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August 2007 ~ October 2007
Dawn of the New Athens
Root of All Evil
Since 1999 Aesma Daeva has been unleashing upon the public well crafted operatic metal recordings. Over the years the band has refined their song writing and their musical performances. With Dawn of the New Athens Aesma Daeva seems to at least be a fully realized musical idea.
John Prassas (composition/guitar) and his band which includes guitarist Earl Root (ex-GOD-AWFUL, ex-DISTURBED… the OLD Minneapolis thrash outfit, not that garbage from Chicago) seem to have fully come together around this concept of dark gothic metal with an interest in Greek mythology. However, what is truly most notable, especially for those familiar with Aesma Daeva’s prior output, is vocalist Lori Lewis (who has toured with THERION). Her performance is nothing short of top level for this genre. She brings an amazing force and beauty to each track she sings. While prior vocalists Sarah Williamson and Melissa Ferlaak (VISIONS OF ATLANTIS) performed admirably, the true mastery of the voice possessed by Ms. Lewis puts this record at the top of the Aesma Daeva heap.
This recording shows Aesma Daeva at its most mature from a songwriting level. While earlier outputs such Here Lies One Whose Name was Written in Water showed great potential they lacked the ability to write focused songs. Here Aesma Daeva does not meander too much, although enough technical indulgence is surely present to please your more technical fans.
Aesma Daeva has crafted an album that from track one (Tiza’s Child) to the end (The Loon) provides the listener with focused songs which all pack a direct punch (well as direct as you can get in the realm of symphonic operatic metal). Buy it or die.
A -Brant Johnson
All That I Need to Survive
Self-released
Mystery surrounds this local Massachusetts progressive metal quartet. The band members only go by initials, the bio that I read on their Myspace site seems just as spoken word heady without really going into much factual details, an aura that penetrates your brain into dimensions rarely attained at this level. Overall, I do know that 2007’s All That I Need To Survive contains within 8 songs the eclectic mix of progression, heaviness, alternative ethics as well as a dose of the underground that should appeal to a healthy cross-section of the population.
Take “6” as an example of darker guitar tones and pumping double bass much like Evergrey while the vocals settle in with more of a late 80’s/ early 90’s Jane’s Addiction vibe. Or the sprawling 12:36 closer “Rainbands” that opens with subtle streamlined Rush keys and percussion before moving into acoustic lines and propelled forward with the crux of the arrangement giving forth the best montage of Dream Theater and Pain Of Salvation- aided ably with guest female vocals from Polaris’ Olivia Berka. I don’t know whether it’s the combination of the four seasonal changes plus the talent of music programs in our local colleges, but today’s crop of local bands seem intent on proving that they don’t want to mirror their mentors as much as create high quality arrangements, production and songwriting. ætherius rises to the plateau so few aim for, an album that stretches, bounces and makes the hair follicles tingle with each new pass.
This one won’t be an instantaneous quick fix listen- but the longer investment will pay back dividends in terms of personal enjoyment. If All That I Need To Survive sounds stronger live with the right visual accompaniment, ætherius will not be unsigned for much longer…
A+ -Matt Coe
Víziók
Paragon Records
Atherius Obscuritas is another in the seemingly growing list of one-man black metal bands, this time hailing from Hungary. On this one, Arkhorrl handles all instruments and vocals, while Zson plays session drums. This is the bands fourth full length release in just four years, so Arkhorrl is obviously keeping himself busy.
The title track kicks things off, and it's a fairly straightforward attack of blast beats and tremolo picking riffs, with raspy-ish vocals. There is an interesting slow part early on in the song, but overall it's pretty much all out blasting for most of the song. "Mysterious Path of Desires" is where things start to get a little more interesting. Introducing a bit more melody and variety of tempo, as well as some great bass guitar work, this song will draw you in and keep you interested in seeing what comes next.
About half the tracks on here have English titles and lyrics, while the others are in the bands native Hungarian. While this may be too much of a generalization, to my ears, the more interesting songs are the ones with English titles. This isn't to say that they are the only good songs, but they seem to have a bit more to them as far as interesting riffs, melodies, and tempo changes. They just seem to catch my ear a bit more.
Overall, this is a decent album. Above average for the most part, but with a few standout bits and pieces scattered throughout.
B- -Goz
Svarta Dagar
Life Stage Productions
Swedish grindcore trio Afgrund have only been around for a little over a year now, and Svarta Dagar is their debut full length release. While it is likely that they will draw comparisons to fellow countrymen Nasum (RIP) and Coldworker - Afgrund has a slightly less polished sound than either of those bands...not necessarily a bad thing if you ask me.
