Elvenking Heathenreel

Tracklist:
1.To Oak Woods Bestowed
2.Pagan Purity
3.The Dweller of Rhymes
4.The Regality Dance
5.White Willow
6.Skywards
7.Oakenshield 06:37
8.Hobs An' Feathers
9.Conjuring of the 14th
10.A Dreadful Strain
11.Seasonspeech

Release Date: 2001

Download - All Tracks <<< Click Here

So ya love them folk music, ya say? Ya spend yer days a-singin’ and a-swingin’ in trees of the Elven woods; lute in your hands, bow on yer back? Well, I have an album for ya! An album that shakes the trees with its roarin’, ragin’ power-folk anthems, and could move the angriest of trolls to tears with its acoustic ballads! This is the Heathenreel.

The debut album of famed Power-Folk metal band Elvenking was recorded and released in 2001. At the dawn of a new millennium, the spirit and melody of European folk music a millennia old was as alive as ever, but it had assumed a new form. Fusing the fast, soaring melodic metal style pioneered by bands like Iron Maiden and Judas Priest with the ancient sounds of the minstrels and bards of Europe, as well as a modern folk metal twist that shows influence from fellow metal bands Skyclad, and Blind Guardian, Elvenking have forged a unique and alluring style of their own.

The band on this album consists of 5 members. 2 Guitarists, Aydan and Jarpen who play a fast power metal style of technical guitar riffing and melodic folksy harmonies, and also contribute their vocal talents. Zender, a skilled and creative drummer, Gorlan a bass magician. And of course, the king of them Elves himself, Damnagoras whose beautiful, jovial vocal style soars high above the instrumentation sending the spirit of the Elves through the listener’s ears and into their heart. There are many guest musicians on the album; most importantly Elyghen, a violinist and keyboardist who joined the band later on as their sixth member.

The album starts with To Oak Woods Bestowed, an acoustic instrumental that lures the listener into the vast woods of the Elvenking. Its enchanting melodies paint a picture of Elven minstrels playing as the others dance cheerfully around a fire. The tranquil, serene jig is short-lived and is soon replaced by the loud drums, booming bass and memorable guitar lead of the intro of Pagan Purity. Beautiful lead guitar, stunning vocal harmonies, crisp acoustic switches, and some mean fiddle playing make this song a winner. Using many instruments, and many voices in harmony with a dynamic, always changing song structure seems to be the Elvenking formula on songs like Hobs an’ Feathers, White Willow, The Dweller of Rhymes, and A Dreadful Strain. They’ll make a one–legged goblin dance until that leg falls off.

The band also seems to like to experiment. To compose songs of a more progressive nature. While still keeping the their folk style, the band ventures down below their forest into the caves of the unknown with songs like Conjuring of the 14th, Under the Tree of Us’dum Seasonspeech, and Oakenshield. The songs are longer and are very well thought out melodically and structurally. While many folk bands will ride the same 3 tonal riffs throughout a whole song, Elvenking choose a more dynamic and creative style. Making use of choir vocals, pan flutes, keyboards, Violins and other folk instrumentals simultaneously. One can sense a little Jethro Tull influence. While Elvenking don’t have the lightning-quick guitar shredding of other power metal bands on this album, they more than make up for it with innovation.

Out of the caves and into the sky! Skywards is my personal favorite on the album. It’s an acoustic ballad about a lonely wanderer searching for his place in the world and shows us that Elvenking are great lyricists as well:

"Skywards again, I search for my dimension
People don't know how I am alive
Experience has taught to count every single move

Stone after stone I'm moulding my shelter
I watch it grow with endless delight
Carry me, carry me all your devotion
Deep in my heart to see my haven fall once again”

Multiple acoustic guitars, violin, a soprano vocalist in the background, and wonderful vocal performance by Damnagoras will capture the heart of any being, Troll, Elf, or Man.

This is a stunning debut from a wonderous band of musicians. May the spirit of the Elves live on in all of our hearts. And may it be heard through your speakers with Heathenreal.

Linkin Park Minutes to Midnight

Tracklist:
1. Wake
2. Given Up
3. Leave Out All The Rest
4. Bleed It Out
5. Shadow Of The Day
6. What I've Done
7. Hands Held High
8. No More Sorrow
9. Valentine's Day
10. In Between
11. In Pieces
12. The Little Things Give You Away

Download - All Tracks <<< Click Here

For alot of people Linkin Park has been the band that many have held close to their hearts during their teenage years of angst and contemplation. Their debut album Hybrid Theory has been a mainstay in the Nu metal sound and it displayed Linkin Park as a powerful forerunner in mainstream rock. Combining the gritty elements of the Nu metal sound with rapping vocals and contemplative and thought provoking lyrics.

Then after their remix album Reanimation which recieved mixed reviews they released their second album "Meteora" which many considered a "Hybrid Theory" pt.2 albeit with a heavier focus on the DJ of the group Joseph Hahn. Linkin park seemed to have a very defined Nu metal style at this point and after that, other than some EPs and the very good "Live in Texas" album. We then had work they were in production of a new album and they mae it very clear it would have a different sound from the past, saying it would take influences from classic rock and old school punk. After they went through their apparent 100 some odd demos and picked out the best we recieved "Minutes to Midnight". Does it live up to their legacy that was held by so many?


****ACTUAL REVIEW****

I've decided that I'll go through a song by song review and then expand upon those ideas in a final summary.

Wake
The album kicks off with an ambient sounding track that starts from slow and eerie which slowly picks up into a more powerful and forceful version of what it was earlier. An interesting and appropriate beggining to the album and actually very decent track. 3/5

Given Up
This song is one of the heavier tracks on the album, or at least in the chorus. It starts off with happy and catchy clapping and then goes into it matching guitar riff. Then going full force with the instruments until Chester kicks in. Chester's voice sounds almost like he's trying to hard to have that sound of bleak desperation in his voice. But it sounds decent despite that. When the song kicks into the chorus we see Chester showing off the absolute magnitude of his voice when he so powerfulyl sings "I've Given UUUUUUPP!" and carries the chorus quite well. The song sounds cheesy however in its lyrical content in which Mike Shinoda usually writes very awesome lyrics. However with lines like "Im my own worst enemy" and this song being far more repetive then their older stuff it kindoff falls short. It shoukd be noted this is the first song ever where Linkin Park contains profanity (other than the Jay Z collaboration "Collision Course"). One thing to note on this song is Chester's holds a scream for 17 whole seconds which is a very impressive feat. This song is decent but really grows old after awhile. 2.5/5

Leave Out All The Rest
The first track on the album that is very soft but actually quite good. It's actually one of my favourite songs on the album. The lyrics reflect a man who is dying and wondering what people are going to remember him for. The song itself is pretty alright and the chorus is one the highlights since it holds garners abit more power then the rest of the song and kindoff feels like a buildup. I find this one of the more enjoyable tracks on the album. 3.2/5

Bleed it Out
Just when you thought they had dithed all the rapping. We have Bleed it Out which structurally represents Linkin Park's older style (trading back and orth between rap and sung vocals of Shinoda and Bennington). However the song sounds incredibly upbeat which is actually pretty nice. Everything in the song fits quite well and it works very well as a single. You can also note a much rawer sound on the guitar which somewhat more complex than older Linkin Park. This song has a much much more poppy vibe than anything Linkin park has ever done. 3.5/5

Shadow of The day
Another very slow and soft track. Lyrically very nice and peaceful. The song is carried by a very slow beat and the very peaceful sythns of Joe Hahn which ambience is carried very well in the chorus. Also Rob makes use of an electric drum kit in this song (intro). By the later part of the song when the electric guitar and Bass come in it becomes the same lyrics but much more powerful and moving. 3/5

What I've Done
The albums first single (also on the Transformers Soundtrack). The song starts off with serene and simple keys then kicking into a melodic guitar riff which then drives into the very well written and thought provoking lyrics which Linkin Park are great for. The keys remain the same throughout the song (which is fine because its not to noticeable) but the drums do as well and theyn't change at all throughout the song. The song itself from the verses to the chorus are all very well written (lyrically) and the song itself is one of the best of the album. 4.1/5

Hands Held High
Mike Shinoda goes back to his rap roots, with a song that is very reminiscent of his work as Fort Minor. The song is an angry contemplative song about the state of the world and where the politicioans are taking us. Bourdon's drumming throughout the song is reminiscent of marching band and the song has that kindoff feel throughout. The chorus is held by the entire band saying "Amen" which to someis either incredibly cheesy or when looked into quite interesting as to what the entire song represents. A very good track 4/5.

No More Sorrow
The song starts of with a slow held notes on the guitar and then kicks off into the powerful driving power chords until the lyrics. Which are one of the lesser factors of this song. It sounds like Linkin Park ios trying to right about something important and personal but its really lame. Otherwise the song is pretty cool if at the same time very samey. Unfrotunatly at the bridge the song it sounds quite annoying and awful. But it doesn't last long which is very good. The song is mehish 2.5/5.

Valentine's Day
Very poetic lyrics and Chester's vocals are incredibly nice to listen to. The song is simplistic but that lends itself well at certain parts and falls at others. When the song goes into the melodic bridge it hits its highest point of power and emotion. Making it fairly likeable. The keys in this song stand out despite their simplicity sinc ethey fit so well. 3/5

In Between
Mike Shinoda not rapping and actually singing. Not supringly he sings it incredibly well with Chester only doing backup. The lyrics reflect someone caught up in the troubles of a relationship and having to deal with the aftermath. One of the best written songs and a very peaceful and depressing song to listen to. The ambient sounds that drive the song are similair to those in previous tracks but lend themselves perfectly to the theme. A very interesting track. 3.8/5

In Pieces
One of the lesser songs on the album (despite the fact that the softer songs seem to be a highlight). Lyrically its another song about relationships however its much cheesier and seems so self centered. Musically its fairly boring, other than the solo (which isn't to impressive but makes for a good change of pae and helps the song). And by the second half of the solo it's actually very cool to listen to. Then the song picks up into a much more powerful mood. So you could see the rest as buildup but Linkin Park has done way to much of that and by this point it has been a bit tired. 2.5/5

The Little Things Give You Away
One of the very few songs by LP played in 6/8 which shows their creativity. Chester goes with a very softer sounding vocals than he's ever done. The song is one of the more interesting songs because of that since working in 6/8 isn't overly common. By the time Rob beings using triplets the song incredibly picks up. Despite the fact of the of the repetive lyrics it's one of the higher points of the album anda great way to end it off. By the guitar solo and then Chester's melodic yelling (echoing Great Gig in The sky by Pink Floyd). The song is great form start to finish. 3.5/5

BONUS TRACK!!

