vocal lines, and a subtle but catchy refrain. Many dislike it, but I find it to be a pretty enjoyable tune.
9 out of 10

Anger's Door: The tension of the last album soons to intensity for this heavier track. It features a building introduction that leads into an upbeat chug, cool vocal/guitar trade-offs during the verses and chorus that bring to mind the style of the title track, and a solid breakdown during the solo section. Another solid track.
8 out of 10

Eyes Of An Angel: It's not quite a ballad, but this song returns to a more melodic style and features heavier riffs during the introduction, mid-tempo verses with interestingly echoing vocals, and a building pre-chorus that climaxes to an uplifting chorus. Another pretty cool track.
8 out of 10

Pain: Another mid-tempo track that may be the weakest on the album. While it does feature a neat chorus and great guitar/bass parts during the solo section, it also features directionless verses and a brief but slightly awkward bridge. Still a decent track though.
7 out of 10

The Burning (Incubus Reprise): As evidenced by the song's title, this is fairly identical to "Incubus" in terms of riffs and structure. Fortunately, the song is made superior thanks to a compelling performance by Savatage vocalist Jon Oliva (perhaps as a way of thanking his one-time employee?). One of the best songs the band has ever come out with.
10 out of 10

See You In Hell: Closing the album out is the signature Seven Witches cover tune, this time performing a version of the Grim Reaper anthem. I can't compare it to the original, but this version features solid riffs throughout and a great duet between Black and Comeau. A pretty solid closer.
8 out of 10

Overall, this album gets 85 out of 100, 85%, and 4 stars. With their third album, Seven Witches offers a solid slab of metal that is enjoyable, inspiring, and even fun at times. Having said that, it does get cheesy and may be an acquired taste for some. . .

Year Of The Witch (Seven Witches)

2008-10-22T11:10:00.000-07:00

Seven Witches' fifth album has been described as the ending of an era for the band. It is the only album to feature Winters Bane/Beyond Fear bassist Dennis Hayes and drummer Craig Anderson and is the last to feature vocalist James Rivera, who left to focus on Helstar. Musically, the album puts a few progressive elements into the band's signature blend of old school and modern metal and is also noteworthy for being their first album not to feature a cover song. . .

Metal Asylum: Paying tribute to the numerous artists that influenced guitarist Jack Frost and his merry band of metal minstrels, this song starts the album off in a solid fashion. Musically, the track features energetic riffs, a variety of vocal acrobatics, great bass lines, a soaring chorus, and a rather silly spoken bit during the bridge. Lyrically, some of the names mentioned are quite interesting (Rose Tattoo, Thin Lizzy, etc) but the phrasing is not quite as clever as it could be. Check out "Metal Machine" and "Metal Crue" by Sabaton if you really want to hear some amusing name dropping. . .
8 out of 10

Year Of The Witch: Dark guitar riffs open the album's title track nicely with a shrill shriek soon accompanying, the verses continue at a solid pace with some odd layering thrown in every now and then, the chorus is quite uplifting but somewhat awkwardly sequenced, and the bridge starts off with a bass solo that soon leads into more oddly sequenced falsettos. A good tune, though not as solid as it could be
7 out of 10

Fires Below: Interesting guitar effects open this tune and lead into an energetic gallop for the song's introduction, the verses continue with cool vocal and guitar lines, the pre-chorus is somewhat pompous but catchy, the chorus is a nice catchy bit, and the bridge brings to a somewhat slower pace before going into a thrashy solo section. A pretty good tune.
8 out of 10

Cries Of The Living: This song is a solid mid-tempo tune in the vein of Exodus' "Shroud Of Urine" and Candlemass' "Born In A Tank". It features upbeat guitar crunches, sweet leads, some interesting stop-start bits during the verses, an interesting layered chorus, and slower riffs and distorted layering during the bridge. Another cool tune.
8 out of 10

If You Were God: Megadeth/F5 bassist Dave Ellefson was generous enough to contribute this song to the band and even play bass on it as a guest musician. The result is an upbeat rocker that features more melodic guitar harmonies, driving rhythms, upbeat verses, another interesting layered chorus, and a building bridge that leads into some cool shredding. One of my favorite tracks on the album, even if it is a little commercial and by-the-numbers. . .
9 out of 10