Blasting off with "Enkelriktat Krig", you're going to get a sense of what this band is all about right off the bat. Super distorted guitar and bass, super fast chaotic drumming, and a dual vocal attack that should make any grind fan grin from ear to bleeding ear. This recipe is used for pretty much the entire disc, which is where one of the weaknesses of Svarta Dagar comes from - it seems to all run together after listening to it for a while. One song that does take the tempo down a bit is "Rouletthjärta", which almost feels like funeral doom compared to the rest of the disc.
Production is well done on this, and any fan of grind will get plenty enjoyment out of this disc. Let's hope they stick together and their next release is a bit more varied that this.
B -Goz
Once Only Imagined
Century Media
These Canadians (Montreal to be precise) have a sound that can only be described as a modern sounding death/thrash approach to their brutal brand of metal. The short intro "Synopsis" quickly kicks the disc into "Rise and Fall" a thrashy hook riff filled song with blistering vocals by Alissa White-Gluz, whose voice varies somewhere between Arch Enemy and Evanessence.
At times screaming insanely at others melodic and smooth you never have a chance to get bored with her wide range vocal delivery. "Born Dead; Buried Alive" is a driving power song about the brainwashing Christians have brought upon the human race throughout history. "Take a Bow" continues the heavy sound with melodic guitar lines as does "Trophy Kill".
"Business Suits and Combat Boots" has a brutal power driving riff that is enhanced by some meaty guitar lines/riffs by Danny Marino. "Serendipity" slows things down a bit and adds contrast to the brutal pace of the first half of the album but picks up with more heaviness that would get a mosh pit moving. "Memento Mori" continues the brutal mosh song flow and "Void of Sympathy" has with more intricate guitar riffs. "Chiaroscuro" slows the aggressive mood with a melodic instrumental interlude that breaks right into "Forget Tomorrow", a bleak outlook on self destructive behavior and escapism.
The drums although played well (by Derek Nadon) sound too studio produced and not organic enough but the guitars and bass (played by Chris Kells) make up for that. The Agonist is a band that has only just begun and if they stay as inventive as a lot of the songs are on this CD then they'll be around for a long time.
B -Matt Smith
Animal
Black Market Activities
Animal is Animosity's third album, and it shows the band progressing in a very good direction. Their first two discs, for me, were boring and unmemorable. I found myself looking for something else to listen to after only a couple of songs. Well, their newest disc is a whole new Animal.
"Terrorstorm" is the opener, and it is a nice piece of technical gridning wizardry, showcasing all the bands talents. The drums here are amazingly good, with blast beats aplenty, the guitars are played at lightning speed, yet the riffs are still intelligible, and the vocals are just insane here, ranging from low growls to high pitched screams with seeming ease. A great way to kick off the disc. "Evengelicult" is worth mentioning as the song is only 4 seconds long. The title track is a standout here, with it's brutally heavy riff that is probably the most memorable on the disc. "A Passionate Journey" ends the disc strongly, features guest vocals by Guy Kozowyk of The Red Chord, and has a really good guitar lead in the middle.
If you liked what Animosity did you their first two releases, you will likely enjoy this as well. If you are like me, and didn't care much for their previous discs, you might want to give Animal a chance, as it shows a vastly improved Animosity in action. They do a good job of combing grind, death, and hardcore into a solid and brutal musical attack.
B -Goz
The Switch to Turn Off Mankind
Vendlus
Norwegian thrashing three-piece Audiopain slap some speedy and vicious music at us on their latest, The Switch to Turn Off Mankind. Consisting of six tracks and just under 27 minutes of music, Audiopain doesn't waste any time on silly makeup or scary nicknames for the band members, they just pour on the classic thrash from beginning to end.
"Hellbound" gets ripping right from the start, with a break-neck paced riff that will make even the most jaded of metal fans band their heads in appreciation. Featuring some great riffs, solid drumming, and vocals that fit in to the thrashing music perfectly, this track gets things moving perfectly. "Termination Fields" is my pick for best track here, with a slightly slower pace than the other songs here, it has an amazing riff that has been stuck in my head since the first time I heard it.
