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. . .

Still Life (Opeth)

2008-10-14T18:46:00.001-07:00

Opeth's fourth album finds the band making further progress with their infamous blend of prog and death metal. The guitars range from heavy crunches to accoustic flourishes, the vocals go from deep growls to elegant croons, and the song lengths and structures are as complex as ever. It is also the first album to feature bassist Martin Mendez.
Lyrically, this is the band's second concept album and deals with a heretic who returns to the village that shunned him in order to see his long lost love one last time. . .

The Moor: Jazzy melodic guitars open this song's three minute introduction before a much heavier set of riffs takes their place, the following verses go at a faster pace and throw in some unusually sequenced growls, the choruses throw in more melodic vocals, and the bridge brings in a completely melodic style dominated by soulful croons and accoustic guitar melodies. A pretty awesome start that thankfully doesn't feel as forced as later Opeth tracks. . .
9 out of 10

Godhead's Lament: A dissonant batch of guitar riffs open this song in an interesting fashion, the verses throw in some equally unusual growls into the mix, the chous brings out more drawn out growls, the bridge leads into another melodic segment and a particularly beautiful refrain, and the rest of the song returns to the original style with more melodic vocals thrown in every now and then. A good song though not as powerful as the opener.
7 out of 10

Benighted: Now we come to the album's first ballad. The introduction brings in some accoustic guitar melodies that evoke an almost foggy atmosphere, the verses and choruses feature delicate vocals that give a song an eerie touch, and a more active beat comes in for the solo section. A beautiful addition and one of the darkest songs on the album.
9 out of 10

Moonlapse Vertigo: Back to the heavier style we go as a soaring set of electric/accoustic guitar harmonies open this piece at a mid-tempo pace, the opening verse suddenly goes into an accoustic segment with matching croons with a raspy scream thrown in towards the end, the following verses continue with some unusual harsh/clean trade-offs, the solo section continues with more accoustic/electric trade-offs with a few squealing solos thrown in, and the bridge continues with more constrasting vocals and dramatic guitars in the background. A pretty neat addition.
7 out of 10

Face Of Melinda: Looked upon as one of the band's strongest tracks, it is another mellow tune. It comes in with more gentle accoustic guitar melodies, the verses continue with more somber croons and quietly jazzy guitar solos, and heavier riffs come in about halfway with the cleaner vocals kept in tact. A pretty cool tune.
9 out of 10

Serenity Painted Death: An almost upbeat set of guitar harmonies open this song nicely, the verses follow suit with solid growls and a few neat solos, the chorus brings in some catchy growls, the bridge adds some clean vocals into the mix, and the solo section includes some spacy keyboard bits and more soaring guitars. Another solid track.
7 out of 10

White Cluster: Strong drums and riffs open this song with more drawn out growls coming in for the first set of verses, the second and third set of verses bring in uplifting vocals and a neat bass presence with some bleak guitar solos following, the solo section brings in another accoustic break before going into a particularly speedy segment, and the song fades away with some quietly played guitar melodies.
8 out of 10

Overall, this album gets 56 out of 70, 80%, and 4 stars. With this album, Opeth offers another solid slab of accoustic/electric constrasts and a hint of elegance that allows them to stand out. Of course, the song structures still have their incoherent tendencies at times and it can be an effort to listen to all at once. It's basically an album that's good to get for fans and completely avoidable for the band's more negative critics.

Shogun (Trivium)

2008-10-01T09:22:00.000-07:00

Once again, we find everyone's favorite whipping boys of metal in yet another identity crisis. Fortunately, this one is nowhere near as shocking as the jump between "Ascendency" and "The Crusade".
On this album, we are treated to a sound that could best be described as a cross between the two previously mentioned albums; the screaming vocals and harsh/melodic contrasts of "Ascendency" have been brought back while the muddy production and melodic vocals/guitars of "The Crusade" have been retained. This album also manages to make itself distinct by means of more complex song structures, more technical instrumental work, and some of the most pretentious lyrics and song titles guitarist/vocalist Matt Heafy has ever come up with. . .

Kirisute Gomen: Soft accoustic guitars open this song in a pleasant fashion before building guitars and a powerful drum line takes its place, the verses go at a much faster pace with some great guitar/vocal trade-offs, the pre-chorus returns to a building style and features some interesting clean/harsh vocal contrasts, the chorus comes in abruptly with more uplifting vocal lines and riffs, the bridge offers a shouted breakdown with some squeaky solos in between, and the lyrics are rife with Japanese samuari imagery (The title meaning “authorisation to cut” in Japanese). A pretty strong opener that establishes the formula for the rest of the album quite nicely.
9 out of 10

Torn Between Scylla And Charybdis: Sweet twin guitar harmonies and some nice bass playing open this song's introduction before a strong rhythm comes in, the verses go at a mid-tempo pace that reminds me of "Becoming the Dragon", the pre-choruses feature more clean/harsh trade-offs, the chorus features another melodic refrain with some strong drums providing a subtle foundation, the first solo section offers some dramatic guitar trade-offs before going into shred territory, the bridge features another shouted breakdown, and the second solo section features some neat guitar and bass bits. A solid addition.
8 out of 10

Down From The Sky: One of the album's major singles. It comes in with a building guitar harmony and a steady rhythm, the verses feature some slightly dissonant guitar/vocal trade-offs, the pre-chorus explodes with more raspy growls and then builds as clean vocals are added into the mix, the chorus is another uplifting segment, the bridge features a more elaborate breakdown with some angrily spoken vocals making a brief appearance, and a few squeaky guitar solos follow suit. A pretty good song.
8 out of 10

Into The Mouth Of Hell We March: Another single. It opens with another building introduction with particularly uplifting riffs, the verses go at a pace similar to that of "Torn Between Scylla and Charybdis", the pre-chorus features more shout/clean trade-offs, the chorus is similar to that of the opener though without its grandoise nature, the bridge offers a change of structure by means of a cleaner vocal performance and catchy riffs, and the song closes out with a triumphant guitar melody. Judging by the title, I was expecting a more aggressive song but this tune definitely works.
8 out of 10

Throes Of Perdition: More twin guitar harmonies wouldn't sound too out of place on Iron Maiden or Blaze Bayley open this song before a heavier rhythm comes in, the verses continue at a mid-tempo pace with somewhat downtrodden vocals, the pre-chorus features more screaming, the chorus offers a particularly infectious melodic refrain, the bridge offers another screamed breakdown, and the solo section offers more uplifting riffs and melodies. Pretty much more of the same, but still enjoyable.
8 out of 10

Insurrection: This song isn't too far removed from the more accessible sound of "The Crusade's" material. The introduction and verses feature faster riffs and gritty vocals, the pre-chorus offers a melodic refrain that brings to mind "Inferno (We Are The Fire)", the chorus suddenly brings in some catchy screaming, and the bridge features building riffs and a particularly demonic breakdown. Seen as one of the album's worst songs by some, but it's another great track for yours truly.
8 out of 10

The Calamity: One of the more dramatic tracks on the album. It comes with melodic twin guitars and building drums during the introduction, the verses continue with melodic vocals going against building riffs and drums, the pre-chorus throws some screaming into the mix, the chorus offers another catchy refrain, and the bridge features quickly growled vocals without going into a complete breakdown.
8 out of 10

He Who Spawned The Furies: Downtrodden riffs open this song's introduction nicely, the verses features some unusual vocal layering, the pre-chorus features more trade-offs between the growls and the cleaner cries, the chorus is another melodic segment, the bridge features another rapidly growled breakdown with some erratic solos thrown in, and the lyrics depict the mythology of Cronus in a particularly interesting way. One of the lesser tracks on the album, but still pretty good.
8 out of 10

Of Prometheus And The Crucifix: Bright guitar melodies open this song in an interesting fashion, the verses continue with a faster pace with more melodic vocals thrown in, the pre-chorus and chorus continue at a slower pace with the clean vocals astonishingly kept in tact, the bridge flinally bring the screams out to accompany Heafy's croons, and the solo section returns to the speed found in the verses. A pretty cool track that is easy to overlook.
8 out of 10

Like Callisto To A Star In Heaven: More of the same opens this song's introduction, the verses go at a pace similar to that of "Insurrection", the pre-chorus features another solid set of screams followed by a dark recital of the song's title, the chorus is another catchy melodic refrain, the bridge features a breakdown equally dominated by both clean and harsh vocals, the solos throw in more erratic wankery, and the lyrics deal with Zeus's seduction of Callisto in Greek mythology. A solid addition.
8 out of 10

Shogun: Given this song's twelve minute length, I was expecting this to be an epic fail but I seem to have been proven wrong. It comes in with more melodic guitars and pounding drums, the verses throw in a catchy main riff that reminds me of "Detonation" and gruff vocal layering, the pre-chorus throws in more vocal trade-offs among building riffs, the chorus offers another melodic refrain, the bridge offers another screaming breakdown, and the song reaches its peak as more melodic accoustic guitars come into play and Heafy gives his most powerful performance to date. A powerful closer that makes me wish Heafy would use his operatic vocals more often. . .
9 out of 10

Overall, this album gets 90 out of 110, 82%, and 4 stars. While I feel that this album doesn't have as many classics as its previous releases and that the band is still trying too hard at times, I feel this album is quite consistent and could be the band's strongest effort yet. No one new will be won over, but fans will find things to enjoy.

The Wall (Pink Floyd)

2008-09-26T14:39:00.000-07:00

"The Dark Side of The Moon" may be Pink Floyd's highest selling and best known album, but this 1979 double album may be one of the band's strongest achievements to date. Another opus written as a reaction to the unseen side of fame and fortune, the lyrics of "The Wall" tell a story of a wayward rock star named Pink who makes his way through a journey of sadness, isolation, and ultimately madness. Unsurprisingly, the accompanying music is Pink Floyd at their most dramatic and showcases a good deal of sound effects and solid theatrics. Of course, this album also proved to be the last to feature the late keyboardist Rick Wright until 1987's "A Momentary Lapse of Reason" and the last before bassist/vocalist Roger Waters completely seized control with 1983's "The Final Cut".

In The Flesh?: Like any good overture, the album's opening track starts things off with a bombarding dramatic number. It features building guitar riffs and solos, neat keyboards, cool drum fills, and sly vocal lines. A pretty cool start.
9 out of 10

The Thin Ice: While this track does have some of the opener's theatric qualities, it leads into a more melodic direction. It features sounds of a baby's cry during the introduction, softer vocals, and some excellent piano touches. A pretty sweet tune.
8 out of 10

Another Brick In The Wall (Part 1): The first installment of the "Wall Trilogy" is probably its most mellow moment. It features swirling guitar and bass melodies and subdued vocals that manage to stay emotional. A sweet segment that provides a nice builder for what it is ahead. . .
9 out of 10

Happiest Days of Our Lives: Sounds of a helicopter and distorted vocals open this two minute tune in a very unusual fashion and the song's verses follow with distinct bass riffs and a great vocal performance that leads into the next tune quite nicely. . .
9 out of 10

Another Brick In The Wall (Part 2): Quite possibly the most famous song ever written by Pink Floyd, the second part of the trilogy features angrier vocals, groovy bass lines, a cameo by the Islington Green School choir, a spacy guitar solo, and a very quotable fade out sequence ("How can you have any pudding if you don't eat your meat?" Truly a question for the ages. . .). It should probably get a perfect score but it's awfully overplayed. . .
9 out of 10

Mother: Now we come to the album's first true ballad. It is dominated by accoustic guitar strums during the verses and choruses, vocal trade-offs between Waters and guitarist/vocalist David Gilmour, and another great guitar solo. The lyrics are also quite intelligently written ("Mama's gonna keep you right here under her wing/She won't let you fly but she might let you sing").
9 out of 10

Goodbye Blue Sky: I will always remember playing this song's spoken introduction over and over as a boy. . .
The song itself may be the album's most melancholic track and features a haunting guitar melody that reminds me of Metallica's "Fade To Black", beautifully delivered croons, and more drawn out vocal lines during the verses. An amazingly beautiful addition.
10 out of 10

Empty Spaces: Now we go to a darker direction as this two minute interlude comes in. It features a menacing rhythm, foreboding guitar squeals, a few spoken samples, and frightened sounding vocals.
8 out of 10

Young Lust: As "Empty Spaces" fades away, we go into one of the heavier tracks on the album. It features gritty guitar playing, muscular vocals, and another bass heavy rhythm during the verses; soaring vocals during the chorus; the signature wailing guitar solo; and the song fades out with a very strange set of samples. A pretty cool tune that is a far cry from the soft spacy material we're normally used to.
9 out of 10

One Of My Turns: Another spoken sample opens this song in a pretty interesting fashion (Apparently, it's meant to be the voice of a groupie. I always thought it was an enthusiastic fanboy when I was a kid. . .). The rest of the song is a melancholic ballad that features mournful vocals, nice backing organs, and a heavier groove for the following verses. A pretty good song that seems to foreshadow the sound Waters would take for "The Final Cut".
9 out of 10

Don't Leave Me Now: More spacy guitars/piano open this song in a melancholic fashion, the verses throw in some distant wails, another solo closes the song out on a louder note, and the lyrics are both mournful and intensely dark ("How could you go ?/When you know how I need you/To beat to a pulp on a Saturday night").
8 out of 10

Another Brick In The Wall (Part 3): The final part of the "Wall Trilogy" is shorter but much more violent than those before it. It features gritty vocal/guitar trade-offs and more swirling keyboards in the background. A pretty cool addition that is a little easy to overlook.
9 out of 10

Goodbye Cruel World: Now the first disc closes out with a short, atmospheric tune. It features building keyboards and more melancholic vocals. A decent segment but not much else to say about it.
7 out of 10

Hey You: Lonely guitar/bass melodies open the album's second disc in a strong fashion, the verses bring in a building rhythm and matching vocals that soon climax to desperate wails, the solo section brings in louder guitar playing, and the bridge returns to a softer style with a bizarre sound collage (including the infamous ping from "Echoes") thrown in towards the end. A pretty awesome song that is another PF favorite for yours truly.
10 out of 10

Is There Anybody Out There?: Something about this song always scared the crap out of me when I was little. It is another interlude that features haunting keyboards, eerily echoing vocals, creepy sound effects, and an instrumental second half with some neat classical guitar.
9 out of 10

Nobody Home: Back to the ballad style we go as this track comes in. The song features more beautiful piano playing, emotionally echoing vocals, beautifully played strings, and more television samples in the background. Another favorite.
10 out of 10

Vera: Sounds of battle open this interlude in an unsettling fashion and the rest of the song continues with haunting vocals, building strings, and lyrics alluding to the WWII era singer Vera Lynn. Slightly filler-ish but a haunting addition.
7 out of 10

Bring the Boys Back Home: Military drums open this song nicely and the sole verse features some over-the-top vocals, a neat backing orchestra, and another interesting sound collage towards the end. Another interesting addition, though a little too over the top to be a standout.
7 out of 10

Comfortably Numb: If "Another Brick in the Wall (Part 2)" is the album's most famous track, then this is its most legendary. The verses come in with a neat bass line, subtle guitar playing, and echoing vocals by Waters; the chorus offers a more uplifting refrain sung by Gilmour; and the guitar solos have been considered by some to be the greatest ever recorded. A little overrated but truly an amazing song.
10 out of 10

The Show Must Go On: The melodic flavor of the previous song persists during this song as some gentle croons and piano dominate this piece. Add in some odd backing vocals and you've got an interesting interlude segment.
8 out of 10

In The Flesh: As evidenced by the title, this is a reprisal of the opening tune. It comes in with an identical introduction, the verses seems to be more sarcastically delivered than on the original tune, and the lyrics go into some strange territory during the final verse ("Are there any queers in the theatre tonight/Get'em up against the wall/There's one in the spotlight/He don't look right to me/Get him up against the wall/And that one looks Jewish/And that one's a coon/Who let all this riff-raff into the room/There's one smoking a joint/And another with spots/If I had my way/I'd have all of you shot"). A very strange addition.
8 out of 10

Run Like Hell: Now we come to another gritty hard rock number. This song opens with spacy guitars in the vein of those from the "Wall Trilogy" and a great backing rhythm, the verses throw in some unsually sequenced vocals, and the solos are particularly electrifying. A pretty awesome tune that always reminds me of Rush for some reason.
10 out of 10

Waiting For The Worms: Crowd chants and strange vocal/guitar trade-offs open this song's verse with a neat allusion to "Goodbye Cruel World", the verses continue in a ballad style with a nice drum beat underneath, the chorus features some creepy vocal trade-offs, and the song closes out with another unsettling spoken segment meant to symbolize Pink's fascist fantasies. Another foreboding tune.
9 out of 10

Stop: The shortest song on the album features more wailing vocals and sweet piano playing. Decent addition, but pretty much another filler.
7 out of 10

The Trial: Co-written with producer Bob Ezrin, the song brings the album's last climax. It opens this sounds of footsteps and a tolling bell, the verses continue with building strings and over the top vocals that always make me smile, the chorus features a catchy refrain with the children's choir thrown in at a few points, and the song closes out with some catchy chanting that ends with the sound of an explosion. Another favorite.
10 out of 10

Outside The Wall: Closing the album out is a final interlude that features quiet vocals, interesting isntruments added in, and a strange choir in the background. A decent closer.
7 out of 10

Overall, this album gets 225 out of 260, 87%, and 4 stars. Given the significance this had during the memories of my childhood, I must say I have a major soft spot for this album. The story is emotional and the songs themselves are very well written. However, there do seem to be a few too many interludes and a couple songs that don't stand on their own as well. Despite the usual epic overload, it's definitely worth checking out.

Lightbulb Sun (Porcupine Tree)

2008-09-22T05:53:00.000-07:00

Like 1999's "Stupid Dream" before it, this 2000 effort features the band moving away from their spacy Pink Floyd sound and into more song-oriented territory. Musically, the band features a great deal of genre experimentation, complex song structures and time signatures, and an excellent vocal performance courtesy of vocalist/guitarist Steven Wilson. Lyrically, the album covers a wide variety of topics in an abstract fashion.

Lightbulb Sun: The album starts off with its mostly mellow title track. It features lonely accoustic guitars, soft piano touches, and gently sung vocals during the opening verse; heavier riffs and distorted vocals during the chorus; spacy bass playing added in during the following verses; and sweet falsettos during the bridge that lead smoothly into the spacy guitar solos. A pretty cool way to start things off.
9 out of 10

How Is Your Life Today?: Another mellow track, though this song is more unsettling than melancholic. Almost completely devoid of the rhythm section, this song just focuses on the simple but spooky piano melody and the echoing vocal lines. A pretty neat tune.
9 out of 10

Four Chords That Made A Million: One of the more exotic songs on the album. It comes with Eastern guitar effects, building bongos, and catchy vocal lines during the opening verse; one of the most infectious vocal lines during the chorus; a more driving rhythm during the following verses; and a slower pace during the bridge with some neat sitar effects thrown in the background. An awesome track that may be the best on the album.
10 out of 10

Shesmovedon: Later re-recorded as a bonus track for "Deadwing", this track features a melancholic atmosphere combined with a pretty nice groove. It also offers pleasant vocal/guitar harmonizing and a steady drum beat during the verses, beautiful layering during the chorus, some neat keyboards in the background, and heavier distortion thrown in during the third verse, and some great jamming at the song's climax.
10 out of 10

Last Chance to Evacuate Planet Earth Before It Is Recycled: Perhaps the unusual PT song title of all time, we are treated to another tune dominated by accoustic guitars and gentle vocals. The first part of the song ("Winding Shot") focuses on this typical sound while the second part (see title) goes into a more jam based direction with an interesting speech delivered above it all by cult leader Marshall Applewhite, taken from a tape made just before the Heaven's Gate cult committed a mass suicide. . .
9 out of 10

The Rest Will Flow: Originally released at a faster pace to help make it sound poppier, this song was one of the album's bigger singles. It is another accoustic track that feature some pleasant guitar strums, nearly overwhelming strings in the background, more drawn out vocal patterns, and another catchy chorus. Perhaps a little too simplistic and slightly sugar coated, but another excellent track nevertheless.
9 out of 10

Hatesong: As expected, this might be one of the heaviest songs on the album. It is made memorable by its catchy bass riffs, neat guitar and keyboard effects, steady drum beats, repressed vocal lines, powerful outbursts of distortion, a more melodic chorus, and some great jamming during the song's second half. A pretty cool tune.
9 out of 10

Where Would We Be: Sounds of singing birds open this song in an atmospheric fashion before more accoustic guitars take their place, the verses and choruses bring in more drawn out vocal lines into the mix, the solo sections bring in some soaring guitars that recall Pink Floyd's David Gilmour, and the lyrics are particularly depressing ("Strange how you never become/The person you see when you're young"). A lesser track, but still quite enjoyable.
8 out of 10

Russia On Ice: Now we come to the album's thirteen minute epic track. It comes in with soft piano flourishes and spacy guitar playing during the introduction before a more muscular riff comes in, the verses continue with more suppressed vocals and building guitars in the background, the chorus features more awesome layering, and the solo sections offer cool jamming that recalls the haunting atmosphere of "Hatesong". A pretty sweet song that fortunately never outstays its welcome.
9 out of 10

Feel So Low: Closing the album out is a final accoustic track. It comes with mournful guitar melodies during the introduction and lonely vocals brought in for the verses. A sweet closer, though perhaps the least exciting song on the album.
8 out of 10

Overall, this album gets 90 out of 100, 90%, and 4.5 stars. Like any PT effort, this album offers an awesome mix of technical sophistication and emotionally genuine songwriting. I would recommend this album to anyone interested in looking into the band, especially if you are a listener with more mellow tastes. This could be even more accessible than its last three albums!

Feed The Beast (Bonded By Blood)

2008-09-21T09:59:00.000-07:00

Another fine group involved in the New Wave of American Thrash Metal movement, Bonded By Blood plays a style of thrash unsurprisingly inspired by groups such as Exodus, Overkill, and many more. However, the band manages to stay distinct by a few hardcore influences and with an overall sense of fun that is lacking in some of their peers. Not to mention vocalist Jose "Aladdin" Barrales is an extremely acquired taste. . .

Immortal Life: As expected, the album's opening track is a pretty strong thrasher. The introduction starts off with intense guitar harmonies and crashing drums, the verses continue with the classic thrash vocal lines, the chorus throws in an unusual groove and some neat vocal trade-offs, the solo section throws in a mix of Slayer solos and uplifting chords, and the final verse is awkwardly delivered but offers a decent climax that leads into the final chorus nicely. A solid way of starting things off.
8 out of 10

Feed The Beast: Pounding drums and darker riffs open the title track intensely before going to a more accessible pace, the verses keep the energy flowing nicely, the chorus is solid though not as catchy as it could be, the first solo section features a few guitar dive bombs and a stronger bass presence, and the second solo section returns to a heavier style. A good track though not as powerful as it could be.
7 out of 10

Psychotic Pulse: Sounds of an increasingly pumping heart beat open this song in a somewhat cliche fashion before some neat mid-tempo guitar harmonies take its place, the verses suddenly go at a faster pace with slightly pompous vocals thrown in, the pre-chorus provides a heavy refrain, the chorus is delivered at a more accessible pace, the solo section keeps the intensity going, and I interpret the lyrics as being about Lizzy Borden. A good song though it took a few listens for me to get used to Alladin's vocal lines on this one. . .
8 out of 10

Necropsy: More violent guitars and drums open this song in the band's signature style, the verses are pretty much more of the same, the pre-choruses feature some of the most rapidly sung vocals on the album, the chorus consists of some simple but solid gang vocals, and the solos pack in more Slayer worship. It stands out as being one of the heaviest songs on the album, but it's not quite a highlight for yours truly. . .
7 out of 10

Mind Pollution: For some reason, this song always reminds me of a thrashier version of GWAR's "Gor-Gor". It features an energetic pace, a fun main riff, more rapidly sung vocals during the verses, another gang vocal heavy chorus, sweet squealing solos, and more political lyrics. Probably my favorite track on the album.
9 out of 10

Another Disease: Another highlight. It comes with another solid set of guitar harmonies and some neat drum fills, the verses sound like the ones from "Mind Pollution" done in a heavier style, and the chorus features some nice vocal/guitar trade-offs.
9 out of 10

The Evil Within: Dark mid-tempo riffs open this song in a way that reminds me of "Seasons In The Abyss"-era Slayer, the opening verse comes in with particularly menacing vocal lines, the following verses go at a much faster pace, the chorus slows the tempo down and brings in an unusual though memorable refrain, and the solo section brings the slower riffs back in before returning to the thrashing pace.
7 out of 10

Tormenting Voices: Squealing guitars open this song in that familiar fashion, the verses continue with more slightly pompous vocal lines, the pre-chorus brings in more chanted gang vocals, and the chorus returns to a style similar to that of the verses. Another memorable tune, though a lesser track.
7 out of 10

Civil Servant: Even more of the same opens this song's introduction with some nice shredding thrown in over the top, the verses bring in more spaced out vocal lines, the pre-chorus is another gang vocal led chant, the chorus features some solid guitar/vocal trade-offs with more gang vocals bringing the rear in, the solo section brings in more squealing guitars, and the lyrics appear to bring in political influence.
7 out of 10

Self Immolation: Solid drum fills leads into a particularly crunchy guitar chug and descending leads during the introduction, the verses continue with more rapidly sung shrieks, the chorus features some goofy though quite catchy vocal lines, . A pretty good track.
8 out of 10

Vengeance: At this point, I think you know how this song sounds. The introduction comes in with more driving riffs and drums, the verses bring in more dynamic vocal lines, the chorus suddenly slows down and brings in some odd vocal trade-offs, and the solo section offers a more melodic gallop and nicely complementing guitar squeals. A decent song, though probably my least favorite track on the album.
7 out of 10

Theme From Teenage Mutant Ninja Turtles: '90's children of the world unite for I may have your new favorite thrash song! While other bands have done this before, BBB's version does offer some amusing vocal lines and continuously chugging guitars. So will the next album have the old Power Rangers theme?
8 out of 10

Overall, this album gets 92 out of 120, 77%, and 3.5 stars. Like most of their peers, this album doesn't offer any originality so to speak, but it does offer some fun tracks and a really energetic band performance that must be great in the live environment. Mandatory listening for old school thrash fans, but the rest of you may not be missing out on much. . .