No Roads Left
The guitar drives this song mostly and for Linkin Park it's incredibly catchy. The lyrics are very awesome and once again showcases Mike's ability to write very thought provoking lyrics (as well as showcase his vocal abilities). The chorus is emotional and leaves you with a truely morose feeling. Assuming you get into the lyrics . If not this song isn't for you. Since this song is so about lyrics. It's curious why this is only on the itunes bonus track. 4/5

Overall the album is incredibly different from what Linkin Park has prodd in the past and I will attest that it's not as good. It loses alot of its power as a whole. But Linkin Park changed and after seeing this it is interesting to see what else they will produce after this.

Pros
-More guitar driven
-Interesting drumming
-Ambient noises are great
-Leave Out all the Rest
-What Ive Done
-Hands Held High
-In Between

Cons
-Harder song are the worst
-No more nu metal sound
-Loses emotion
-Lyrics on the album as a whole are not as good as Meteora or Hybrid Theory


Final 3/5
Interesting album, but if your an old school LP fan you may be able to find the value in it. Or you will hate it for being so far from their Nu metal sound. What the band did succeed in is producing a sound completely different from their older stuff yet still maintained what they have stood for since their begginings.

Sky Eats Airplane Sky Eats Airplane

Tracklist:
1. Introduction
2. Long Walks on Short Bridges
3. Transparent
4. Numbers
5. World Between Us
6. Photographic Memory
7. In Retrospect
8. The Artificial
9. Disconnected
10.Machines
11.Alias

Release Date: 07/22/2008

Download - All Tracks <<< Click Here

Sky Eats Airplane
a reformation of local Fort Worth, Texas act (In Theory)'s members Zack Ordway[guitar], Johno Erickson[bass], and Kenny Schick[drums] and surviving member Lee Duck[guitar, electronica] of the original version of SEA.
The new line-up formed after the departure of Sky Eat's original vocalist and the break up of (In Theory), and after recruiting Jerry Roush[vocals] with the help of Myspace, the band signed with Equal Vision Records.
Enlisting the production of Brian McTernan[Thrice, Circa Survive] the band set out to record their "sophomore" release, in the ever-growing Electonicore genre (sounding something privy to the like of G4 viewers). 3 re-recordings of demos posted on their Myspace, and 8 new tracks, though one is an unnecessary 43second "Introduction."

"Long Walks on Short Bridges" kicks off the album some electronic drums, followed by a creative riff laid down by soon to be noticed Zack Ordway. Almost immediately you notice the difference in production between the re-recording of the song and the original, the former being well polished and transparent, with all instruments seeping into their designated place. The vocals are a departure from those of the original vocalist but they work well over the chaotic pace being developed in the song’s opening minute. Than going proceeding into what will land them in the over flooded “screamo” category, though the electronica samples and used to back the decent? singing creates some sense of uniqueness from the rest of the pack. Long Walks is a perfect opening track, highlighting the band’s ability to be heavy, melodic, or synthful, and ending with a breakdown reminiscent of Underoath’s "Writing on the Walls" final breakdown.

The following track, "Transparent", begins with some soothing guitar, and seems to introduce a more pop/commercial feel to the band. Sounds like the “radio hit” until it shows off another of the albums sporadically placed…moments. The song foreshadows the album’s tendency to drag on, but still display the interestingly heavy moments, creative pop-influenced movements, or stunning guitar play. The electronic segues could be left out, but they help remind you that Sky Eats Airplane is what they call themselves, “Electronicore.”

"Numbers" starts off with an almost Scarlet sounding guitar riff which disappears to unveil a breakdown with the brutality of those exemplified by Misery Signals and technicality that doesn’t sound forced. Again, the song gets boring, but you hesitate to skip the track because you know another one of those moments is bound to work its way into place, fortunately it comes in the form of some ridiculous fret work.

"World Between Us" feels something like you’ve already heard, which leads into some out of place sounding vocal melodies. One of the weaker songs on the album, fails to grab your attention while offering the lion’s share of melodic singing. The track still contributes more of those ambitious musical sections which should earn the respect from fans of heavier music. "Photographic Memory", another of the re-recordings, brings back the initial and familiar feel that the opening track was able to give. Has the stand out vocal entry of the entire collection of songs and seems to be the best all around song, start to finish, from the self-titled debut.

"In Retrospect" brings back the feel created by the second track, "Transparent". This song drags on to sound somewhat like a ballad, or another attempt to be radio friendly. The last re-recording of the original 3 demo songs, "The Artificial" is another great listen, and establishes that the best songs on the album were the 3 originally written and recorded by the 5-piece + ibook band.

"Disconnected" could have been heard, with horrible quality, on live footage of the band found on youtube, and drew my attention. Definitely the heaviest song on the album, and a personal favorite, this chaotic song displays more of the sick guitar work found on the album. "Machines" is siqq, literally. Another unexpected re-recording, though of a song that had previously been streaming on Zack Ordway’s personal myspace page(titled Siqq); is the most insane minute and a half of music I’ve ever heard. If you enjoy heavy music or guitar skills, this is a MUST listen.

"Alias" fits right into place as the closing song of the album, beginning with some catchy vocals that randomly get shoved out of the way by some intense breakdowns. The song concludes the album and gives a wrap up of what the bands "sound" was through-out the 11-track effort.

Highlights:
Disconnected and Machines are the two funnest songs on the album and will probably be the tracks I skip straight to when I put this in the car.
The 3 re-recordings turn out to be the best listens.

Lowlights:
A few sort of filler tracks that tend to drag, while still delivering promising moments.

Dark Tranquillity Character

Tracklist:
1. The New Build
2. Through Smudged Lenses
3. Out of Nothing
4. The Endless Feed
5. Lost to Apathy
6. Mind Matters
7. One Thought
8. Dry Run
9. Am I
10. Senses Tied
11. My Negation

Download - All Tracks <<< Click Here

Of all the album titles that Dark Tranquillity has chosen over the years, Character seems to be the most fitting. Unless you count Exposures: In Retrospect and Denial (which doesn’t seem like it should count, being a split B-sides and live set) nothing else really sums up the sound of these co-founders of the melodic death metal genre. To my knowledge, Dark Tranquillity remains one of a kind in their genre, making their death metal melodic not with guitars, but with atmospheric electronics (and sometimes piano). Since "character" can be defined as "the quality of being individual", it would be a perfect title if it were the band’s definitive post-The Gallery album. Sadly, the problem is that it isn’t.

Before we get to what’s wrong with Character, an examination of its strengths is certainly necessary. As always, every member of the band puts in a strong performance. Guitarists Niklas Sundin and Martin Henriksson fill each song to the brim with fantastic riffs and other parts that rarely get old. There are also a couple solos, showing that this veteran guitar duo is still going strong and hasn’t lost any of their chops.

Their rhythm section is also quite strong, and although the bass is fairly hard to hear, it’s contribution is significant enough to be mentioned. Drummer Anders Jivarpis also a bit underrated, as his rolls, fills and blast beats are significantly better than average throughout the album. The electronics master Martin Brandstorm might just be the most talented member, contributing synths and samples that subtly complement what the rest of the band is playing. Last but certainly not least, Mikael Stanne’s harsh vocals are almost always fantastic, despite him having suffered audible damage to his voice. (We’ll get to that later)

Sadly, that’s where most of the positives end. Like most releases by the band, Character suffers from a strong sense of monotony, although before it was never really a problem. With the exception of the slightly slower “My Negation” and the vocal sample intro on “The Endless Feed”, there’s nothing that really distinguishes any of the songs from each other (besides how good they are, of course). Only 2 or 3 of the songs feel like they have the energy or knockout quality that we’ve come to expect (and gladly receive) from the band before and since.
(This is certainly one area where Fiction is triumphant, because “Inside the Particle Storm”, “Misery’s Crown”, and “The Mundane and the Magic” are certainly different from each other song on the album.)

If there’s one thing the band hasn’t quite learned how to do more than once in a row, it’s close their albums on a high note. Haven and Damage Done both have weak closing tracks, and Character is no exception. “My Negation” just feels too long and drawn out, plodding along at a mid-tempo pace and ending with a two-minute instrumental section. The instrumental section is fine, but doesn’t do much to help a song that simply can't hold the listener’s attention that well.

It seems inevitable that no matter how well one trains their voice to take the strain of screaming, it’s going to eventually suffer damage. I guess that Stanne’s voice must have been damaged not too long after Damage Done (somewhat ironic, eh?), because in the three years between it and Character a noticeable rasp has made its way into the man’s scream. He's still quite good, but listening to the previous albums you can’t help but think how the dip in vocal quality slightly brings down the music.

Despite the quite noticeable flaws that permeate Character, it’s still a pretty good album. After all, this is a band that constantly puts out 4’s and up, so it would take a bucketload of problems to make it a 3 or less. Is it a great album that’s worth your time and money? Yes. Is it one of the band’s best? No.

Recommended tracks:
Through Smudged Lenses
The Endless Feed
Lost to Apathy
One Thought

Borknagar Borknagar

Tracklist:
1. Vintervredets Sjelesagn
2. Tanker Mot Tind (Kvelding)
3. Svartskogs Gilde
4. Ved Steingard
5. Krigsstev
6. Dauden
7. Grimskalle Trell
8. Nord Naagauk
9. Fandens Allheim
10. Tanker Mot Tind (Gryning)

Release Date: 1996

Download - All Tracks <<< Click Here

Kristoffer Rygg, or Garm, or “Trickster G” as he is referred to now, is without a doubt one of the, if not the, single biggest names when you talk about the rise of folk black metal. Basically, he created it. Most who are akin to the likes of black metal know and appreciate the name Ulver, and rightly so. What Garm did for the genre could not be put into words, because it simply showed that beauty can indeed lie within the confines of a genre so dark and ugly that most who are not used to it find it repulsive. Garm produced three literally groundbreaking albums with Ulver; the stunning debut Bergtatt, their acoustic masterpiece Kveldssanger, and their deeply intense Nattens Madrigal. Around the time of the latter, Nattens Magdrigal, Garm was busy releasing an album from a side project which held the folk aspects of Ulver’s music in a higher regard, a project called Borknagar. With Rygg now on to (perhaps) bigger and better things, now going by the absurd alias of Trickster G, one has to wonder what exactly went through his mind as he left the genre which he created behind, off to the world of dark ambient and electronica, probably never to return. In short, the Garm which every metal fan knows and loves is virtually dead.