Good old thrash has been making a comeback of late - not that it ever disappeared (in fact, Audiopain hasbeen together for about 10 years now), but it did fall out of favor by any metalheads for a while. With bands like Evile, Municipal Waste, and Audiopain putting out some really good thrash music recently, the thrash genre looks to be getting a needed breath of fresh blood to help revive itself.
B -Goz
The Divine Tragedy
Numen Malevolum Barathri Records
The Divine Tragedy is the debut for Avichi, a one man effort by former Nachtmystium six-stringer Aamoneal. Recorded on analog tape with real acoustic drums (something that seems to happen less and less these days), the sound is old school black metal through and through.
"Entrance to God" is an atmospheric intro, played entirely on a gong as far as I can tell, and rolls into the quick paced "Purification within the Eighth Sphere". Packed with blast beats, tremolo picking, and mid-ranged growling vocals, this song, while good, gets a bit tedious as repetition sets in a bit toward the middle of the song. "Messianic Deliverance" could have suffered the same fate, but there is a great melody part thrown in a couple of times that keeps the song moving along and interesting.
"Phallic Insinuation" is my pick for top track here. After an opening blaze of about 3 minutes, it kicks into a mid-paced riff that is absolutely crushing backed up by some really great drumming. This is definitely the shining point on the disc for me, as this segment of the song just slays all and will stick in your head for a while. "Taedium Vitae" and "Aeonic Disintegration" bring up the back end of them album, and both are slower paced and more melodic than the first half of the disc, giving the back end the nod for me over the opening couple of songs.
Avichi shows a lot of promise on their debut here, with the disc getting better as it goes along, and finishing really strong. The music gets a bit repetitive at times, but that is less noticeable towards the end of the disc. Let's hope they keep going down that road a bit more as they travel further down the left hand path.
B -Goz
Spiritual Warfare
Regain Records
Hmmm…first tune is entitled “Fucked by Fire”…I’m pretty sure I know what I’m getting into here.
Bewitched are a bunch of Swedes who worship Hellhammer & Venom. Picture Cronos singing over Tom Warrior’s primitive riffing. If that sounds like fun, Spiritual Warfare, the band’s fifth full length studio release, is well worth a listen. I found it so until about the fourth song when I started wondering if I was listening to one continuous track.
No diversity here, which is perfectly fine when you enjoy being “Fucked by Fire” and such…
C+ -Mike Baronas
Feather and Stone
At A Loss
Checking in right at 25 minutes, the eight sludgy tracks by California duo Black Cobra pack a punch that far outweighs the short running time. The disc contains the 7 tracks from Black Cobra's split with Eternal Elysium, along with the track "Dragon and Phoenix". Included on the disc is also multimedia content consisting of 3 live tracks from Roadburn 2007, and a video for "Sugar Water", from their 2006 release, Bestial.
The onslaught begins with "Five Daggers", a fierce and sludgy attack that will definitely set you up for the rest of what is to come. "The Sapphire Falcon" comes next, and if this track doesn't completely shred your mind, then nothing will. Crushing drums, absolutely pummeling guitars, and kick ass vocals make this one of the standout tracks on the disc. "Thanos" provides a brief break to the insanity, while still providing a spacey feeling. "Dragon and Phoenix" is my pick for standout track here. As you will come to expect by the time you make it to this song on the disc, it is heavy as fuck, and at this point you'll probably feel like the brutality coming from your speakers is going to rip your face off...and you might be right.
This is a truly brilliant bit of music here. Do yourself a favor, buy this disc, play it over and over again, marveling at the ferocity that comes from the speakers. Then remind yourself that it's only two guys making all that fabulous noise. Next, check their web site for tour dates (touring with the Sword in November/December), and go see them live...I know I will be.
A- -Goz
Nocturnal
Metal Blade
The Black Dahlia Murder is one of the new generation of thrash/death metal bands that has hit a nerve with a lot of the newer generation of metal fans. Their last album, Miasma, showed some promise, so I was looking forward to this release to see if the band progressed and found a way to take their somewhat generic sound and make it more interesting.
"What A Horrible Night To Have A Curse" kicks off the album in a thrashy, death metal fashion and pretty much sets the pace for the rest of the album. "Warborn" slows the pace down a bit but not enough to give any variation and the rest of the CD pretty much follows the same pattern.
Trevor Strnad's vocals are like a screechy growling scream that don't vary much from song to song and the drums, guitar and bass are pretty much predictable cookie cutter style of this type of music, although they all show that they are great musicians throughout most of the CD. I really don't find much to make them stand out from every other band doing this kind of stuff.