Ogre Tones (King's X)

2008-09-18T21:12:00.001-07:00

For some reason, some fans have called this 2005 effort the "return to form" for King's X. It was their first album for famous prog label InsideOut Music and Skid Row/Dokken producer Michael Wagener was brought in to produce the piece. Musically, the album features the band's signature brand of groove rock but also manages to throw in a more somber mood overall.

Alone: A whisper delivered by guitarist/vocalist Ty Tabor opens this song and soon turns into a shout as the rest of the band comes in, the verses and pre-choruses continue with a more laid back as vocalist/bassist Doug Pinnick takes over, the two duet for the simple but uplifting chorus, and a heavier breakdown after the second chorus. A fine example of an awesome King's X opener.
9 out of 10

Stay: We now go to an even more laid back style for this tune. It comes in with blues mid-tempo riffs, the verses continue with more suppressed guitars and soulful croons, the chorus offers heavier chords and majestic vocal trade-offs, and the bridge features a few odd vocal effects. A pretty good song.
9 out of 10

Hurricane: Building drums and melodic guitars open this song in a more exotic fashion, the verses continue with more mellow guitars and vocals, the chorus returns to a louder style with a great refrain, and the guitar solo throws in a few neat tricks. Not as powerful as the opening tracks, but still a great song.
8 out of 10

Fly: The verses come in right away with a solid guitar groove and catchy vocal lines, the chorus is another melodic but catchy refrain, the guitar solo gives off a feeling of contentment, and the lyrics are fairly philosophical ("No matter what you do/Always somebody who/Don't understand it"). Could it be the band is comfortable within their underground status?
8 out of 10

If: Another somber groove opens this song nicely, the laid back verses bring in some interesting duets, and the chorus features more drawn out vocal harmonies. A pretty good tune.
8 out of 10

Bebop: One of the heavier tracks on the album. It comes in with a dark Alice In Chains-esque groove that lightens up in time for the verses, the verses bring in almost rapped vocals (It's better than it sounds) and some cool instrumental fills, the chorus features an infectious refrain and an amusing allusion to the famous "Tutti Frutti", the solo section brings in a little more melody, and Pinnick throws in a few effective screams every now and then. An album highlight.
9 out of 10

Honesty: I think you could consider this to be the album's first true ballad. It features simple but sweet accoustic guitar playing, gently sung croons by Tabor, subtle string effects in the background, and some effective layering during the chorus. A good song, though perhaps too mellow for most moods.
7 out of 10

Open My Eyes: Gritty guitar playing opens this song nicely, the verses come in with an unusual groove and interesting vocal trade-offs, and the lyrics are pretty intriguing ("What does it take to get to the point/Where you want to kill someone?"). A good song, though not as flashy as the rockers before it.
8 out of 10

Freedom: Originally a B-side from the "Ear Candy" era, this song offers is another loud track. It comes in with a doomy guitar melody during the introduction, catchy vocal trade-offs dominate the verses, more melodic vocals persist during the pre-choruses and chorus, and the lyrics are laced with amusing satire ("Freedom to pay for a killer to have TV/Freedom to get elected and set my own salary/Freedom to go out and join the KKK/Freedom to get in trouble for everything that I say"). I think the lyrics are enough to make this one a highlight.
9 out of 10

Get Away: Somber guitars and subtle bonjos come in during the introduction, the verses continue with mournful vocal lines, the chorus offers another sweet duet, and the lyrics deal with religious questioning ("Hey, God, I watched the news tonight/Why are your people so fucking mean?"). Don't worry, the music is more serious than that lyric lets on. . .
9 out of 10

Sooner Or Later: Songs longer than five minutes seem to be a rarity in the more recent albums in the King's X catalogue and this tune is certainly no exception. It features a doomy bass heavy throughout, clearly delivered vocals during the verses, another smooth duet during the chorus, and a few spacy guitar parts during the solo section. A pretty neat song that sounds like a more toned down version of Soundgarden's "Slaves and Bulldozers". Okay, there seems to be some kind of rule that says I must mention Soundgarden in every King's X review. I apologize, but the bands do sound similar in a way. . .
8 out of 10

Mudd: An unusual blend of light and shadow dominates this song's guitar riffs, the verses continue with soulful vocals with soaring backing vocals, the chorus continues in a similar style, and the guitar solos feature some echoing segments that remind me of Queen in a way. Another good addition.
8 out of 10

Goldilox (Reprise): A re-recording of a song from "Out Of The Silent Planet". I unfortunately can't compare it to the original (I haven't seen that album in any stores nearby), but this version features sweet melodic guitars, more melancholic croons, and a few heavier segments here and there.
8 out of 10

Bam: Closing the album out is a fairly unsual instrumental. It features a few unsettling guitar squeals and an odd spoken sample. Interesting, but a very weird tune that doesn't offer much musically.
7 out of 10

Overall, this album gets 116 out of 140, 83%, and 4 stars. As usual, King's X's eleventh studio album offers a great set of songs that should please the band's current fans and bring in a few new listeners as well. Sometimes it may be a little too mellow, but I'd add to the Somber Sunday playlist as soon as possible.

American Psycho (The Misfits)

2008-09-15T13:47:00.001-07:00

Given that vocalist/songwriter Glenn Danzig was the main reason why I got into the Misfits in the first place, I've been rather reluctant to check out the albums that the band has since recorded without him. Now that I have finally given the era a chance, I can safely say that it's not as bad as people may say as long as you try to keep an open mind. . .
In terms of style, I like to think of this album as being a cross between "Walk Among Us" and "Earth A.D./Wolfs Blood"; the aggressive riffs are kept in check by poppy vocals and the lyrics still their violently campy touch. It is also the first album to feature drummer Dr. Chud and vocalist Michale Graves.

Abominable Dr. Phibes: Starting the album off is an atmospheric instrumental that I like to think of as a lyricless "Earth A.D.". It features unusual sound effects in the beginning, doomy guitar and bass harmonies, and some solid drum fills.
8 out of 10

American Psycho: The title track is one of the strongest tracks on the album. It features rapidly delivered vocals and crunchy riffs during the verses, an awesome sing-a-long chorus, and whoa-oh's during the pre-chorus that sound eerily similar to the main melody of "Black Horse And A Cherry Tree". . .
10 out of 10

Speak Of The Devil: This track comes in with more dark chugging guitars, slightly goofy vocal lines dominate the verses, and the chorus provides a simple but sweet refrain. A fun though average track.
7 out of 10

Walk Among Us: Due to "Walk Among Us" being the only Danzig-era album without a title track, I guess they figured it'd be necessary to put one on here. The introduction features some building guitars, the verses continue with more energetic guitars and vocals, and the chorus is another sing-a-long.
7 out of 10

The Hunger: Bright guitars and pounding drums open this song's introduction, the verses bring more drawn out vocals, and the chorus continues with slightly piercy vocals above the usual chug. Another average track.
7 out of 10

From Hell They Came: One of my personal favorites. It comes in with another dark chug and building drums, the verses continue with more crooning vocals, and the chorus is one of the catchiest on the album.
9 out of 10

Dig Up Her Bones: Call it blasphemy, but this may be my favorite Misfits song of all time (In an attempt to justify my claim, Graves wrote this song back in 1991 before he had anything to do with the Misfits). The introduction opens with spooky sound effects before an infectious guitar chug takes its place, the verses continue with more melodic croons into the mix, and the chorus just might be the strongest on the album. Quite an underrated effort that even sounds good accoustically (http://www.youtube.com/watch?v=rHPvAPDIT0o).
10 out of 10

Blacklight: Dissonant guitar chords and erratic drum fills open this song before the regular chug comes back in, the verses keep the melodic vocals flowing, and the chorus offers a solid refrain. Not a lot to say about it otherwise.
7 out of 10

Resurrection: A neat drum pattern opens this song before more of the same comes in, the verses bring in the piercy vocals, and the chorus is pretty decent. I do wish the band would go with more of the experimental ideas that open each song. . .
7 out of 10

This Island Earth: Another chug opens this song nicely, the verses continue with lower pitched vocals, and the chorus is more of the same. Solid though one of the weaker songs on the album.
7 out of 10

Crimson Ghost: Unsettling guitar squeals and a great bass solo open this song before going into an even darker mid-tempo riff, the verses continue with more furious riffs and quickly sung vocals, the chorus is a simple but erratic sing-a-long, and the song's climax brings in some great chants. A welcome change from the last few tracks. . .
8 out of 10

Day Of The Dead: A dissonant guitar groove opens this song's introduction nicely, the verses continue with the usual chug and some unusually echoing vocals, the chorus is another melodic bit with some odd hand claps in the background, and the song closes out in an almost bluesy fashion. Perhaps the weirdest track on the album.
7 out of 10

The Haunting: Another typical track. It features more driving riffs, odd vocal lines, chanted vocals during the chorus, and painfully generic lyrics. Not much else to say about it. . .
7 out of 10

Mars Attacks: Being a fan of the Tim Burton film, I consider this song to be something of a highlight. It opens with spacy sound effects soon joined by a happy chug, the verses continue with restrained vocals, and the chorus is another catchy bit with some interesting vocal/guitar trade-offs. A pretty good track.
8 out of 10

Hate The Living, Love The Dead: The verses suddenly comes in with dissonant guitar/vocal trade-offs and the chorus features some weird but interesting vocal contrasts. A pretty unique track though perhaps a little too dissonant to be a true highlight. . .
7 out of 10

Shining: This song comes in right away with an energetic drum beat and bright guitar/vocals soon coming in, the verses continue with some unusual guitar/vocal trade-offs, and the chorus keeps the heaviness flowing with some great vocal lines. Another solid song.
8 out of 10

Don't Open Til Doomsday: Don't be fooled by the track's eight minute length for it's actually two songs in one. The first portion features a softer introduction before descending into the poppy chugs, the verses continue with bright vocal lines thrown in, and another infectious chorus. After a few minutes, the second song ("Hell Night") comes in with building drums, strong bass, and somber vocals during the verses and a signature poppy chorus soon follows. A pretty sweet closer.
8 out of 10

Overall, this album gets 132 out of 170, 78%, and 3.5 stars. It isn't as consistent as the material led by Danzig, but this album offers a fun set of songs that offer immediate satisfaction. I imagine it'd be fitting music for such events as punk parties, driving down country roads really fast, and mailbox baseball. . .

Death Magnetic (Metallica)

2008-09-14T15:34:00.001-07:00

Described by some as the missing link between 1988's ". . . And Justice For All" and 1991's "The Black Album", Metallica's ninth studio album has been hyped as being the band's return to form and their best album since the glory days of the 80's. Famous producer Rick Rubin has taken over Bob Rock's long held position, bassist Robert Trujillo has finally gotten a chance to prove himself in the studio environment after five years of service, and they finally let guitarist Kirk Hammett solo again! The album also exhibits an obvious old school mentality and features many parts that will remind one of their past works. Whether it's successful backtracking or self-plaigarism, it's certainly better than most of the stuff they've been doing since the 90's set in. . .

This Was Just Your Life: Like "Blackened" and "Battery" before it, we are treated to a bit of atmosphere before the speed commenses. The introduction comes in with dramatic melodic guitars and sounds of a heartbeat before the driving riffs take their place, the verses continue with a more restrained riff and energetic vocals that recall those of "Blackened", the pre-chorus slows the song down, the chorus brings the song back up to speed, and the solo sections offer plenty of solid shredding and riffs. A strong start.
9 out of 10

The End Of The Line: Dissonant guitar trade-offs and a driving drum beat start this song off before a more mid-tempo rhythm takes its song, the verses then bring the driving drums back in with some nice accompanying vocal lines, the pre-chorus features an unusual vocal/guitar harmony, the chorus brings in some building guitars, and the bridge offers a more melodic direction before exploding into the final chorus. Another great track.
9 out of 10

Broken, Beat & Scarred: Unusual stop-start guitar riffs open this song's introduction with some exotic lead guitar soon joining in, the verses continue with a steady mid-tempo groove, the chorus brings in some heavier drumming, and the solo section offers various tempo changes and a number of drum fills. One of the lesser tracks, but still enjoyable.
8 out of 10

The Day That Never Comes: Unsurprisingly, the album's fourth song and first ballad has a lot in common with such songs as "One" and "Fade To Black". The introduction comes in with a lonely guitar melody soon joined by a mournful lead and count-off drums, the verses continue with more gently sung vocals, the chorus bring in heavier drums that seem to drown Hetfield out at times, the bridge brings in heavier riffs and angrier vocals, and the solo section descends into more hectic riffs and solos. A pretty solid song, even if it isn't exactly covering new ground. . .
9 out of 10

All Nightmare Long: Eerie guitar and bass melodies briefly this tune before some heavier riffs and building drums completely take over, the verses continue with melodic vocal lines, the pre-choruses throw some heavier chords and a faster tempo into the mix, the chorus offers a less elaborate but catchy nonetheless refrain, and the solo section offers more over the top shredding (To those who say he's gone too far; would you rather see him out of the studio again?). The folks comparing it to Slayer may be exaggerating a bit, but it's still a strong track.
9 out of 10

Cyanide: Some of the groove elements of the "Loads" can be traced on this mid-tempo tune. It opens with spooky guitar chords and an awesome bass heavy groove during the introduction, the verses bring in more drawn out vocals, the pre-chorus is another aggressive bit, the chorus provides another catchy refrain, and the bridge offers some interesting clashes of melody and dissonance. One of my personal favorites, even if it is the most disliked of them all. . .
9 out of 10

The Unforgiven III: I'll admit that I was dreading this track when I first heard about it, but it's proven to be another good track. The introduction comes in with the odd inclusion of piano and strings, the verses continue with more melodic croons and a melancholic guitar crunch, the song becomes heavier at its climax, and the lyrics appear to be the band apologizing for "selling out". All is forgiven, guys. Just make sure it doesn't happen again. . .
9 out of 10

The Judas Kiss: More uplifting guitar riffs and building drums open this song excellently, the verses continue with some strange but effective harsh/melodic trade-offs, the chorus just might be the catchiest on the album, the solo sections offer more neat tempo changes and a few spacy leads, and the bridge offers a darker direction that builds up to the final chorus nicely. Another album highlight.
9 out of 10

Suicide & Redemption: Assuming the position held by "Orion" and "To Live Is To Die", this song is the album's nine minute instrumental. It's definitely not as emotionally appealing as the instrumentals before it, but it features some various riffs, a few melodic moments, and plenty of tempo changes. It makes good background music anyway. . .
8 out of 10

My Apocalypse: True to "Damage Inc." and "Dyers Eve", the final song is the thrashiest on the album. The introduction comes in with a powerful series of guitar riffs, the verses continue with more solid vocal lines, the chorus brings in more aggressive vocals and riffs, the bridge features rapidly delivered vocals and a neat guitar melodies, and the solos keep the aggression flowing. A powerful closer and perhaps my favorite song on the album.
9 out of 10

Overall, this album gets 88 out of 100, 88%, and 4 stars. Despite being a slightly regressive victim of the Loudness War, I find this effort to easily be Metallica's best effort since ". . . And Justice For All". The songs are great and it may finally win over a fan of the band's more disgruntled fans. I may be overreacting or I just might be a manipulated fanboy, but it's a hell of a lot better than "St. Anger"! Either way, I can only wonder how the next record will sound. . .

The Crucible Of Man (Iced Earth)

2008-09-13T22:33:00.000-07:00

2008 has a pretty good year to be a Matt Barlow fan; he sang on Pyramaze's "Immortal" in the spring and has returned to Iced Earth to help close out the second half of the band's "Something Wicked" saga. The Ripper may have contributed some enjoyable songs in his four year stay, but it certainly feels good to hear Barlow sing the story that he originally helped start back in 1998.
Musically, the album's style is not too far away from the sounds of 2007's "Framing Armaggedon" with emphases placed on crunchy mid-tempo guitar grooves, uplifting choruses, an epic atmosphere, and a few tempo changes ever now and then. However, this album is made distinct by a fewer number of interludes, a darker sound courtesy of Barlow's majestic bellows, and for being the first to feature new bassist Freddie Vidales.

In Sacred Flames: Like "Framing" before it, this installment starts off with an atmospheric opening interlude. However, this opener is much more powerful and made memorable by angelic Latin chants and some building soft/heavy constrats. A pretty awesome way of starting things off.
9 out of 10

Behold The Wicked Child: Coming off the opener is the album's most hard hitting tracks. The introduction comes in with powerful guitar harmonizing and building chords in the background, the verses continue with borderline falsetto vocals thrown in, the chorus slows the song down and brings in some great vocal layering, and the choir makes brief reprisals between a few of the verses. Probably my favorite song on the album.
9 out of 10

Minions of The Watch: Uplifting guitar riffs open this song in a way that reminds me of Queensryche's "Open" during the introduction, the verses continue with some unusual but exotic vocal lines, and the vocals become more drawn out during the chorus. A good song, but way too short at only two minutes long. . .
8 out of 10

The Revealing: As the previous track fades out, we now enter this 2:40 thrasher. It comes in with powerful riffs, the verses continue with gruff bellows, the chorus brings in some powerful falsettos, and the song closes out with a steady chug. Another great song that I wish had been developed a little more.
8 out of 10

A Gift Or A Curse?: Now we come to the album's first ballad. It comes in with melancholic guitar leads and a slow bass heavy rhythm, the verses feature an interesting duet between Barlow and rhythm guitarist Jon Schaffer (Haven't seen one of those in a while. . .), the bridge brings in a heavier riff, and producer Jim Morris provides another one of his sets of shredding guitar solos. Not as emotional as it could be, but a pretty neat track.
8 out of 10

Crown Of The Fallen: This song comes in with an uplifting riff similar to that of "Minions of The Watch", the verses continue at a solid pace, and the chorus provides an equally uplifting refrain. The song itself isn't amazing, but the chorus really sticks inside your head. . .
8 out of 10

The Dimension Gauntlet: Like "Minions" and "Revealing" before it, this song comes in just as the previous song fades away. The first verse features a steady mid-tempo chug with solid vocals and the second verse brings in an interesting spoken segment with choral vocals in the background. A solid song, though one of the album's weaker moments.
7 out of 10

I Walk Alone: Released as a single earlier this summer, this song is one of the strongest on the album. The introduction comes in with roaring guitar chords and solid drum fills, the verses feature Barlow at his most confident with some interesting stop-start chugs in the background, the chorus provides another infectious refrain, and the solo section features a simple but sweet guitar solo.
9 out of 10

Harbinger Of Fate: This song could be described as the typical Iced Earth ballad. The introduction and verses feature a slow rhythm and the chorus brings in heavier riffs and shrieking vocals. However, it is made distinct by the choir's presence and a sliding guitar solo. Unfortunately, it seems to lack the passion of such classics as "I Died For You" and "Watching Over Me".
7 out of 10

Crucify The King: This song comes in with a mid-tempo riff similar to that of "When Stars Collide (Born Is He)" during the introduction, the verses are dominated by the angrily delivered vocals with spacy effects in the background, the chorus provides an aggressive refrain, the bridge brings in some sinister layering and a more energetic chug, and the lyrics provide a nice return to the band's blasphemous ways of old ("Look at you now/You pathetic little man/With spear I pierce your side/Destiny at my hand"). Given that Barlow wrote the song's lyrics, I suppose we can all be glad he hasn't found Jesus during his time in the police force. . .
8 out of 10

Sacrificial Kingdoms: A more dissonant chug opens this song nicely, the verses bring unusually high pitched layered vocals into the mix, the chorus is another epic refrain, and the song features a sweet though brief solo. Another slightly average tune that is made strong by an infectious chorus.
8 out of 10

Something Wicked (Part 3): A more mysterious guitar chug opens this song introduction, the verses continue with more drawn out vocals, the chorus features some interesting vocal trade-offs, the bridge throws in a stronger riff that manages to keep the song interesting, and the lyrics provide a number of references to those of "The Coming Curse".
8 out of 10

Divide and Devour: One of the most aggressive tracks on the album. It comes in with strong chugging, the verses and pre-choruses feature vocals that range from dark bellows to high pitched wails, the chorus provides a memorable though somewhat wordy refrain, and the choir returns for the song's climax. Not quite a highlight but still pretty good.
8 out of 10

Come What May: I'm pretty sure this seven minute track is meant to be the album's epic. It comes in with building guitars and a steady rhythm, the verses continue with a melodic chug and more restrained vocal lines, the chorus provides more of the same, and the solo section provides a few mysterious melodies. Definitely not up to par with past epics, but a fine climax.
8 out of 10

Epilogue: Closing the album out is a final interlude. Given that it is the exact same thing as the "Prologue", I can't help but wonder if there's really any purpose for it to be here. . .
7 out of 10

Overall, this album gets 120 out of 150, 80%, and 4 stars. Part of me feels as though this may be the band's weakest album but the other part of me feels that there are great songs on here. Either way, it's just good to have Barlow back. Now let's get Schaffer to compose some high quality power metal again!

Beyond The Permafrost (Skeletonwitch)

2008-09-10T19:46:00.000-07:00

Whether they are some kind of blackened thrash metal or thrashy black metal (Yes, there's a difference. . .), Skeletonwitch is one of the more interesting bands associated with the New Wave Of American Thrash Metal. Their sound takes the fast tempos of classic thrash, the raspy growls and screams of death/black metal, and the melodic guitar riffs of the NWOBHM movement and forges them all to make a pretty unique sound. This release is their second album and the first released under Prosthetic records, thus giving them greater prominence in the metal community.

Upon Black Wings: As expected, the album gets a pretty heavy start with its first track. It comes in right away with powerful drumming and erratic soloing during the introduction, energetic guitar/growl trade-offs during the verses, the chorus offers a few raspy snarls, and the solo section keeps things going quite nicely.
8 out of 10

Beyond the Permafrost: Building chords and subtle lead guitar open this song's introduction nicely, the verses continue with more melodic guitar/growl trade-offs, the chorus offers an interesting guitar/rasp harmony, and the solos offer even more melody. A pretty solid track.
8 out of 10

Baptized In Flames: One of my personal favorites. Uplifting riffs and a driving double bass drum beat fade in during the song's introduction, the verses continue with prominently raspy vocals and smooth riffs in the background, the chorus provides heavier riffs and an infectious growl-a-long, the bridge features more building riffs and gruff growls, and plenty of shredding solos are to be found.
9 out of 10

Sacrifice For The Slaughtergod: Another barrage of melodic but intense guitar harmonies open this song nicely, the verses continue in a style similar to those of previous songs, the chorus offers more gutteral growls, and the guitar solos bring in even more melody. A little weaker compared to the songs before it.
7 out of 10

Vengeance Will Be Mine: Pounding drums and crawling guitar riffs open this song's introduction, the verses continue with more drawn out rasps, and the chorus features more deep growls. Another average track.
7 out of 10

Limb From Limb: Somewhat somber guitar harmonies open this song with softer drums in the background before the thrashing comes in, the verses continue with a particular emphasis on the erratic drum beats and guitar leads, and the shredding continues to be plentiful.
7 out of 10

Cast Into The Open Sea: I don't think there's much about this song that can't be said about the other tracks. The riffs continue to be fast and melodic, the drums are rapidly delivered, and the vocals continue to be full of variety. Still a decent song, but not much else to say other than that. . .
7 out of 10

Fire From The Sky: The guitar harmonies that open this song kinda sound like something you'd expect from "Kill 'Em All" era Metallica, the verses and pre-choruses feature some catchy guitar/rasp trade-offs, and the chorus features some memorable growls. A solid track.
7 out of 10

Soul Thrashing Black Sorcery: Another set of powerful guitar gallops open this song in a more accessible fashion, the verses feature some catchy rasps, and the chorus features uplifting riffs and more cool trade-offs. The formula is similar to tracks before, but the execution makes it an album highlight.
9 out of 10

Remains of The Defeated: Dissonant drums and dark guitar melodies open this song, the chorus feature a triumphant refrain that brings to mind Immortal, and the verses continue with deeper growls. A pretty neat track.
8 out of 10

Feast Upon Flesh: Prominent bass and matching guitar harmonies open this song, the verses continue with rapidly delivered rasps, more dramatic riffs and solos make the song interesting, and the chorus slows down to a catchy mid-tempo pace. Another memorable track.
8 out of 10

Within My Blood: The guitar harmonies during this song's introduction kinda sound like something from Iron Maiden's "Killers" and the rest of the song continues with some unusual fast/slow trade-offs. A solid closer.
7 out of 10

Overall, this gets 92 out of 120, 77%, and 3.5 stars. While some of the songs do have a tendency of sounding very similar, I think this is a band that listeners of almost any metal genre can get a taste for. If you're turned off by the growls then you may enjoy the melodic guitar riffs and solos throughout. We can only hope their talent will continue to grow for their future endeavors.

Immortal (Pyramaze)

2008-09-05T05:54:00.001-07:00

To quote Dream Theater, "I was told there's a new love that is born for each one that has died". When vocalist Lance King left the band in 2006, I don't think anyone expected Iced Earth vocal god/police officer Matt Barlow to assume the mantle and help deliver one of the more interesting power metal albums of 2008.
Anyone expecting furious thrash/power metal of Barlow's alma mater will surely be disappointed for this album is not too far removed from the melodic mid-tempo style associated with the band's with King. However, Barlow's lower bellows and wails do manage to bring in a darker aspect of the band's sound and make the supernatural lyrics a little more chilling. . .