However, Garm left in his wake some marvels of what a band can do with folk inspired melodies and black metal. The similarities between Borknagar and Ulver are astounding, especially with their self-titled first release Borknagar. The album was released in 1996, the same year in which Ulver’s final black metal piece Nattens Madrigal was being unleashed. Their music sounds nearly identical, with drastically under-produced, treble-laden guitars grinding away through a vast array of melodies coupled with Garm’s biting, but amazing, screams. However, Garm is the only member of Ulver present in Borknagar’s lineup, but was obviously a huge influence in the sound the band portrayed. Along with Garm, we have the likes of Infernus on bass (from Gorgoroth), Erik Brodreskift (a.k.a. Grim) on drums (from Immortal), Ivar Bjornson behind the keyboard (from Enslaved), and the lesser known founding member of Borknagar, Oystein G. Brun, on guitar. So, in a sense, Borknagar is a black metal supergroup, featuring names of musicians from other highly regarded black metal bands of the time.

However, unlike most supergroups, the music which Borknagar puts up here on their debut album is absolutely awesome. It’s a very melodic take on folk black metal, with really intense moments of black metal broken by melodic riffs, acoustic guitar breaks, or fabulous instrumentals. Some who are not akin to the works of Ulver may not catch a vast majority of these melodic riffs, since the production engulfs them most of the time, but those who have the ear for it will most likely be thoroughly impressed by the amount of variation to the melodies here, whether it be the straightforward, well produced ones in the downright epic song “Dauden”, or the sleeker, more hidden ones of the ferocious opener “Vintervredets Sjelesagn”. Some of the time the music goes abruptly from a wall of (surprisingly complex) drum fills and guitar crunching to a sweeping acoustic guitar melody behind Garm’s unique chanting vocals. It’s something which you won’t get used to even after repeated listens to the album, because it is so well placed that each time you listen to a certain song you’ll never guess where exactly, say, the melody is hidden or when the vocals change styles.

The layout itself is long as hell, or at least seems like when all is said and done. The total running time is just under 45 minutes, but seems like it is upwards of an hour. The songs are very long, with the typical non-instrumental track clocking in at around six minutes. It’s a seriously tiring affair, but a rewarding one. These long tracks are broken by impressive and sometimes downright ingenious songwriting. The instrumentals are calm, very refreshing and merciful, and always melodic. Take, for example, the track “Ved Steingard”, which manages to pack into its 2:14 one of the single best riffs I’ve heard out of a black metal album. It’s a duo of electric and acoustic guitars which works in ways I’ve never seen before. I guess that’s the kind of quality you get when you bring together some of black metal’s best minds. You know the instrumentals are good when they rival some of the best folk black metal songs I’ve ever heard.

Sometimes, you don’t have to understand the story in order to follow along and enjoy it. So, as the members of Borknagar play their hearts out before you, on their debut album, mind you, there is simply nothing you can do but lean back, smile and shake your head in approval and disbelief that a record so impressive as this gets so little recognition and appreciation. Easily one of the best work’s by any member of the band (including their respective bands such as Ulver, Immortal, Enslaved, and Gorgoroth), and easily one of the biggest surprises I have had in a while. A black metal album which can take my breath away with it’s originality; that is something which is hard to get in my book. Borknagar is an awesome, perhaps brilliant folk black metal recording which is vastly underrated and criminally overlooked. Check this one out ASAP.

Nightwish Once

Tracklist:
1. Dark Chest Of Wonders
2. Wish I Had An Angel
3. Nemo
4. Planet Hell
5. Creek Mary`s Blood
6. The Siren
7. Dead Gardens
8. Romanticide
9. Ghost Love Score
10. Kuolema Tekee Taiteilijan
11. Higher Than Hope

Download - All Tracks <<< Click Here

I have always been a fan of symphonic metal, but only when it’s implemented in parts of a song to enhance the epic factor or beauty of it. Even when the orchestra is going full throttle the whole song it’s enjoyable, but when there are more than a few songs like that, it loses its appeal and starts to become annoying. Of course I am being very general, but this is exactly how I felt listening to Once. It’s not a bad album, but I believe it’s truly average outside of personal bias, and here’s why.

The idea of stings complimenting harsh guitars is a very appealing dynamic; not only does it attract metal listeners, but the beautiful nature appeals to a relatively large casual audience. Every music fan including the members of Nightwish already know that, so what could go wrong with making a symphonic metal album? I mean, the guitar parts are usually rhythmatic in their approach and the drums can do whatever they want as long as the strings take center stage during the parts where they’re intended to be emphasized, so it’s (relatively, of course) easy music to make in theory. When you glance at the top of this page and see that ominous 2.5 rating glaring at you, you have to ask me what I think went wrong here. Simply put, well, nothing went necessarily wrong, rather too much right was utilized; there is no variation to be found on the album unless you listen to it enough to distinguish the different elements that make up the album. Of course there’s a slew of albums you have to do that with, but this one is so repetitive that the time it takes to identify each part within a song is enough to lose interest in the monotonous sound. That statement may sound contradicting, but it is describing a self-defeating purpose: listening to a monotonous album enough times to distinguish its parts but getting bored of the monotony in the process.

Now, as repetitive, cheesy, or obnoxious this music is, it’s also beautiful, epic, and wonderfully enjoyable in short bursts. Lead vocalist Tarja Turunen has one of the most captivating and beautiful female voices I’ve heard. Nightwish simply would not be Nightwish if it weren’t for the female vocals, and they certainly add to the atmosphere the music creates. Once in awhile one of the band members contribute man vocals, but I find myself just looking forward to hearing Tarja again, not that his vocals are bad, but hers are just that good. The music that supports her is good, but cheesy as mentioned before. It’s a safe bet to say a good portion of power metal is cheesy, and there’s probably as many people that consider that a good thing as there are that think otherwise. Regardless of whether or not one considers this cheesy, it’s very simplistic, with slim to no guitar leads. Perhaps this is because the stings often take center stage; it’s a full orchestra after all, so the band makes use of this fact by showcasing it very often and very explicitly.

The music here is not bad. It works for what it is supporting (the strings) in the very least. You could argue that the strings are supporting the music, but at the level the strings are implemented on this album, they really support each other with an equal level of metal and orchestra. However, the music is also repetitive, even bland at some points, enough to induce a yawn, which is always a bad thing when that's not the intended effect. Every song brings nothing new to the one it followed, with a few exceptions that I’ll mention at the end of the review. My biggest complaint about Once in a nutshell is this: it beats a good idea to death. So much so that it loses merit a few songs into the album. It’s too bad that some of the album’s best songs are towards the end because unless you absolutely love power metal and have a hard time getting bored with this sound, there’s a good chance you’ll take it out after three or four songs.

This is a great, fun listen every once in awhile. For some of the best female vocals in metal, look no further than here. If you’re not looking for guitar wankery and you’re satisfied with chugging, then this album is for you. What makes it better is the symphonic element, and more often than not, the orchestra deliver some great pieces. Unfortunately, Tarja and the orchestra are the only two things that set Nightwish apart from their power metal peers, so you may just find yourself only listening to this a few more times than once.

Recommended songs:
“Nemo”
“Ghost Love Score”

Cruachan Morrigans Call

Tracklist:
1. Shelob
2. The Brown Bull of Cooley
3. Coffin Ships [Instrumental]
4. The Great Hunger
5. The Old Woman in the Woods
6. Ungoliant
7. The Morrigan's Call
8. Téir Abhaile Riú
9. Wolfe Tone
10. The Very Wild Rover
11. Cuchulainn
12. Diarmuid and Grainne

Release Date: 04/24/2007

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Folk metal. In my opinion, one of the best genres of metal. Why? Because when you listen to folk metal you get images in your head of a lot of different things. Things like war, weapons, battle warriors, and other things of that nature. Cruachan is probably one of the best bands to listen to if you want all of that. They play folk metal mixed with a little bit of black metal. Think of Borknagar, just less a little less black metal like. This is The Morrigan's Call.

First of all, the best thing about this album is the folk instruments. You have all kinds of different things cellos, flutes, and other things like that. They also throw in some keyboards. Cruachan execute the use of the folk instruments so well that if you close your eyes, you can imagine being right in the middle of Ireland in the middle of some kind of epic battle. Believe me this is a good thing. Cruchan has two vocalists, one female and one male. The female is the more dominant one on the album singing in a operatic like voice. She reminds me of Sarah from Cradle of Filth. The male has three different kinds of vocal styles. He has a singing voice, more of a deep shouting, and then the infamous black metal shrieks. He executes them all to perfection.

As far as the guitars, bass, and drums. They really don't have that much of an impact on this album because of all the folk instruments being the center of attention. There are realy no memborable riffs or basslines that stuck out. There are some blast beats and tremelo picking when the black metal parts pick up, but thats about it. You wont be hearing any kind of killer solos on this album. This doesn't really effect the album at all though because when you hear how awesome the folk instruments and the keyboards are played, you really won't care about hearing any ripping solos or awesome basslines.

As for the individual songs, there are either the ones that mix both the extreme black metal side and the folk metal side such as Shelob and The Brown Bull of Cooley, or the straight up folk metal masterpieces like The Great Hunger and The Very Wild Rover. They also throw in an instrumental or two along the course of the album.

Overall this album is amazing. If you are in need of some folk metal with a little black metal edge, this album would be perfect. Like I said earlier, Cruachan will give you great images in your head of exactly whats going on during the album. Also, if you're Irish this album is perfect too because they do a great job of incorporating elements of their homeland into their music. That goes for the rest of their album as well.