Can't Find My Way: Actually, this track may be my favorite on the album. It is an interesting ballad that features a powerful bass line, majestic guitar flourishes in the background, emotional vocals, and a simple but uplifting chorus. Overall, a tune that is quite effective in its simplicity.
9 out of 10

Whispers/Voice Of Jacob: Now we come to the most ambitious part of the album, for the next eight songs are all parts of an overall whole. "Whispers" is basically just a spoken collage with some odd keyboard atmospherics and "Voice of Jacob" is an upbeat power metal number that features driving riffs, over the top vocals, a building pre-chorus, another uplifting chorus, and a fairly unusual breakdown during the bridge. A nice way to starting the epic off.
8 out of 10

Mirror To Me: This track is a brief instrumental bit that features unusual guitar squeals, a fairly neat rhythm, more keyboards, and an unusual spoken bit delivered by a young boy. It's certainly interesting. . .
7 out of 10

Haunting Dreams: Aggressive guitars open this song's introduction nicely, the verses continue with an interesting guitar chug and lower pitched vocals, the pre-chorus brings in some odd falsettos, the chorus is another uplifting bit with strange contributions from both falsettos and what appear to be death grunts, and the solo section goes to a breakdown before picking up speed. A decent number.
7 out of 10

Jacob Speaks/Circles: "Jacob Speaks" is literally just a 5 second portion meant to continue the story. "Circles" is another ballad track that features melodic guitar playing, vocal lines eerily similar to those of "Can't Find My Way", and a less powerful chorus. Not as dramatic as it could be, and probably the album's weakest moment.
6 out of 10

The Prophet Is You: Building chords and nice drum fills open this song's introduction before going into a more dramatic chug, the verses continue with confidently delivered vocals, the chorus is memorable though not as uplifting as it could've been, and the song closes out with a brief breakdown that is soon joined by echoing vocals. A pretty solid track.
8 out of 10

Dream Or Reality: Closing the album out is another brief spoken bit (21 seconds, to be exact. . .). I'ts slightly filler but it is interesting to hear.
7 out of 10

Overall, this album gets 92 out of 120, 77%, and 3.5 stars. Sometimes I think the band may be trying a tad too hard (I still have no idea what the Jacob story is all about. . .), but it does have its moments and is worth checking out for fans of the band and this brand of metal in general.

Passage To The Other Side (Seven Witches)

2008-10-21T20:34:00.000-07:00

I like to describe the style of Seven Witches as being a cross between Manowar and Nevermore. The guitar riffs have a melodic but modern feel to their delivery, the vocals are executed with shrieking Rob Halford worship, the rhythm section gets its chances to shine, and the songwriting focuses almost entirely on fast paces and solid hooks throughout. This album is considered by some to be the band's best effort and is the first to feature Helstar/Vicious Rumors vocalist James Rivera, the only to feature Armored Saint bassist Joey Vera, and the last to feature Destiny's End drummer Brian Craig.

Dance With The Dead: A building guitar/bass melody opens this song's introduction nicely before a more intense set of riffs and drums take its place, the verses continue with commanding vocals thrown into the mix, the pre-chorus features some percussive vocal/instrumental trade-offs, the chorus throws in some solid falsettos above the persisting rhythm, more melodic vocals make an appearance during the bridge, and the solo section features strong guitar bits. A strong start.
9 out of 10

Mental Messiah: Particularly dark guitar riffs open this song nicely with another building rhyhm soon joining in, the verses continue with more soaring falsettos mixed in with angry snarls, the pre-chorus features more prominent drumming, the chorus brings in some powerful layering, the bridge offers an even heavier riff and building vocals that lead into the electrifying solo section quite nicely, and the song ends with a neat breakdown. Another great song that may be one of my favorites on the album.
9 out of 10

Johnny: Another driving rhythm opens this song, the verses continues with gruff vocal lines that do get a tad comical on occasion, the pre-chorus slows the song down and brings in more odd but still enjoyable vocal lines, the chorus offers soaring vocals and uplifting riffs, and the solo section offers strong guitar squeals. A little cheesy but an awesome track.
9 out of 10