I mean, don't get me wrong, the CD is brutal and heavy, but that doesn't always hold my interest for very long. Great heavy bands have dynamics, I mean just listen to Slayer's "Reign in Blood" and you'll see what I mean. BDM seems to be treading water a bit, and this wasn't the progression I was hoping to see from the band.
C+ -Matt Smith
Odinist - The Destruction of Reason by Illumination
Candlelight
Odinist is Blut Aus Nord's latest disc, following up last years brilliant MoRT, which made my list of top releases last year. While Odinist has some very similar elements to MoRT, it is at the same time a very different CD. The drums here are still very industrial sounding, and the guitar work is still quite dissonant, but there is a lot more structured music here. The vocals are also more structured, instead of the sparse and unintelligible vocals from MoRT.
After the into, "An Element of Flesh" gets things going for us. A dark and layered song that is almost straight forward black metal in feel, it still reeks of industrial starkness and creates an eerie backdrop to launch this great disc. The title track features some downright good melodic riffs and great drumming to back up a great vocal part - it is my pick for best track here. "Mystic Absolu" is another standout track, with some great drum fills and even some blast beats.
While not as completely insane as MoRT was, Odinist is another fine piece of music from Blut Aus Nord. It does, however, have a lot of competition if it wants to make my list of top releases for 2007.
B+ -Goz
The Day of Wrath
The Final Separation
IX
Neurodeliri
Metal Mind
Italy in the 1980’s was a time where evil filmmaking flourished. Fulci. Argento, Mattei, Lenzi, Soavi, Bava, Deodato, Margheriti, Castellari, etc. were cranking out bountiful gobs of gore that teenagers like me reveled in. Unfortunately, evil music did not share similar fortune with only one band somewhat “making it.”
I remember first hearing Bulldozer on the 1985 Music For Nations compilation Speed Kills when I was jonesing for something more than Metallica & Megadeth. They were one of the lesser bands on the comp, but they had to have a special something to be included with the likes of Slayer, Celtic Frost & Destruction. I never did follow their career beyond this point, however, in listening to their crop of re-releases, I can’t say I missed that much.
The Day of Wrath could easily pass as a Bathory record, falling somewhere between their debut and The Return. Primitive in all aspects, yet quite catchy. The Final Separation followed with a production that’s an unlistenable mess. Vocals are more defined and less enjoyable this time around. 1987’s IX finds the band at their best. Crunchy guitar tone with chunky, speedy riffs. It’s nothing monumental, just better than the last one. Bulldozer released their final studio album the following year. By then too many influences obviously plagued the band. Part Kreator, part Voivod, and a whole lotta Motorhead, Neurodeliri suffers from inconsistency, silly lyrics and even sillier cover art.
Each disc includes one bonus track which is great if you’re already a Bulldozer fan as I, in good conscious, can’t recommend these guys to new listeners.
C (Day...)
D- (Final...)
C+ (IX)
F (Neurodeliri) -Mike Baronas
Cortical Tectonics
Sensory
Tech metal heads are a breed apart. They excel in math and science. Mazes fascinate their brains- throwing discordant riffs and spaced out jams hits them right in the solar plexus. Georgia’s Canvas Solaris has been a rare treat in the music world- for most technically proficient acts aren’t as productive in their career’s as this trio have been. Since signing with Sensory, Cortical Tectonics represents their third full length album in the last 4 years- showcasing devotion to the cause, however cult-like the appeal may be. Most people won’t give guitarist Nathan Sapp, bassist Ben Simpkins and drummer Hunter Ginn a chance based on the simple fact that you’ll take in purely instrumental compositions. Their loss is this reviewer’s gain- for these 6 songs take in influences from Cynic and Coroner through Kansas, Allan Holdsworth and The Police and make an album that will take you hundreds of plays to grasp every nuance and subtlety.
“Sinusoid Mirage” opens in light jazz fusion with quiet Sapp licks as Simpkins takes the lead with his bass playing, gravitating in the second minute with 70’s King Crimson/ Kansas keyboard work to only end with Ginn’s furious off tempo cymbal crash/ snare/ tom tom action. Follow up “Interface” explores their softer side, mixing together world music motifs with a slight tip of the cap to The Police in the drum/guitar interaction.
This is a trio intent on overcoming the boundaries inherent for instrumental metal- which most people view as a vehicle for the guitar shredder. Tired of wondering when Spiral Architect will release their sophomore album- or if Watchtower can ever get “Mathematics” on the market before the new Guns N Roses effort? Canvas Solaris appeal to these followers of pushing envelopes out to their widest distances, making your eardrums revel and rebel against corporate rock radio while exclaiming “there’s no way I can ever be as good as them.”!