Arise: Our journey begins with the standard brief atmospheric opener. It features darkly spoken vocals by Barlow, operatic female vocals in the background, building keyboards, and nicely complementing drum beats.
7 out of 10

Year Of The Phoenix: Thrashy guitar riffs, a drawn out wail, and uplifting guitar/keyboard leads dominate this song's introduction, the opening verse bring in more darkly spoken vocals, the following verses continue at a solid mid-tempo pace, the pre-chorus is a solid builder, the chorus provides a layered sing-a-long, and the bridge briefly returns to a heavier style. A great album highlight.
9 out of 10

Ghost Light: A bombarding mid-tempo chug opens this song with sprinkling keyboards soon joining in, the verses continue in a similar style, the pre-chorus and choruses lead into a more melodic direction, and the bridge is performed in a quieter style before succumbing to a thrashy solo section. A good song though one of the weaker tracks on the album as it seems to be a tad cluttered. . .
7 out of 10

Touched By The Mara: Eerie piano and more melodic guitar playing open this song in an unsettling fashion before being overthrown by a more triumphant mid-tempo riff, the verses features uplifting vocal lines, the pre-chorus throws in some unusual vocal distortion, the chorus suddenly slows the song down with a return to melodic territory, and the bridge brings in an unusual vocal canon. A pretty solid tune that exhibits some unusual but effective experimentation.
8 out of 10

A Beautiful Death: Building guitar harmonies that bring to mind "Mighty Abyss" open this song nicely, the verses offer even more uplifting vocals, the choruses feature more drawn out sing-a-longs and some great layering, and the lyrics are full of 300 imagery. One of my favorite tracks on the album.
9 out of 10

Legacy In a Rhyme: Now we come to the album's ballad. It features sweeping piano, building synths, and gentle croons and layering. A beautiful tune, though one of the lesser tracks.
7 out of 10

Caramon's Poem: More triumphant guitar harmonies open this song during the introduction, the verses feature a building chug and drawn out vocals, the pre-choruses feature some interesting vocal trade-offs, and the chorus offers an infectious refrain. Probably the most accessible track on the album, but that may due to it being the first song released to the public before the album itself was out. . .
9 out of 10

The Highland: Sounds of thunder, subtle guitars, and bright vocalizing open this song's introduction, the verses are dominated by a variety of vocals and chugging riffs, the chorus features a very loose refrain, and the bridge slows the tempo down and brings in more melodic vocals and piano. A pretty interesting song though I feel it could've been even looser. It does have a vibe that I find similar to Nightwish in a way.
8 out of 10

Shadow Of The Beast: Perhaps the heaviest song on the album. It features more chugging riffs during the introduction and verses, a drum heavy pre-chorus, a chorus that brings to mind Iced Earth's "The Coming Curse", another melodic bridge, and lyrics dealing with the legendary Beast of Gévaudan. Yay for cryptid lyrics!
9 out of 10

March Through An Endless Rain: Closing the album out is a two minute instrumental that features a marching snare, somber synths, and more operatic vocalizing. A pretty neat closer, though somewhat filler-ish.
7 out of 10

Overall, this album gets 72 out of 100, 80%, and 4 stars. It may not be the amazing monolith that some make it out to be, but it's a solid slab of metal that secures Barlow's once vacant position as one of the genre's finest singers. Recommended to power metal fans everywhere.

Motorizer (Motorhead)

2008-09-04T16:05:00.000-07:00

There's not much to be said about Motorhead's most recent effort that hasn't already been said about the last few albums they have come out with. The band's performance is extremely aggressive, the songs are packed with solid hooks, and the lyrics are rife with sex and rock 'n' roll with a few political moments here and there. Thankfully, a somewhat laid back atmosphere and a few tempo changes manage to keep things interesting. . .

Runaround Man: As expected, the album starts off with an upbeat thrasher. The song features strong riffs, upbeat verses, a quickly sung chorus, a sleazy guitar solo, and a neat little breakdown before the last verse comes in. A nice rapid fire way of starting things off with fun lyrics ("Gonna get a girl and she gonna get me off").
8 out of 10

Teach You How To Sing The Blues: Another upbeat track. The introduction features a bass heavy rhythm, the verses continue with catchy vocal lines thrown in, the chorus has a more uplifting delivery, and a few wailing solos are placed here and there, and the lyrics continue to be amusing ("If you wanna get your hands on a beautiful girl/You gotta use a Mastercard").
8 out of 10

When The Eagle Screams: Now we come to the album's first mid-tempo tune. It opens with a brief and unusual sample before a heavy rhythm takes its place, the verses continue with a solid groove, the chorus brings some building drums and a catchy refrain, the solo section is dominated by some sweet bass/guitar trade-offs, and the lyrics are full of powerful war imagery ("We were given medals/But now they call us devils/And now we can't decide between the two").
8 out of 10

Rock Out: A fast thrasher in the vein of "Fight" off of the "Inferno" album. Heavy bass and strong guitar chugs dominate the introduction and verses, the pre-chorus builds up to the chanted chorus quite nicely, and the lyrics provide even more amusement ("Rock out, rock out, with your cock out/Impress your lady friends"). A little repetitive and short, but still a fairly cool tune.
7 out of 10

One Short Life: This bluesy tune comes in with crunching bass and more chugging guitars, the verses are slightly dissonant but quite interesting, the pre-chorus is a solid builder, the chorus returns to a crunchy style, and I like to think of the lyrics as being a grittier version of Lynyrd Skynyrd's "Simple Man" ("She said always mind your manner/And don't you talk no trash/And if you hear somebody dissing you/Go over and kick his ass").
7 out of 10

Buried Alive: This song comes in right away with dissonant guitar/vocal trade-offs during the verses and the chorus is another great sing-a-long. A pretty cool tune, though not much else to say about it. . .
7 out of 10

English Rose: While the song's opening verse does come in a little awkwardly, it quickly becomes a highlight once it gets going. The verses provide an upbeat chug, the pre-chorus is another great builder, and the chorus features an infectious refrain in the vein of "Christine" off of "Kiss Of Death". It's definitely fascinating to still hear Lemmy sing about naughty schoolgirls after all these years. . .
8 out of 10

Back On The Chain: Bright riffs lead into another bass heavy mid-tempo chug, the verses continue with lower vocals, and the chorus gives the listener a decent refrain. Probably one of the weaker songs on the album.
7 out of 10

Heroes: Perhaps the most unique track on the album. It comes in with dramatically crashing chords and a steady drum beat during the introduction, the verses continue with more toned down riffs, the pre-chorus brings in an odd delivery, the chorus is another uplifting work, and the lyrics bring in more war imagery ("Do you understand how you became a fighting man/You must be hard as nails/And kill with sword and hand"), and the solo sections provides a few twists and turns. A pretty interesting track.
8 out of 10

Time Is Right: An upbeat drum beat leads into an equally energetic set of verses and the chorus provides a decent refrain. Another one of the lesser tracks on the album, but still a cool track.
7 out of 10

The Thousand Names of God: The album's closer comes in with another set of chugging riffs during the introduction, the verses continue with solid vocal lines thrown into the mix, the pre-chorus leads into a big chorus quite nicely, and a few guitar squeals are added in to great effect. A pretty solid closer.
7 out of 10

Overall, this album gets 82 out of 110, 75%, and 3.5 stars. I think the quality of Motorhead's material may be declining in recent years, but this album still packs a punch and provides some enjoyable tunes. Then again, I'm pretty sure there's no such thing as a bad Motorhead album. . .

Bat Out Of Hell (Meat Loaf)

2008-09-01T11:58:00.000-07:00

Influenced by the likes of Bruce Springsteen and bearing an album cover that just screams "metal" (Even though it's not really that metal. . .), vocalist Meat Loaf and composer Jim Steinman managed to create what may be the best selling rock opera of all time. Musically, the album is rife with over the top compositions and an atmosphere that is epic but manages to hit close to home for its listeners (in its time anyway). Lyrically, the story should hit even closer to home and deals with teen love and all that good stuff.

Bat Out Of Hell: Starting the album off on the right foot is its near ten minute opening epic. The introduction comes in with muscular guitar chords and drums and then flailing piano soon joining in, the verses and pre-choruses then come in with quickly delivered vocals and building guitars/keyboards in the background, the elaborate chorus then explodes with particularly catchy vocals thrown in and a more melodic bit towards the end, the solo section brings the infamous motorcycle sounds and plenty of cool guitar and keyboard parts, and the bridge's verses keep the theatrics flowing before the final climax. An over the top opener that rarely outstays its welcome.
9 out of 10

You Took The Words Right Out Of My Mouth (Hot Summer Night): An amusing spoken segment opens this song before a poppy rocker takes its place, the verses and pre-choruses continue with an upbeat rhythm and sweet accompanying piano and backing vocals, and the chorus provides a fun sing-a-long and even a few hand claps towards the end. Extremely cheesy but a really fun track.
8 out of 10

Heaven Can Wait: Now we come to the album's first ballad. It comes in with soothing piano and equally soothing croons for the verses with some strings coming in every now and then and the chorus offers a gentle refrain with some sweet backing vocals. A good song though perhaps a little too soft to be a true classic. . .
7 out of 10

All Revved Up And No Place To Go: Another upbeat track in the vein of the second tune. It comes in with pounding bass and a happy horn part, the verses and pre-choruses continue with solid vocal lines and backing chords thrown in, the chorus bring in a few female vocal lines coming in now and then, the horns dominate the solo section, the song's climax brings in faster riffs and rapidly sung vocals, and the lyrics range from silly ("I was a varsity tackle and a hell of a block/When I played my guitar/I made the canyons rock") to slightly creepy ("Oh baby I'm a hunter in the dark of the forest/I've been stalking you and tracking you down/Cruising up and down the main drag all night long").
8 out of 10

Two Out Of Three Ain't Bad: The album's second ballad is stronger than the first. It is dominated by piano during the introduction, a steady rhythm and soulful croons during the verses, catchy trade-off vocals during the chorus, and a few amusing lines here and there ("But there ain't no Coupe de Ville hiding/At the bottom of a Cracker Jack box"). Don't you just love when the general public takes things seriously when they're not supposed to?
9 out of 10

Paradise By the Dashboard Light: I will always associate this number with a few of the pep talks my father gave me in high school. . . Musically, it is an eight and a half minute epic that includes three different parts with dueting vocals between Meat Loaf and Ellen Foley throughout. The first part ("Paradise") is its most upbeat beat and features a few rockabilly inspired hooks, excellently sung vocals, and a slightly dissonant bridge that leads into a subtly hilarious spoken segment delivered by legendary announcer Phil Rizzuto. The second part ("Let Me Sleep On It") features a powerfully building duet, and the final portion ("Praying For The End Of Time") brings the song to an explosive climax. Definitely an amusing epic that must be heard to be believed. . .
10 out of 10

For Crying Out Loud: Closing the album out is a final nine minute epic ballad. The introduction comes in with more somber piano that is soon joined by a particularly powerful vocal performance, dramatic strings comes in before the three minute mark, a heavier climax finally comes in at around five minutes into the piece, and the melody returns for the song's bridge. A truly passionate closing, though it does take a little too long to really get going.
8 out of 10

Overall, this album gets 59 out of 70, 84%, and 4 stars. It may be a little too dated and over the top for some listeners, but it is a good album that can be enjoyed by means of its theatrical performance and humorous lyrics. At the tune of 200,000 copies sold annually nearly thirty years later, I'd say they were on to something. . .

The Day The Country Died (Subhumans)

2008-08-30T04:24:00.001-07:00

Regarded by some as one of the most influential anarcho-punk bands out there, Subhumans plays a style heavily inspired by the likes of The Sex Pistols and The Damned. The bass is often high in the mix, a few progressive touches comes up on occasion, and vocalist Dick Lucas sounds like Johnny Rotten with an even thicker accent. Lyrically, this particular album deals with politics and warfare heavily influenced by George Orwell's 1984.

All Gone Dead: Sounds of static open this song in an unsettling fashion before all hell breaks loose with the sound of a dropping bomb. The rest of the song features an upbeat pace, a smooth descending bass line, sarcastic vocal lines, and the chorus features some nice chanting. Not quite a classic, but a nice opener.
7 out of 10

Ashtray Dirt: This track comes in at a driving pace, the riffs are muscular, the vocals are rapidly delivered, and a sweet guitar solo comes in at the song's climax. One of those tracks that you might not have noticed if you weren't paying attention. . .
7 out of 10

Killing: Bright guitar harmonies and whooping vocals open this song's introduction, the verses continue at an upbeat pace, and the chorus features a solid refrain. A fun track though not much else to say about it.
7 out of 10

Minority: Gritty guitar scratches open this song before another upbeat set of verses take over, the chorus features more solid chanting, and the solo section provides more gritty guitar trade-offs. A pretty good tune.
7 out of 10

Mickey Mouse is Dead: This song fades in right away with dissonant chords and angrily delivered vocals during the opening verses, the verses go at a faster pace with excellently delivered snarls and a driving bass line thrown in, and the song reaches its climax with a particularly angry set of chants, screams, and solos. A pretty interesting song, though it does start off a little awkwardly. . .
8 out of 10

Nothing I Can Do: The riffs that open this song have an almost classic rock vibe with a few neat bass lines joining in, the verses continue with angrily delivered vocals and a driving rhythm, great guitar solos separate each stanza, and a brief bass heavy breakdown comes in before the final verse. A pretty solid track.
8 out of 10

Dying World: Building riffs open this song nicely, the verses continue with almost happily sung vocals and a steady mid-tempo beat, the chorus offers a simple but memorable refrain, and some backing vocals and silly wails come in every now and then. A pretty memorable track.
9 out of 10

Subvert City: It's quite interesting to see a four minute "epic" within this sea of two minute outbursts. It comes in with more unusual sound effects that are sooned by an eerie guitar melody and quietly sung vocals during the opening verse, the following verses continue with an upbeat groove and varying tempos, the chorus features catchy chanting, and the solo sections feature more neat guitar and bass parts. Definitely a unique track that shows how some punks have technical ability. . .
9 out of 10

Big Brother: One of my favorite tracks on the album. The verses come in right away with some excellent bass/vocal trade-offs and the chorus is one of the most infectious on the album, and the brief solo section features fills from every member.
10 out of 10

New Age: A building drum beat opens this song accompanied by some erratic guitar/bass chords, the verses continue at an upbeat pace, the chorus provides another catchy and slightly amusing refrain, and another great guitar solo comes in smoothly. A pretty solid tune.
9 out of 10

I Don't Wanna Die: Thrashy guitars and pounding drums open this song nicely and the verses and choruses throw in more angry vocals. A solid display of musical anarchy.
8 out of 10

No: A neat bass line opens this song accompanied by some serious vocals for the opening verse, the following verses continue with fast riffs and angry vocals, and the bridge provides another mocking refrain. Another favorite with some of the most pissed off lyrics on the album ("No I don't believe in Jesus Christ/My mother died of cancer when I was 5/No I don't believe in religion/I was forced to go to church, I wasn't told why"). Sounds like someone needs a hug. . .
10 out of 10

Zyklon-B-Movie: Melodic guitar/bass harmonies open this song in a building fashion, the verses provide a fun set of guitar/vocal trade-offs in the vein of "Big Brother", the chorus provides another infectious refrain, and the lyrics provide some fun bad horror film worship. The Misfits may do the horror thing better, but this may be my favorite track on the album.
10 out of 10

Til The Pigs Come Round: A fun drum beat and bouncy guitar melodies open this song in an unusual fashion, the verses continue at a much faster pace, and the chorus provides a rapidly delivered refrain. A happy tune that sounds like it'd make a fun drinking song.
8 out of 10

No More Gigs: Dissonant chords in the vein of those from "Mickey Mouse Is Dead" open this song nicely, the verses continue with bright riffs and drawn out vocal lines, and the song picks up speed for the climax and shredding guitar solo. Another "happy" track.
8 out of 10

Black And White: Another drum/guitar trade-off segment opens this song's introduction, the verses continue with more drawn out vocals, and the chorus provides more solid chants. A solid closer.
7 out of 10

Overall, this album gets 132 out of 160, 83%, and 4 stars. I still don't consider myself to be much of a punk buff, but Subhumans offers a unique sound and an interesting balance of seriousness and fun. Worth checking out for fans of the genre. I've seen copies at Hot Topic of all places. . .

American Recordings (Johnny Cash)

2008-08-29T08:40:00.000-07:00

The very first installment of Johnny Cash's "American Recordings" was both a major critical and commercial return to form for the great country legend. It was his very first collaboration with rap/metal producer Rick Rubin and introduced a sound that was more stripped down that only featured Cash's aged voice and accoustic guitar. While it isn't as depressing as the later installments would become, it did prove to be his successful album since the late 60's.

Delia's Gone: Originally appearing on 1962's "The Sound Of Johnny Cash", this song managed to get some airplay on MTV when the album first came out. It features mournful vocals, sweet accompanying guitar strums, a pretty catchy chorus, the classic Cash rhythm, and amusing lyrics ("First time I shot her I shot her in the side/Hard to watch her suffer/But with the second shot she died".). One can only wonder if he shot her just to watch her die. . .
9 out of 10

Let The Train Blow The Whistle: This original composition is made memorable by upbeat guitar strums, sweet croons, and an interesting chorus. Not too much to say about it, but it's an enjoyable song.
9 out of 10

The Beast In Me: Ironically, this song was originally recorded by Cash's son-in-law Nick Lowe. Musically, it is one of the darkest songs on the album and features Cash singing some particularly low notes over a simple but menacing guitar melody. The lyrics are also worth noting and contain a few insightful lines ("They've seen him out dressed in my clothes/Patently unclear if it's New York or New Year/God help the beast in me"). A little tough to get into but a great song.
9 out of 10

Drive On: Another upbeat track. Musically, it features a catchy though somewhat strained chorus and vocal lines during the verses that sound eerily similar to those from "A Boy Named Sue". Lyrically, the song appears to be the plights of a Vietnam War veteran. The similarities may be too detracting for some, but it's another pretty good song.
9 out of 10

Why Me Lord?: A somewhat somber song written by Kris Kristofferson, though it's nowhere near as bleak as "The Beast In Me". Musically, it features interesting vocal lines above soft guitar strums and another great refrain. Musically, the lyrics are spiritual in nature and are pretty well written.
8 out of 10

Thirteen: Apparently written in 20 minutes by punk/metal icon Glenn Danzig, this tune manages to reflect the darkness of its composer. It features another soft guitar lines, almost ghostly vocal lines, a creepy refrain, and some psuedo-Satanic lyrics that came under fire from the Christian community back in the day ("Got a long line of heartache/I carry it well/The list of lives/I've broken reach from here to hell/Back luck been blowing at my back/I pray you don't look at me, I pray I don't look back"). A strong highlight though I probably wouldn't have been as crazy about it if I knew Danzig was involved. . .
9 out of 10

Oh, Bury Me Not (Introduction: A Cowboy's Prayer): Taken from 1965's "Sings The Ballads Of The True West", this is another spiritual tune. It features another instance of the boom chicka rhythm, brilliantly spoken verses with even more inspired lyrics (Yes, the indecisive Atheist called a spiritual song inspired. . .), and a beautiful sing-a-long chorus.
10 out of 10

Bird On A Wire: The introspective nature of the previous tune leads into this Leonard Cohen tune quite nicely. It features one of the most passionate vocal performances on the album, simple guitar strums, and just as passionate lyrics ("Like a baby stillborn/Like a beast with his horn/I have torn everyone who reached out for me"). A pretty powerful tune.
9 out of 10

Tennessee Stud: While most of the album was recorded by Rubin in Cash's living room, this song was one of two performed live at the Viper Room (Owned at the time by Johnny Depp). It is one of the more light hearted tunes on the album and features another upbeat rhythm, an infectious chorus, and amusingly placed crowd shouts. A pretty fun track.
8 out of 10

Down There By The Train: Back to the slower style we go with this Tom Waits tune. It features soft guitar lines, a variety of vocal lines (the higher pitched wails in the beginning provide a slight wakey-uppy), a ghostly refrain, and unsettling lyrics ("There's no eye for an eye, there's no tooth for a tooth/I saw Judas Iscariot carrying John Wilkes Booth"). Another song that takes some listens to like, but it's an enjoyable tune.
8 out of 10

Redemption: Another upbeat tune with a few darker touches thrown in for good measure. It features some driving guitar strums, energetic vocals, another solid chorus, and more spooky lyrics ("From the tree streamed a light/That started the fight/'Round the tree grew a vine/On whose fruit I could dine/My old friend Lucifer came/Fought to keep me in chains/But I saw through the tricks/Of six-sixty-six"). Another good tune.
8 out of 10

Like A Soldier: The driving rhythm persists during this tune, the vocals are sweetly delivered, and the chorus features another good refrain. A good song, though pretty much more of the same and perhaps my least favorite song on the album.
7 out of 10

The Man Who Couldn't Cry: Closing the album out is a Loudon Wainwright song recorded in the Viper Room. The focus is on the hilarious lyrics, but Cash gives another great vocal performance and the crowd whoops make it even more entertaining.
10 out of 10

Overall, this album gets 113 out of 130, 87%, and 4 stars. Some of the songs do have a tendency of sounding similar, but this album is worthy of its classic status and is worth checking out for those outside of the country scene. And to think the future installments would be even more heartfelt. . .

The Final Cut (Pink Floyd)

2008-08-28T07:24:00.001-07:00

Originally conceived as a collection of leftovers from "The Wall", this 1983 effort turned out to be a compelling rock opera in its right. It is also the last Pink Floyd album to feature bassist/vocalist Roger Waters, who had completely taken over the band at this point, and the only album to not feature keyboardist/vocalist Richard Wright.
Musically, this is the most mellow album Pink Floyd ever made; the vocals are presented in a vulnerable and gentle fashion, the guitars seem to only pop up for some "Comfortably Numb"-esque solos, and the band even hired an orchestra conducted by Michael Kamen. Lyrically, this is another Pink Floyd concept album and deals with themes of war and loss.

The Post War Dream: An odd collection of samples and sound effects briefly dominate this song's introduction, the verses bring in gently sung vocals and organs in the background that wouldn't sound out of place at a funeral, and the song reaches an explosive climax with its moving chorus. You may have to turn your speakers up a tad to hear this one, but it's a sweet opener.
8 out of 10

Your Possible Pasts: Soft vocals and guitars come in for this song's verses while some interesting sounds carry on in the background, the chorus is another explosive segment with echoing vocals that bring to mind being unable to sleep at 3 am, and the song also features a powerful guitar solo and sweet organs in the background. One of my personal favorites, though not quite a classic.
9 out of 10

One Of The Few: Creepy accoustic guitars and memorable vocal lines dominate this minute long interlude. The melodies are great, but this is not the last we will see of them...
7 out of 10

The Hero's Return: Eastern melodies and building guitars dominate this song's introduction, the verses continue with more angrily delivered vocals and muscular guitar slides, the chorus features some bizarre layering, and a few accoustic moments pop up every now and then. Quite a haunting tune.
7 out of 10

The Gunner's Dream: Winds blows and soft piano open this song smoothly, the verses bring in more vulnerable vocals, the solo section goes in a more energetic direction with some sweet saxophone solos thrown in, and the song's climax brings in a more noticeable rhythm and some straining screams. An emotional tune though not as powerful as it could be.
7 out of 10

Paranoid Eyes: This song features more soft piano and vocals throughout, interesting bar sounds in the background, and a building though never exploding chorus. A sweet tune.
8 out of 10

Get Your Filthy Hands Off My Desert: Silence opens this song soon overcome by the sound of an explosion and the rest of this brief tune is dominated by amusing vocal lines, nicely complementing strings, and soft accoustic guitar in the background. An amusing tune though I feel it could've been developed a tad more.
7 out of 10

The Fletcher Memorial Home: Another ballad. This tune features the building orchestra in the background, mournful wails and layering, an amusing spoken segment, and another wailing guitar solo. I'd say this spoken bit and the guitar solo save it from being more of the same. Not to mention it was what got me interested in this album.
9 out of 10

Southampton Dock: This song comes in right away with softly sung vocals and sweet accosutic guitars, some subtle screams harmonize at certain points in the background, and sweet piano joins in towards the end. Another short tune.
7 out of 10

The Final Cut: Without paying attention, this song could easily slip by. It comes in with more soft vocals and piano for the opening verse, the choruses bring a more energetic rhythm and rising orchestra, the following verses keep the rhythm in tact, and another solo comes in after the second chorus. A pretty tune.
8 out of 10

Not Now John: Finally, we get a true break from the album's balladry with this aggressive tune. It features both Waters and guitarist Dave Gilmour performing lead vocals, a driving rhythm and mechanical effects during the verses, a few melodic moments that reference the "One Of The Few" melody, wonderfully complementing female backing vocals, and another excellent solo. Easily my favorite song on the album and its most accessible track, even if a few of the lines are somewhat silly.
10 out of 10

Two Suns In the Sunset: We now return to the more mellow style. This song comes with a more noticeable drum beat (Played by Andy Newmark for some reason) and somber accoustic guitars, solid vocal lines during the verses, sounds of flying planes throughout, the climax brings in wailing vocals and building keyboards, and the song closes out with another saxophone solo. A pretty effective closer.
8 out of 10

Overall, this album gets 95 out of 120, 79%, and 3.5 stars. With the exception of a few more powerful moments, this is definitely not the album to get if you are expecting energetic space rock. However, it is a truly heartfelt opus that should be able to appeal to fans of "The Wall". It's a good album to add to the Somber Sunday playlist...

In The Beginning (Drachen)

2008-08-27T04:59:00.000-07:00

After releasing a few EP's with two very different singers, Drachen has finally unleashed their first full length effort. Musically, the album continues to develop the band's more traditional take on power metal and includes melodic guitar leads, solid hooks, operatic vocals, and a few unique touches thrown in for good measure. Lyrically, the band continues to focus on a mix of themes related to Christianity and cryptozoology. It's an interesting combo if I do say so myself.