Apocalyptic Dreams: Odd guitar effects open this song in a Tom Morello-esque fashion before a bass heavy rhythm completely takes over with a few neat pitch harmonics thrown in, the verses continue with more gruff vocals thrown in, the pre-chorus brings in some interestingly echoed vocal lines, the chorus is solid though somewhat repetitive. A good song, though not as strong as the ones before it.
8 out of 10

Fever In The City: More interesting guitar effects and a brief drum solo open this song before another intense rhythm takes over, the verses continue like the songs before it, the pre-chorus and chorus bring in more neat vocal trade-offs, and the bridge features a solid breakdown with a few neat solos between its stanzas. Another solid tune.
8 out of 10

Betrayed: Now we come to a mid-tempo track that may be influenced more by modern metal than the others. It comes with a neat riff and a mid-tempo rhythm for the introduction, drawn out vocals during the verses, the pre-chorus brings in a few heavier riffs, and the chorus offers a solid refrain. A solid track, though perhaps the weakest track on the album.
7 out of 10

The Lost Horizon: This track is a little more melodic than the songs before it, but it retains a heavy feel. The introduction comes in with triumphant guitar harmonies and persist double bass drums in the background, the verses continue with heavier drums and a vaguely familiar guitar riff, the chorus brings the triumphant feel of the intro back in with some matching vocal layers, and the solo section features more great shredding. Another awesome track.
9 out of 10

Nature's Wrath: Some strange guitar/bass effects open this song's introduction interestingly before another strong rhythm comes in, the verses continue with commanding guitar/vocal trade-offs with a strong bass line beneath it all, the pre-chorus features a neat guitar/vocal harmony, the chorus features more great vocal lines, and the song ends with another crunchy breakdown. A good song that may be the heaviest track on the album.
8 out of 10

Wasted: The album's standard cover tune is a song originally by none other than Def Leppard (Don't worry, it's one from the "On Through The Night" album). Fortunately, the song is done justice and features catchy guitar riffs, a variety of vocals (including a gruff voice that reminds me of Paul Di'Anno. . .), and a catchy chorus. Just what I needed, another reason to look into the old Def Leppard. . .
9 out of 10

Passage To The Other Side: Closing the album out is its epic title track. Its introduction and opening verses start the song off in a ballad fashion with somber guitar/bass melodies that kinda remind me of Megadeth's "Good Mourning/Black Friday" and matching melodic vocals, the following verses continue with much heavier guitar melodies and strong wails, the chorus is even more uplifting, the solo section is packed with more soaring leads, and the song eventually ends as it began. A powerful closer.
9 out of 10

Overall, this album gets 85 out of 100, 85%, and 4 stars. It may have a few cheesy moments, but this may be the band's strongest effort to date. It should satisfy seasoned fans of power/traditional metal and may be enough to bring in a few listeners from the more modern metal scene. Buy it if you can find it.

American IV: The Man Comes Around (Johnny Cash)

2008-10-18T10:10:00.000-07:00

While this is not the last installment of the "American Recordings" saga, this is the last studio album that was released while singer/guitarist Johnny Cash was still alive. Musically, the album includes many staples of the saga such as simple but melancholic guitar playing, withered vocals, and a fair mix of original songs, re-recordings, and cover tunes. Due to the hype of his final video and eventual death, this was his album to go gold in nearly thirty years. . .

The Man Comes Around: Starting things off is the one song truly written for this album. It features upbeat accoustic strums, an energetic vocal performance, subtle piano touches, neat Revelation-themed lyrics, and bookending spoken segments.
10 out of 10

Hurt: Due to this Nine Inch Nails cover's somber music video (http://www.youtube.com/watch?v=SmVAWKfJ4Go), it just might be the most famous recording that Cash has ever made. It is made memorable by bleak accoustic guitars, melancholic vocals, more soft piano touches, a building climax, and a one-word lyric change that makes the imagery even more powerful (Yes, thorns are more emotional than shit.).
10 out of 10

Give My Love To Rose: A Cash classic taken from his "Sings Hank Williams" album, this song manages to benefit greatly from the album's melancholic atmosphere. It gives pleasant guitars that manage to give off that boom-chicka-boom feeling, a nice organ in the background, and another mournful vocal performance. A great tune that may be better than the classic recordings.
10 out of 10