You think everything’s been done in metal- Canvas Solaris take the genre and re-invent their place in the world with every release, brilliant.
A+ -Matt Coe
Isolate
Sensory
Isolate is the sophomore outing for this Norwegian progressive metal quintet, who have made quite an impression all over the world as they have played numerous festivals including Progpower VI in Atlanta, GA for 2005 supporting their 2004 debut The 1st Chapter. Since the first album they’ve only made one lineup change (exit keyboardist Espen Storo, enter keyboardist Lasse Finbraten) but I believe stylistically are venturing on their own accord beyond their initial Dream Theater/ Symphony X platform.
Isolate contains 9 tracks that run the gamut from shorter more instrumentally challenging efforts such as the vocal-less “Sane No More” at 3:54 or splendidly melody friendly “Abyss” for 5 minutes along with a couple of sprawling epics that hit near the last third of the album such as the 9 minute plus “Ultimate Sacrifice” and almost 13 minute “Mouth Of Madness” (which seems to be segmented into 6 sub-parts based on the lyrical notations in the CD booklet).
Vocalist Michael Eriksen has one of those voices that sings in the high heaven range while not irritating you as many wide octave singers have a tendency to do. I can hear some Tony Harnell, Geoff Tate as well as a touch of Joey Tempest in most of his melodies, displaying superb command of his enunciation in tracks like opener “A Darkened Mind” and “Wither”.
Musically guitarist Mats Haugen navigates between power chords and clean parts at the drop of a hat, adept at moving his picking up and down the fret board with ease in a faster heart pounding number like “Arrival Of Love”. Circus Maximus are another band that emphasize songwriting control over mere show off mentality- for while you will hear passages that take mere mortals years to grasp and play with the fluency that these 5 men can, it wouldn’t work if the group weren’t able to condense their technical know how into digestible form.
I have to be honest in that I much prefer the new breed of progressive metal acts these days over a lot of the veterans- Rush being the only one I believe that through the years that hasn’t made as many blemishes. Circus Maximus take in both American and European influences to create a potent, noteworthy album with Isolate, and its well worth investigating to support talent like this.
A- -Matt Coe
Chapter 1: Delerium
Firebox
Finland's Colosseum release their debut CD, Chapter 1: Delirium, only a year or so after frontman Juhani Palomäki started the band, looking to create extremely slow and heavy music. They've done just that here, with six songs and over an hour of purely crushing and umcompromising funeral style doom.
There isn't a whole lot of specifics to get into here - if you are a fan of funeral doom, you'll know what to expect here - supremely slow pace, outrageously heavy guitars, layers of keyboards, and deep, depressive vocals. Colosseum provides all of the above in droves, and should please anyone who is a fan of this style. A great initial showing for these guys.
B+ -Goz
The Greatest Show Unearthed
Sumerian Records
First off, Creature Feature isn't a metal band - but the theme of their music is solidly based on horror and the horror genre. This is their debut CD, and it features 11 tracks of gore soaked, poppy goth rock.
Opening with the title track, we are greeted by an organ grinder and a carnival barker - "Ladies and Gentlemen, Boys and Ghouls, Step right up. Behind this curtain lies a ghastly concoction of delight, horror, fantasy and terror...your every wish is our command. Your every whimsical desire brought to life. But im warning you - there's always a price! Welcome to the greatest show UNEARTHED!". When the song proper kicks in, the carnival theme continues with the music. While it has more layers and a bit more complexity, the organ grinder feel is still present throughout the song (and the whole CD for that matter).
"Aim for the Head" begins with a radio broadcast warning about an apparent zombie attack. Choice lyrics here include "Can I pose a question, how do you kill what is dead, I just shoot from the hip, and I aim for the head. He used to be your friend, that was another life, with this single bullet, we're gonna blow his mind." "A Gorey Demise" plays out like a party where they are reading the obituaries, from A to Z, making for an adventerous trip through the alphabet. Sounding almost like a demented version of the muppets, this is my pick for the best track here - it has some imaginitive lyrics and a good whimsical feel to it.