Alkonost Stone Heart Blood

Tracklist:
1. Time of the Rage
2. Temple of the Forest
3. Dark Days Shadows
4. Youth
5. Brotherhood of Steel
6. Dawn
7. Tracery of Sorrow
8. Stone Heart Blood (Outro)

Release Date: 11/19/2007

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I have a tendency to be very critical of female fronted metal albums, unless they are done very well; even still, I’ve no interest in bands like Nightwish and the sort. I guess it really depends on the type of metal being played, and the singer herself. Alkonost is an exception to this, and I have a small attachment to their brand of folky, melodic metal, and their singer, Alena Pelevin. Stone Heart Blood is the band’s latest full length, and is more or less the exact same dish as any of their previous work.

Even though it is folk metal, a lot of the elements of folk metal aren’t apparent in Alkonost. For one, they don’t use any traditional instruments, relying solely on the common synth, keyboards, and chugga-chug riffing. The difference Alkonost has though is that they manage to invigorate a tired formula through the use of some strong melodies that hint towards Russian traditional music. The layers of synth and keyboards create a soft and cushioned backing to each song, while either the lead guitars or Pelevin direct the song through harmonious melodies. The vocal duties are shared with bassist Alexey Solovyov, who provides a throaty rasp that again separates Alkonost from their contemporaries.

Another big thing about the band for me is that they don’t conform to European metal standards by writing in English. They maintain an identity through keeping their Russian folklore in the language that it makes the most sense in, Russian. It not only gives the music a mysterious feel and atmosphere, but also an unchallenged authenticity.

Pelevin’s voice is very deep and operatic, and balances rather well with Solovyov’s growls. In most instances where they sing together, Solovyov reduces the intensity of his rasps to a deep and solemn state by which together with Pelevin creates a very dynamic sound. Other than that, the to-ing and fro-ing between the two vocalists can be very satisfying; there is great chemistry between their voices.

The unfortunate thing about this album though, is that there is almost no progression whatsoever from their last release, The Path We’ve Never Made. I would go as far as saying that the style of music is almost identical to that of the said previous album. It can be debated whether or not they’re just comfortable playing this style repeatedly, or if they actually don’t know how to play any different, and one must understand that there isn’t much room for change within the confines of the genre. Even so, the album is a decently enjoyable romp into folk metal, but doesn’t really offer anything special.

Hail of Bullets ...Of Frost and War

Tracklist:
1. Before the Storm
2. Ordered Eastward
3. The Lake Ladoga Massacre
4. General Winter
5. Advancing Once More
6. Red Wolves of Stalin
7. Nachthexen
8. The Crucial Offensive (19-11-1942, 7.30 AM)
9. Stalingrad
10. Insanity Commands
11. Inferno at the Carpathian Mountains
12. Berlin

Release Date: 05/19/2008

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Hail Of Bullets is a death metal band from the Netherlands and they have freshly arrived on the scene. They are one of those bands that take the best parts from old-school death metal formulas and mix it with their ideas and influences from the present day. Their type of death metal is quite simple, both instrumentally and vocally. There is no over-use of riff techniques, drumming or cryptic lyrical messages (cheesy lyrics for that matter). This is plain old-fashioned death metal played with passion. ...Of Frost And War is their debut album and it focuses on the horrors of war, and in this case, their focus was on the war between the Germans and Soviet troops during World War II.

Still refusing to capitulate
Leading their men to continue the fight
Comfortable generals in warm barracks
In the open fields their soldiers die

...Of Frost And War is a powerful debut album. The instruments flow great; the sound production is nearly flawless; the music mixes perfectly with the war themed lyrics and the odd vocals provide anxious texture/atmosphere to both the lyrics and music. There are no fancy riffs or complex soloing in this album but the thick sound of the guitars almost overwhelm the listener. This gives the songs a great deal of power and strength. Everything sounds great, even if the riffs are a bit slow. I would say the guitar style could be compared to bands like late Dismember or Hypocrisy. The bass is like any other bass in death metal, either loud or non-existent. This time, it is pretty much non-existent and is very hard to distinguish from the loud guitars. Thankfully though, there is some splendid drumming instead. The drums bash forward with intense pounding and bursts of classic double bass drumming. Nothing gets boring or repetitive; almost every drum pattern mixes well together with the crushing guitars. Normally you would expect deep guttural growling or grunting when you listen to a lot of new death metal bands. Just wait until you listen to this! The vocalist has a very odd style because it sound like his scream is slightly strangled. Either way, the frustrated and intense vocals add a lot of texture and atmosphere to the music. This could be compared to the harsh reality of the past, especially during the sad and melodic ending track Berlin.

Shrieking madonnas
Lead spitting banshees
Baptize them in fire
Iron Valkyries

Most tracks on this album have a simple structure and lay-out. Tracks like General Winter and Ordered Eastward both have slow and heavy intros. A little while into the songs, the tracks explode with energy and anger while the tempo gets turned up a few notches. Many tracks contain gruesome and sinister riffs with some Slayer influenced solos; Stalingrad and Nachthexen would be two tracks that include just that. Even if this is straight up death metal, there are actually some melodic moments thrown in to give the listener a moment to rest. Before The Storm and Berlin include some nice sounding dark melodies while the rest of the tracks have a couple melodic moments. Most of the tracks listed above are more or less standout tracks for many reasons. Twelve songs make this a bit hard to endure through even one full listen. The first five tracks keep things interesting, but the middle of the album starts to drag a bit. Unfortunately, since most of the tracks follow a similar structure, there is always a risk of repetitiveness.

Marching, creeping, waiting
Snipers in the trees
Aiming, shooting, killing
These wolves will have their feast

The lyrics in ...Of Frost And War are taken from real world events that occurred during the second World War. Also, these lyrics have a continuous flow from start to finish, providing a concept to an interesting piece of history. The Germans receive orders to engage Operation Barbarossa, the invasion of Russia. The Germans blitzkrieg tactics completely fail because of their inexperience with the Russian countryside, harsh weather conditions, inappropriate gear and their selfish beliefs of being ''uber-menchens'' or Super-humans. Operation Barbarossa became a slow moving war that the Germans would eventually lose. The listener is taken through a hellish journey with commander of betrayal, endless death, starvation, defeat and other terrible things that the soldiers and civilians had to endure. Even if the lyrics are pretty authentic, they actually suit the music perfectly in terms of death metal genre lyrics. Nothing is over-exaggerated or confusing; everything is simple to understand and the lyrical theme works fine alongside the extreme music. This is a great example where knowledge of history and musical enjoyment can go hand in hand with each other.

Berlin
Last nest of resistance
In which children fight
Old and young mobilize

Hail Of Bullets is a very interesting death metal band that has the potential to go far. ...Of Frost And War is a powerful album that will please many death metal fans. The album might be a bit tough to get used to because of the unusual vocals. The music however, shouldn’t be that challenging to enjoy. The album has no major drawbacks and the tracks have great musical dynamics, even if the songs are easily constructed. The only thing that annoys me is that there are only a few growls in ''Ordered Eastward''. No other song has growls, which is a necessity for any death metal if you ask me. Fast and slow, heavy and forceful, melodic or intense, this album has what it takes to become a memorable death metal album. Highly recommended for those who enjoy any kind of death metal.

Positives
+ Awesome guitar sound and performances
+ Odd vocals (they stand out and make this album special)
+ Splendid sound production
+ Very great range of song dynamics and variety
+ Suitable lyrics for a death metal band

Negatives
- More growls should've been used
- There should've been less than twelve tracks

Recommended Tracks
-- Advancing Once More - Definitely one of the most powerful songs on here. The intro is a perfect tension builder and the main riffs are devastating while the rest of the track is pure death metal mayhem. Perfect track!
-- Ordered Eastward - Another outstanding track! The intro marches on in a great, moderate pace and the riff lines have a great flow. Not as powerful as the track above but is still a pretty damn good song. This is the only track with growls too, similar to Akerfeldt's type of growl actually.
-- Berlin - The ending track is a perfect closer to this concept album. Heavy and slow, it has a great atmosphere while the melodies are gloomy and beautiful. Try to imagine the battle-fatigued soldiers fighting to the bitter end with this music in the background.
-- The Crucial Offensive - A track which is similar to Ordered Eastward. A very heavy, fast, and lethal death metal cocktail.

Final rating, a solid 4/5

My Dying Bride The Dreadful Hours

Tracklist:
1. The Dreadful Hours 9:24
2. Raven and the Rose 8:13
3. Le Figlie Della Tempesta 10:09
4. Black Heart Romance 5:24
5. A Cruel Taste of Winter 7:36
6. My Hope the Destroyer 6:45
7. The Deepest of All Hearts 8:56
8. Return to the Beautiful 14:24

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After an hour of barely standing in a subtle thunderstorm, I question the length of impact previous events have taken towards the future. In this time we fear not life, but the flowing silence of shared pain between our mother and father. We barricade ourselves in holes of temperament just as we see the others pass by with beckoning smiles on their ugly faces. This could be a new dawn; a rite of spring. Could this be what people mean by joy, or is this a masquerade of dispossession? There is no such thing as living, only this moment that shall last as long as my mind is my might. Only this memory…nothing else is real. It’s a funeral procession of winds…catatonic lungs…no smell but this raw cloud of self-disgust and a poor lamentation…Yet as I sit there in a cacophonous restlessness the world around me has absolved into a barren, placid lake where the smoke acts as embers as they swirl and dance and enter my lungs so generously. The sky is empty and retains a harsh, blood red like that of a ruby moon. I can only sit along the edge of this sea that swallows the sun in a bleak, hopeless horizon…and the fire is dead.

That's just the first song. The emotional capacity of this cd is limitless. It's quite hard to find a capable band to take on such an erotic, enduring, and deeply dark substance of music. Even the artwork is brilliant.