Bridge Over Troubled Water: Taken from the Simon and Garfunkal album of the same name, this album manages to be fairly uplifting in its gentle nature. It features uplifting piano and organ flourishes, sweet accoustics, and a powerful duet between Cash and Fiona Apple. A sweet tune, though not as strong as the opener.
8 out of 10

I Hung My Head: Back to the somber sound we go as this Sting cover comes in. It features some nicely executed vocal lines, more prominent organs, a simple but smooth chorus, and a change of time in comparison to the original. Another great tune.
9 out of 10

The First Time Ever I Saw Your Face: Somehow, this Roberta Fleck cover manages to be even more melancholic than the song before it. It features even softer accoustic guitars, more somber organs, and some of the most vulnerable vocals on the album. It feels a little slow, but one cannot deny the emotion dripping from Cash's performance.
7 out of 10

Personal Jesus: Suddenly we go into the album's most upbeat track with this Depeche Mode cover. This version of the tune has a strong blues influence in its delivery and features an excellent guitar groove, some sweet piano jamming, and catchy vocal lines throughout. One of my favorite songs and one that manages to provide a more positive performance in the face of this sea of sadness.
10 out of 10

In My Life: This Beatles cover returns to the more somber style. It features more pleasant guitar playing and great vocal lines. A good song though not much else to say about it. . .
7 out of 10

Sam Hall: I find this Tex Ritter cover to be quite similar to the opener in a way. It features a similar guitar melody, a driving rhythm, more sarcastic vocals that make me chuckle every so often, and sweet piano fills every now and then. A pretty fun song though it may be a little too similar. . .
8 out of 10

Danny Boy: More organs open this Frederick Weatherly tune in a funeral fashion and the vocals are full of some of the emotion seen in "The First Time". Another good song, though another one that is a little too slow outside of somber occasions. . .
7 out of 10

Desperado: Bleak guitars open this Eagles covers in an appropriately Western fashion and the rest of the song continues with more somber vocals thrown in and some interesting backing vocals every now and then. Another good song, but also another slow one.
7 out of 10

I'm So Lonesome I Could Cry: Another western classic originally penned by the legendary Hank Williams. It features a dramatic duet between Cash and Nick Cave, a steady rhythm beneath it all, and a neat instrumental break.
8 out of 10

Tear Stained Letter: Now we come to another upbeat song originally on "A Thing Called Love". It features an energetic rhythm (Is that a drum beat I hear beneath it all?), charismatic vocal lines, pleasant guitar strums, and more excellent piano fills. Another great tune.
9 out of 10

Streets Of Laredo: Another folk cover. It features a pleasant guitar melody, more solid vocals, and sweet piano flourishes as the song reaches its climax. Another emotional tune, though pretty much more of the same.
7 out of 10

We'll Meet Again: Closing the album out is a tune made famous by Vera Lynn (Does anyone remember Vera Lynn?). The show tune melody sounds quite interesting in the accoustic environment but Cash's vocals are nicely performed, the backing instruments add some interesting flourishes, and a choir is briefly thrown in towards the song's end. A solid closer.
8 out of 10

Overall, this album gets 125 out of 150, 83%, and 4 stars. I do think there may be a few too many songs included on this album, but the stronger tunes definitely make it an album worth getting. Essential listening for country fans and those looking for another addition to the Somber Sunday playlist. . .

Refresh the Demon (Annihilator)

2008-10-17T07:41:00.000-07:00

Finally, an Annihilator album without a lead singer switch! This one is the band's fifth studio album and the second of the experimental era with guitarist/vocalist Jeff Waters. In terms of style, this album is fairly identical to "King Of The Kill"; the songs themselves range from thrash metal to hard rock and Waters puts on a solid performance with his shredding guitar solos and slightly monotone barks. However, this album manages to sound distinct by means of a few heavier songs and some groove elements here and there.