Thile the music here isn't my typical cup of tea, the theme of the songs and the lyrics make this standout for me. The lyrics all throughout are good and descriptive, almost script-like, allowing someone with a good imagination to draw mental images about each song. This, to me, makes the disc quite interesting and enjoyable to listen to. It was playing at my door on Halloween, and will likely be an annual addition to the trick or treating tradition at the Goz household - at least until Creature Feature releases a follow-up.
B+ -Goz
Downtown the World
Westbound Records
Downtown the World was passed to me because I seem to be more open-minded about the whole rap-rock thing. Now I find myself grasping for positive things to say. But it sure is horrific enough to fit on GASPetc.com, just not in a good way.
Ok there is one pretty good song on here that I heard. Too bad I read the lyrics for "My Suicide" and found the usual rap staple: exploitation of women. On a positive note, they didn't refer to them as "ho's". Out of the other tracks, a couple could have been OK if they didn't sound like everything on the radio already.
Nothing new or unique about Critical Bill. They sound like they're trying to do everything Kid Rock already did only Kid Rock put some soul into it and, at the very least, his lyrics were funny. They also sound like Papa Roach or what little I was forced to hear of Linkin Park. Basically crap...err... I mean rap with generic radio-rock underneath all the crapping... I mean rapping.
I suppose Critical Bill may have to sound like generic rock because they tour with rap artists. That just may be all a rap audience will put up with. They wouldn't have to try so hard because of what little good metal a rap audience has been exposed to. Or it could be all it takes to make an audience like that a little more open-minded about the hard rock aspect. If that is the case, then 2 kudos to Critical Bill for trying to convert, at least slightly, some hardcore rappers to accepting our world of metal. From a lyrical and musical content standpoint, I suppose anyone can make an album as long as there's one OK song on there. Word.
D- -Alesha Brunell
The Final Quarrel - Live at CBGB
MVD
Anyone that was ever a Cro-Mags fan knows they always put their heart into every album and show and this DVD is no exception. It's the last Cro-Mags show from 2001 and it's at CBGB's, which makes it even more special considering that venue is also no longer around. The show is a high energy set featuring almost all of the classic Age of Quarrel album shot with multi-cameras and it captures the rawness of one of the best hardcore bands pounding out their best songs in front of a crazy crowd.
Bonus features include a full set from Harley's War, Harley 's post Cro-Mags band featuring members of Warzone and Murphy's Law. Another of the best bonus features is Harley giving a tour of CBGB's and talking to Hilly the original owner who is no longer with us and talking about what the club meant to him and how he got his start attending and playing there with his bands on many Hardcore Matinees. There are also 2 videos from Harley's War and a very short clip of Harley and his son jamming on stage with his son on the drums.
For Cro-Mags/Harley fans this DVD is a must, and for those looking to check out a legendary hardcore band this is a good place to start.
B -Matt Smith
Born Into This
Roadrunner
I’ve always found The Cult to be an immensely talented and frustrating band. They’ve proven capable of producing landmark material (see Electric and Sonic Temple) but always seem to fill the gaps between those classic albums with, well, crap. And following the last album, the powerfully rousing Beyond Good and Evil? Yep. Crap.
Okay, to be fair it isn’t all crap. But the biggest issue with Born Into This is the production quality, which is mediocre at best. It’s possible the band wanted to achieve a more raw production, but for band with their experience and reputation for being polished in the studio as well as on the stage, it really stands out and not in a good way.
There are some very good tracks that come close to rescuing the album, including the single “Dirty Little Rock Star,” “I Assassin” and “Illuminated.” But for every great track there is a “Holy Mountain” which is probably the worst song The Cult has ever produced. From there The Cult digs a hole that this album simply can’t dig itself out of.
C- -Dan McDermott
In Darkness Comes Beauty
Firebox
Finland's Dark the Suns debut with In Darkness Comes Beauty. They play a heavy and brutal, yet melodic doom style with a heavy layer of piano/keyboard. Apparently, the scrapped the original recording of this disc because they were unhappy with it, then switched studios to do it all over again and get it right.
The opener, "Reflections", showcases all of the above things right off the bat. A heavy, melodic riff is backed by plenty of piano, and the vocals range from deep and gruff to an almost whispering. A nice way to open the disc and introduce the band to new listeners. "Black Sun" is a particularly brutal assault, with a great heavy riff that is carried through the entire song, and a nice guitar lead at the end.
"A Darkness to Drown in" is my pick for standout track here. The opening builds, with drums and guitars quietly backing the keyboard and string melody, then fades back to a quiet melody for a second, before coming in hard with a crushingly heavy riff and a nice guitar melody line. The track goes from heavy to quiet and melodic a couple more times, keeping it interesting all the while.