Musically, it's more or less a diverse mix of tempos and atmospheres. You have songs such as The Raven and the Rose; relentlessly crushing for 6 minutes straight until it breaks down into a soft piano arrangement, and continues into a classic doom outro of melancholy guitar leads. There are also songs like Le Figlie Della Tempesta (Italian for daughters of the storm) that are almost reminiscent of The Cry of Mankind; long, epic, trance-like. My Hope, The Destroyer opens up with a soaring, brooding keyboard passage that bursts into a badass guitar rhythm, which breaks into another keyboard progression with tribal drum beats under them. There's a complete absence of violin however, which could upset some old school fans. As far as the other instruments go, they play off each other professionally and flawlessly. 100% original material here.

Lyrically, this is arguably the best Aaron has come up with in his career. He's started to branch out his topics as well, which has proven very interesting here. The Dreadful Hours is about a tragic son continually beaten by his father, who eventually beats him to death as the mother comes in begging for the son to wake up. The Raven and the Rose is about a happy girl who enjoys life, and a miserable boy can't stand it and murders her with a sickle. Then after Le Figlie Della Tempesta, which appears to be about the sirens, he continues on with his usual theme of love…or lack of. It's a bit odd how much better he gets at writing about this topic. He seems to prefer singing on this over his raspy scream for the most part, though his voice can get pretty ***ing creepy so it's not a bad thing by any means.

To say this is just another doom album would be disturbing. There is a feeling of achievement you can notice the band has reached, as they have reached a level of seduction that most bands cannot branch out to. Even if you've never enjoyed other My Dying Bride albums, this just might be your cup of tea, as it sets itself apart from the rest of the discography. Hell, even if you don't particularly like doom metal, this is still a worthwhile listen as it is one of a kind.

Amaseffer Slaves for life

Tracklist:
01. Sorrow
02. Slaves For Life
03. Birth Of Deliverance
04. Midian
05. Zipporah
06. Burning Bush
07. The Wooden Staff
08. Return To Egypt
09. Ten Plagues
10. Land Of The Dead

Release Date: 06/09/2008

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Hailing from Israel is a band named “Amaseffer”. The band started with the drummer, Erez Yohannan, who started a project to recite the story of Moses from the slavery period. Slowly, as he progressed two guitarists also joined him and had been writing this album for over a year. The vocalist that joined them couldn’t keep with their schedule so, they decided to break it off and use guest vocalist instead. This album mainly features Mats Leven as lead vocals. Other vocalist such as Kobi Forhi (Orphaned Land) and Angela Gossow (Arch Enemy) accompanied the album too. The album covers from when the king of Egypt orders his soldiers to kill all the male babies till Moses releases the first plague killing all the firstborns in Egypt. I must also note that “Slaves for Life” is part one of a trilogy.

The Focus of the album is to take film score like production (the band worked a whole film score for Arabic movie “Altalena” before the album finished) and combine it with Progressive music. Most of the album relies on symphonic music and ambient noises such as; horses, people whispering, dialogue, and storm effects. There are also quite a few Middle Eastern instruments thrown in there too. The guitars don’t appear throughout the entire album, it enters and exit as it pleases. The guitaring itself isn’t really impressive, it is there solely to create an atmosphere so they don’t really do anything show offy excluding the track “The Wooden Staff” in which shredding will occur. The drumming and the drum tone in general does a great job accompanying the atmosphere of the album by keeping it simple. While most of the album is symphonic, metal passages sometimes join in, while the metal passages aren’t really breathtaking, but it gets the job done.

The vocals haves a soft raspy tone to them with an Arabic accent, a great storytelling-like substance to them. Lyrically the album tells the story (both English and Arabic) from a 3rd person perspective, at times it switches to 1st person. Like when Jochebed sends Moses into the sea in “Birth of Deliverance”, “Hush my baby don’t you cry, My love for you is eternal, Like the Everlasting Fire, that light up the darkest corner of my soul”. The tracks ranges from six to eleven minutes excluding the intro and “Return to Egypt” which runs for three minutes and under.

The opening track is basically a 2 minute opener with someone scribbling on a piece of paper, then getting on a horse to supposedly deliver a message. It also features some flute and acoustic playing. Soon after the title track opens up with a standard Arabic male melody with slaves chanting in the background working on something. The track is basically an introductory in the world and the time it is representing “In a land of two races, a million sands ago, where pharaohs rules black magic thrives”. This track basically introduces everything the album has to offer in its eight minutes. My gripe about this track is that while it is strong, it doesn’t really capture the chaos of soldiers going door to door hacking male babies into bloodmeat, it would had been nice if they had thrown in segments of mothers crying or something to that effect. During “The Wooden Staff” there is this cool whisper thing going on that goes from the right earphone to the left earphone then back again with a dissonant guitar ring in the background. Also during “Ten Plagues” there is a full two minute dialogue in Arabic tongue which is really cool because you have a sense of exactly what to picture in your head thanks to the sound effects. Each song title clearly states the section they are going to cover within the song.

Unfortunately,for some people, this album is one hour seventeen minutes, you will be encouraged to listen to it from start to finish but it leaves a satisfactory feeling. Also during the time, there simply aren’t enough parts that you will remember, no real vocal hooks, nothing that melts your face. Sure the album is truly epic but most of the time, it flies over your head. This album could have been made much better, so I hope to see what they can do for the second outing.

Psychotic Waltz Bleeding

Tracklist:
1. Faded
2. Locust
3. Morbid
4. Bleeding
5. Need
6. Drift
7. Northern Lights
8. Sleep
9. My Grave
10. Skeleton
11. Freedom?

Release Date: 1996

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Some fans were unhappy with Psychotic Waltz’s previous release, ‘Mosquito’, which simplified the typical Psychotic Waltz formula by removing the complex progressive arrangements and replacing them with a simpler, more pop-orientated psychedelic sound. Instead of returning to their prog roots with ‘Bleeding’, Psychotic Waltz continue along the lines of ‘Mosquito’, a move that easily could have ended in disaster. However, Psychotic Waltz manage to improve the sound in every way, creating what many see as their best work.

The most noticeable change between this and ‘Mosquito’ is the production. The thin fuzzy production that hindered ‘Mosquito’ has been replaced with a new richer sound that brings back the deep and dreamy atmosphere of ‘Into the Everflow’, though it is not quite as dark this time around.

The fluid guitar riffs contribute immensely to this mysterious dream-like atmosphere. Melodies merge smoothly around each other giving the album a free-floating style. The song-writing is much improved from that of ‘Mosquito’. The melodies are catchier and better written than before, and the riffs more powerful, with more ‘groove’. The guitar solos too are more melodic and impressive. It is clear that Psychotic Waltz have adapted completely to their new style, which they didn’t quite manage to do with ‘Mosquito’.

While ’Mosquito’ felt disjointed as it seemed to be trying to be mellow most of the time but ruined the atmosphere at times by trying to be ‘heavy’, the mix on ‘Bleeding’ is much better. For a metal album it is still very light, though songs are slightly heavier than those on ‘Mosquito’. On’ Bleeding’ it doesn’t sound like the two styles are combating each other like it did before, but instead blend together perfectly, giving the album more variety. Songs like ‘Sleep’ and ‘Bleeding’ contrast the styles brilliantly, while songs like ‘Skeleton’ focus more on the heavier side. There’s also a beautiful Jethro Tull inspired song, ’My Grave’, with acoustic guitar and flute played by vocalist Buddy Lackey.

Buddy Lackey’s singing is very much back on form here. While on ‘Mosquito’ the vocals were often nasally and buried by the down-tempo production, here they soar above the music. The singing is not quite as varied as on the first 2 albums, but the more controlled mellow singing used here is very impressive and fits perfectly with the dreamy music. However, due to his very unique and often high-pitched singing style, the singing could be a bit of an acquired taste for some, even though it is much more ordinary than it was in the early albums.

The lyrics are also simplified a bit more but are still much better than most metal lyrics, showing the amazing lyric-writing skill of Buddy Lackey. As with most Psychotic Waltz, the lyrics have a psychedelic theme.

The musicianship, as always with the band, is superb, with all of the members easily able to play the material completely accurately. Even though the bass is quite prominent in ‘Bleeding’, the absence of their amazing bassist Ward Evans luckily isn’t a problem as he has been replaced by the equally great Phil Cuttino, who managed to create some fantastic bass-lines here.

‘Bleeding’ is exactly what ‘Mosquito’ should have been - everything that made Psychotic Waltz great condensed into shorter, catchier songs and a more accessible melodic sound. Even though it's arguably not quite as strong as the first few albums, anyone new to the band should start here.

Iron Maiden A Matter of Life and Death

Tracklist:
1. Different World
2. These Colours Don't Run
3. Brighter Than a Thousand Suns
4. The Pilgrim
5. The Longest Day
6. Out of the Shadows
7. The Reincarnation of Benjamin Breeg
8. For the Greater Good of God
9. Lord of Light
10. The Legacy

Release Date: 2006

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As arguably the world’s greatest metal band for 26 years now, you might think that by their fourteenth studio album Iron Maiden would be slowing down. You might also believe that there’s little new that they could offer – that you’ve heard it all before. You’d be sickeningly wrong; “A Matter of Life and Death” is not only one of the finest albums of Maiden’s illustrious career, but also of the decade thus far.

Yes, “Brave New World” did see Steve Harris and Co. make amends for their mostly below-par 1990s output and yes, “Dance of Death” cemented the Maiden brick back atop the wall of fame, but neither were as ambitious, unexpected or spectacular as this.

Album opener, “Different Worlds”, is actually completely misleading – similar in style to “Wildest Dreams”, it gives little indication of the beauty still to be unveiled. Instead it acts as a cloak to the rest of the record, one which when removed reveals an irresistible body of work underneath. Colossal in their scope, songs such as “These Colours Don’t Run” and “The Longest Day” pull the listener down into the blood-trodden battlefield before spitting them out into the solemn peace of the grave. Dickinson – whose vocals are stronger than ever - chants, screams and whispers wicked truths like an insightful overseer of a world torn affray. On previous albums the Air Raid Siren has been merely a deft storyteller, now he has transformed into a full-blown poet laureate.

The guitarists too, are in rambunctious moods – if you were to have a whiskey shot for every crushing riff or mesmerising solo, you’d be hospitalised by the end of almost any of the ten songs. And beneath all this, bassist Steve Harris provides lashings of the trademark Maiden gallop and Nicko McBrain’s drumming is possibly the greatest of his career. It’s still Iron Maiden, but more progressive and adventurous than you’ve heard them before.