Marching Into Hell: Taken from "Dawn Of Redemption" EP, the album's opener is a solid mid-tempo rocker. Highlights include the catchy main riff, infectious vocal lines during the verses, and a more uplifting chorus. A nice way to start things off, though part of me wishes that it was a little faster.
9 out of 10

Morning Star: My wishes are suddenly granted as this tune comes into play. This speed metal track features a building introduction, higher pitched vocals thrown in during the verses, and a solid chorus. Not quite a classic, but a pretty good song exclusive to the album.
8 out of 10

The Familiar Spirit: Another "Dawn Of Redemption" standard, this song is another solid mid-tempo tune. It comes in with sounds of a storm and melancholic melodies during the introduction, plodding riffs and uplifting vocals during the verses, and a beautifully layered chorus (Yea, the switch to Ravenica Rose was a really good idea). One of the album's highlights.
9 out of 10

Endless Night: Now we come to the album's ballad and the last song taken from "DOR". It comes in with more somber guitar melodies during the introduction, delicate vocals during the verses, a more subtle chorus, and a steady beat that slowly builds as the song goes on. A good song though one of my least favorite tracks on the album.
7 out of 10

Mokele Mbembe: Being the casual cryptozoologist that I am, I was really wondering what this song was going to sound like. The introduction comes in with swamp sounds and a loud drum solo that is soon overcome by an atmospheric plodding riff and a few melodic moments here and there, the verses continue with plodding guitars and eerily sung vocals, the chorus is another uplifting work, and the final verse brings in faster drumming and interestingly echoing vocals. A pretty awesome track that is another album exclusive.
9 out of 10

The Vision: Back to the speed metal style with this exclusive tune. It comes in with a dynamic drum beat and crashing guitar chords, the verses go in a faster direction with solid vocals thrown in, and the chorus is another triumphant sing-a-long.
8 out of 10

Whore Of Babylon: Possessing an unsurprisingly Eastern atmosphere that brings to mind Rainbow's "Gates Of Babylon", this exclusive tune is another powerful highlight. It is made memorable by a few mystical guitar effects and a building set of mid-tempo guitar riffs during the introduction, the verses bring in some interesting effects backing the vocals, the chorus is eerily infectious. I must say the epic atmosphere makes one think that the song is longer than four minutes (in a good way)...
10 out of 10

Heart Of The Dragon: This is a dramatically altered version of a song originally on the "Origin Of The Species" EP. The dragon's roar during the introduction has been removed, the guitar riffs are faster and more energetic, the vocals are more focused, and the chorus seems to be even more hard hitting than before. I think I like this version more, but it seems too be short at only two minutes long and I miss the bass solo that was in the original...
8 out of 10

Mammoth Lake: Closing the album out is another remake from the "Origin Of The Species". While I feel that they did the classic some justice, it does feel a little rushed and the spoken segment at the end isn't as dramatically effective as it was before. It's still a pretty nice closer.
8 out of 10

Overall, this album gets 76 out of 90, 84%, and 4 stars. With the help of catchy songwriting and a great vocalist, Drachen manages to make themselves stand out in the modern metal scene. However, they are quite underrated and deserve more recognition from the metal community. Do yourself a favor and go look for this one on iTunes!

The Man Who Would Not Die (Blaze Bayley)

2008-08-26T05:54:00.000-07:00

Four years have passed since the release of 2004's "Blood And Belief". The Blaze Bayley band has gone through countless line-up changes, label switches, a name change, and now Blaze himself is the only original member in the midst of a line-up comprised of total unknowns. Musically, this album is an intense return to form and features more intense guitar playing, dynamic vocals, and a subtle thrash metal influence in its delivery. Lyrically, Blaze has been fueled by the last few years of turbulence and brings us his most powerful and personal lyrical themes yet. In short, the Silicon Messiah is back!

The Man Who Would Not Die: Appropriately, the album starts with one of its harshest songs. The introduction comes in with thrashing guitar harmonies and pounding drums in the background, the verses keep the energy flowing and throw in some charismatic though slightly strained vocals, the chorus slows the song down and offers sweet double bass drumming and a catchy refrain, the solo section features some cool guitar trade-offs and a few tempo changes, and the song's final chorus brings out one last burst of speed. An awesome way to start things off.
10 out of 10

Blackmailer: As if it couldn't get heavier than the title track, we go into what may be the most powerful song in the Blaze Bayley catalogue. It starts off with dramatic guitar harmonies during the introduction, solid vocal lines and mid-tempo riffs during the verses, the pre-chorus begins to pick up speed, the chorus is awe inspiring in spite of Blaze's seemingly limited range, the solo sections offer various tempo changes and uplifting guitar solos, and the lyrics are some of the most hateful I've read in a while ("You expect everyone to be weak/Weak just like you and to fall at their knees/Allowing themselves to just be devoured/I wonder if wolves like the taste of a coward like you"). Say what you will about Blaze's range, but this guy is easily one of the best lyricists out there.
10 out of 10

Smile Back At Death: More uplifting guitar harmonies and solid bass open this song's introduction, the verses and pre-chorus continue at a solid mid-tempo pace, the elaborate choruses offer chugging riffs and solid vocal lines, the bridge leads into a more melodic direction with building riffs and vocals, and the solo section returns to a slightly heavier style. Not as powerful as the songs before it, but a great song.
8 out of 10

While You Were Gone: A more melodic song, but not quite a ballad. The introduction starts the song off with downtrodden guitar plodding, the opening chorus comes in with quietly sung vocals and melancholic guitar playing, the following verses and choruses bring the heavier riffs back in, and the solo section throws in some faster riffs that lead into the thrashy climax. An excellent tune that has gotten a more unfortunate interpretation due to the hospitalization of Blaze's wife.
10 out of 10

Samurai: Building bass opens this song and is soon accompanied by a bombarding guitar harmony during the introduction, the verses feature a driving chug and excellently sung vocals, the pre-chorus is an awesome builder, the chorus offers another catchy refrain, the solos are more uplifting, and the bridge offers a great breakdown. It kinda sounds like a heavier version of "The Launch" or "Born As A Stranger". An excellent tune.
9 out of 10

A Crack In The System: Another building guitar melody opens this song in an almost mechanical fashion, the verses bring in a steady guitar chug and interesting vocal lines, the pre-chorus features some catchy vocal/guitar trade-offs with an awesome bassline, the chorus offers a strong chant, the bridge leads into the solo section in an uplifting fashion, and the song closes out with a collage of samples backed by the distorted recitals of the song's title. Not quite a classic but pretty cool.
9 out of 10

Robot: I find it interesting that the album's first single may be one of its most dissonant tracks. It comes in with a direct set of guitar harmonies and pounding drums, the vocals continue with more drawn out vocal lines, and the chorus is one of the most infectious and intense on the album. A powerful addition.
9 out of 10

At The End Of The Day: Now we come to what may considered to be the album's true ballad. It comes with melancholic guitar similar to the beginning of "While You Were Gone", the verses continue with mournful vocals and a slow drum beat, the chorus features louder riffs and desperate vocals, the guitar solo is slightly buried in the mix, and the song closes out with eerie whispers of the song's title. Another great track that reminds me of "Regret" off of the last album in a way.
10 out of 10

Waiting For My Life To Begin: Sounds of a buzzing alarm briefly dominate this song's introduction before the opening verse comes in with fast riffs and eerie vocals, the explosive chorus brings the song down to a slower pace, the following verses continue with more drawn out vocals, and the straight forward bridge leads into some sweet shredding. It's a little odd at first with some occasionally silly lines (The Wolfsbane reference did make me smile though), but it's another winner.
9 out of 10

Voices From The Past: Slightly erratic guitar playing opens this song's introduction in an interesting fashion, the verses bring in more melodic guitars and quiet vocals, the pre-chorus brings in catchy vocals and a dynamic guitar chug, the chorus is of the soaring variety, and the solo section leads into a more intense direction. One of the weaker songs on the album, but still a great track.
8 out of 10

The Truth Is One: A cool drum solo leads into another segment of grinding guitars, the verses feature some particularly dark vocal lines and more building riffs, the pre-chorus is another solid builder, and the chorus is another solid sing-a-long. Good though one of the lesser tracks on the album.
8 out of 10

Serpent Hearted Man: Distorted accoustic guitar playing, soft vocals, and some eerie bass fills dominate the song's opening chorus, the verses continue with more intense riffs and interestingly sung vocals, the following choruses slow the song down and provide a more dissonant refrain, and the solo section featuring more varying tempos and majestic melodies. A pretty sweet closer, though not as epic as those on the band's past efforts.
8 out of 10

Overall, this album gets 108 out of 120, 90%, and 4.5 stars. It's not quite at the monolith level of "Silicon Messiah", but it's pretty damn close and just might be one of the strongest albums of 2008. Recommended to fans of his previous three albums, his work with Iron Maiden and Wolfsbane, dark power metal, and maybe even a few thrash fans. Buy or die, for we certainly know Blaze won't be doing that anytime soon...

Get Behind Me Satan (The White Stripes)

2008-08-25T11:29:00.000-07:00

After the guitar heavy sounds of 2003's "Elephant", The White Stripes sought an entirely different sound with this 2005 effort. This album seems to push the guitars into the background and focus greatly on piano and a variety of other instruments. However, the album has retained the bombarding percussion of drummer Meg White and the eccentricities of guitarist/vocalist/pianist Jack White.

Blue Orchid: One of the few guitar driven tracks on the album, this song features an infectious main riff, a few metallic breaks, catchy falsettos, and crashing drums. It is the most accessible song yet it is also the most misleading...
9 out of 10

The Nurse: Perhaps the darkest song on the album both musically and lyrically. The song features dominating marimba, eerily sung vocal lines, subtle piano and percussion touches, crashing guitar chords that take over for the song's closing climax, and some unusually intriguing lyrics ("The maid that you've hired could never conspire to kill,/She's to mother, not quietly smother you when you're most ill,/The one that you're trusting suspiciously dusting the sill,").
9 out of 10

My Doorbell: Now we come to one of the album's more upbeat tracks. It features a driving drum beat, quickly sung vocals, nice percussion in the background, and a pleasant piano melody. It certainly took me a few listens to like...
8 out of 10

Forever For Her (Is Over For Me): A more mellow track that features more sweet piano melodies, catchy but gentle vocal lines, a pleasant refrain, a steady drum beat in the background, and another building climax. A pretty interesting track.
8 out of 10

Little Ghost: This song has more of a bluegrass/country flavor than most of the other songs on here. It features upbeat accoustic guitar playing, interested vocal layering, and steady tambourine in the background. Some of the falsettos are a little grating, but it's definitely one to remember.
9 out of 10

Denial Twist: I find this song to have a vibe similar to that of "My Doorbell". It features more quickly sung vocals and a somewhat similar piano line. However, it is made distinct by its heavier hooks and less emphasis of the drum beat.
8 out of 10

White Moon: Another darker tune, though it has more of an evening aesthetic compared to the conspiring "The Nurse". It features toned down vocal lines, an emphasis on the simple but effective piano lines, and subtle drums.
8 out of 10

Instinct Blues: This song has a really stripped down feel and benefits from a nice bluesy influence. It features a building introduction, a catchy main riff, interesting vocal lines, a hard hitting refrain, and powerful guitar playing. Despite a hint of sloppiness, it may be the heaviest track on the album.
8 out of 10

Passive Manipulation: Meg White takes the lead vocalist role for this forty second segment. The vocal lines may be catchy, but it'd probably slip by unnoticed if you weren't paying attention to the track listing...
7 out of 10

Take, Take, Take: A track similar to "Forever For Her" in style. It is made unique by a pleasant rhythm, energetic vocals, sweet accoustic guitar strums, and a commanding chorus.
8 out of 10

As Ugly As I Seem: Another country influenced tune, though it's not as blatantly obvious as "Little Ghost". It features more gentle vocals, sweet accoustic guitars, nice bongos in the background, and a sweet solo section. A pretty sweet song that sounds like something Led Zeppelin would've done (Jack always has sounded somewhat similar to Robert Plant...).
9 out of 10

Red Rain: Bluesy guitar squeals and tinker-toy effects open this song's introduction and the rest of the song continues with a gritty guitar riff and erratic vocals. Another interesting tune that sounds not unlike the bluesy sound of Zeppelin's early days.
8 out of 10

I'm Lonely (But I Ain't That Lonely Yet): Closing the album out is a final ballad type track. It features a somber piano melody that kinda reminds me of Black Sabbath's "Changes", some of the melancholic vocal lines, a neat piano solo, and some of the most amusing lyrics on the album ("I roll over in bed, looking for someone to touch/There's a girl that I know of but don't ask for much/She's homely and she's cranky and her hair's in a net/And I'm lonely but I ain't that lonely yet"). A pretty sweet closer
8 out of 10

Overall, this album gets 107 out of 130, 82%, and 4 stars. It's an unusual album outside of my regular listening, but I find this work to be extremely unique and worth buying. I really need to go deeper into this band's discography at some point...

Static Age (The Misfits)

2008-08-24T09:07:00.001-07:00

1982's "Walk Among Us" may have been The Misfits' official debut album, but it was not the first album that they ever recorded. This album's songs were recorded early 1978 but were not released until July 1997 due to a lack of label interest. Musically, the album foreshadows the classic era's faster punk style but still has flourishes of the band's art rock. Lyrically, the songs deal with a mix of horror films and the follies of American pop culture.

Static Age: Setting the tone for the album is its mid-tempo title track. It features swirling guitar riffs, upbeat vocals, a few neat drum fills, plenty of hooks, and an interesting fade-out. A fine start for an album like this.
9 out of 10

TV Casualty: My favorite song on the album. It's similar to the title track, but it makes itself unique by a more noticeable bass chug and one of the most infectious choruses on the album. The I Love Lucy reference is pretty amusing as well...
10 out of 10

Some Kinda Hate: A more upbeat song that features happy guitar/bass riffs, a consistent drum beat, drawn out vocals during the verses, and more concentrated bass and fun "whoa-oh's" thrown in during the chorus. Another fun track.
9 out of 10

Last Caress: Easily the most famous Misfits track of all. It features some interesting guitar/vocal trade-offs during the opening verse, a more active chug during the following verses, another infectious chorus, and some of the most iconic lyrics vocalist Glenn Danzig has ever written ("I got something to say/I raped your mother today/Doesn't matter much to me/As long as she's spread"). Quite a fun way to tell someone off if I do say so myself...
10 out of 10

Return Of The Fly: Building riffs and rapidly played drums open this song's introduction, the verses continue with another bass heavy chug and awesome vocal lines, the chorus is more melodic but not quite as catchy, and a few poppy backing vocals are thrown in during the closing verses. Another favorite of mine.
10 out of 10

Hybrid Moments: A quick drum solo leads into another awesome chug and the vocals are energetic but retain melody and charisma. Probably not as brutal as it could be, but I'm pretty sure it's a fan favorite for a reason...
9 out of 10

We Are 138: Upbeat bass thumps and a drum heavy rhythm are prominent during this song's chorus, the verses continue in a heavier direction, and an awesome but brief guitar solo makes it mark before the final set of choruses. A great song, though somewhat overrated.
8 out of 10

Teenagers From Mars: The verses feature a groove similar to "Some Kinda Hate" but with a heavier bass sound, the pre-chorus is more uplifting, and the chorus is catchy sing-a-long. It's kinda like a faster version of "TV Casualty" without all the television references.
10 out of 10

Come Back: Now we come to what we may be the longest song in the Misfits' discography. It begins with a distinct drum beat that is soon joined by a more accessible chug, the verses bring in unusual but effective vocal distortion and a few bass fills, and the chorus unleashes strong croons during the slightly repetitive chorus. Definitely worth including for its unique style.
8 out of 10

Angelfuck: Another solid bass heavy chug dominates this song with some great drum fills in the background, the verses feature interesting vocal lines, and the chorus is more uplifting. A pretty good song.
8 out of 10

Hollywood Babylon: A catchy mid-tempo groove similar to that of the title track is featured during this song's introduction and verses, the vocals are more drawn out, and the chorus features a distorted chant. Another cool tune.
8 out of 10

Attitude: One of the more energetic songs on the album. The song features fun sing-a-long verses, a less infectious chorus, fun layering towards the end, a bright groove, and a somewhat dissonant guitar solo. A little overrated but a pretty good tune.
8 out of 10

Bullet: This may be the heaviest song on the album. It features rapid riffs, quickly sung vocals, and lyrics dealing with the assassination of President John F. Kennedy. Not up to the extreme levels of the band's later material, but a fun little romp.
8 out of 10

Theme For A Jackal: One of the msot unusual tracks on the album. It features a weird piano melody, solid vocal lines, subtle guitar squeals and creeping bass in the background, a brief bass solo, and a few more drawn out moments here and there. Not quite as catchy or commanding as the surrounding songs, but an enjoyable addition.
7 out of 10

She: Another energetic track. It features a driving drum beat, grinding guitar riffs, catchy vocal lines that are nearly drowned out during the carnage, and lyrics about Patty Hearst.
8 out of 10

Spinal Remains: Pretty much more of the same. This song features quickly sung vocals, intense guitar/bass riffs, and particularly sadistic lyrics. Not much else to say about it.
7 out of 10

In The Doorway: Closing the album out is a particularly upbeat tune. The riffs go at a familiar mid-tempo pace, the drums are nicely played, and the vocals consist of more mellow croons that lack the fury of the earlier tracks. A pretty nice closer.
8 out of 10

Overall, this album gets 145 out of 170, 85%, and 4 stars. I find it almost unfortunate that it took nearly 20 years for this album to get released in its entirety, as it may be the best Misfits album to date. A few songs are expendable, but this is an accessible album that I would recommend as a potential fan's first purchase.

You're A Woman, I'm A Machine (Death From Above 1979)

2008-08-23T07:10:00.001-07:00

Consisting of drummer/vocalist Sebastian Grainger and bassist Jesse F. Keeler, Death From Above 1979 plays a style of indie rock with dance punk aesthetics and an intensely sexual atmosphere. While the band only caught on with underground audiences here in the United States, this album became a major success within their native Canada. Unfortunately, it is their only true studio album as of 2008.

Turn It Out: Building piano chords open this song dramatically before an extremely dissonant set of bass crunches and unusual shrieks take their place, the verses throw in some drawn out vocal lines, and the chorus throws in a few more active bass chugs. A strong start, even if it is weird as hell...
8 out of 10

Romantic Rights: Screechy bass effects open this song and are joined by a more upbeat groove, the verses keep the flow going with a driving bass line and sly vocals, and the chorus brings in some solid wails and a heavier chug. An infectious highlight.
9 out of 10

Going Steady: A particularly heavy bass chug opens this song in a driving fashion, the verses continue with an energetic rhythm and more solid wails, the song's hook features a bizarre synth/falsetto harmony, and the song closes out with a quieter bass melody. Not as strong as the songs before it, but still a pretty cool track.
7 out of 10

Go Home, Get Down: Another upbeat groove opens this song nicely and the song's hook brings in some unusual falsettos. A pretty good song though not much else to say about it.
7 out of 10

Blood In Our Hands: Without an introduction, this song comes in with bombarding bass and catchy vocal lines during the verses, the chorus features an uplifting bass/vocal harmony, some neat synths appear in the background during the instrumental segment, and the song closes out with a more melodic tangent. A muscular highlight.
9 out of 10

Black History Month: Perhaps the most accessible song on the album. It features an infectious bass riff, catchy vocal lines, a chugging chorus, a gentle closing bit, and some of the most unusual lyrics on the album ("Do you remember a time when this pool was/A great place for waterwings and cannonballs/A nice place for astrologists and blow up dolls/And on, and on..."). Uhhh, sure I do...
10 out of 10

Little Girl: A slower bass plod opens this song before it suddenly begins to pick up speed with some nice drums in the background, the verses continue with some catchy vocal/guitar trade-offs, and the chorus features more charismatic vocals and descending bass playing. A fun fast track.
8 out of 10

Cold War: Dissonant riffs similar to those from the opening track start this song off interestingly, the verses continue with erratic falsettos thrown into the mix, and the chorus brings in more drawn out vocals. A solid track, though not as memorable.
7 out of 10

You're A Woman, I'm A Machine: A quick drum count-off leads into another driving bass chug, the verses continue with drowned out vocals put in, the chorus seems to be a little heavier, and the song closes out with another melodic bit. One of the more average tracks on the album.
7 out of 10

Pull Out: The most erratic song on the album. It features a dissonant main riff, psychotic vocals during the verses, a building pre-chorus, and an even more psychotic chorus. Definitely unique though not quite a favorite.
7 out of 10

Sexy Results: Actually, this may be the most accessible songs on the album. It is the slowest song on the album and features an infectious main riff, upbeat percussion, eerily distorted vocals, sweet synths in the background. A true classic, even though something about it seems to frighen me. Maybe it was the music video...http://www.youtube.com/watch?v=M23If6Sqe-Q
10 out of 10

Overall, this album gets 89 out of 110, 81%, and 4 stars. This album is definitely not the kind of music that I usually listen to. In fact, the only reason I know this band even exists is because my cousin recommended them to me a few years ago. Having said that, this album is certainly an interesting listen that may take a few listens to appreciate. I imagine it's good to do it to...

Watershed (Opeth)

2008-08-22T07:40:00.001-07:00

I like to think of Opeth's nineth and most recent album as sounding like a cross between "Damnation" and "Ghost Reveries". The complex song lengths and light/shadow contrasts are still used in full force, but this particular release seems to focus more on the band's melodic elements and also features a few surprises along the way. I'm assuming that most of these changes are due to this being the first album to feature former Arch Enemy guitarist Fredrik Akesson and Bloodbath drummer Martin Axenrot.

Coil: Instead of starting things off with a regular ten minute tangent, we open this album with a three minute ballad. The song features melancholic accoustic guitar playing, a gently sung duet between lead vocalist/guitarist Mikael Akerfeldt and female vocalist Nathalie Lorichs, and a sweet refrain. A cool, unique way of starting things off.
8 out of 10

Heir Apparent: After we are greeted by the softest track on the album, we continue to what may be the heaviest. The introduction comes in with a plodding rhythm, crashing guitar chords, and an eerie piano bit before the heavy sound returns; the first set of verses continue with dissonant chugging guitars and echoing growls; the first solo section continues in a similar style until it is overcome by some pleasant accoustic guitar melodies; the second set of verses return to the heavier style and feature some of the fastest riffs and drumming I've ever heard on an Opeth album; and the song closes out with a more melodic plodding segment. A pretty cool track with some great riffs.
8 out of 10

The Lotus Eater: This may be one of the weirdest Opeth tracks I've ever heard. Strange humming and a distant rhythm open this song's introduction; alternating clean vocals and growls above some intense blast beats during the verses; a bass heavy melodic solo section; and an eerie collage of spoken samples in the song's closing segment. An interesting track.
8 out of 10

Burden: Soft piano and subtle guitar squeals dominate this song's introduction in a melancholic fashion; the verses continue with a slow rhythm, mournful vocals, and a few neat bass fills; the chorus bring in louder riffs; and the solo section feature great guitars, wailing organs, and soulful wordless vocals. A pretty neat song with some 70's prog homages thrown in for good measure, even though the song does seem to be a minute or two too long...
8 out of 10

Porcelain Heart: The album's first single is probably one of my personal favorites on here. It begins with a downtrodden guitar chug during the introduction, the verses bring in drawn out clean vocals and much softer accoustic guitars, the heavier riffs return between each verse, and the solo section features building guitar harmonies and what appears to the main riff from "The Grand Conjuration". Maybe that's why this song is so accessible...
9 out of 10

Hessian Peel: Dark bass and atmospheric accoustic guitar harmonies open this song's introduction nicely, the first set of verses continue with gently sung vocals thrown in, some bizarre backwards vocals and dramatic strings lead into a more dramatic segment with the melody kept in tact, the next set of verses suddenly burst into the scene with erratic melodies and psychotic growls with the guitar solos following suit, more backwards vocals bring the melody back in for another set of verses, and the song closes out with the growls returning for the final verse. It may drag on at certain points, but it is another interesting tune.
8 out of 10

Hex Omega: Closing the album out is one last heavy track. The introduction comes in with heavy but melodic guitar chugs and nice double bass drumming beneath, the verses suddenly come to a more melodic style, heavier riffs come between each verse, and the solo section leads into a much softer style. A smooth closer.
8 out of 10

Overall, this album gets 57 out of 70, 81%, and 4 stars. It will be despised by some for occasionally moving away from the Opeth formula, but I think it is a welcome change from a formula that has its share of stale moments. It is quite likeable and may prove to be a more accessible introduction for potential fans. Check it out if you dare.

The Division Bell (Pink Floyd)

2008-08-21T07:24:00.000-07:00

This 1994 release is the second Pink Floyd released without the influence of bassist/vocalist Roger Waters and is currently the most recent Pink Floyd album to ever be released. Musically, the album is extremely melodic but also contains a few spacy moments inspired by older albums such as "Meddle". Lyrically, this is not a concept album but there seem to be persisting themes of communication and unity.

Cluster One: The album begins with a six minute instrumental. It features unusual sound effects fading in, a heavy emphasis on the piano playing, spacy guitar playing in the background, and soft drum count-offs towards the end. Takes a while to get going, but it's a smooth start.
7 out of 10

What Do You Want From Me: Now we come to a solid mid-tempo track with a bit of blues influence. The song features great guitar squeals and a great bass groove during the introduction, smooth guitar/vocal trade-offs during the verses and choruses, a more uplifting bridge, plenty of interesting female backing vocals throughout, and excellent guitar solos. Not quite a classic but a pretty groovy track.
8 out of 10

Poles Apart: Pleasant accoustic guitars fade in during this song's introduction with some backing bass, the verses bring in echoing vocals and a subtle rhythm in the background, interesting keyboards and carnival sounds during the first solo section, a driving climax, and a closing guitar solo that reminds one of the "Comfortably Numb" days. A pretty interesting tune.
8 out of 10

Marooned: A 1994 Grammy Award winner, this instrumental is a gentle piece that features simple but amazing guitar solos, a soft backing rhythm made more prominent in the middle of the piece, and a pleasant atmosphere. A pretty sweet additon that is good to relax to.
8 out of 10

A Great Day For Freedom: One of my personal favorite tracks on the album. The verses come in right away with melancholic vocals and simple piano playing that reminds me of Savatage's "When The Crowds Are Gone", the chorus brings in some pleasant vocal layering, and the guitar solos continue to be majestic.
9 out of 10

Wearing The Inside Out: Mournful saxophone opens this song with a soft rhythm in the background, the verses bring in mellow vocal lines with sweet backing vocals, the choruses feature a beautiful duet between vocalist/guitarist David Gilmour and the backing singers, the bridge is more uplifting, and the solo sections feature great guitar and saxophone parts. A gorgeous track.
8 out of 10

Take It Back: Is it me or does this song sound like something that U2 would've done? It features an introduction similar to that of "Marooned" before a more uplifting guitar harmony takes its place, a driving rhythm and Bono-esque vocal lines during the verses, a beautifully layered chorus, and a spacier solo section. In spite of the similarities, this may be my personal favorite on the album.
9 out of 10

Coming Back To Life: From the fading end of the previous track, we enter this song with more mournful guitar melodies during the introduction. The opening verse brings in more drawn out singing accompanied by a mellow synth in the background, the following verses bring in a more upbeat rhythm, and the guitar solo is another nice segment. An interesting song, though one of the weaker songs on the album.
7 out of 10

Keep Talking: Firing keyboards and a spacy atmosphere dominate this song's introduction before an unusual spoken segment comes into play, the sole verse features building guitars and eerily sung vocals, the pre-chorus features another amazing duet, the chorus consists of a reprisal of the spoken vocals, the solo section features excellent guitar and keyboard segments, and appropriate use of talk box is using the climax. Another great highlight.
9 out of 10

Lost For Words: Building keyboards, a soft drum beat, and more pleasant accoustic guitars open this song smoothly; the verses bring in a more upbeat rhythm and laid back vocals, an unusual bit of sampling is used as a solo section. A pretty neat track.
9 out of 10

High Hopes: As of 2008, this is the last Pink Floyd song ever written, and it really shows. The introduction features meadow sound effects and distant bell tolls, the verses and pre-choruses bring in heartfelt piano melodies and gently sung vocals, the chorus features a powerful refrain, and the solo section features building orchestrations below sweet accoustic guitars, and the song fades out with rising guitar solos and an amusing phone coversative towards the end. A powerful closer and a most fitting swan song.
9 out of 10

Overall, this album gets 91 out of 110, 83%, and 4 stars. It doesn't quite resemble the classic Pink Floyd sound of old, but their last slab of material is enough to satisfy longtime fans and even bring in a few more with its more accessible sound. As much as I'd like to see some new material, it is comforting to know that they ended with a bang.