A good first time showing for the Finnish foursome here. Everything sounds good and is well laid out, but at times is a bit repetitive and dragged out, although that isn't necessarily outside the boundaries for this style of music.
B- -Goz
Two (Poverty)
Metal Blade
Indy's Demericous slay us with 12 tracks of insane thrashing mayhem on their second release, Two (Poverty), following last years One (Hellbound).
It is easy to see where the bands draws much of their influences, as right from the get go we are reminded of metal masters Slayer. From the ferocious riffing, to the vocals, right down to the whammy bar dive-bombing in the guitar solos, Demiricous don't seem to attempt to hide the influence at all. The guitar solo in "Appreciation for Misery" (to pick just one) could have easily been penned and recorded by King/Hanneman. That being said, that doesn't make this a bad record, as long as you know what you are getting yourself into. The riffs are precise, heavy, and catchy, the drumming is quite good, and the vocals are pretty intense thrashy vocals for the most part. "Knuckle Eye" is my pick for best track, with a great main riff, and an outstanding solo towards the end. "Blackish Silver" ends the disc with a bit of a bluesy/spacey instrumental track, so there is a bit of variation present here.
Maybe I'm a bit harsh with the Slayer comparisons here, but Demiricous definitely looked somewhere south of heaven for their inspiration here. Truth be told, it's better than anything Slayer has done since Seasons in the Abyss...
C -Goz
The Dethalbum
Williams Street Records
At long last we have an official Dethklok album! Now if you don't know that the [adult swim] animated series Metalocalypse spawned the band Dethklok then WHERE THE HELL HAVE YOU BEEN??? A fictitious death metal band that is bigger than everything, and are the bringers of the Metalocalypse, the world domination of METAL! Now to the casual listener that hasn't seen the show this may sound like just another death metal album, but it's the stories behind the songs that make the songs so great!
All the classics from the show are here, from "Murmaider", "Go Into The Water", "Awaken" to "Dethharmonic" and they are all extended versions from the show which makes me (and all the other rabid fans) VERY happy! Also included are new songs "Bloodtrocuted", "Better Metal Snake", "The Lost Vikings", "Hatredcopter", "Face Fisted (aka New Phrygian)" which all fit nicely into the pantheon of existing Dethklok songs from the show.
My favorites, "Go Forth & Die", "Thunderhorse", "Briefcase Full of Guts", "Birthday Dethday", and "Castratikron" are all here and to be honest I can't think of any missing songs from the show except Dr. Roxxo's "I'm Just a Rock n Roll Clown", but he's probably going to be putting out his own album eventually as well as Snakes n Barrels! We can only hope! For those of you looking at the track list before buying the CD please note that the "Deththeme" is a hidden track at the end of the disc but it's only the 36 second version, not an extended version like the other songs from the show.
Now most of the songs sound exactly like the version from the show except for the fact that the production is better and the mighty Gene Hoglan (ex Dark Angel, current Strapping Young Lad) is on drums and that adds an extra level of brutality to the songs. Also, contrary to popular belief, the members of Dethklok don't actually play the instruments on the CD, Metalocalypse creator Brendan Small plays all guitar, bass, and keyboard parts, as well as all vocals! The only instrument he doesn't play aside from the drums is the violin. Brendan is a virtuoso when it comes to guitar solos and it is even more evident when you hear the extended songs with extra solos in them.
Now if you were lucky like me and a few hundred other lucky fans you snatched up the deluxe edition of the CD before it mysteriously disappeared from the shelves of retail stores for reasons unknown. The deluxe edition includes an extra disc with the classics "Duncan Hills Coffee Jingle", "Blood Ocean", "Murdertrain a Comin", and "Hatredy" as well as a Snakes and Barrels song sung by Pickles called "Kill You" and a hilarious dialogue track called "Dethklok Gets In Tune" where they, you guessed it, get in tune as only Dethklok can! It is also an enhanced CD with the superb 1st episode from Season 2 and a brutal video for "Bloodrocuted".
Okay, now buy the album and GO FORTH AND DIE!!!
A -Matt Smith
Down III: Over the Under
ILG
In the history of rock, "supergroups" usually don’t fare too well, often collapsing under the weight of unrealistic expectations—both external and internal. This isn’t the case with Down, though, and we’re treated to an unlikely third release from this Black Sabbath-disciple-swamp boogie-sludge machine.