The pinnacle of this impeccable musicianship is “For the Greater Good of God”, a nine-and-a-half minute Harris penned masterpiece – imagine “No More Lies” crossed with “Sign of the Cross” and “Seventh Son of a Seventh Son”… yup, it’s that good. Yet what truly makes “A Matter of Life and Death” so incredible is that there are absolutely no fillers – nearly every song is one of the best that the band has recorded. Today the best song is “For the Greater Good of God”, yesterday it was the creepy album closer, “The Legacy” and the day before it was “Out of the Shadows”, a song heavily reminiscent of Dickinson’s solo work. The point is that every track is a winner.

This is not simply a case of “A Matter of Life and Death” being the best Maiden record since “Somewhere In Time”, it’s a case of just how many of their records that it’s better than. Given time to gestate this could be the greatest thing the band has released since “Powerslave” – and that this not said lightly. However you get hold of your copy, one thing remains clear: you must own this album.

Eyes of Fire Prisons

Tracklist:
1. Blood (This Consumes You)
2. Gone Forever
3. It All Dies Today
4. True Love
5. Dead to the World
6. Falling Apart
7. Salvation
8. All Said And Done
9. Fight Me
10. Fire Inside

Release Date: 2006

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I'm what some might call a depressive music junkie. It's not that I'm some miserable scene kid who sits in his room all day listening to AFI and blogging about how pointless life is and such, but music has always been my drug of choice whenever I feel blue or in need of inspiration. Groups like Tool, Nine Inch Nails, and Dark Tranquillity have definitely gotten me through some rough patches and because of those cathartic experiences I've recently been interested in the genre of doom metal, supposedly the darkest of all metal genres. Unfortunately, up till now I haven't found a single band that has appealed in any way to me. The overly lengthy, and grandiose arrangements let down by weak vocals and musicianship have continuously pushed me away from the genre. However, I may have just found a band that defies these stereotypes enough to tickle my fancy.

This band is California's Eyes of Fire, a group that intermingles earthshaking walls of Post Metal distortion and Ambient shades with an undeniably doomy sound. It should be noted that two of the band's members, bassist/vocalist, Matt Fisher and guitarist/vocalist, Dan Kaufman, were in the lengendary, Doom Metal band, Mindrot. Thus, it is unsurprising, given their heritage, that Eyes of Fire shares many similarities with its parent group, however with some considerable differences. Mindrot had a significant punk/thrash influence to their sound and also focused much more on heaviness than ambiance and mood. At its core, Mindrot was really an angry, heart-broken metal band. Eyes of Fire takes things a step further by expanding on this emotional drive and injecting it with a sludge metal influence a la Neurosis and Isis. Frankly it's a very effective approach; one of the things that has always bothered me about doom is the fairly stripped sound of the actual music that is created. The bands who make this genre of music I would assume aim to craft a sonic expression of the emotions of fear, dread, depression, and madness. Given this aim, weak mutters, dull drumming, and boring sustained guitar riffs just don't do it for me.

Fortunately, Eyes of Fire avoids these clichés and instead smothers the listener in a horrific wall of sound chock full of brutal churning riffs, tribal percussion, gothic tinged synths and diverse yet ferocious vocals, all while maintaining an acute sense of melody. Songs like "Blood (This Consumes You)," "It All Dies Today," and the eight minute epic that closes the album "Fire Inside" are absolutely monstrous. Listening to these songs feels like a cross between sinking in quicksand and having a building collapse on you. This to me, is precisely what doom should sound or even feel like. Another aspect of the Post Metal mind-frame that is heard on this album is the way the songs mostly follow the patented "ebb and flow" dynamic. The tracks take the listener on an emotional journey that traverses soft pensive moments, as well as angry squalls of noise. This is quite impressive in itself, considering that most of the songs here only average about five minutes each. Several bands who employ such an approach frequently take 10+ minutes to reach their climactic destination, however Eyes of Fire exercises both great restraint and songwriting ability by eschewing such a temptation. One of the only exceptions to this is the oddly mantra-like "Salvation" which plods along aimlessly for seven minutes.

From a vocal standpoint, diverse doesn't even begin to describe Eyes of Fire. At least six different vocal styles are present on this record between the shared duties of Fisher and Kaufman. Fisher handles most of these, shifting effectively between hardcore barks, tonal shouts, baritone croons, eerie whispers, and full out belting. For the most part he does a good job with this range of styles, only occasionally getting a little off with his higher pitched singing, which some might argue adds to the emotional tension of the music. His bass playing also demands mention; it is very prominent throughout the disk and is surprisingly technical in parts, calling Tool's Justin Chancellor to mind. However, it's when Kaufman takes the mike that things get dicey. He uses a kind of higher pitched scream that while tolerable in small doses, like when juxtaposed against Fisher's bellows in call and response, gets very grating when used anymore than that. This completely ruins "Fight Me" which is unfortunate because the cleanly sung outro is creepily magnificent. The lyrics are fairly simple and straightforward, not much is left to the imagination in terms of imagery, but they are certainly delivered with conviction and suit the music quite well. The rest of the instruments are not immensely technical on their own, but swirl together to create a very impressive sound over all.

Eyes of Fire have produced an enjoyably cathartic, albeit flawed sophomore effort that shows a band that has found a way to transcend the dead end tendencies of the Doom Metal genre. This album will appeal as much to fans of post and sludge metal as it does to doom-heads and should thus be approached with an open mind. This is certainly different than most of the radio-minded metal that is barfed out of the So Cal scene and accordingly takes a few listens to appreciate, but anyone who needs their doom and gloom fix will find Prisons definitely hits the spot.

Moonspell Night Eternal

Tracklist:
01. At Tragic Heights
02. Night Eternal
03. Shadow Sun
04. Scorpion Flower
05. Moon In Mercury
06. Hers Is The Twilight
07. Dreamless (Lucifer And Lilith)
08. Spring Of Rage
09. First Light

Release Date: 05/19/2008

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Moonspell are a band that in my opinion are largely overrated. I mean, here is a group whose back catalog ranges from the laughably bad (Wolfheart) to the painfully average (Darkness and Hope) with few exceptions. In fact, the only reason I had held any hope for this album is because their last release, Memorial, was one of those exceptions, even if it wasn’t phenomenal by any means. Soon after Memorial the band re-recorded their earliest demos and their first EP displaying their black metal roots through a dark, aggressive nature that had long since gone dormant which only added to my hope that it would remind them of their potential; I am happy to say that it has.

This album is by far the heaviest, darkest and most well-written album they have ever released. It also marks the full return of their black metal roots with their gothic rock leanings only used sparingly. If you can imagine the intense, aggressive nature of Under Satanae combined with the more mature song writing of Memorial, mixed with the sinister vibe of their Daemonarch side-project then you’ll be very close to what is presented here. The opening track is a perfect song to display what you can expect from this album. The riffs are forceful, yet memorable, the guitar melodies are ominous, and the keyboards never become overbearing or tasteless. The song also displays their increased penchant for dynamics, utilizing various speeds and volumes never becoming just another droning wall of noise.

As much as the music is responsible for the renewed aggression and energy, the biggest leap forward is through their vocalist, Fernando Ribiero. In addition to being the most aggressive song I can remember them ever releasing, “Moon in Mercury” is also the best song to display that leap. His vocals on that song are venomous, deep black metal growls that frequently drop to even lower registers becoming the guttural sounds more associated with death metal. The death metal influence in the vocals as well as the violent nature of his black metal vocals take every song they’re used on to a whole new level for the band. With all this talk of black and death metal, fans of their gothic rock mid-era may wonder if there is anything left in this band for them, and there is a little left.

There are only two songs on this album where black metal vocals aren’t the main style on the song, and those two songs also retain just the slightest bit of gothic rock influence that was so prevalent in their music for awhile. The most notable is the song “Scorpion Flower” due to the guest vocals of Anneke Van Giersbergen (Agua de Annique, ex-The Gathering). Moonspell didn’t tone down the dark vibe or heaviness of the song just because Anneke was singing on it though. The only concession they gave to her was a slight return of the catchy gothic rock melodies and a lack of black metal vocals, and it is very catchy. The other track, “Dreamless”, is similar in its structure except it is lacking the guest vocals, but it makes up for it with better melodies and a better atmosphere.

After having heard this album multiple times over the past few weeks I am still surprised by the renewed aggression and energy as well as the overall heaviness of it. I am even more surprised that there isn’t one thing that is laughably bad or cringe-inducing here. Instead we get an album that is consistent in its song writing, its dark atmosphere, its heavy riffs and classy solos, and its great death/black vocal style. This is the album for those that never thought that any Moonspell album was really all that great before Memorial. It’s even an album that those that thought Memorial was bad might enjoy. As for current fans, as long as your love isn’t placed strictly in their gothic rock era, you can get this album with confidence that you’re getting something enjoyable and of high quality.

Edge Of Sanity Crimson

Tracklist:
1: Crimson - 40:00

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Summary: Even the lyrical theme is superb. A must have for a Gothenburg/melodic death metal fan.


Some people think that a song should not exceed a certain length. That's all bull*** in my opinion. I love Opeth's "Black Rose Immortal/To Bid You Farewell", Burzum's "Det som en gang var", Iron Maiden's "Seventh Son of A Seventh Son". It's obvious that length has nothing to do with quality. In itself, Crimson is a 40 minute song and album by progressive metal band Edge Of Sanity. It's amazing, flawless and classic. I think it is dark, melodic, and chaotic.

Vocalist, keyboardist, and composer Dan Swano out does himself with this masterpiece. His vocals are harsh when he shrieks, and deep with his melancholic clean vocals. In case you have never heard any of Dan's work, Dan Swano sings in clean and growl styles. His growls are strong and well developed. His clean vocals are somewhat deep and low to mid ranged in pitch. Unfortunately, he does not show off his clean singing very much.

Another sky is young...

That is what you hear when Crimson begins. You hear nothing until Dan's powerful growl kicks in! But then as he's sustaining that growl a dark groove comes in. Hear the haunting riff being played. Remember this a progressive album, and that a brutal verse turns into a melodic interlude. Around that part is when the guitarists show their their talent when a black metal riff turns into a classical guitar section.