Light From Above (Black Tide)

2008-08-20T14:12:00.000-07:00

One of the many modern bands reported as being "the futures of heavy metal", Black Tide possesses a style that plays like a fusion of classic, thrash, and even a little bit of glam metal. The guitars are melodic but energetic, the songs are fairly accessible, the lyrics deal with themes of lust and badassery with a few fantasy elements here and there, and the vocalist sounds not unlike Machine Men's Toni Parviainen in his attempt to emulate Bruce Dickinson. The band also makes itself distinct by the ages of its members; every member is currently under 21 and lead singer/guitarist Gabriel Garcia is about 15 years old!

Shockwave: Unsurprisingly, the album starts off with one of its faster and more energetic tracks. It features building guitar squeals and a nice backing rhythm during the introduction, a more energetic direction during the verses, a heavy sing-a-long during the chorus, and some nice shredding solos. A nice way to start things off.
8 out of 10

Shout: Distorted vocals and suppressed riffs open this song during the introduction, the verses continue with another driving riff and unusual vocal lines, the chorus slows things down with uplifting vocals, and the solos continue with plenty of great squeals. A decent song though one of the weakest songs on the album.
6 out of 10

Warriors Of Time: Everything about this six minute tune just seems to scream "epic". The song starts off with a dramatic Spanish guitar dominated introduction, the following tempos range from faster verses to slower choruses, the riffs and solos are all nicely done, and the song is packed with plenty of gang vocals and "whoa-oh's" that are sure to make this one a live favorite. It sometimes seems like they're trying too hard, but it's an enjoyable song.
8 out of 10

Give Me A Chance: Mellow guitar harmonies and more distorted vocals open this song's opening verse, the following verses continue with a steady rhythm and building riffs, the pre-chorus brings in a heavier direction, the chorus is full of drama, the bridge go at a faster pace, and the solos features nice guitar and bass parts. Another one of the weaker songs on the album.
6 out of 10

Let Me: Perhaps my favorite song on the album, this song shows off some of the band's sleazier elements. It features infectious guitar harmonies, a groovy mid-tempo rhythm, slightly distorted vocals, and an even more infectious chorus. Call me conservative, but it certainly is odd to hear a kid his age to be singing about bumping uglies...
9 out of 10

Show Me The Way: Darker riffs and building drums open this song in an upbeat fashion, the verses bring in more unusual vocals and alternating guitar/vocal trade-offs, the pre-chorus is a solid builder, the chorus is another catchy sing-a-long with some nice gang vocals, and the bridge features a decent breakdown. A catchy tune though not quite a classic.
7 out of 10

Enterprise: Particularly dramatic guitar harmonies open this song accompanied by bell tolls, the verses continue with quickly sung vocals and delivered riffs, the pre-chorus and chorus are fairly uplifting, and the solo sections feature more cool guitar and bass work. It doesn't live up to the drama of the introduction, but it's a solid song.
7 out of 10

Live Fast Die Young: Gritty guitar harmonies open this song in a Skid Row-esque fashion, the verses and pre-chorus continue with solid vocal/guitar trade-offs, the chorus is a louder sing-a-long, and the bridge leads into a heavier direction. The "savage animal" reference also has a habit of making me chuckle. Does Sebastian Bach know about this?
8 out of 10

Hit The Lights: I'm guessing this Metallica cover is the reason why everyone thinks Black Tide is a thrash metal band. While the song seems to lack the grit of the unchallenged original, it is still a solid version that successfully does justice to the legends.
8 out of 10

Black Abyss: More dramatic guitar harmonies open this song and lead into an upbeat bass heavy groove, the verses bring in more prominent riffs, the chorus slows the song down and brings in a catchy refrain, and the solos bring in more great shredding and more somber melodies before the final chorus. For some reason, this song always reminds me of something that a band like Pyramaze would do...
8 out of 10

Light From Above: Building guitar squeals and pleasantly flowing piano playing opens this song dramatically before a heavier rhythm takes their place, the verses feature a bass heavy mid-tempo groove, the chorus brings in a driving riff. A good closer, though it isn't as epic as it could've been...
8 out of 10

Overall, this album 83 out of 110, 75%, and 3.5 stars. This album may not go over well with hardcore fans of the old school metal styles, but I see this album as being an energetic debut that could make a decent gateway for fans of more questionable tastes. The album's main flaws are the often mediocre lyrics and somewhat repetitive songwriting. If you feel that you wasted your money buying this album, you can at least hope that it's going into a nice college fund...

Perfect Symmetry (Fates Warning)

2008-08-19T04:48:00.000-07:00

Fates Warning's fifth album shows the band going in an even more accessible direction after the moderate successful of 1988's "No Exit". The song structures have become somewhat streamlined and the band plays with a greater emphasis on melody, sounding like a more dissonant Dream Theater in the process. Coincidentally, this is also the first album to feature guest contributions from DT keyboardist Kevin Moore and the first to feature Mark Zonder on drums.

Part of the Machine: It's always odd when an album opens with its weakest song, but fortunately this is still pretty good. It features mechanical sound effects during the introduction, plodding guitar/bass riffs and solos, wailing vocals throughout, a driving bridge, and a few more dissonant melodies here and there.
8 out of 10

Through Different Eyes: Probably the most accessible song on here. It starts off with melancholic guitar/bass during the introduction that soon leads into a more upbeat guitar gallop, the verses return to a softer style with sweet accoustic guitars thrown in, the chorus is an infectious segment that subtly works its way into your skull, and the solo section keeps the energy flowing. It kinda sounds like "Another Day" by Dream Theater without the saxophone.
10 out of 10

Static Acts: Another set of plodding guitars dominate this song but in a more dramatic way compared to those of the opener, the verses suddenly bring in more melodic guitars and falsettos, the chorus then returns to a heavier style with even more vicious falsettos thrown in, and the guitar solos are quite majestic. One of my favorite songs on the album.
10 out of 10

A World Apart: This song returns to the melodic style of the second track with a heavier edge to it at some points. The introduction opens the song in a dramatic fashion, the verses are like the others before them but with a more prominent drum beat, the chorus brings the heavier guitar crunch back in, and the guitar solo is another theatrical winner. A pretty great song.
10 out of 10

At Fate's Hands: After the numerous flirtations with melody, it's about time we finally got to an actual ballad. The song is made memorable by beautiful piano playing, the expressive violin, gently sung vocals and a steady rhythm during the verses, a more melancholic chorus, and a neat climax during the solo section. A pretty ballad that thankfully avoids the cliche and eerily foreshadows "Awake"-era DT in the process...
9 out of 10

The Arena: Now we come to another aggressive track. The introduction comes in with triumphant guitar harmonies and a driving bass gallop beneath it all, the verses continue with solid riffs and wails, the chorus throws in some memorable vocal lines, and the solo is an uplifting work. Not as powerful as the songs before it, but a great change of pace.
9 out of 10

Chasing Time: More somber accoustic guitars open this song smoothly, the verses continue with a more exotic beat in the background and drawn out vocals in the front, the chorus continues with a melancholic refrain, and the solo section brings in more violin playing. A pretty little tune.
8 out of 10

Nothing Left to Say: A heavier set of guitar harmonies guide a unique drum beat during this song's introduction before more melody sets in, the verses continue with building guitars in the background and a prominent rhythm, the brief chorus is more powerfully delivered without quite exploding, the bridge brings in more direct vocals and angrier guitars, and the solo sections and final choruses continue in a similar fashion. A pretty smooth closer.
8 out of 10

Overall, this album gets 72 out of 80, 90%, and 4.5 stars. "Awaken The Guardian" may be recognized by most as Fates Warning's magnum opus, but I think this album makes a fitting introduction to potential fans interested in the unique sound the group has to offer. It is a more difficult find and still takes a few listens to get a taste for, but I think this may be their strongest effort to date.

XV (King's X)

2008-08-18T08:48:00.001-07:00

The fifteenth and most recent King's X release offers many of the signature elements that have won them great acclaim in the underground community. The rhythm section churns many an enjoyable groove, the guitars are heavy but accessible, vocals are performed by all three members of the band, and the lyrics deal with the standard topics of religion and personal introspection. This album also has the distinction of being the most commercially successful King's X album since the release of "Dogman" in 1993.

Pray: Starting things off is my personal favorite track on the album. Musically, the song features mellow verses complete with soulful vocals and a building bass heavy groove, a chorus featuring an explosive set of guitar riffs and a catchy refrain, and an introduction that foreshadows both elements. Lyrically, the song is best noted for its sarcastic take on organized religion. I personally interpret the song as being a response to Christians that condemned the band after bassist/vocalist Doug Pinnick after he came out as a homosexual.
9 out of 10

Blue: A somber song, but not quite a ballad. It features melancholic guitar riffs and solos, a steady mid-tempo rhythm, majestic vocal layering during the verses, and a memorable chorus. Not as powerful as the track before it, but a soulful addition.
9 out of 10

Repeating Myself: I think this could be considered the album's first ballad and the first to feature guitarist Ty Tabor on lead vocals. It features delicate accoustic guitars, gently sung vocals, a smooth refrain with a prominent drum beat and echoing vocals, and nice ad-libbing towards the end. A simple but beautiful addition that is easy to get lost in.
8 out of 10

Rocket Ship: One of the more upbeat tracks on the album. It features crashing chords during the introduction, a grungy guitar chug and quickly sung vocals during the verses, and a simple but infectious chorus that gets stuck in one's head quite easily.
8 out of 10

Julie: Another ballad similar to "Repeating Myself", though it has a more accessible structure and has drummer Jerry Gaskill on vocals. Highlights include more upbeat accoustic guitar strums, building verses, and another beautifully sung chorus. Not as powerful as "Repeating Myself", but a pretty sweet song.
8 out of 10

Alright: Now we come to the album's first single and most energetic track. It features powerfully chugging guitar riffs, quickly sung vocals during the verses, and another infectious chorus with some great chanting backing vocals. One of my personal favorites on the album.
9 out of 10

Free: Back to a bluesy mid-tempo style we go as this track comes in. The verses feature a soft guitar groove, building drums, and solid vocal lines; the pre-chorus brings in a heavier guitar riff similar to that of "Blue"; and the chorus brings in more catchy layering. While I do find the "na-na's" in the chorus to be a tad questionable (Blame Strong Bad for that one...), this is a very enjoyable song.
9 out of 10

I Just Want To Live: More somber guitar melodies are prominent during this song, Tabor delivers a melancholic performance, a strong bass heavy groove lurks in the background, and an uplifting guitar solo appears before the final chorus. A pretty good tune though one of the lesser tracks on the album.
7 out of 10

Move: Upbeat bass and building guitar leads open this song in a powerful fashion, the verses keep the atmosphere going with drawn out vocals, and the chorus brings in a heavy but uplifting guitar riff. A pretty great track that's really been growing on me lately.
9 out of 10

I Don't Know: Another somber song that features delicate guitar playing, mournful vocals by Tabor, a heavier chorus, and a bleak guitar solo with soft backing bass. A little too similar to the ballads before it but a pretty little tune.
7 out of 10

Stuck: Soundgarden-esque guitar riffs open this song in a powerful fashion, the verses suddenly push the guitars into the background and features on the majestic lead vocals, the chorus brings the heavier riff back in with some nicely complementing vocal layering, and the solo section features great guitar squeals and distorted backing bass.
8 out of 10

Go Tell Somebody: Closing the album out is an interesting slab of self promotion. It features building guitar/bass riffs, energetic vocals with some layered outbursts, subtle but consistent drums, and a spacy solo section. A smooth closer.
8 out of 10

Overall, this album gets 100 out of 120, 83%, and 4 stars. Like many of the King's X releases, this album does suffer from predictable song structures but also benefits from a good amount of variety and an awesome band performance. This may also be one of the band's best offerings to date. Definitely worth checking out for fans of the band.

Earth A.D./Wolfs Blood (The Misfits)

2008-08-17T07:20:00.001-07:00

The Misfits' third and final album with vocalist/songwriter Glenn Danzig just might be their most aggressive album to date. Musically, the songwriting is done in a less melodic style and the songs themselves go at a faster pace than usual. Lyrically, the album attempts to move away from the tongue in cheek sound of old and into more graphic material. Rumor has it that Danzig wanted a few of these songs to appear on the first Samhain album but ended up putting them on here to try to save the band...

Earth A.D.: Creepy guitar harmonies and building drums briefly start this song off before a more intense rhythm takes over, the verses are packed with quickly sung vocals and catchy chants, the choruses aren't quite as catchy but do have a few slower spots come up every now and then. A strong opener.
8 out of 10

Queen Wasp: This song comes in right away with a muscular drum beat and more catchy chants and the verses and choruses continue with more crashing chords and rapidly delivered vocals into the mix. A particularly memorable highlight.
9 out of 10

Devilock: More intense guitar riffs, powerful drums, and quick vocals are prominent during the verses and the choruses bring in memorable backing vocals. A good song though not as strong as the songs before it.
7 out of 10

Death Comes Ripping: This song is done in a more accessible style and features a brief building introduction, catchy guitar/vocal trade-offs over a steady rhythm, and the chorus is another catchy sing-a-long with a few subtle lead guitar in the background. One of my personal favorites.
10 out of 10

Green Hell: Famous for being covered by Metallica, this is another accessible track. It features more catchy vocals and a particularly powerful set of guitar chugs. Somewhat overrated but a great track.
9 out of 10

Mommy, Can I Go Out And Kill Tonight?: Originally heard as a live track on "Walk Among Us", we finally get a studio update on this classic tune. It is the same song in structure and performance, but is ultimately inferior due to a lesser amount of energy than its live counterpart. Still a pretty awesome song though...
9 out of 10

Wolf's Blood: I like to think of this song as sounding like a faster version of "Death Comes Ripping". The riffs have a dramatic quality played at a faster speed, the drums are energetic, and the vocals are as fast paced as ever. A pretty good song.
8 out of 10

Demonomania: A fourty-five second long segment of pure carnage that features memorable though slightly repetitive vocal lines and some slow/fast contrasts. Not much more other than that.
7 out of 10

Bloodfeast: My favorite song on the album features building guitar riffs, a groovy drum beat, somewhat unintelligible vocals during the verses, and unusual but infectious vocal layering during the choruses.
10 out of 10

Hellhound: Another aggressive song similar to "Wolfs Blood" that features grinding riffs, angry vocals, and driving drum beats. A pretty good tune.
8 out of 10

Die, Die My Darling: Probably the most famous song on the album (Yes, Metallica covered it too), this song is also its slowest and most melodic. It features a slightly dissonant main melody, catchy vocal lines, and what I can only describe as UFO sounds in the background. Another slightly overrated tune but still a fun listen.
8 out of 10

We Bite: Closing the album out is a rapid fire tune that features a fast rhythm, quickly spat lead vocals, and more chanted vocals in the background. Somewhat unnecessary but still pretty solid.
7 out of 10

Overall, this album gets 100 out of 120, 83%, and 4 stars. While the album isn't as accessible as "Walk Among Us", it is still a strong effort that should appeal to Fiend Club members and Devilock wearers the world over. The angrier attitude might even attract a few outsiders with harsher tastes. All in all, a fitting way to end the great Danzig era.

Battles In The North (Immortal)

2008-08-16T20:17:00.001-07:00

In terms of musical style, Immortal's third album seems to pick up from where the previously released "Pure Holocaust" left off. The production is extremely raw, the drums and riffs hammer away at a constant drone, the vocals are performed in their signature croak, and a few melodic moments do arise here and there for good measure. However, this album also marks the first mentioning of the band's Blashyrkh mythos and is the last album to feature frontman Abbath Doom Occulta playing the drums in addition to taking care of the bass and lead vocals.

Battles In The North: Right away, we get a taste of what this album has to offer. This tune features dark riffs, constant double bass drumming, drowned out growls, more accessible chugs after each verse, and a harshly yelled chorus. Not quite a classic but one of the better songs on the album.
7 out of 10

Grim And Frostbitten Kingdoms: Hailed as a classic by some fans, this track features more constant drumming, intense riffs, a few higher pitched croaks, a more upbeat chorus, and an exotic guitar solo towards the end. I'd say it's a little overrated...
6 out of 10

Descent Into Eminent Silence: A particularly triumphant chug opens this song accompanied by more building double bass and the verses go into more dissonant territory. Not much else to say about it. I do wish it would focus more on those mid-tempo parts instead of just making them nice little teasers...
6 out of 10

Throned By Blackstorms: A nice Slayer-esque chug briefly opens this tune before more of the same comes crashing in. The bridge does offer another uplifting segment, but nothing else stands out...
6 out of 10

Moonrise Fields Of Sorrow: Bright guitar leads are buried beneath the drum droning during this song's introduction and the verses and choruses bring in rapidly delivered vocals over more accessible guitar riffs. One of the better songs on the album though the drumming still seem to bring it down...
6 out of 10

Cursed Realms Of The Winterdemons: Melodic guitars open this song in a way that would make you think that it would be going in a different direction than the songs before it, but then the signature rhythm comes in and transforms it into another average tune with some stranger rasps thrown in. I do wish they had kept the melody in there. . .
6 out of 10

At The Stormy Gates of Mist: This song is dominated by the same elements as the tracks before it with some eerily echoing vocals thrown in. Not much more to say about it...
6 out of 10

Through The Halls Of Eternity: More melodic guitar riffs fades in as another grinding rhythm comes in and the verses continue in a similar fashion with the melody kept in tact. I just wish they had made it more prominent...
6 out of 10

Circling Above In Time Before Time: I'm still wondering what this song's title is supposed to mean. Something about travelling into the future maybe? It starts out with another combination of buried melodic guitars and droning drums. A few interesting moments but another generic track.
6 out of 10

Blashyrkh (Mighty Ravendark): FINALLY, A UNIQUE SONG!! Instead of being dominated by the fast paced mayhem of the other songs, this track is a mid-tempo tune with a triumphant atmosphere. It also features powerful guitar chugs, charismatic rasps, slightly toned down but still energetic drumming, and an extended melodic moment that finally gives the listener some breathing room. It almost makes the album seem worth it...
10 out of 10

Overall, this album gets 65 out of 100, 65%, and 3 stars. Having been impressed by "Sons Of Northern Darkness", I was surprised to find my second Immortal purchase to be much more mediocre and generic. I'm sure any black metal die-hard would enjoy this, but I have been slightly turned off by the lack of variety (particularly in the drum department) and have become a little more wary of what else the band has to offer. Either I need to let it grow on me for a few more months or it's just too grim and kvlt for me. . .

Along Came A Spider (Alice Cooper)

2008-08-14T20:42:00.001-07:00

Alice Cooper's twenty-fifth album is also one of his concept albums in quite some time. The album's story is one of Cooper's darkest and deals with a serial killer who ends up falling in love with one of his victims during the course of his personal mission. Musically, the album features a combination of upbeat retro rock anthems and a few heavier moments that would sound at home in the "Brutal Planet" era. This is also the first album to feature KISS drummer Eric Singer and guitarists Jason Hook and Keri Kelli.

Prologue/I Know Where You Live: Our journey begins as eerie strings and a woman's spoken voice open this song in an effectively creepy fashion. The song itself is a gritty romp that features a catchy set of guitar riffs, pounding drums and vocals during the verses, catchy vocal lines and hand claps during the song's pre-chorus, a simple but infectious sing-a-long chorus, and numerous keyboard and guitar effects making subtle appearances in the background. A strong opener with some great lyrics.
9 out of 10

Vengeance Is Mine: Originally released as a teaser by the means of Cooper's Myspace page, this song is one of the heaviest and most accessible songs on the album. It features particularly vicious guitar harmonies, angry vocals and guitar squeals thrown in during the verses, a building pre-chorus, an explosive 80's chorus, an eerie final verse, and guitar playing by the legendary Slash (He previously played guitar on the title track of the "Hey Stoopid" album). My favorite song on the album and a song that sounds like it would've been huge back in the day...
9 out of 10

Wake The Dead: Ozzy Osbourne provides backing vocals for this upbeat rocker. Like Slash, the Ozzman also appeared on the title track of the "Hey Stoopid" album years before. This song features an almost industrial drum beat, somewhat squeaky vocal layering, exotic guitar harmonies, a healthy amount of distortion, and a simple but effective chorus. Not as powerful as the last two tracks, but definitely a highlight.
8 out of 10

Catch Me If You Can: Gritty guitars and sinister vocals fade in for this song's verses, the chorus is another mindless sing-a-long, and the solo section includes some interesting keyboards. Somewhat shallow in structure but a really fun song.
8 out of 10

(In Touch With) Your Feminine Side: Some interesting percussion leads into another meaty guitar riff for this song's introduction, the verses continue with a muscular drum beat and interesting vocal lines, the chorus is a sweet builder though not as infectious as those before it, and the song closes out with a few amusing "whoo-whoo's" towards the end. A pretty solid song.
7 out of 10

Wrapped In Silk: Another hard rock song that proves to be a great highlight. The introduction and verses are made memorable by a building bass and drum beat, catchy vocal lines, and solid riffs and the chorus is another catchy work.
8 out of 10

Killed By Love: Now we come to the album's first ballad. It features some sweet accoustic guitar strums, echoing vocals, somber electric guitar squeals, soft but effective backing vocals, and a more climactic chorus. It seems like it had to be done, but it's a good song that portrays a different side of Spider's character. For some reason, Cooper's voice on this one kinda reminds me of David Bowie...
8 out of 10

I'm Hungry: Back to the hard rock style we go with this tune. It features a building guitar riff, more high pitched vocal layering throughout (Though it's not Osbourne this time around), a louder chorus, squealy guitar solos, poppy vocalizing towards the end, and some amusing S&M themed lyrics.
8 out of 10

The One That Got Away: Muscular vocal/guitar trade-offs dominate this song's introduction and verses, the chorus is more melodic with subtle guitar squeals in the background, and the bridge features an amusing spoken segment between Alice and his daughter Calico. She certainly does a good Valley Girl impression...
8 out of 10

Salvation: The second ballad is a bit more dramatic than the one before it. It comes in with atmospheric piano playing that is soon accompanied by gently layered vocals and a mellow rhythm during the verses, the chorus is an explosive segment that brings out louder riffs and drumming, and the bridge is a quiet builder to a dramatic guitar solo. A nice execution of the classic power ballad formula.
8 out of 10

I Am The Spider/Epilogue: Closing the album out is its darkest song. It features a much slower pace, a bass heavy rhythm and darkly sung vocals during the verses, plenty of great guitar squeals, a heavier chorus, a layered bridge full of demonic vocals, and a memorable spoken segment to end the story with an interesting twist. It may take a listen or two to really get a taste for, but it's a pretty cool tune that manages to stand on its own quite nicely.
9 out of 10

Overall, this album gets 90 out of 110, 82%, and 4 stars. It doesn't quite measure up to the insane theatrics of "Welcome To My Nightmare", but this album does offer some awesome songs and an interesting story. Worth checking out for fans everywhere, particularly those of his heavier songs.

Leviathan (Mastodon)

2008-08-13T12:15:00.001-07:00

Mastodon is one of the most unique bands in the mainstream metal scene today and play a style that fuses prog and sludge metal with a few hardcore touches here and there. They have also gathered a great deal of acclaim for their mystical lyrical themes and the powerful performances of drummer Brann Dailor. This particular album is said to represent the water element and is a concept album about the legendary story of Moby Dick.