Refresh The Demon: Starting the album off is its ripping title track. The introduction comes in with mocking guitar melodies and a building bass heavy rhythm before a more intense set of thrash riffs take their place, the verses throw in some erratic vocal/guitar trade-offs, the chorus is a strong chanter, the bridge goes at a somewhat slower pace with more uplifting guitar riffs alongside more drawn out vocal lines. A most powerful start that ranks as one of Annihilator's strongest tracks.
10 out of 10

Syn. Kill 1: I'm never sure how I really feel about this track. On one hand, it blantantly borrows a riff from the title track for the much of its duration and the lyrics are laughably predictable. On the other hand, it's just so damn catchy and the bridge takes it into a faster direction. Ehh, I'll give it the benefit of the doubt. . .
8 out of 10

Awaken/The Pastor of Disaster: Eerie guitar squeals and strange sound effects make up the bulk of "Awaken". "The Pastor Of Disaster" then comes in with a solid mid-tempo guitar groove during the introduction, a heavy bass emphasis with sarcastic vocals that recall a poor man's "Knight Jumps Queen", the chorus features some unusual vocal trade-offs and more melodic riffs, and the solo section throws in an energetic chug and soaring guitar parts. A solid track though not as strong as the songs before it.
7 out of 10

A Man Called Nothing: Soft guitar melodies open this song in a ballad-esque fashion with whispered vocals joining in for the opening verse, the following verses suddenly bring in heavier riffs and an aggressively distorted vocal performance, the chorus brings in some catchy backing vocals, the bridge features some bouncy guitar/bass riffs, the solo section goes into groove territory with odd vocals in the background, and the song then ends as it began. An interesting song that serves as this album's "Hell Is A War", though it probably could've been sequenced a little better. . .
7 out of 10

Ultraparanoia: Now we come to one of the fastest songs on the album. It is fairly basic and consists of fast guitar riffs, solid vocal lines, plenty of shredding during the solo section, and some echoing effects every now and then. A good song, not too much to say about it. . .
7 out of 10

City Of Ice: Another thrasher comes in right away with upbeat riffs coming in during the introduction, energetic vocals during the verses and choruses, and more great guitar solos. A pretty nice album highlight, though still not quite a classic.
8 out of 10

Anything For Money: This song seems to have more of a hard rock flavor. It comes in with more energetic guitar riffs during the introduction, more melodic vocals during the verses, the chorus is another simple chanter, and the lyrics are some of the silliest the band has ever written ("I'll sell a secret and betray the land/Robbing a friend, isn't larceny grand"). There's something about the word "grand" that isn't very metal. . .
7 out of 10

Hunger: Now this is where Annihilator really gives in to the hard rock style. This tune features a simple but catchy mid-tempo groove, another solid vocal performance, a more uplifting chorus that vaguely reminds me of Metallica's "Harvester of Sorrow". A pretty interesting track.
9 out of 10

Voices and Victims: Gritty guitar riffs open this song in an almost bluesy fashion, the verses and choruses continue with a nice bass line and more distorted vocals, and the solos pack in more of that blues rock influence. Another great song, though the distortion keeps it from being the classic it could've been. . .
8 out of 10

Innocent Eyes: Closing the album out is a ballad written for Waters' child/children. It opens with sounds of a baby's cry before vulnerable guitar melodies begin the song itself, the verses go at an uplifting pace with expressive vocals thrown in, and the chorus throws in a more noticeable bass line. A beautifully passionate song that may have even better with a more experienced vocalist on the mike.
9 out of 10

Overall, this album gets 80 out of 100, 80%, and 4 stars. It has its share of inconsistencies, but this album features a solid mix of different experiments that make for a most interesting listen. Like "King of the Kill" before it, the title track is essential metal listening but you should start with one of the band's first albums first. . .

Criteria For A Black Widow (Annihilator)

2008-10-16T12:08:00.000-07:00

Like every other thrash metal veteran in the new millennium, Annihilator sought a return to form after a decade of inconsistency. Guitarist/vocalist Jeff Waters abandoned his vocal duties, rehired "Alice In Hell" vocalist Randy Rampage and original drummer Ray Hartmann, and began to write songs in the style of (and sometimes referencing) his band's classic era. Fortunately he had the riffs and songwriting ability to back up his ambitions. . .