Another example of how astounding the guitar playing, is that Mikael Akerfelt (Opeth) contributes for a couple of solos. His soloing is distinct and creative. Using hammer-ons, pull-offs, vibrato, trem runs, and string skips make his solos very enjoyable. He even helps out Dan on vocals. Although there are few parts where he does, it can become obvious it's him doubling Dan's clean vocals. His growl vocals are actually identically to Dan's vocals. But overall, Mikael does not sing here very much.

Crimson is chopped full of guitar and vocals. However, the bass rarely cuts through. The rhythm section is superb but the bass is only audible when one or two of the guitars are played. That is usually is clean sections. It even gets the melody in one the breakdowns. Piano and acoustic instruments on the other hand are amazing. Around the four minute mark is when you hear the melody of piano and acoustic guitar working together, when right after, Dan starts singing in clean. He starts out very deep and rises in pitch to the end of the part. One of the best parts of the album!

Drums are another great pro, Benny Larsson, is so good on drums. He is not the kind of drummer that you would think of, in a melodic death metal band. He does not over play like most, he doesn't even have very much to work with on his set. What makes him special is the fact how well he has the drums down. What I mean is that he uses very simple beats and nice fill ins. Notice how there is not a constant double pedal beat throughout the album. But just a mixture of calm and heavy drumming.

There are many elements of how Crimson is a classic. There are quite a few faults in it's concept. A forty minute song is a crazy idea, yet it works with how catchy and melodic the choruses and bridges are. The additions of breaks and bridges really make this interesting. Of coarse I must mention again how amazing the choruses are. There are quite a few choruses and pre choruses. In most of these parts Dan growls. One of them notably in the four minute mark. It makes an appears in Crimson II as a theme for "The Silent Threat". Another one of those themes, one of my favorites of the album, appears on the track "Incantation" also off Crimson II.

Pros:
Guitar riffs
Solos
Acoustic and Piano parts
Arrangement
Strong rhythm section
Detailed Lyrics
Melodies

Con(s):
Keyboards are low in the mix.

Unlike it's other part, Crimson II, the original is a very guitar driven album. Crimson II, as most of you know, is a keyboard orientated album which is heavier and less progressive. Crimson sounds more "complete". Honestly, one of the best albums I have ever heard.

Underoath The Changing Of Times

Tracklist:
01. When The Sun Sleeps
02. Letting Go Of Tonight
03. A Message For Adrienne
04. Never Meant To Break Your Heart
05. The Changing Of Times
06. Angel Below
07. The Best Of Me
08. Short Of Daybreak
09. Alone In December
10. 814 Stops Today

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Underoath are a band notorious for having distinct phases. Their first album, Act of Depression, was a sloppy death influenced metalcore outing that lacked anything noteworthy, and Cries of the Past was more of the same but with keys and more of a prog influence. Fast forward to They're Only Chasing Safety and you get run-of-the-mill post hardcore with terrible harsh vocals and mediocre cleans. It was Spencer Chamberlain's first recording with Underoath since leaving his band This Runs Through, and not only was it obvious he was still trying to find his place in the band, but Underoath also decided to totally reinvent themselves with that album, going for an extremely poppy post hardcore sound. These two factors helped contribute to the mediocrity of TOCS. Then it was time for the next album. The guys in UO said the same thing every band in heavy music says about their upcoming album. "It will be heavier. It will be more mature. It will..." It just so happened that Define the Great Line fulfilled those very promises and then some: Spencer's screams and growls had improved greatly and Aaron didn't whine nearly as often!

Now, those four albums, the two old and the two new, are the only UO I was familiar with. Dallas Taylor provided growls for death metal Underoath, and Spencer Chamberlain provided teh screamz for poppy post hardcore Underoath. So what about the album in between? All I knew about The Changing of Times was it was Taylor's last outing with the band and that it's their album most famous for the keys. What kind of sound did this transitional album contain? Which Underoath made this album, the death metal UO or poppy post hardcore UO? Turns out, the answer is both.

The Changing of Times doesn't like to stay in one genre very long. It ventures into familiar (at the time in UO's career) territory with crushing riffs, double bass onslaught and low growls for portions of songs in the middle of the album, between tracks 2 and 9. However, the beginning and end of the album feature songs that go in a different direction. "When the Sun Sleeps", "Letting Go of Tonight" and "Alone In December" opt for an extremely more poppy sound, one that would foreshadow the band's sound on later albums. On those songs, it's pretty much super simple drumming, power chords, occasional (and sometimes silly) keys, and generic screaming.

That's a major downfall of the album: when Dallas Taylor screams, it's very generic and weak. But when he growls, it's very good and satisfying, particularly within the genre. He's certainly no Mikel Akerfeldt or Lord Worm, but his growls are executed better than Spencer, especially his work on TOCS. To paint a picture of his voice, think of a more....er, pussy version of Jacob Bannon. Rip Bannon's balls off and you get Dallas Taylor.

Another thing that hurts the album is the production. The only time the bass is noticable is for a short riff on the title track. The vocals aren't loud enough, but the volume level may not be a bad thing if you don't like Taylor's screams. If you do, the vocal mix is perfect. Drummer/vocalist Aaron Gillepsie throws in his trademark whining clean vocals every now and then, but they always strangely fit the dark mood of this album.

With that said, the music is suprisingly good and pretty original. The song structres are clever enough to keep you guessing on first listen and keep replay value for all other listens. The usually smooth mix of pop rock, post hardcore, metalcore, death metal and even techno on the album is a big help in the replay value department. What the album is genre wise more than anything else is probably metalcore, but to only leave it at that would be misleading. You want furious metal? Throw on "A Message for Adrienne" or the title track. You want post hardcore? Scream along to "When the Sun Sleeps" or the very emotional "Alone In December". The album is like a buffet for scene kids. Eat up, kids, so you have energy to hxc dance!

In the end, The Changing of Times is a memorable listen. It shouldn't disappoint most heavy music fans as long as they can get past super generic screams. Musically it is very solid, however, and Gillepsie's drumming shines. The album boasts some of Underoath's most creative material, but suffers from generic screams and subpar production.

Recommended songs: When the Sun Sleeps, A Message for Adrienne, The Changing of Times, Alone In December

Funeral From These Wounds

Tracklist:
1. This Barren Skin
2. From These Wounds
3. The Architecture of Loss
4. Red Moon
5. Vagrant God
6. Pendulum
7. Saturn
8. Breathing Through You

Release Date: 2006

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Funeral doom is described as a doom metal sub-genre that is slower, heavier, and uses ambient influences than normal doom metal. Put that of what funeral doom stands for and add beautiful dark melodies and you have Funeral. This is Funeral’s third full length album, a four year gap since their last album In Fields Of Pestilent Grief. Funeral uses depressing lyrics, with beautiful but dark melodies that make you as the listener feel sorrow, with fear of death at the same time. The band:

Frode Forsmo - Vocals, bass, lyrics
Erlend E. Nybø - Guitars
Mats Lerberg - Guitars, backing vocals
Anders Eek - Drums

I haven’t heard too much from other funeral doom metal bands but the ones that I have checked out they seem to have a rougher production, much like Funeral’s pervious albums. This album seems to a more clear and cleaner approach to production, to accommodate the beautiful melodies that they incorporate in most of their songs in From These Wounds. If you’re a fan of this band before, you will notice one major difference in the line up from their last effort. There is no female vocalist in this album, which really makes this album sound like another band. The new vocalist has a deeper, depressing style almost reflecting Katatonia’s, days when they were doom, but with a more bass vocalist sound to it. It fits perfectly with words of depression like: “As we marvel at our death, I would wane within your art, as you would become me, like ashes circling the pyre” were they are soft yet depressing. In the same song of This Barren Skin, he uses a deeper darker vocals singing “In their wake we are born dying, voicing insignificance..” to portray anger and frustrations.

The band playing behind Frode, are the two guitarist that really know how to bring the sorrow like feeling during the softer part of the songs. Their melodies is what makes their vocalist sound so perfect for this album. Erlend brings the cleaner, and softer lead guitar sound to make the beautiful melodies that drive the songs. Mats deeper, heavier, darker guitar sound, often being dominating during the anger parts of Frode lyrics, brings almost a rhythm section to their songs. Both are very talented at creating the atmosphere changes when needed. The best song that describes when they are at their best is titled track, From These Wounds. In which they go from a dominating heavy sound to, mellow parts with perfect execution, that go right along with Frode’s lyrics. The drummer is probably the least talented, or dominating factor in this album. He does go well with the music playing, but you hardly see him showing any really dominate factor in the songs. The only part in which I think he plays a huge role in is some of the heavier parts he helps the bassist bring that heavy doomy sound.

What makes this band be so good in my opinion is the creative and well written songs that really feel like a person struggling with death. The violin, and keyboard arrangements are perfectly placed in the right spots. They don’t feel forced, but like they should belong in the songs. The most remarkable part of this album is the blend of the transition from softer melodic parts, to the heavy doom ridden parts. All the songs seem to be based on a struggle between two different feelings, despair and anger. Which means the songs will almost like a person having a serious problem of being bi-polar. The anger parts are followed by the softer parts, and the same vise versa. This might be formulaic but it really works well with what the album is all about.

Funeral’s latest effort is really a masterpiece in my opinion. The album is a breath of fresh air for me, because its really the only funeral doom metal band that I could find that can be so depressing, slow, and heavy without using the scratchy production. Its also an album that has unbelievable melodies with great songwriting to incorporate those melodies, and to have that full effect in going well with the heavier parts of the songs. Overall, this is a must buy, or listen for any funeral doom fan, or just a doom fan. If I were going to die, I would want to be buried with this album as my theme song while they bury me.

Recommended Tracks:
This Barren Skin
From These Wounds
Vagrant God

Killwhitneydead Nothing Less, Nothing More

Tracklist:
1. Words Don’t Last Forever Your Wounds Will
2. Just When You Thought I Was Listening
3. Time To Teach Her A Lesson Called “Replaceable”
4. Put A Sock In It
5. Skip The Break Up Get To The Make Up
6. (Here’s An Idea) How About More Of Me & Less Of You
7. White Trash But Worth Every Cent
8. Losing Weight & Looking Great
9. Maybe Death Is A Gift
10. If Only My Eyes Were Loaded
11. You Getting Boom Boom With The Bridesmaids?
12. Stop Crying Just Start Dying
13. Funny Enough It Sounds Just Like Tainted Love (7” Single Version)

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Summary: If your looking for Death Metal, with some laughs, heres the album for you.