Blood And Thunder: The album opens with one of its strongest and most famous songs. It features some infectious guitar riffs, plenty of great drum fills, powerfully delivered verses, catchy gang vocals during the chorus, a strong solo section, and intense yells by Clutch's Neil Fallon during the final verse. A strong opener and my favorite song on the album.
10 out of 10

I Am Ahab: This tune features building guitar harmonies, great drumming, and drowned out vocal lines. While the guitar parts are all interesting and visual, it does have a somewhat sloppy quality that makes it somewhat inaccessible...
7 out of 10

Seabeast: Swirling guitar melodies open this song in a more melodic but still foreboding fashion, the verses throw in some dissonant but catchy vocal/guitar harmonizing, the guitar solos are done in the style of the introduction, the chorus brings in a harsher vocal performance, and a heavier chug comes in for the song's closing bit. A personal highlight.
8 out of 10

Island: Gritty guitar riffs and barely audible yells dominate this song's verses and the chorus brings in more prominent vocals while still keeping the fury in check. A decent song though a little too dissonant for my tastes...
6 out of 10

Iron Tusk: A quick drum count-off leads into a solid chug, the verses throw in more drowned out rasps into the mix, the chorus features a catchy shouted refrain, and the solo section features some nice though somewhat brief jamming. One of the better songs on the album.
8 out of 10

Megalodon: More melodic guitars and nicely complementing drums start this song off in a way similar to "Seabeast" (though it's not as dark), the verses continue with solid vocals and more dissonant riffs, the chorus features more solid yells, and the faster riff during the solo section sounds exactly like the ending of Metallica's "Welcome Home (Sanitarium)". Unfortunately, that seems to be the only true memorable part in this song...
7 out of 10

Naked Burn: Building guitar melodies open this song accompanied by some nice bass, the verses features vocals similar to "Seabeast" accompanied by much heavier riffs, the pre-chorus is one of the catchiest moments on the album, and the chorus brings in angrier vocals. My second or third favorite song on the album.
8 out of 10

Aqua Dementia: Another bass heavy groove opens this song on an interesting note with accompanying drums, the verses continue with rapid yells and an active chug, and vocals are provided by Neurosis' Scott Kelly. Decent though one of the average songs on the album.
7 out of 10

Hearts Alive: Now we come to the album's thirteen minute epic track. It fades in with melodic guitars and bass, nice drums, and sounds of wind and ocean in the background during the introduction; the opening verse throws in more of those drowned out vocals we've become familiar with; the following verses bring in a melodic vocal style that greatly contrasts the raspy wails of previous songs; the chorus is more aggressively done; and the various solo sections are packed with some exotic guitar harmonies and varying tempos. I get the feeling that this could've been much better but it does run on for a little too long and a few parts seem to be a little out of place...
6 out of 10

Joseph Merrick: Closing the album out is a four minute instrumental. It is a fairly somber track that features pleasant accoustic guitars, distorted solos, and a slow but steady rhythm. Not quite a classic, but a welcome relief from the more repetitive speed monsters. I'm surprised there aren't a bunch of drum fills or solos in it...
7 out of 10

Overall, this album gets 74 out of 100, 74%, and 3.5 stars. With a few exceptions, this is an album that I don't really have much of a taste for. While I am capable of appreciating the band's musicianship and lyrical concepts, I find that the songs themselves are somewhat sloppy and inconsistent. Call me crazy, but I think High On Fire may be better at this sort of thing...

Permanent Waves (Rush)

2008-08-12T10:05:00.001-07:00

Rush first had a taste of commercial success with the release of "2112" in 1976, but this 1980 effort proved to be one of the band's big break-throughs into the mainstream. For the most part, the songs themselves have become shorter in lengths and vocalist/bassist Geddy Lee's singing moves away from the high pitched wails into a lower pitched style. Thankfully, the band's complex music abilities and intelligent lyrics were retained in spite of the more accessible sound.

The Spirit Of Radio: One of the band's most famous songs opens this album on a high note. The track features swirling guitar melodies, pleasant but charismic vocal lines during the verses and choruses, driving bass lines, and a few heavier moments that kinda remind me of Led Zeppelin's "Moby Dick" for some reason.
10 out of 10

Freewill: Another well known song that has gotten its share of radio play. It comes in with an energetic set of guitar and bass melodies during the introduction, the verses continue with solid vocal lines thrown in, the pre-chorus slows the song down to some extent, the chorus provides a memorable sing-a-long, the guitars are drowned out during the solo section, and the final pre-chorus brings in some distinct falsettos. A pretty fun little tune.
9 out of 10

Jacob's Ladder: Now we come to the album's darkest song. It comes in with a foreboding bass line, melodic guitars in the background, and a percing keyboard note during the introduction; the first verse thrown in somber vocals and a lower key guitar riff; and the solo sections feature great guitar, bass, and keyboard parts; the second verse features prominent keyboards and unusually distorted vocals; and the final verse ends the tune on an uplifting note. A pretty interesting addition.
8 out of 10

Entre Nous: Melodic guitars and more piercing keyboards open this song's introduction, the verses continue at a solid mid-tempo pace with more prominent bass, the chorus slows the song down and includes more melodic vocals and guitars. A good song with insightful lyrics but not much more...
7 out of 10

Different Strings: Somber guitars and bass open this song in a ballad fashion, the verses continue with a vulnerable vocal performance and a steady rhythm after the first chorus, the chorus provides a decent refrain, the guitar solo is simple but expressive, and artist Hugh Syme provides the keyboards. A pretty nice tune.
7 out of 10

Natural Science: Closing the album out is a nine minute epic. Sounds of the sea, soft accoustic strums, and echoing vocals dominate the first portion ("Tidal Pools"); the second part of the epic ("Hyperspace") brings in a few heavier guitar harmonies, more bizarrely echoing vocals, and a great solo section; the third portion ("Permanent Waves") features even more dissonant melodies, a groovy solo section, and strange closing sound effects; and the choruses in between provide an upbeat refrain and quickly sung vocals. Somewhat overrated but a good closer.
8 out of 10

Overall, this album gets 49 out of 60, 82%, and 4 stars. While "Moving Pictures" is a better example of a good commercial formula in effect, this album is a solid Rush staple worth checking out for die-hards and could even pull in people interested in the band. The only true flaw is a somewhat lacking performance by legendary drummer Neil Peart. Other than that, it's just one of those albums that I really wish I hadn't sold all those years ago...

Metal (Annihilator)

2008-08-11T01:05:00.001-07:00

Annihilator's most recent album has been hyped as being as the band's return to the old school thrash sound of their first three albums. While it fails to capture the feelings felt during the band's glory days, it is one of their most consistent in quite some time. Guitarist Jeff Waters' riffs and harmonies have become more melodic than before, drummer Mike Mangini has returned to the fold to lay some technical drum beats, and vocalist Dave Padden takes on a more melodic singing style that strays away from the screaming of the last two albums, becoming Annihilator's most consistent lead vocalist in the process. The album has also gotten hype for featuring guest guitar solos performed by some of the biggest shredders in the metal community.

Clown Parade: My personal favorite song on the album starts things off on a pretty high note. It features a building guitar harmony during the introduction and verses, the chorus brings in an infectious refrain, the bridge features some angrier vocals, and the solo section features excellent solos by Nevermore guitarist Jeff Loomis and some great melodic chants that just scream Iron Maiden worship. Well, it sounds better than that time Trivium tried them out...
9 out of 10

Couple Suicide: If not for the occasionally thrashy guitar riffs, I never would've guessed that this was even Annihilator. Instead, we are treated to a bizarre funk/alternative experiment that features Danko Jones providing lead vocals with Arch Enemy's own Angela Gossow providing growls in the background. While it is a fairly catchy tune and not as bad as a few of the band's other experiments, Angela doesn't seem to fit in with the song's upbeat vibe and the song itself seems even more out of place on an album like this...
6 out of 10

Army Of One: Judging by the title, I initially suspected that this would be one of Annihilator's classic schitzo songs. Instead, we get a song that just screams classic metal worship. The guitar riffs are strong and melodic, the verses features Padden name dropping many an influential band and somehow rhyming Megadeth and Black Sabbath, the chorus is an uplifting segment with a few harsh undertones, and the guitar solos are performed by Anvil's Steve "Lips" Kudlow. Sometimes the old school atmosphere feels more like an unintentional mockery than a tribute, but it is one of the stronger songs on here.
8 out of 10

Downright Dominate: One of the album's heaviest tracks. This song features more powerful riffs throughout, alternating clean/harsh vocals during the verses, an intense but catchy chorus, a more direct bridge, and guitar solos delivered by Children Of Bodom's own Alexi Laiho. Rumor has it that Waters was originally going to perform a solo on "Blooddrunk" in return but was unable to do so because of scheduling conflicts. One of my favorites.
9 out of 10

Smothered: A somewhat generic but enjoyable guitar riff dominates this song's introduction and verses, the verses' vocal lines are the melodic flair and remind me of "Both Of Me" in a way, the chorus is catchy and more angrily delivered, the bridge features a unique though slightly misguided spoken segment, and the solos are performed by Anders Bjorler of The Haunted. A great song though one of the more generic songs on the album.
8 out of 10

Operation Annihilation: Jeff Waters now takes the mic for the standard solo song that has appeared on every album featuring Padden. This song is a solid mid-tempo track that features a catchy main riff, drawn out vocal lines during the verses, guitar/vocal trade-offs that sound eerily similar to those from "Set The World On Fire" during the chorus, and guitar solos performed by Arch Enemy's Michael Amott. A strong highlight.
8 out of 10

Haunted: Atmospheric wind effects fade in and are eventually overcome by powerful thrash riffs and drums during the introduction, the verses throw some melodic vocal lines into the fray, the chorus features harsher vocals and catchy chants, and the bridge and solo sections (solos performed by Jasper Stromblad of In Flames) contain even more melodic vocals and guitar playing. It may be epic in song length only, but it is one of my personal favorite tracks.
9 out of 10

Kicked: Melancholic bass dominates this song's introduction in a way similar to "Couple Suicide" with some fuzzy guitar and building guitars in the background, the verses feature another muscular guitar chug and vocal lines that remind me of Slayer's "Silent Scream" in a way, the chorus is another harsh segment, the bridge features more melodic vocals, and the solos are played by Trivium's Corey Beaulieu.
7 out of 10

Detonation: A neat little drum solo starts this song in a promising fashion before a brief spoken segment takes over, the verses and pre-chorus bring in a heavier mid-tempo guitar riff and catchy vocals, the chorus is a harsh one-liner, and the guitar solos are handled by Lynam's Jacob Lynam. A pretty neat song, though the lyrics are excessively angsty...
8 out of 10

Chasing The High: In the vein of "Human Insecticide" and "I Am In Command", this album closes out with one of its most intense songs. Its introduction features extremely fast riffs and drumming similar to "Weapon X" in a way, the verses continue with angry vocals, the chorus features a more direct chug and solid yells, the bridge features some interestingly layered vocals, and the solo sections feature a melody that sounds a lot like "Alice In Hell", solos by Lamb Of God's Willie Adler, and a somewhat random melodic segment. A solid closer.
7 out of 10

Overall, this album gets 79 out of 100, 79%, and 3.5 stars. True to its title, "Metal" offers a solid slab of music that may be the band's best album since 2003's "Waking The Fury". Longtime fans will know what to expect, though it may be a little too inconsistent and a little desperate sounding for some old school die-hards to handle.

Physical Graffiti (Led Zeppelin)

2008-08-10T09:15:00.000-07:00

Led Zeppelin's sixth album is one of their most unusual, for it is a double album that features both new songs and those that had been previously unreleased. As a result, it is their most eclectic album and showcases every kind of style that the band had experimented with since their start in 1969. It's also worth noting that this album is the favorite among several of the Zeppelin members, including vocalist Robert Plant.

Custard Pie: The album starts off with a raunchy hard rock number that resembles "Whole Lotta Love" in a way. It features an upbeat mid-tempo rhythm, slightly buried vocals, loose and erratic guitar riffs, occasional bass fills, nice harmonica flourishes and use of guitar squeals during the solo section, and a nice hook throughout. A very strong start.
9 out of 10

The Rover: While this song retains the opener's laid back nature, it does possess a little more energy. A sweet drum beat and wailing guitars start this song off nicely, an upbeat bass heavy rhythm dominates the verses, the pre-chorus and chorus bring in uplifting guitar chords and catchy vocals, and the guitar solo is nicely done. Add in some mysterious lyrics and a memorable highlight is made.
9 out of 10

In My Time Of Dying: A traditional tune originally made famous by Bob Dylan, this eleven minute blues jam is Led Zeppelin's longest song to date. While it is a very strong track that features varying tempos and an excellent band performance, it might be a little too long for its own good...
8 out of 10

Houses of The Holy: Intended to be the title track of the famous album of the same name, this song is one of my personal favorites. It is made distinct by its slightly twangy main riff, pleasant vocal melodies, some nice wails here and there, and a driving rhythm.
10 out of 10

Trampled Underfoot: This song is made memorable by an unusual but catchy set of funk melodies, barely audible vocals, and some nice solos here and there. A pretty good song that I find to be similar to "The Rover" in a way and much better than the band's first funk experiment...
8 out of 10

Kashmir: Before we enter our intermission, the first disc's final song is one of the band's most famous to date. It features an appropriately Eastern set of guitar melodies, mystical vocal lines during the chorus, a pounding drum beat, and a particularly uplifting second half. It may go on a little too long, but it is a plodding monster that blows "When The Levee Breaks" out of the water...
10 out of 10

In The Light: Opening the second disc is a near nine minute epic. It features fading guitar harmonies and Eastern organs during the introduction, the main verses continue with building bass/vocal trade-offs, the following verses bring in louder riffs and more normal vocals, and the solo section features pleasant guitar and organ segments. A nice introduction and a pretty unique song.
9 out of 10

Bron-Yr-Aur: Not to be confused with the "Bron-Y-Aur" stomp, this two minute is the signature LZ accoustic instrumental. Pleasant guitar melodies but not as strong as "Black Mountain Side" and others...
7 out of 10

Down By The Seaside: Here we have a particularly mellow tune. It features almost tropical guitar melodies not unlike those of "D'yer Ma'ker", laid back vocals with occasional falsettos coming into play, a sweet chorus, and a more active solo section. A beautiful addition.
8 out of 10

Ten Years Gone: Soft guitars and bass open this song quite nicely, the verses bring vulnerable vocals into the mix, the choruses bring in heavier riffs and a few dabblings into falsetto, the solos are fairly trippy, and the climax is even heavier. A pretty cool song.
8 out of 10

Night Flight: A soft drum beat opens this song before an organ heavy opening verse takes over, the chorus features an upbeat fusion of organs and guitars with some accompanying vocal echoes, and the following verses bring in more of a bass presence. A decent song, though perhaps a little too organ heavy and somewhat awkward...
7 out of 10

The Wanton Song: One of the album's heaviest guitar grooves opens this song quite powerfully, the verses bring in some bizarrely echoing vocals, and some melodic guitars and organs dominate this song's solo sections. A pretty great tune.
9 out of 10

Boogie With Stu: Featuring Rolling Stones keyboard Ian Stewart providing piano playing, this is one of the most upbeat songs on the album. It features an almost mechanical rhythm, pleasant guitars and piano, strangely echoing vocals, and sweet use of mandolin. An underrated song that is quite pleasing to the ear.
9 out of 10

Black Country Woman: Some band chatter opens this track before the actual music begins and the rest of the song continues with a bluesy formula, sweet accoustic harmonies, soulful vocals, and upbeat drums and harmonica coming in at the song's climax. A good song that would get a lower rating if the drums hadn't come in...
8 out of 10

Sick Again: Muscular guitar harmonies open this song nicely, the verses and choruses continue with somewhat gruff vocals and a bass heavy rhythm, and the guitar solos continue in a similar style. A strong closer, though it's one of the weaker tracks.
7 out of 10

Overall, this album gets 126 out of 150, 84%, and 4 stars. Like any double album, there is a bit of filler in our fifteen song trek but Led Zeppelin manages to pull this album off with the style that could only be theirs. Recommended to die-hards and "Kashmir" lovers the world over. From my experience, the second disc can be really easy to overlook...

Covenant (Morbid Angel)

2008-08-09T17:43:00.000-07:00

Morbid Angel is highly regarded by many metalheads as being one of the leading bands in the Florida death metal scene of the 80's/90's. They made themselves distinct by means of erratic drumming by Pete Sandoval, twisted guitar playing by Trey Azagthoth, gruff growls by bassist/vocalist David Vincent, a heavy emphasis on mid-tempo grooves, and lyrics inspired by both Satanism and the work of HP Lovecraft. This is their third album and brought them greater fame within the metal community and beyond...

Rapture: The album's opener starts things off on a heavy note. It fades in with powerful riffs and drums during the introduction, the verses continue with memorable growls and intense drumming, the song's bridge features solid guitar squeals in the background, and the various solo sections continue in a similar fashion. A little overrated but a decent start.
7 out of 10

Pain Divine: Harsh riffs and drumming open this song's introduction and are soon replaced by a more direct guitar assault, the verses continue with raspier growls thrown into the mix, the chorus is a slightly awkward one-liner. A pretty decent song that exercises some speed and somewhat enjoyable guitar melodies.
7 out of 10

World Of Shit (The Promised Land): A powerfully plodding riff opens this song in a Sabbath-esque fashion with building drums pushed into the background, the opening verses continue with plodding riffs and solid growls, the following verses pick up speed and feature more prominent drums, and the guitar solos just scream Slayer worship. A good song though I think it would've been more interesting if it had stayed in a doom metal style...
7 out of 10

Vengeance Is Mine: Dissonant riffs and a bass heavy groove dominate this song's introduction, the verses continue at a much faster pace, and the solos continue in a similar fashion. The first verse is somewhat catchy, but I consider it to be one of the more average songs on the album.
6 out of 10

Lion's Den: Another dissonant groove opens this song and leads into an intense mid-tempo riff, the first two verses continue in a similar fashion with powerful drumming in the background, and the last few verses and choruses go in a much faster direction. Decent though not as epic as it could be.
7 out of 10

Blood On My Hands: This song comes in with slightly erratic guitar riffs and the familiar drumming, the verses continue in a similar style with solid growls, the chorus features memorable growls and more intense drums, and more squeaky solos follow suit. One of the weaker songs on the album.
6 out of 10

Angel Of Disease: Due to a strong thrash metal influence, this is one of the more unique songs on the album. It features raspy vocals that are unlike anything else on the album, a variety of guitar solos, varying tempo changes, a pretty catchy chorus, and lyrics full of Lovecraft imagery. I'm not sure whether it deserves an 8 or a 9 but it would've gotten a higher rating if it was a little shorter and more organized...
8 out of 10

Sworn To The Black: Building riffs and drums open this song like the previous songs, the verses continue with more interesting guitar/vocal trade-offs, the chorus features a catchy echoing vocal hook, and the solo section features some great guitar and bass parts. One of my favorite songs on the album and another one that I'm unsure of its true rating...
8 out of 10

Nar Mattaru: Here we have a brief interlude to give some atmosphere before the final song. A nice departure from its surroundings though there's not much to really say about it.
7 out of 10

God Of Emptiness: Closing the album out is its most unique and most famous track. The introduction comes in with dramatic plodding guitar and building drums, the verses continue at that pace with some catchy growls thrown in, the pre-chorus bring in some sinister clean vocals, and the chorus slows the song down dramatically and features an eerily catchy vocal/guitar melody. The only flaws I see are the lack of guitar solos and a somewhat campy feeling. If only the rest of the album was like this...
9 out of 10

Overall, this album gets 72 out of 100, 72%, and 3.5 stars. While I certainly will not deny the album's influence on the death metal genre, I'm afraid I personally don't have much of a taste for it. The production is less than desirable and the songs themselves do have a tendency to sound similar (with a few obvious exceptions). However, I would still recommend it to death metal buffs everywhere. I'll stick to Death and Cannibal Corpse...

Songs For Sanity (John 5)

2008-08-08T11:14:00.000-07:00

Guitarist John 5 may have gotten his fame for collaborating with such artists as Marilyn Manson and Rob Zombie, but he has gathered another kind of audience with his instrumental solo releases. This particular album is his second release and features some awesome shredding, atmospheric horror movie aesthetics, a few moments of bluegrass influence, and even a few special guest appearances made by such artists such as Steve Vai and Albert Lee. Instrumental albums are still a new thing with me, so I'll be reviewing this to the best of my ability...

Damaged: What better way to start an album like this than with its fastest and most shred-friendly song? Highlights include a powerful rhythm guitar performance, uplifting leads, and some really catchy harmonies thrown in for good measure. Somewhat overwhelming on the first few listens, but a great way to start things off.
9 out of 10

Soul Of A Robot: This song retains some of the opener's heaviness, but it is performed with a more relaxed outlook. A few robotic sound effects, heavy rhythms, and amazing lead guitar solos make this a worthy addition.
8 out of 10

Gein With Envy: Now we come to the album's first big bluegrass number. It features rapidly played accoustic guitars and plenty of catchy melodies. Certainly an interesting addition.
8 out of 10

Sin: Fans of John's work with Manson and Zombie shouldn't be too disappointed with this dark shredder. It features a softly played introduction with building guitars, drums, and bell tolls; extremely intense guitar chugs and solos during the song's climax; and a closing segment that ends the song as it began. One of my personal favorite songs on the album.
9 out of 10

Behind the Nut Love: The shortest song on the album, this 1:43 tune features gently played accoustic guitars that evoke a peaceful country atmosphere. Not much of a highlight, but a nice chance to take a breath and enjoy the view.
7 out of 10

Blues Balls: Compared to the previous tunes, this song has more of a hard rock edge. Highlights include its loud and dirty rhythm, sweet piano touches in the background, and more of those great guitar solos. A solid addition.
8 out of 10

Fiddler's: Another bluegrass track, only this one features twangy electric guitars in place of the accoustics of "Gein With Envy". Other highlights include amusing samples, energetic drums, and an extremely upbeat rhythm throughout. Perhaps my favorite song on the album. It sounds like it'd make great music for a chase scene. Kinda reminds me of "The Dukes Of Hazzard" gone metal...
10 out of 10

Gods And Monsters: Nowhere near as sinister as "Sin", but this song is another dark one. It features a nice building introduction, a smooth industrial groove, melodic guitar playing, a few heavier moments with some nice chants thrown in, and some bizarre sampling. Not quite a classic but a worthy highlight.
9 out of 10

2 Die 4: Foreboding sounds of static open this song nicely with soft accompanying guitar and the rest of the song is dominated by melancholic guitar harmonies, sweet piano touches, and a somber atmosphere. It kinda reminds me of Metallica's "To Live Is To Die" in a way.
8 out of 10

Death Valley: More bizarre sound effects and virtually spoken vocals open this song in a unique fashion and the rest of the song continues with a bizarrely upbeat rhythm and more bluegrass guitar melodies. Of course, it's nowhere near as twangy as the songs before it.
7 out of 10

Perineum: Dissonant Dream Theater-esque guitar chords open this song in a powerful fashion and the song continues with a muscular rhythm and a variety of erratic solos (Including a few played by Steve Vai). A pretty cool addition.
8 out of 10

Denouement: Closing the album out is a final moment of dark atmosphere. It features a building melody similar to the one found on "Sin", the rest continues at a mid-tempo pace with some solid guitar harmonies thrown in, a few solos are performed by Albert Lee, and the song ends with a weird spoken sample. A solid closer.
7 out of 10

Overall, this album gets 98 out of 120, 82%, and 4 stars. Due to the lack of vocals and the abundance of unconventional songwriting techniques, this might be a little difficult for the guitarist's regular fans to get a taste for. However, those with open minds and a love for inventive shredding just might find their favorite instrumental masterpiece. It's worth checking out and seems to be his most commonly available album.

Never Mind The Bollocks, Here's The Sex Pistols (Sex Pistols)

2008-08-07T23:35:00.000-07:00

I've always a bit of a love/hate affair with the Sex Pistols' only true studio album. When I listened to it, the songs all sounded the same, bassist Sid Vicious was a talentless hack (That part I still agree with; Glen Matlock played on every song but the second track), and vocalist Johnny Rotten just sounded like Bon Scott on a really bad day. Fortunately, the work has managed to grow on me and I can plainly see the influence that it has had on the punk rock style since its release in the fall of 1977. Guitarist Steve Jones' riffs are loud but fun, Rotten's voice now comes across as a sarcastic sing-a-long, and the lyrics are full of angst greatly fueled by politics and working class life.

Holidays In The Sun: Sounds of marching soldiers/percussion and crashing chords start this song off in a somewhat dramatic fashion, the verses continue with a powerful main riff and rolled snarls, the chorus features catchy chants, and a few erratic spoken segments are thrown in for good measure. A fitting introduction and one of my personal favorite songs on the album.
9 out of 10

Bodies: While much of this song's hype has been placed on what are commonly interpreted as anti-abortion lyrics, the music itself is pretty solid. The introduction begins with more building guitars and drums, the verses continue with a bass heavy groove (Unsurprising as it is the only song to feature Sid Vicious), the chorus is another fun sing-a-long, and a profanity laden spoken segment dominates the song's bridge.
8 out of 10

No Feelings: Particularly gritty guitar riffs open this song nicely, the verses continue with energetic vocals, the chorus is another catchy segment, a nice solo section is thrown in, and the lyrics are laced with satirical narcissism. Well, we think it's satire...
8 out of 10

Liar: One of the more repetitive songs on the album. It features another building introduction, catchy verses, a building chorus, and another gritty guitar solo. Not as strong as the previous songs, but it's catchy enough to stay memorable.
8 out of 10

Problems: Another strong guitar chug opens this song nicely, the verses and choruses continue with a toned down riff and vocal lines similar to those from the opener, and the song fades out with Rotten's dark groans. A strong addition.
9 out of 10

God Save The Queen: A great source of controversy when the album was originally released, the song's lyrics poke fun at the British government and express concern for its loyal subjects. Musically, it features a strong bass heavy riff, solid guitar/vocal trade-offs during the verses, a decent chorus, a solid solo, and catchy chanting towards the end. A little overrated, but it's easy to see why every metal band and their mother has performed a cover of it...
9 out of 10

Seventeen: This song's introduction starts off with a slower riff and building riffs, the verses return to a familiar style with solid drums in the background, and another chanted chorus. Obvious filler compared to the songs before it.
7 out of 10

Anarchy In The UK: Easily the band's most famous song. Everyone should know about its catchy guitar riffs, infectious chorus, great guitar solos, snarling verses, and equally snarling lyrics. Whether you're a punk fan or not, this is an essential listen and one of the most accessible songs on the album.
9 out of 10

Submission: Another track that starts off slower during the introduction, the verses continue with a mellow mid-tempo groove and interesting placed vocals, the chorus brings in a few guitar squeals, and the instrumental segment features extremely strange sound effects. A pretty neat song worth including for its uniqueness.
8 out of 10

Pretty Vacant: Due to the way Rotten pronounced "vacant" during the chorus, this song was another infamous one on its release. The introduction comes in with a particularly melodic guitar riff and building drums, the verses continue with slightly dissonant guitar chords and vocal lines, the chorus is solid though not as catchy as it could be. A good song, though somewhat overrated...
7 out of 10

New York: Loud riffs open this song in a dissonant fashion, the verses continue with gritty vocal lines and a solid guitar riff, and another guitar solo keeps the song interesting with Rotten's echoing laughter thrown in. Easily the weakest song on the album.
6 out of 10

EMI: More noisy riffs open this song with harmonies similar to those of "Bodies", the verses continue with sarcastic vocals and solid guitar lines, the chorus is a one-liner that features vocals that are catchy though somewhat annoying at the same time, and the solo has a particularly bright tone to it. A good closer.
7 out of 10

Overall, this album gets 95 out of 120, 79%, and 3.5 stars. The album does its share of inconsistencies, but it is easy to see why it was influential in the development of punk rock's sound. Recommended to fans of the style and to the poseurs who think that Blink 182 and Green Day are the most rebellious bands ever...