Bloodbath: As expected, the album starts off with a violent thrasher. The introduction comes in with building guitar trade-offs and a creeping rhythm section beneath, the verses go at a much faster pace, the chorus features some dark vocal trade-offs, the solo section lets off on the intensity and includes some sweet shredding, and the lyrics are indeed unusual ("No one shall miss the stench of your abyss"?).
9 out of 10

Back to the Palace: Just as Megadeth has "Return to Hangar" and Metallica came out with "The Unforgiven II" and "III", Annihilator apparently decided to write a squeal to "The Fun Palace". The introduction comes in with a building rhythm and a guitar riff that mirrors that of the aformentioned classic, the verses then go into a faster direction that manages to make it sound more distinct, the chorus is one of the more infectious though slightly obnoxious on the album, and the bridge is as melodic as it can get with Rampage singing. It's easy to be turned off by the intro's recycling, but it's distinct enough to be a stand alone highlight. It does make me wonder what would've happened if they could've gotten Coburn Pharr instead of Rampage. . .
8 out of 10

Punctured: One of the more accessible tracks on the album that has been compared to Silverchair of all people. The introduction comes in with softer guitar harmonies and eerily whispered vocals, the verses bring a driving rhythm and menacing vocals into the mix, the chorus explodes with heavier riffs and another catchy refrain, and the bridge brings in an unsettling breakdown. A pretty strong track that may be my favorite on the album.
9 out of 10

Criteria For a Black Widow: This may be the album's most unusual track. It comes in with a neat bass groove accompanied by squeaky guitar effects, the verses continue with some weird vocal lines and lyrics (Whose idea was it to write "u" instead of "you"?), the chorus brings in a heavier riff, and the solo section continues in a heavier direction that eventually peaks at a faster pace. A very strange song, but one I still find myself enjoying.
8 out of 10

Schizos (Are Never Alone) Part III: Another sequel of sorts but this one isn't as blatantly obvious as "Back To The Palace". It comes in with mellow accoustic guitar playing that vaguely sounds like "Phoenix Rising" that is eventually replaced by heavier and more dramatic sets of riffs and solos. Slightly filler-ish but a pretty cool addition that showcases Waters' guitar skills quite nicely.
7 out of 10

Nothing Left: More intense guitar trade-offs and powerful double bass drumming open this song's introduction at a building mid-tempo pace, the verses continue at a faster pace with solid vocal lines, the chorus has a more uplifting quality, the bridge keeps the intensity flowing, and the solos are packed with more great shredding. Another great thrasher.
9 out of 10

Loving The Sinner: The guitar chugs that open this song have a more classic metal touch to them, the verses continue with particularly low pitched vocals, the pre-chorus packs in more melodic guitars and vocals, the chorus features some vocal lines that remind me of "Fiasco" in a way. One of my personal favorites.
9 out of 10

Double Dare: Without warning, we go into the most complex track on the album. The main verses open the tune with demonic vocals and building riffs, the chorus features more catchy vocal lines, the third verse continues at a solid mid-tempo pace with mocking vocals and one of the band's many allusions towards "Alison Hell" in the end, and the fourth verse goes into a more melodic direction that reminds me of Dream Theater for some reason. A good song though a tricky one to get into.
7 out of 10

Sonic Homicide: A lone guitar chord starts this song off before going into one of the most intense tracks on the album, the verses throw in some unusually distorted vocals into the mix, the chorus features more drawn out vocal lines and a few spots for the bass to shine, the bridge continues at a mid-tempo pace, and the solos are as powerful as ever. Another cool addition.
9 out of 10

Mending: Closing the album out is a brief instrumental in the vein of "Crystal Ann". Something about it screams filler, but the song benefits from a dark atmosphere and pleasant melodies.
8 out of 10

Overall, this album gets 84 out of 100, 84%, and 4 stars. For those who despise Annihilator's last three albums with a burning passion, rejoice for this may be the band's best album since "Set The World On Fire". It isn't the big comeback the band may have anticipated and Rampage is more of an acquired taste than ever, but it's a great album that should satisfy any seasoned thrasher.