When you first hear the name Killwhineydead, you seem to think, oh no, not another Metalcore band doing the same old thing. This is not the case, the five-piece band from North Carolina, releases their fourth full length album, part of a two part CD with “Hell To Pay”. The band plays a unique style of hardcore and death metal, but get this, with movie clips in every song. We aren’t talking about random clips the band thought was funny so they threw it into the song. These guys are the kings of the movie clips going into their songs. They make it actually part of the song, and often the music will go with the clips to make interesting mixture of Death Metal.

What makes them enjoyable is that they actually are talented besides entering movie clips and using breakdowns. The guitar player knows how to shred, and he will even shred in the middle of a girls orgasm. The breakdowns mostly happen when a movie clip plays, or the vocalist goes to his deep vocals. His range isn’t too impressive, but does have a good understandable growl, and an deeper growl, usually used in breakdowns. Even with the many movie clips, they don’t use stupid chants which is a huge plus side, since a lot of these hardcore bands use way too many of them. As for the lyrics, they are used well, but are not amazing. They usually are in the theme of revenge, and are based on mostly the clips being played.

What to expect for the new Killwhitneydead album from their previous album is that their song writeing is actually getting better. If you notice they started out around 90 seconds a song, now are even hitting towards 4 and a half minutes. With their experance, they are also getting better at puting clips into their songs and making it work even better. At times, they are now puting up to 5 to 6 clips in a song, with even music in the backround which will come up in some of the more interesting songs on this album. For those who have been a fan of there earlier work, expect a more refined Killwhitneydead with a bit more focus on their lyrical concepts.

Some of the highlights of this album is my favorite track, Skip The Break Up Get To The Make Up , which basically has a solo with porn playing in the back, really hit’s the spot on getting its point across with the lyrics being about girls being whores. Another standout track would be Maybe Death Is A Gift? , which is basically a soft instrumental which a movie clip is saying all the words. Oh yes, I can’t forget the cover Tainted Love , that is extremely funny and probably is more enjoyable than when Marolyn Manson did it.

The downside of this album is the formula that is used can get a bit repetitive. There usually is a clip to start the song, a few clips in the middle, and a clip in the end, which have breakdowns and sometimes solo or two. The lyrics are also about mostly the same things, just different aspects on how people suck (mostly chicks). The upsides include some very good solos, guitar work in general, the creativity in using clips properly (not randomly like some bands). Overall a very good album, that can get extremely addicting at times. Recommended for fans of Deathcore in general, but mainly for fans of this band. With Killwhitneydead, you have to be looking for a fun Death Metal album, or really pissed off at your ex-girlfriend.

Nine Inch Nails The Slip

Tracklist:
1. 999,999
2. 1,000,000
3. Letting You
4. Discipline
5. Echoplex
6. Head Down
7. Lights In The Sky
8. Corona Radiata
9. The Four Of Us Are Dying
10. Demon Seed

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Let’s cut to the point: the computer is, in this day and age, the fourth necessary instrument of the modern band after the holy trinity of guitar, drums, and bass. Digitization has permeated every aspect of music from production (or do you really think that lovely warm garage rock sound Jack white loves is made purely by amplification, surely, dear reader, you’re not that naïve) to distribution. For twenty years now Nine Inch Nails has been mastering that production half, and now, Trent Reznor (NIN’s only real member) has mastered the second.
The Slip is NIN’s seventh full length, and yes it is only available from their official webpage 100% free, which makes reviewing the darn thing a bit of a conundrum. For one, criticizing free music is like criticizing Halloween candy: if you don’t like it don’t eat it, it’s not like you gave anything up to get it. For two, it’s nearly impossible to think about The Slip without thinking about that other free album, Radiohead’s In Rainbows.
Lets’ get that comparison done with: Both albums essentially make the same sounds all the respective band’s other albums made. Unfortunately that breaks their lovely trend of never making the same album twice. Both albums are also a bit short, another moot criticism for something free. In general if you like twisted electronica you’ll prefer The Slip, if you prefer elevator music you’ll prefer In Rainbows, but there’s no excuse not to download both.
NIN’s always been a band squarely focused on the album as a cohesive whole, something they really perfected on last year’s Year Zero (still, for my money, their best album), which makes The Slip a bit frustrating because it’s basically a collection of radio length singles in no particular order. Fortunately for listeners they’re all reminders of just how good Reznor is at cranking out good hooks and catchy choruses. The three instrumental tracks are kind of a letdown considering NIN released a compilation of more interesting instrumental work a few months ago.
Every single has a groovy rock vibe, at times echoing recent efforts by Muse. They range from fast thrashers like “Letting You” to the more contemplative “Echoplex” and album standout “Lights in the Sky”, an above average piano ballad from a group known for them. Still the best cut here may be lead single “Discipline” a rock/industrial/disco chimera that’s sure to have hipsters cranking the soulja boy dance with ignorant glee when NIN headlines Lollapalooza this summer. The cut is so dynamic and catchy that one almost forgets that it’s virtually a redone, if improved, version of “Only” the lead single from With Teeth four years ago. Everything else is strong, but not outstanding.
Therein lays the crux of the album: while it’s strong the whole way through it’s sorely wanting for high points and would-be classic songs. “Discipline” is great but its no “Closer (to God)”, and “Lights in the Sky” will never be “Hurt” try thought it might.
Still one gets the impression that this is not an album for critics. The Slip will not make a NIN fan out of anybody who does not already love them. This CD is an in joke, a gift, a thank you to Reznor’s fans for their patience with his recent experiments, even if some of said experiments (read: Year Zero) eclipse it. Who am I to look a gift horse in the mouth?
If you already get the joke sit back and enjoy, even if you already know the punchline; it’s everyone else who Reznor’s given the slip, in a sense.

Kataklysm Prevail

Tracklist:
1. Prevail
2. Taking The World By Storm
3. The Chains Of Power
4. As Death Lingers
5. Blood In Heaven
6. To The Throne Of Sorrow
7. Breath To Dominate
8. Tear Down The Kingdom
9. The Vultures Are Watching
10. The Last Effort (Renaissance II)

Release Date: 05/27/2008

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I feel that there are two different kinds of bands. There are the ones that want to really push the limits of their own creative boundaries, challenge themselves in every release. These bands are often completely dynamic throughout their career, developing different styles and attitudes towards music throughout their releases and ultimately ending up with something unique. On the other side of the spectrum, there are those bands that are more than content to try and become masters of their own genre, sticking to one true style and (hopefully) developing their own identity within that. Kataklysm fall in this group, and their genre is melodic death metal. Are they masters of it? Well, Prevail seemed set to answer that exact question.

From the opening seconds of the first song, you can tell that Kataklysm haven’t changed, not one bit. Bringing an air of familiarity the opening clip declares ‘What the hell. Everybody ends up dead. It’s just a matter of when’, completely mimicking the opening few seconds of their previous release, Kataklysm quickly burst straight into action with the first song, and it’s a typical song for the band. Headbanging riffs, undeniable groove, huge chorus, furious drumming, its melodic death metal with just the right amount of melody, rather than overpowering it like the majority of the bands in this genre will do. If you haven’t heard Kataklysm before, this opening track will give you a pretty clear impression early on. What they present is a relatively heavy (compared to the majority of the genre) version of melodic death metal, the production is crunchy, giving just the right amount of emphasis on the vocals and the drumming is chaotic throughout.

In this particular genre, it really helps to have your own identity, and Kataklysm manage to do this. Just. Between the splendid vocal performance and mid to fast tempo riffs Kataklysm have managed to mould your typical melo-death into something slightly different, slightly heavier and more memorable. While they have certainly perfected their formula to create this sound, the band is yet to do something truly special. On their last release, they hinted at true brilliance with the breathtaking closer, ‘The Road to Devastation’, fans of the band might have hoped that they build on this to create an album full of such glorious songs, but instead, just as before, the album hints at greatness without ever truly reaching it.

While songs like ‘Prevail’, ‘Breathe To Dominate’ and ‘To The Throne of Sorrow’ are very enjoyable, moments in ‘The Vultures Are Watching’ and ‘Blood in Heaven’ are truly spectacular. But the band cannot find the consistency to make this potential into a whole song, never mind a whole album. The better songs come in the second half of the album, oddly enough just like their previous effort. It again comes to a frustrating end when the second to last track ends up truly wowing at parts, and when you compare other parts of the album to it Kataklysm seem to be simply going through the motions. They are consistent throughout the album, but not to a level that they can (and should) be at by now.

Although this review may have seemed to have suddenly turned negative, it isn’t. Prevail is a great album, full of killer hooks, melodies and epic choruses. While Kataklysm haven’t produced a classic they have managed to make this sound on the whole more epic, more aggressive and yet more controlled than its predecessor. Truly, this does outdo In The Arms of Devastation in places, and that is no mean feat considering the level which they were on in that album. ‘Blood in Heaven’ is a true monster of a song, which reaches a melancholic level of grandiose that was nowhere to be seen on their last effort, and the previously mentioned ‘The Vultures Are Watching’ is one of the best songs these guys have made. Around these two stand out tracks is a consistent level of quality, Kataklysm really know how to make a good song without any gimmicks, and it wouldn’t be far from the truth to say every song on this album is worthy of at least one listen. In truth, the entire album is one of the better ones in this genre. The vocals are impressive, ranging between a decipherable growl and a piercing scream, there are plenty of memorable hooks and riffs and the drumming is truly impressive at parts.

With Prevail, Kataklysm have answered the question of whether they are the kings of this genre. Unfortunately, the answer is no for now, but they’re not far from being that sort of level. If they raised their game just slightly and managed to achieve the potential they clearly have, then this band could truly create a classic. Prevail is certainly a strong showing, but it’s not quite there yet. They have the potential to create a classic, but at this late stage in the bands career, you can just sense that time is beginning to run out.