Inventor Of Evil (Destruction)

2008-08-05T00:38:00.000-07:00

Alongside Kreator and Sodom, Destruction was one of the great leaders of the legendary German thrash metal scene. The riffs are fast and harsh, the drums powerful, and Marcel Schirmer screams like the bastard child of Exodus's Steve Souza and Death Angel's Mark Osegueda. This 2005 album is the band's most recent effort (until the release of "D. E. V. O. L. U. T. I. O. N. at the end of the month) and shows that the band has managed to retain some of that intensity of old.

Soul Collector: Bizarre sound effects fade in and are soon joined by a building mid-tempo groove and a spoken speech delivered by a demonic voice, the verses go into thrashing territory with excellent growls, the pre-chorus is more drawn out, the chorus is memorable though not as catchy as it could be, and the bridge slows back down to a mid-tempo pace with the solos in between following suit. An excellent opener and easily the best song on the album.
9 out of 10

The Defiance Will Remain: Another building groove opens this song accompanied by an echoing scream, the verses continue with a somewhat dissonant riff, the pre-chorus is a strong builder, the chorus is uplifting with catchy backing vocals thrown in, and the bridge goes in a solid mid-tempo direction with some weird samples here and there. A fun song, though not as classic as the opener.
8 out of 10

The Alliance Of Hellhoundz: Extreme metal's answer to "Hear 'N' Aid"? This song is most memorable for featuring many an iconic underground metal vocalist ranging from Iron Maiden's Paul Di'Anno to Candlemass's Messiah Marcolin to Dimmu Borgir's Shagrath. While it is definitely an interesting listen, the numerous vocalists do seem a little unnecessary and make the song feel somewhat cluttered...
7 out of 10

No Man's Land: A solid mid-tempo groove starts this song off nicely, the verses continue with a more energetic riff and angrier vocals, the chorus features a solid refrain and subtle backing vocals, and the bridge takes the song in a brighter direction with some guitar harmonies in between. Not entirely amazing, but a solid addition.
7 out of 10

The Calm Before The Storm: Some beautifully played accoustic guitars bring in a needed change of pace, the opening verse continue with some melodic but still raspy vocals and solid drum lines, the following verses and choruses continue with a more intense guitar riff and catchy vocal lines, and the bridge features a pretty nice breakdown. It's good, but not as dramatically executed as it could've been and the formula has been well worn already...
7 out of 10

The Chosen Ones: A particularly mosh-worthy set of guitar riffs powerfully starts this song off, the verses feature solid vocal lines and a catchy groove, the pre-chorus and chorus are packed with building riffs and gang vocals, and the bridge features some odd vocal effects before going into a strong but brief solo. One of the stronger songs on the album.
8 out of 10

Dealer of Hostility: Dramatic guitar harmonies open this song and are soon joined by a nice energetic rhythm section, the verses feature some nice guitar/vocal trade-offs, the pre-chorus is another builder, and the chorus features some interesting low/high vocal contrasts. A pretty cool tune with a memorable hook.
8 out of 10

Under Surveillance: A brief drum solo leads into a dark mid-tempo guitar riff, the verses continue with a building riff and angry vocals, the pre-chorus suddenly goes in a faster direction, the chorus goes back to its original pace. A cool song, though it lacks the atmosphere to make it a true classic.
7 out of 10

Seeds Of Hate: Not to be confused with the Exodus song of the same name. The song is probably the most unique song on the album but definitely it's most unusual. It features some solid mid-tempo riffs, unusual vocal layering here and there, a fast pre-chorus, and bizarrely echoing vocals during the chorus. An interesting idea but a less than amazing execution. Gotta give them credit for trying something new though...
7 out of 10

Twist of Fate: I'm deeply amused by the fact that the last two song titles rhyme. In contrast to the previous song, this one is one of the fastest on the album. It features powerful guitar melodies, particularly catchy vocals during the chorus, and a cool guitar solo.
8 out of 10

Killing Machine: More strong drums lead into another solid mid-tempo chug, the verses continue in a faster direction, the chorus is a little darker though not quite catchy, and the bridge manages to include a mini bass solo before going into the final chorus. Another solid addition, though one of the more generic songs on the album.
7 out of 10

Memories Of Nothingness: Closing the album out is a minute long tune of accoustic melancholy. Funny, these are usually put on at the beginning of an album...
7 out of 10

Overall, this album gets 90 out of 120, 75%, and 3.5 stars. Due to this being the first Destruction album I've purchased, I can't exactly compare it to their "classic" sound. It does seem to be a little overproduced at times and the songwriting can get a little bland here and there. However, it is a powerful slab of modern thrash metal that should go over with fans of what bands like Exodus and Overkill are up to these days. Never surrender, the spirit never dies...

One (Hellbound) (Demiricous)

2008-08-04T01:12:00.000-07:00

Much like how Trivium has gotten criticism for emulating Metallica, Demiricous has gotten its share of hatred in the metal community for sounding a lot like Slayer. Like the LA legends, Demiricous plays a style of music featuring intense guitar trade-offs by Ben Parrish and Scott Wilson and pounding drums performed by now Lorenguard guitarist Christopher Cruz. However, the band manages to make itself distinct by the psychotic roars of vocalist/bassist Nate Olp and their more cryptic lyrics.

Repentagram: As expected, the album begins with an "Angel Of Death"-esque thrasher. It features excellently grinding riffs throughout, driving verses, catchy growls and toned down riffs during the chorus, and plenty of squealing solos in between. A powerful way to start the album off.
8 out of 10

Withdrawal Divine: Dark riffs open this song before hammering drums and accompanying leads join appropriately, the verses feature particularly prominent drumming, the chorus's hook isn't that memorable, and the solo section features a cool breakdown and a few sweet dive bombs before reaching further intensity. A solid song.
7 out of 10

Vagrant Idol: One of the better known songs on the album. It features another driving guitar gallop during the introduction, odd guitar squeals and rapidly growled vocals during the verses, the chorus is a solid one-liner,an unusually sequenced bridge, and more erratic guitar chords and wails during the solo sections. A little overrated but still good enough.
8 out of 10

Beyond Obscene: Building guitars fade in during this song's introduction, the verses continue with a more suppressed chug and nicely spaced growls, the chorus features a memorable breakdown, and the bridge goes at a much faster with storng trade-offs between rapid growls and screaming solos. Not quite a classic, but a pretty cool tune.
7 out of 10

Perfection And The Infection: This mid-tempo track fades in with more grinding chugs and powerful double bass drums, the verses feature more importance placed upon raspy vocals and almost intelligible bass, the chorus is a fun mosher, and the solo section is packed with more fast paced shredding. Certainly deserves points for standing out.
9 out of 10

Heathen Up (Out For Blood): Distorted vocals suddenly open this song without warning, the verses and pre-choruses continue with an aggressively upbeat execution, the chorus goes at a faster pace, and another Slayer-esque set of guitar solos. A welcome thrasher though somewhat awkward...
7 out of 10

Cheat The Leader: More building guitars and drum fills dominate this song's introduction and verses, the chorus features some intense vocal/guitar trade-offs, more Slayer worshipping solos follow, and the song ends with a neat breakdown. A personal highlight.
8 out of 10

Matador: A personal favorite of mine. It starts off with erratic guitar riffs and pounding drums in the background, the verses continue with more of that anticipated aggression, and the chorus is an infectious growler. The chorus alone would've gotten it a 10, but the slightly generic verses and riffs bring it down...
9 out of 10

To Serve Is To Destroy: Probably the strongest song on the album and its most accessible. It features some powerful mid-tempo riffs, catchy growls, a chorus made fully coherent thanks to the catchy backing vocals, and a cool breakdown during the song's second half. A great song that was even more fun in concert.
9 out of 10

Ironsides: Strong drum fills open this song and are joined by particularly bright sounding riffs, the growls during the verses and pre-choruses seem to be higher pitched than those prior, and the chorus features some cool gang vocals before going into Slayer land. A pretty cool tune.
7 out of 10

I Am Weapon: More of the same opens this song nicely, the verses continue with particularly intense riffs and angry vocals, and the chorus features a more unusual riff with more odd vocal lines and drums thrown in. Good though one of the most generic songs on the album.
7 out of 10

Hellraisers: Closing the album out is a final statement of the album's standards. It features some of the most intense riffs and vocals on the album, strong guitar squeals, a few more straight forward moments, a building solo section, and one of the most powerful choruses on the album. Unfortunately, it doesn't seem to stand out so much in quality compared to the album's other gems...
7 out of 10

Overall, this album gets 93 out of 120, 78%, and 3.5 stars. I can understand why the seasoned thrash fan would despise this album with every bone in their body. Sometimes the riffs are exceedingly similar, the songwriting can be repetitive, and the vocals are definitely an acquired taste. Hell, I didn't really get a taste for them until they saw them live with You-Know-Who on the February of 2007. Having said that, the band's performance is powerful and certainly makes my head bang...

The Piper At The Gates Of Dawn (Pink Floyd)

2008-08-03T17:16:00.001-07:00

Pink Floyd's debut is definitely a far cry from the sound they would later become famous for. The only album released under the full leadership of the late guitarist/vocalist Syd Barrett, this version of the band plays a whimsical brand of psychedelic music that rarely foreshadows the space rock of their later efforts. The song structures are unusual, guitar/keyboards are quite prominent, and the lyrics display themes of childhood, insanity, and a shitload of LSD dropping. I'm pretty sure Syd Barrett is the main reason why Pink Floyd is often seen as stoner music...

Astronomy Domine: Okay, I lied, maybe some of that space rock is on here after all. The album's opener starts off with unusual voices that are soon accompanied by drums and dark guitar harmonies, the verses continue with haunting layered vocals performed by Barrett and keyboardist Richard Wright thrown in, and the solo sections keep the spacy aesthetics flowing with more unusual voices thrown in for good measure. A powerful opener.
9 out of 10

Lucifer Sam: This song features an eerily upbeat guitar melody, nice underlying bass, happy sounding vocals, and interesting effects during the solo section. It kinda sounds like a more demented version of something the Beatles would have written...
9 out of 10

Matilda Mother: This song is made memorable by the eerie organ effects throughout, dark but mellow guitars and gently sung vocals during the verses, a somewhat dissonant chorus, and a bizarre solo section. A neat addition though not as strong as the songs before it.
8 out of 10

Pow R. Toc H.: The album's first instrumental is probably its most unusual. It features some creepy "spraying" sound effects, creepier vocal stylings, soft piano, an active rhythm, a nice bassline, and erratic guitar riffs and effects. Definitely not a track to listen to at 2 am (oops...).
8 out of 10

Flaming: Eerie keyboards fade in with swirling wind effects in the background, the verses suddenly come in with a dissonant rhythm and oddly sung vocals, and plenty of unsettling sound effects are present throughout. A very bizarre track but not quite a highlight.
7 out of 10

Take Up Thy Stethoscope And Walk: A fun drum beat starts this song off, the verses are made memorable by a dissonant rhythm and bizarre but catchy vocal trade-offs, and plenty of cool moments for the guitar solos to shine. It may have been written by bassist Roger Waters, but it sounds nothing like "The Wall"...
9 out of 10

Interstellar Overdrive: Now we come to the album's second instrumental. This ten minute tangent features more spacy guitar harmonies, a few more upbeat moments, plenty of weird effects, and enough solos to keep you spaced out for quite some time. A pretty cool addition even if it is sometimes an effort to sit through.
9 out of 10

The Gnome: After the spacy madness of the opener, this song suddenly comes in with a very soft bouncy number. It features a happy beat, nicely rolled vocals, and subtle accoustic guitars in the background. A nice fun number with some particularly trippy lyrics.
9 out of 10

Chapter 24: his song seems to have more of an Eastern flavor compared to the other songs. It features a crashing gong, more mellow vocals, a sweet refrain, and some interesting Eastern sounds in the background. I must say the lyrics are some of the most cryptic on the album.
8 out of 10

The Scarecrow: What appears to be some kind of clockwork opens this song in a unique fashion, the verses bring in some distorted guitars and merry vocal layering, and some sweet accoustics towards the end. I do wish it was a little longer...
8 out of 10

Bike: Closing the album out is one of the most fucked up songs I've ever heard (and that's quite an achievement, considering how the rest of this album gets...). Musically, the song features an extremely dissonant rhythm, more pleasant vocals, a more melodic chorus, and unsettling ambience towards the end. Lyrically, the song is made up of such LSD tangents as "I know a mouse, and he hasn't got a house. I don't know why I call him Gerald. He's getting rather old, but he's a good mouse." Somehow, they manage to pull it off...
8 out of 10

Overall, this album gets 92 out of 110, 84%, and 4 stars. This is definitely one of the strangest albums in my collection and probably won't go over well with the unprepared "Dark Side Of The Moon" fanboy. However, it does have its share of pleasant melodies and is worth checking out for fans of psychedelic music and maybe even the Beatles. Remember, kids, LSD isn't pretty...

Walk Among Us (The Misfits)

2008-08-02T22:06:00.001-07:00

While The Misfits had previously gained an underground following for releasing various EP's and singles, this 1982 effort was the first studio album of their short-lived career led by vocalist Glenn Danzig. The album makes strong use of the band's signature elements including fast but short songs, simplistic but energetic guitar playing by Doyle Wolfgang Von Frankenstein, fast and erratic drumming by Arthur Googy, psychotic vocals by Danzig, and the tongue in cheek horror themes. Add in some accessible aesthetics and you've got what many music fans consider to be one of the greatest punk albums of all time.

20 Eyes: Without a moment to spare, the album's opener introduces the listener to the album's signature elements. The guitars are intense, the drum fills are powerful, and the vocals lines are erratic but catchy. A strong opener though it may be a little too much on the first listen.
9 out of 10

I Turned Into A Martian: Despite being shorter than the 1:48 opener, it somehow manages to be more structured. It features a powerful gallop and rapidly delivered vocals during the verses and an elaborately catchy chorus with some nice woah-oh-oh's thrown in. A fun addition with equally funny lyrics. How does an Earthling turn into a Martian? Even if you turned into an alien, wouldn't you still be from Earth?
9 out of 10

All Hell Breaks Loose: Dark drums open this song and are soon accompanied by an equally mid-tempo guitar riff, more quickly sung vocals during the verses, and another catchy chorus. While it's not as heavy as some of the other songs on here, its dark atmosphere seems to foreshadow the direction the band would take on 1983's "Earth AD".
9 out of 10

Vampira: This song comes in with another dark guitar riff, strong drum beats, interestingly echoing vocals, and nice guitar/vocal trade-offs during the chorus. Another cool song.
8 out of 10

Nike A Go Go: Building guitars and drums open this song nicely, the verses briefly feature prominent drums and pushed back guitars, and the choruses feature fast riffs and bombarding vocals. A pretty cool song though one of the more generic songs on the album.
7 out of 10

Hatebreeders: At three minutes long, this song is a downright epic compared to its surrounding companions. It features a bright set of guitar riffs, an incredibly infectious chorus, fun verses and pre-choruses, and what appears to be a guitar solo around the 1:40 mark. Probably my favorite song on the album.
9 out of 10

Mommy Can I Go Out And Kill Tonight (live): Although a studio version would later be released on "Earth AD", I find this to be the song's definitive version. The first half of the song is upbeat and mid-tempo, but all hell breaks loose during the second half. Quite a powerful track that features Danzig at his angriest (and most incomprehendible...).
10 out of 10

Night of the Living Dead: This song features brighter riffs similar to those of "Vampira", more rapidly sung vocals, more sing-a-long choruses, and plenty of woah-oh's in between. Another fun number.
9 out of 10

Skulls: Another one of my personal favorite songs. It features another catchy guitar gallop, pounding drums, darkly sung vocals during the verses, and a simple but effective chorus. Add in some grisly lyrics and you've got a fun highlight.
9 out of 10

Violent World: Another neat drum line starts this song off, dark riffs and vocals dominate this song's verses, and the chorus is another fun sing-a-long with some noticeable harmonizing.
9 out of 10

Devils Whorehouse: A dark riff similar to that of the previous song opens this tune, the verses continue with solid vocals and interesting drums, and the chorus is brighter in contrast.
9 out of 10

Astro Zombies: Due to this song being covered by bands like Pennywise and My Chemical Romance, it has become another well known Misfits track. It features more bright guitar riffs, more sing-a-long vocals, driving verses and pre-choruses, and more pounding drums. I'd say it deserves its slightly overrated reputation...
9 out of 10

Braineaters: Closing the album out is what I can describe as some kind of zombie drinking song (even though it's about cannibalism). It features fun chanted vocals, a mid-tempo riff, and more toned down drums. A bizarre closer.
7 out of 10

Overall, this album gets 113 out of 130, 87%, and 4 stars. There is no disputing that is a punk rock classic and a fine example of Glenn Danzig. However, the people who merely buy the Crimson Ghost T-shirts and call themselves fans ought to take a listen to this and rethink their position...

Ram It Down (Judas Priest)

2008-08-01T12:11:00.001-07:00

Like "Hellbent For Leather" before it, this 1988 effort seems to serve as a transitional period between two different phases of Judas Priest's sound. In this case, the band was attempting to move away from the glam metal influence of 1986's "Turbo" and into a much heavier sound that would later be realized in 1990's "Painkiller". This album features a few synths still present, more technical drums, equal emphasis on hooks and atmosphere, and lyrics that collectively deal with sex and sci-fi. Unfortunately, the album has been panned by many a Priest fan and would later be known as their last album to feature drummer Dave Holland.

Ram It Down: A signature scream from vocalist Rob Halford starts this song off and is soon joined by intense guitar harmonies and pounding drums, the verses continue with quickly sung vocals, the pre-chorus builds up the slightly processed chorus quite powerfully, and the solos have been regarded by many to be some of the best on a Priest album. A powerful opener and an underrated classic.
10 out of 10

Heavy Metal: The guitar harmonies that open this song sound vaguely like Van Halen's "Eruption", the verses and pre-choruses continue at an upbeat pace with solid vocal lines, the chorus is a memorable sing-a-long, and the solos continue with more shredding. In a way, it kinda sounds like a heavier "You've Got Another Thing Coming".
9 out of 10

Love Zone: Building drum beats and guitar riffs open this song nicely, the verses continue with strong falsettos and interesting guitar/vocal trade-offs, the pre-chorus is a solid builder, and the chorus sounds like a more masculine Def Leppard would do. Really cheesy but I seem to really enjoy it for some reason...
8 out of 10

Come And Get It: A nice mid-tempo riff leads into a faster guitar groove for the verses, the pre-choruses provide more cool building moments, the chorus is simple but catchy, and the bridge provides some cool screams and leads into a cool set of guitar solos. A mindlessly fun anthem.
8 out of 10

Hard As Iron: After a few hard rock tinged numbers, we go into what may be the heaviest song on the album. The introduction starts off with strong double bass drums and intense guitar harmonies, the verses and pre-chorus continue with odd vocal lines and a few cheesy sound effects every now and then, the chorus features some cool falsettos. A pretty cool tune that sounds like it'd be fitting for an 80's movie montage.
9 out of 10

Blood Red Skies: Now we come to the album's centerpiece; a near eight minute epic that has been said as the sci-fi sequel to "Victim Of Changes". It opens with foreboding keyboards that are soon joined by somber accoustic guitars and vocals for the opening verse, the following verses and pre-chorus continue with a very robotic groove and restrained vocals, the chorus is uplifting though not as epic as it could've been, the bridge keeps the triumph flowing and leads into a solid solo section. A little keyboard heavy but a pretty cool song.
9 out of 10

I'm A Rocker: Probably the cheesiest song title on the album (some of the others just suffer from unoriginality). It comes in with a robotic mid-tempo rhythm and a sweet scream by Halford, the verses continue with solid vocal lines, the chorus is solid though not as catchy as it could be, and the solos are pretty sweet. A good song, though even cheesier than the songs before it...
7 out of 10

Johnny B. Goode: Who would've thought that Priest would be able to pick a cover song more unusual than "Diamonds And Rust"? This version features a cool opening scream, a futuristic rhythm that greatly contrasts the country boy imagery of the lyrics, a catchy chorus with alternating vocal pitches, and some electrifying solos. An unusual but still neat addition.
7 out of 10

Love You To Death: Another unusual drum beat opens this song before a heavy mid-tempo groove takes over, the verses continue with solid guitar/vocal trade-offs over a moronically simple drum beat, the pre-chorus builds up to its decent chorus, and the bridge builds up to a nice solo section. Probably the most generic track on the album.
7 out of 10

Monsters Of Rock: Closing the album out is a plodding monster (no pun intended). It features a slow drum beat, what appears to be a gong, and a menacing guitar plod during the introduction; the verses continue with darkly spoken vocals; and the chorus is a massive sing-a-long. The epic atmosphere could've made it a major winner, but I find myself chuckling for that same reason. Kinda like "Lochness"...
8 out of 10

Overall, this album gets 82 out of 100, 82%, and 4 stars. I'm pretty sure this album had something to do with Judas Priest's Spinal Tap-esque reputation. It is the ultimate personification of old school heavy metal music and has enough macho camp to make Manowar look serious. Having said that, it does make a good guilty pleasure and provides a cool sneak peek at what the band would soon accomplish. Makes me wish I hadn't sold it all those years ago...

Are You Experienced (The Jimi Hendrix Experience)

2008-07-31T11:53:00.001-07:00

Commonly regarded as one of the strongest debut albums in music history, the Jimi Hendrix Experience's first studio release features all of the traits that made the group a major success worldwide. Hendrix himself provides the group with a laid back but still soulful voice and innovative guitar techniques, bassist Noel Redding provides a strong backing rhythm, and drummer Mitch Mitchell provides many powerful drum fills. Add in spacy musical atmospheres and romantic lyrics and you've got one interesting listen. Just so you know, I'll be reviewing the American version...

Purple Haze: Starting the album off is Hendrix's most famous song (At least here in the States). It features an appropriately hazy main riff, catchy vocal lines, nice bass thumps in the background, a simple but strong drum beat, interesting spoken bits, and some nice sprinkling guitars towards the end. A fun opener.
9 out of 10

Manic Depression: This tune features strong drum fills, an dissonant guitar climb, a soulful vocal performance, and some nice guitar effects and solos. A little challenging to get into but an enjoyable work once you get a taste for it.
8 out of 10

Hey Joe: One of the album's first hit singles and the one that gave him success in Europe. It is a cover of an old Billy Roberts tune that features a somber guitar/bass riff, nicely played drums, and nicely complementing backing vocals. An interesting little tangent.
9 out of 10

Love Or Confusion: A particularly bright guitar melody opens this song nicely, echoing vocals are present during the verses and choruses, a nice jam is prominent during the song's second half, and the lyrics are both visual and insightful. A cool addition.
8 out of 10

May This Be Love: Building percussion and spacy squeals open this song nicely and the verses replace them with gentle vocals and visual guitar effects. A beautiful song, though not as strong as the songs before it.
7 out of 10

I Don't Live Today: This song is made memorable by its distinct drum beat, swirling guitar effects, spacy guitar/vocal trade-offs, slightly dissonant chorus, and extremely bizarre fading in and out. A neat song though not quite a classic.
7 out of 10

The Wind Cries Mary: One of the most mellow songs on the album. It features a beautifully played guitar/bass melody, a slow blues groove during the verses and choruses, more soulful vocals, and sweet guitar solos. A strong highlight.
9 out of 10

Fire: Probably my favorite song on the album and one of the more accessible tracks. It is made memorable by its awesome drum fills, powerful guitar/bass gallops, energetic lead vocals, catchy backing vocals during the chorus performed by the other two members, and equally energetic guitar solos. Sounds like it would've made a fun live track.
9 out of 10

Third Stone From The Sun: Here we have the longest song on the album. It is rife with unusually slowed down vocals, laid back guitar melodies, swirling guitar effects, and distorted vocals delivering spacy yet amusing lyrics ("May I land my kinky machine?" and "You'll never hear surf music again" being my favorite lines). An interesting addition for sure...
9 out of 10

Foxey Lady: Another one of the album's more famous song. It is made memorable by its dissonant but catchy main riff, horny sounding vocals, building choruses, and a few erratic parts every now and then. Somewhat overrated, but still a fun song.
9 out of 10

Are You Experienced?: Scratchy guitar sounds fade in in an unusual but enjoyable fashion, the verses feature more weird guitar sounds accompanying mellow vocals, the chorus includes a subtle bass groove in the background, and the guitar solos are erratic but majestic. A neat closer. 9 out of 10

Overall, this album gets 93 out of 110, 85%, and 4 stars. The album may be a little overrated, but it must be acknowledged for the numerous innovations and guitar techniques that it pioneered. Definitely a mandatory listen for guitar players and psychedelic music fans everywhere. That is, if you don't know it by heart already...

Nightwish's Best To Worst

2008-07-30T00:01:00.000-07:00

1) Oceanborn (90%)
2) Wishmaster (87%)
3) Dark Passion Play (85%)
4) Over The Hills and Far Away (85%)
5) Angels Fall First (83%)
6) Century Child (80%)
7) Once (80%)

Over The Hills And Far Away (Nightwish)

2008-07-29T00:12:00.001-07:00

Released in 2001, Nightwish's only EP is one of the most overlooked efforts. Musically, the effort shows the band moving away from the sound found on "Wishmaster" and into a style that would fully manifest on the following "Century Child". The EP is also worth noting for featuring more guest vocalists than on any other album and for being the last Nightwish output to feature longtime bassist Sami Vanska.