Remains (Annihilator)

2008-10-15T05:48:00.000-07:00

For Annihlator's sixth studio album and the last of their late 90's experimental era, guitarist/vocalist Jeff Waters sought a more unique sound as metal had been out of style for quite some time at this point. As a result, the album's style could be best described as a fusion of thrash metal and industrial music. It's certainly not Ministry, but it's definitely interesting. . .

Murder: Right away, the change of style is evident as the opener kicks in. The introduction comes in with some interesting programmed drums and erratic stop-start riffs, the verses bring in darkly whispered vocals, the chorus brings in a more melodic guitar chug and more intense whipers, the solo section is rife with foreboding melodies and solid squeals, and the song closes out with a heavier chug. A weird opener, but still catchy enough to be enjoyable.
8 out of 10

Sexecution: More programmed drums open this song before an upbeat guitar/bass riff comes in, the verses bring in catchy vocal lines and an infectious riff, the chorus returns to a quieter style with whipered vocals thrown in, and the bridge features some strange echoing vocals and slap bass before going into a solid solo section. It would've been a classic if the chorus had been a little more explosive. Not to mention the title sounds like something GWAR would come up with. . .
9 out of 10

No Love: Strange sound effects fade in before a driving drum beat and almost mechanical riffs take its place, the verses replace the riffs with whispered vocals, the pre-choruses bring the riffs back in with angrily distorted vocals accompanying with, and the chorus offers a simple but catchy refrain. Another cool track.
8 out of 10

Never: Angry mid-tempo riffs open this song's introduction in a solid fashion, the opening verse consists of a spoken segment that is both interesting yet predictable, the following verses continue with quickly delivered vocals in their place, the chorus is even more violent, the solo section suddenly goes into a softer direction with some neat guitar and bass parts before going into some nice shredding, and the lyrics move away from the personal topics and into the discussion of racism. Not as strong as the tracks before it, but pretty decent.
7 out of 10

Human Remains: This is the shortest and possibly the heaviest track on the album. The introduction comes in with some muscular guitar playing and pounding drums, the verses continue with random guitar squeals and unusual vocal lines, and the chorus is delivered in an interesting growls. A unique tune though not quite a highlight.
7 out of 10

Dead Wrong: Another solid mid-tempo chug opens this song in a solid fashion, the verses and choruses throw some charismatic vocals into the mix, and the solo section pack in some cool squeals. A solid addition with a nice groove.
8 out of 10

Wind: Now we come to the album's ballad. It comes in with melodic guitar/bass playing during the introduction, the opening verse bring in withered vocals, the following verses bring in a driving drum beat and heavier guitar playing in the background, and the final verse brings about the song's climax in an almost thrashy fashion. A pretty neat track.
8 out of 10

Tricks and Traps: Melodic guitars/bass open this song's introduction smoothly before the song leads into a much faster direction that vaguely reminds me of Alison Hell", the verses continue with solid vocal lines, the chorus features some chants that are both catchy and somewhat silly (It may just be the song title that makes me say that. . .), and the solo section keeps the thrash flowing. A good track though that may be a highlight for the disgruntled old school fans out there. . .
7 out of 10

I Want: Another thrash oriented tune. It features a driving bass line and soaring guitar harmonies during the introduction, solid verses, and an extremely silly chorus ("Magic man/Magic man/You can't stop the magic man?"). Just who is this "magic man" we need to worry about?
7 out of 10

Reaction: Yet another thrasher with a vibe similar to that of "Human Insecticide" (what is with people complaining about industrial influences?). The introduction comes in with plenty of intense guitar riffs, the verses and choruses continue with a somewhat awkward vocal delivery, and the solos may be some of the fastest on the album.
7 out of 10

Bastiage: Closing the album out is a very strange instrumental. It is dominated by the strange drum programming, stop-start guitar riffs, and some interesting effects in the background.
7 out of 10

Overall, this album gets 83 out of 110, 75%, and 3.5 stars. Like any musical experiment, the results can be somewhat inconsistent and Waters doesn't seem to know very much about the style he is trying to experiment with. Of course, some of the criticism has really been blown out of proportion (Honestly, the industrial influences are only evident on about 3 or 4 songs!). Thankfully, this is the last album to feature him doing every single thing and Annihilator would soon return to a full band format for their next album. . .