Over The Hills and Far Away: Not to be confused with the Led Zeppelin song of the same name, the album's opener is actually the band's take on a tune made famous by guitarist Gary Moore. It features a powerful drum beat, soaring vocals, bouncy guitar/keyboard riffs, an infectiously catchy chorus, and some neat Irish aesthetics. A strong opener and the greatest cover song Nightwish has ever performed.
10 out of 10

10th Man Down: Here we have the album's dramatic epic song. It starts with foreboding keyboards and sounds of war before the rest of the band comes in, the verses continue with mid-tempo riffs and somber vocals, the chorus features stronger drums and more powerful wails, the solo section features a powerful riff and beautiful wordless vocals, and a few spoken sections are performed by Sethian vocalist Tapio Wilska (Previously appearing on "The Devil and The Deep Dark Ocean" and "The Pharaoh Sails To Orion"). An excellent song.
9 out of 10

Away: The EP's ballad is pretty much the typical Nightwish ballad. It features melancholic keyboards and building vocals during the verses, a louder chorus, and an uplifting solo section. Sweet though a little weaker than the surrounding songs.
7 out of 10

Astral Romance (re-recorded): Closing the EP is an update of an old "Angels Fall First" tune. It's pretty much the same song in terms of composition and delivey, but the male vocals performed by Sonata Arctica mastermind Tony Kakko make it an improved listen for those who cannot tolerate the original vocals sung by keyboardist Tuomas Holopanien...
8 out of 10

Overall, this album gets 34 out of 40, 85%, and 4 stars. While it lacks a few too many songs to make it an essential purchase, the songs that are on here should be enough to impress any Nightwish die-hard. It's worth checking out if you can find it.

AC/DC's Best To Worst

2008-07-28T20:54:00.001-07:00

1) Back In Black (93%)
2) Powerage (90%)
3) High Voltage (88%)
4) Highway To Hell (87%)
5) '74 Jailbreak (86%)
6) Let There Be Rock (84%)
7) Dirty Deeds Done Dirt Cheap (84%)
8) Blow Up Your Video (81%)
9) Ballbreaker (81%)
10) For Those About To Rock (We Salute You) (80%)
11) The Razor's Edge (78%)
12) Flick Of The Switch (78%)
13) Black Ice (76%)
14) Fly On The Wall (75%)
15) Stiff Upper Lip (73%)

I'm debating whether "Who Made Who" needs to be added to the list. It is a great album, but somewhat obsolete as it only has 3 songs that are exclusive to it...

Stiff Upper Lip (AC/DC)

2008-07-27T00:37:00.001-07:00

Until their next album is released sometime this fall, this 2000 effort remains the band's most recent output. Of course, the band's signature sound and songwriting style runs rampant through this work but there is also a more laid back style that is rarely seen before then (especially during the Brian Johnson era...). Perhaps it has something to do with the fact that the Young brothers and company aren't exactly getting younger...

Stiff Upper Lip: The album's title track is probably its strongest song. It features building guitar riffs during the introduction and verses, lower pitched vocals during the opening verse and higher pitched vocals taking their place, a driving groove throughout, and catchy chanting towards the end. I do wish the chorus hadn't been saved for the end...
8 out of 10

Meltdown: This mid-tempo tune is made memorable by its very loose main riff, steady pace during the verses, and catchy chants during the pre-chorus and chorus. Not quite a classic, but it's an infectious listen that sounds like a more toned down version of "This House Is On Fire".
8 out of 10

House Of Jazz: Another loose riff opens this song, the verses and pre-choruses feature a more menacing guitar groove, the chorus is catchy though somewhat repetitive. This one kinda sounds like "Cover You In Oil" in its loose but still direct style...
8 out of 10

Hold Me Back: A strong drum beat opens this song and is soon accompanied by a guitar harmony similar to that of "Sink The Pink", the verses bring in some slightly drawned out vocal lines, the chorus isn't quite as powerfully chanted as the previous tunes. A decent tune, but I'll stick to "Sink The Pink"...
7 out of 10

Safe In New York City: More of those sweet building riffs open this song quite nicely before a driving rhythm takes over for the verses and the chorus is one of the catchiest on the album. In fact, the song has a vibe similar to that of "That's The Way I Wanna Rock 'n' Roll"...
8 out of 10

Can't Sit Still: Bright guitar harmonies that sounds like a distorted version of "Hard As A Rock" open this song interestingly, the verses bring in some solid vocal lines and a building groove, and the chorus is another catchy work. Another enjoyable number that unfortunately doesn't match up to its unintentional inspiration...
7 out of 10

Can't Stop Rock 'n' Roll: An interesting set of guitar chords open this song before a steady mid-tempo groove takes its place, the verses continue with some solid vocal/guitar trade-offs, the chorus is another memorable chanter. Similar to "House Of Jazz" in style, but pretty much more of the same...
7 out of 10

Satelitte Blues: Another set of chords leads into a particularly meaty mid-tempo rhythm, the verses continue in a similar style, and the chorus is fairly decent. Not much else to say about it...
7 out of 10

Damned: Yet another mid-tempo rhythm opens this song, the verses continue with a lazy guitar/vocal trade-off, and the chorus features a drawn out and slightly awkward chant. One of the album's weaker tracks.
7 out of 10

Come And Get It: This song is mostly made distinct by the slightly goofy backing vocals during the chorus. Other than that, it's a fairly decent mid-tempo tune with a neat riff or two emerging every now and then...
7 out of 10

All Screwed Up: Another bright riffs opens this song in a more erratic fashion, the verses and pre-choruses continue in a similar style, and the chorus is another decent work. The laziness seems to be becoming more and more evident...
7 out of 10

Give It Up: Is it me, or are these titles a little too similar for their own good? This tune features an upbeat drum beat, a solid guitar riff, more guitar/vocal trade-offs during the verses, and solid chanting during the pre-choruses and chorus. A solid closer.
7 out of 10

Overall, this album gets 88 out of 120, 73%, and 3.5 stars. The greater blues factor approach is what keeps this album enjoyable and interesting, but I think the songwriting and the somewhat lazy performance bring it down. There are too many parts on here that bring to mind previous AC/DC, which is a little sad considering the five years that took place between this album and 1995's "Ballbreaker". Here's hoping the next album is a little stronger...

Cat Scratch Fever (Ted Nugent)

2008-07-26T00:08:00.001-07:00

Whether it was intentional or not, legendary guitarist/vocalist Ted Nugent is a man whose wild hunter reputation truly overshadows his musical achievements. While he has been known to be somewhat inconsistent, he plays a mean style of classic rock made distinct by his gritty guitar playing and solid hooks. This album is one of the most commercially successful and contains some of his best known songs.

Cat Scratch Fever: Starting the album off is the Nuge's most famous song ever. It has become legendary for its gritty main riff, solid vocal lines, a catchy hook during the chorus, and some cool guitar solos. Add in some amusing innuendo and you've got a mighty fine classic.
10 out of 10

Wang Dang Sweet Poontang: One of the more energetic songs on the album. It features another catchy chorus, a great driving pace, strong riffs, solid solos, and a bass heavy bridge. Unfortunately, a few cheesy moments and horribly tacky lyrics do bring it down a little...
9 out of 10

Death By Misadventure: A dissonant flurry of guitar chords lead into a solid bass heavy mid-tempo groove, the verses continue with solid vocal/guitar harmonies, and the solo section allow some room to jam. Unfortunately, it's not as catchy or energetic as the songs before it...
7 out of 10

Live It Up: Even though the Nuge may be the indirect father of the Straight Edge movement, it sounds like the kind of song that'd be fitting to light a joint to. It features an almost psychedelic guitar groove, solid vocal lines, a memorable chorus, great drum fills in the background, and plenty of jamming solos. A lot of people seem to dislike it, but it's one of my personal favorite songs on the album.
8 out of 10

Homebound: The album's instrumental is an upbeat mid-tempo tune that places great emphasis on the uplifting guitar melodies with some drum fills and plodding bass in the background. A little directionless, but it is an enjoyable listen.
7 out of 10

Workin' Hard, Playin' Hard: Surf rock-esque guitar effects start the song off and fade into an interestingly building guitar gallop with matching leads in the background, the verses and choruses continue with spacy riffs and solid vocal lines, and the solos are nicely done. Excellent songwriting, but it seems to lack a certain spark to make it a true classic...
7 out of 10

Sweet Sally: The shortest track on the album. It features another energetic set of guitar riffs in the vein of the second track, direct vocal lines during the verses, and gritty solos. A good song, though a little too similar to the second track and not as developed...
8 out of 10

A Thousand Knives: Melodic riffs and drums open this song in the classic building fashion before a bright mid-tempo harmony takes over, the verses and choruses continue with more nice vocal lines, and the solos are as great as ever. Another solid tune.
7 out of 10

Fist Fightin' Son Of A Gun: Another energetic tune. It isn't as heavy as the previous tunes of its tune, but it features some cool riffs, sweet vocal harmonies, and subtle hand claps in the background. It kinda sounds like something you would hear in the 50's in a way...
7 out of 10

Out Of Control: Closing the album out is another muscular hard rock track. It features more driving guitar riffs, catchy vocal lines, and a decent but not quite catchy chorus. A solid closer.
7 out of 10

Overall, this album gets 77 out of 100, 77%, and 3.5 stars. While the album was well written and properly executed, it does seem to lack that certain spark to make it a true classic. Having said that, it should appeal to classic rock fans and hunting enthusiasts everywhere.

Beneath The Remains (Sepultura)

2008-07-25T09:50:00.001-07:00

The first part of what many consider to be the classic trilogy of Sepultura's catalog (the other two being "Arise" and "Chaos AD"), this 1989 effort shows the band moving away from the dark death metal sound of their first two efforts and into more thrash-oriented territory. The producton was done by Obituary/Death producer Scott Burns and a clearer sound was achieved as a result, more melodic riffs and vocals are present, and the lyrics focused more on politics than on the Satanic references of old. As a result, the album brought the band a great deal of acclaim in the metal community.

Beneath The Remains: Ambient sound effects and sweet accoustic guitars open this song nicely before the song predictably becomes an intense thrasher, the verses continue with quickly delivered vocals thrown in, the chorus features memorable echoing vocals and dramatic guitar chords, and the bridge features a more toned down groove compared to the surrounding intensity. A strong opener.
9 out of 10

Inner Self: Perhaps the album's most famous song. It features a catchy main riff that brings to mind Megadeth's "Symphony Of Destruction" in a way, a harsher chorus, strong guitar solos throughout, and a bridge that starts in an eerily melodic style but soon goes in a heavier direction. A pretty cool highlight.
9 out of 10

Stronger Than Hate: Mostly noteworthy for being written by Atheist guitarist/vocalist Kelly Shaefer, this song comes in with more intense riffs/drums and an erratic guitar lead before a nice Slayer-esque groove takes over, the verses continue in a similar style, the chorus features some effective gang vocals, the bridge continues in a heavier direction, and the song suddenly ends with melodic riffs that wouldn't sound out of place on an Atheist or Death record...
7 out of 10

Mass Hypnosis: Almost mechanic guitar riffs and drums open this song nicely, the verses and choruses continue with more intense riffs and vocals, and the solo section features a dramatic breakdown made memorable by the constant double bass drumming and cool melodic moments. It's always weird when a solo section is the best part of a song...
7 out of 10

Sarcastic Existence: Some great double bass drums fade in before they are joined by some cool guitar grooves and Testament-esque guitar harmonies, the verses continue with more intensity and erratic guitars, and the guitar solos keep the insanity flowing. A welcome addition after the more average tracks before it.
8 out of 10

Slaves Of Pain: More intense drums and guitars open this song similarly to the tracks before it, the verses continue in a similar style with more quickly delivered vocals, the chorus features some cool effects on the vocals, and the solos provide more mysterious melodies. A solid track.
7 out of 10

Lobotomy: Particularly dark riffs open this song with strong drums in the background, the verses are more of the same, and a few eerily spoken vocals and strong guitar solos make this song distinct. One of the weakest and most generic songs on the album.
7 out of 10

Hungry: More squeaky guitar leads are prominent during this song's introduction, the verses continue at an energetic pace with great drums and vocal lines, and the song manages to pick up more intensity as it goes on. A good song, but not much more to say about it.
7 out of 10

Primitive Future: Closing the album out is one last thrasher. It features more powerful riffs and drums, particularly unusual vocal lines, and a few moments where the song goes at a more straight forward pace. Another slight filler that fails to stand out.
7 out of 10

Overall, this album gets 68 out of 90, 76%, and 3.5 stars. Call me crazy, but I can't help but think that album is somewhat overrated. While the band's performance is strong and consistent, the songs themselves are often repetitive and do little to stand out. Having said that, the album does have some good songs that are worth checking out. Maybe I just need to keep letting it grow on me...

Nightfall In Middle-Earth (Blind Guardian)

2008-07-24T09:52:00.001-07:00

With the arrival of Blind Guardian's sixth album, all traces of the band's speed metal past have completely faded and the symphonic power metal sound has finally assumed control. The guitars are still fast but are packed with greater melody than before, the drums remain at their signature double bass pace, the vocals bring in even more bombarding layering, and this is the first album to feature Oliver Holzwarth as the band's bass player (But only as a guest. Hansi gave up bass to focus on his singing, but he thinks he may one day return to the position...). It was also the band's first album to be released in the United States, giving them greater exposure worldwide.
Lyrically, this album is made unique by being the band's first and only concept album. It deals exclusively with the story of The Silmarillon by J. R. R. Tolkien. For the sake of simplicity, I won't be saying too much about the numerous spoken segments...

Into The Storm: The album's first song is one of its most aggressive. The introduction comes in with bombarding guitar squeals, the verses feature slightly harsh vocals (for Hansi anyway), the pre-chorus goes at a more energetic pace, the chorus is an explosive sing-a-long, and the bridge features erratic vocal lines and strong shrieks towards the end. A pretty cool opener, though somewhat overwhelming.
9 out of 10

Nightfall: Not quite a power ballad, but one of the slower tracks on the album. The verses and pre-choruses feature some elegant soft/heavy contrasts throughout with passionate vocals matching and a powerfully layered chorus. A strong addition with equally passionate lyrics, even though I may never read their source...
9 out of 10

Curse Of Feanor: Another particularly furious track. The introduction comes in with dramatically building guitar harmonies, the verses continue at a faster pace with strong wails thrown in, the chorus slows the song down and brings in a few sweet refrains, and the bridge brings in some interestingly layered vocals. A pretty powerful tune.
9 out of 10

Blood Tears: This song is another particularly somber tune. It comes with echoing accoustic guitars that are joined by interesting effects and cool layered vocals during the verses, the chorus brings in another triumphant sing-a-long (though nowhere near as triumphant as "Nightfall"), and the bridge leads into uplifting guitar solos. Quite cool.
9 out of 10

Mirror Mirror: Finally, we come to a track that doesn't have an interlude in front of it. It comes with more cool building guitar chords and drums, the verses continue with particularly bright riffs and energetic vocal lines, the chorus is one of the most infectious on the album, and the solo section brings in some cool symphonic parts matching the epic guitars. One of my personal favorites on the album.
9 out of 10

Noldor (Dead Winter Reigns): More somber accoustic guitars open this song nicely, the verses continue at a steady mid-tempo pace with nicely complementing guitar riffs and varied vocals, the pre-chorus brings in demonic vocal effects and goes to a quieter style, the chorus returns to a louder style, and the guitar solos are dissonant but interesting. Complex but still interesting.
9 out of 10

Time Stands Still (At The Iron Hill): One of the more uplifting and triumphant songs on the album. It comes in with symphonic riffs that are soon overthrown by powerful drums and stronger riffs, the verses continue a variety of vocals and a few well placed shrieks, the pre-chorus features quickly delivered vocals, the chorus is one of the most epic on the album, the solo sections keep the battle imagery flowing, and the song fades out in a memorable fashion. Another highlight.
9 out of 10

Thorn: Dark riffs and sweet backing strings open this song nicely before sweet accoustic guitars take their place, the verses continue with vocals that range from lower pitched bellows to gently sung falsettos, the pre-chorus brings in a heavier riff, the chorus brings in the classic layering, and the solos are interestingly done. Unfortunately, it isn't quite as powerful as the tracks before it.
7 out of 10

The Eldar: Beautifully played piano opens this song in a dirge fashion with eerily matching vocals, the verses continue with beautifully sung vocals, the chorus brings the beautiful vocals from the introduction back in, and the bridge brings in some extremely powerful wails. I like to think of it as sounding like a cross between Queen and Opeth...
10 out of 10

When Sorrow Sang: The louder riffs and drums return for this tune's introduction, the verses continue with more intense riffs and a few aggressively sung moments, the chorus features more layering with building drums in the background, and the solo section features cool guitar parts and a few brief spotlights for the bass. A nice tune, though one of the more generic on the album.
7 out of 10

A Dark Passage: More dramatic/symphonic riffs and building drums start this song off in a fashion more even epic than what was before, the verses continue at a triumphant mid-tempo pace, the chorus is more of the same but not as powerful as the others, and the solo sections feature more epic melodies. A nice bombarding closer.
8 out of 10

Overall, this album gets 95 out of 110, 86%, and 4 stars. While this album is certainly a mandatory addition to any power metal fan's collection, I do feel that this album doesn't match up to the two albums released before it and the excessive filler tracks do sometimes make it a somewhat difficult listen. Whether you are a lover or a hater, this album should give you plenty of ammunition...

Individual Thought Patterns (Death)

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

While Death's fifth album features a style similar to that of the previously released "Human", it brought in several changes to the band's sound. In terms of members, it is the only Death album to feature King Diamond guitarist Andy LaRocque, the last to feature Sadus bassist Steve DiGiorio, and the first to feature drummer Gene Hoglan joining the ranks alongside guitarist/growler Chuck Schuldiner.
Musically, the album features the band going into an even more progressive direction and is one of the band's most technical to date. Lyrically, it moves into more introspective territory and just might be the band's angriest album ever.

Overactive Imagination: Fast riffs and intense drumming the opening song's introduction, dissonant guitar/vocal harmonies and strong double bass drums during the verses and pre-choruses, a more straight forward chorus, uplifting guitar harmonies during the solo section, and more erratic riffs and echoing growls during the bridge. Somewhat dissonant but a pretty cool opener.
9 out of 10

In Human Form: This song comes in with a dark mid-tempo riff during the introduction, the verses bring in more dissonant guitar/vocal harmonizing, the pre-choruses go in a faster direction with catchy guitar/bass riffs, and the bridge leads into another smooth solo section. A pretty cool tune.
8 out of 10

Jealousy: Building guitar riffs dominate this song's introduction and verses, the pre-chorus brings in a particularly bass line, the chorus takes the song into a faster direction, the bridge features more great bass parts, and the solo section is classic Death. One of my personal favorites.
9 out of 10

Trapped In a Corner: More building guitars open this song in a way more melodic than the previous tune, the verses and choruses continue with dramatic guitar/bass chords and interesting vocal lines, and the bridge features a nice breakdown and leads into another smooth solo section. Another awesome number.
9 out of 10

Nothing Is Everything: Another set of melodic chugs open this song nicely and persist during the verses, the pre-chorus brings in some cool guitar squeals and energetic rhythms, the chorus brings a heavier riff back in, and the solo section goes into thrashing territory. I do wish that solo section was a little more developed...
8 out of 10

Mentally Blind: Strong drum fills open this song and lead into another steady mid-tempo chug during the introduction and verses, the pre-chorus goes at a faster pace, the chorus slows it down, the solo section is another uplifting work, and the bridge continues in a similar fashion. Quite solid.
8 out of 10

Individual Thought Patterns: A particularly strong gallop opens this song's introduction and carries on smoothly into the verses, the elaborate chorus slows the song down with some dissonant riffs and cool drum fills thrown in, and the solos are particularly spacy.
7 out of 10

Destiny: Unusual accoustic guitar melodies open this song in quite an unexpected fashion, the verses continue with much heavier riffs played a mid-tempo pace, the pre-chorus brings in uplifting guitar squeals, the chorus features a slightly dissonant hook, and the song's solo section goes in a faster direction. An interesting introduction, though I wish some of that melody had been retained...
7 out of 10

Out Of Touch: Slower riffs open this song in a mysteriously eerie style, the verses suddenly come in with more intense riffs and vocals, the chorus slows back down to a familiar style, and the solo section features cool guitar and bass parts. I do find the lyrics to be particularly interesting, for they seem to critique the extreme metal scenes that were building at the time ("Trapped in a lost world of brutality/So weak are the ones that must rely on shock"). All I can wonder is if he was talking to Cannibal Corpse or Deicide...
8 out of 10

The Philosopher: Closing the album out is its most famous song. Building guitar harmonies open this song in a spacy fashion, the verses continue with an angry mid-tempo guitar crunch and strong growls, the pre-chorus and chorus continue with more pissed off vocals and dissonant guitar chords, the bridge features a catchy bass part, and the solo section really seems to hint at the style that Death would fully embrace on their last two efforts. Quite a powerful closer
10 out of 10

Overall, this album gets 83 out of 100, 83%, and 4 stars. I think this just might be the hardest Death album to really get a taste for, but I don't think it'll really disappoint the band's big fans and progressive death metal listeners the world over. In fact, those who hated the lack of bass presence on "Human" will find plenty to enjoy this time around...

Never To Play The Servant (Shatter Messiah)

2008-07-22T00:52:00.001-07:00

I like to think of Shatter Messiah as some kind of cross between Nevermore and Deicide. Formed by Annihilator/Nevermore touring guitarist Curran Murphy, SM plays a style of heavy metal that is not too far removed from "Enemies Of Reality"-era Nevermore. The guitars are heavy and extremely technical, the drums are at an almost constant double bass mode, and the vocals range from raspy growls that are borderline death metal to melodic shrieks that remind me of Tim "Ripper" Owens.
That Deicide portion comes in with the lyrics, which almost exclusively deal with hatred for organized religion. However, they rarely go into the over the top "Hail Satan" cliche and instead ponder its strong influence on society and individuality, making it a most interesting and powerful listen.

Never To Play The Servant: Opening the album is its muscular title track. It comes in with chugging guitar harmonies and strong drumming, the verses continue with an angrier chug and strongly sung vocals, the chorus brings in melodic guitars and a memorable refrain, and the bridge features strong riffs and barely noticeable vocal distortion (though it's bound to creep you out when you do notice it...).
9 out of 10

Crucify Freedom: Straightforward guitar riffs open this track nicely, the verses continue with harshly sung vocals, the pre-chorus bring in even angrier vocals, the chorus features great falsettos, the bridge slows the song to a mid-tempo pace with building guitar squeals in the background, and the guitar solos range from crushing to eerie. Another strong highlight.
9 out of 10

Frailty (Of The Righteous One): A strong mid-tempo chug opens this song, the verses continue with angry but melodic vocals, the chorus provides an infectiously melodic refrain with a few growls towards the end, and the bridge features almost robotic vocals. Another amazing number.
9 out of 10

Hatred Divine: Another awesome guitar chug opens this song in a mosh-worthy fashion, the verses and pre-choruses continue with almost growled vocals and a straight forward chug, the wordless chorus provides a nice melodic contrast. The screaming may be a little core-ish for some, but it's another awesome highlight.
9 out of 10

Fear To Succeed: More strong mid-tempo guitar harmonies open this track, the verses suddenly bring in a more intense set of riffs and angry growls, the chorus returns to a mid-tempo pace, and the solo section features strong guitar wails. A good headbanger with insightful lyrics, but not quite a classic.
7 out of 10

All Sainted Sinners: This track comes in with another sweet chug and building drums, the verses feature vocals ranging from mid-range to catchy falsetto, the chorus provides another great sing-a-long, the bridge is dominated by drawn out wails leading into a muddy solo section, and the lyrics are particularly venomous (The most memorable lines being "I believe Original Sin/Was the making of God by man"). One of the more accessible songs on the album.
9 out of 10

Inflicted: One of the most dissonant songs on the album. After a brief second of static, the verses come in with a powerful wall of sound featuring particularly powerful drumming; the pre-choruses show off a few growls; the chorus features a catchy chug; and the solos show off some Slayer influence. Interesting though a little too dissonant...
7 out of 10

Drinking Joy, Bitter Loss: Uplifting guitar harmonies open this song with strong drum fills behind it, the verses bring in beautifully played guitars and clean layered vocals, the chorus suddenly goes into faster but still triumphant territory, and the bridge leads into some gritty guitar playing. A beautifully done song
9 out of 10

Bad Blood: The song's opening verse brings in building guitars and more slightly core-ish vocals, the verses continue with more accessible riffs and vocals, the chorus brings in memorable layering, the bridge brings in more angst screams and effective pitch harmonics followed by a neat spoken segment. Not quite a classic, but a pretty cool song.
8 out of 10

Blasphemy Feeder: The guitar melody that opens this song sounds vaguely like that of Nevermore's "My Acid Words" in a way, the verses continue with dissonant mid-tempo riffs and haunting falsettos, and the chorus is another catchy melodic bit. A little too similar to Nevermore, but an awesome number.
9 out of 10

Deny God: Now we come to the album's first true melodic number. It comes in with mysterious guitar melodies, the first set of verses continue with singing that recalls Warrel Dane (Maybe it's just the less than subtle "This Godless Endeavor" reference), the chorus comes in with heavier riffs and shrill falsettos, the last half of the song goes into a much faster direction, and the lyrics are powerfully written ("Psalms of order and chaos/Books from man pretending to be your God". Yea, I'd say these guys scare me more than Deicide...).
9 out of 10

Dillusion: A slightly familiar though somewhat Eastern sounding guitar harmony opens this song at a mid-tempo pace, the verses and pre-choruses range from angrily sung vocals to all-out shrieks with noticeable bass towards the end, the chorus features eclectic vocals, and the solos are nicely done. While the guitars are excellently done, the excessive screams and somewhat angsty lyrics make this an average number.
7 out of 10

Bleed Into Shadows: Another track that features steady mid-tempo riffs, drawn out growls and quickly delivering singing during the verses, and a more uplifting chorus and bridge. Another solid song.
7 out of 10

New Kleen Killing Machine Despite the song's slightly cheesy title, it is one of the strongest on the album. It features an eerily building guitar introduction, powerful falsettos and uplifting guitar chugs during the verses, strong double drumming, an uplifting mid-tempo chorus, and an unsettling bridge. A very powerful closer.
9 out of 10

Overall, this album gets 117 out of 140, 84%, and 4 stars. It might have a few too many tracks and a sound that a little too dissonant for more conservative music fans, Shatter Messiah's debut is an extremely strong effort that features powerful songs and a promising performance. I'm pretty sure there's something on here for every kind of heavy metal listener.