To put things in proper perspective, consider that Down were never meant to be a "real" band. Initially, it was just a bunch of guys from other heavy-hitting bands (Crowbar, Corrosion of Conformity, Pantera, etc…) getting together to blow off some steam in between band releases. When NOLA came out (the first record) it kicked everyone’s collective asses with a swing and groove so heavy and satisfying that the cry immediately went out "we need MORE!".
We got more. Down II: A Bustle in Your Hedgerow was released a few years later and delivered a slightly more subdued approach, but nothing less than incredibly satisfying. It was just more of a grow-on-you type of record. Remember, the NOLA release was released with so little pressure and expectation, and had an instant effect.
So, the question here is can Down III deliver the goods? It’s been over 5 years since Down II was released, and a lot has happened along the way. I’m happy to report, though, that this new release satisfies through and through. Where Down I instantly hits you, Down III seeps into your psyche after 2 or 3 listens, and rewards you with pure "old school" metal satisfaction. What amazes me is the number of tasty classic-sounding riffs guitarists Pepper Keenan and Kirk Windstein fit into these songs. Phil Anselmo’s vocal delivery are a natural fit for the pacing and groove on these compositions as Down deliver a much-needed release for an era cluttered with weak, over-produced metal.
There are so many highlights on this record, but some that instantly stand out include track 10, "Pillamyd" with its huge, massive riff-locking-in-with-drum approach, and the sheer tone of Pepper and Kirk’s guitars. Huge. My new favorite rhythm section of Rex Brown on bass and Jimmy Bower on drums lays down such a solid, heavy groove that it would be hard to knock it off course with a Mack truck. Track 3, "I scream" starts off like a slower, heavier version of Sabbath’s "Children of the Grave" before kicking into one of the disc’s catchiest verses and into the pummeling chorus. More delights await, for instance, with "On March the Saints" (track 5) with its slightly more sparse arrangement that only highlights the intensity of the powerful riffs when they kick back in, and then into a boogie-stomp of a bridge, followed by huge bending riffs leading back into the main body of the song. "Mourn" (track 7) is so damn good, melding the best elements of both Crowbar and C.O.C., further proving that this "supergroup" have found the necessary elements to ensure success.
Here’s the deal…I’m fully aware that I use the word "riff" about one hundred times in this review, but it’s with good reason. Down are all about the power of the riff. The power of the riff compels them, and this is exactly what is missing from a lot of metal these days. Didn’t we learn anything from Tony Iommi? I’ll tell you what, these old battle-scared bastards in Down aren’t about to let us forget it.
Down III satisfies more and more with each listen, and we’ll be extremely fortunate if there is a more to come from this band. Fortunate indeed.
A -Chuck Ferreira
Kiss or Kill
Razor and Tie
When I was a teenager in the early 80’s I thought hard rock hair metal was pretty cool, but that was before I really knew what good music was. Knowing what I know now I have to say Enderafter caught me 20 years too late. If this band was called The Darkness or Snakes n’ Barrels I would like them better but I can’t get into a band that sounds like this and takes themselves seriously, even if they are talented at what they do.
F -Matt Smith
Tales From the Tomb
Cyclone Empire
Some things just go together - Sweden, death metal, the early 90's, and Dan Seagrave cover art are just some of these things that belong together. Evocation makes sure that these ideas all stay together, even if it is the year 2007 now.
From the opening chords of "The Dead" on through to the final notes of "The More We Bleed", this album harkens back to those early days of Sunlight Studios when Tomas Skogsberg was producing some of the fiercest death metal ever committed to tape. Evocation has the cutting buzz saw like guitar sound, and even similar vocals to early Entombed and Dismember down pat. "From Menace to Mayhem" sounds as if it could be a Dismember song, with the dual guitar harmonies used throughout, and the immense drumming. "Phase of Fear" is my favorite track here, with it's superb galloping riff and good harmony parts. If the Entombed/Dismember comparisons haven't been harped upon enough up until now, the band adds in a cover of Entombed's "But Life Goes On". Musically, they hit it pretty much spot on, but the pacing of the vocals seems a bit off to me, but I am often a picky bastard about little things that no one else ever seems to notice...
Since Swedish death metal has always been a favorite of mine, this disc brings back great memories. Evocation surely aren't doing anything groundbreaking with their music here, but they sure do what they do damn nicely. If you like Entombed, Dismember and the like from the ealry-mid 90's, then you should grab a copy of Tales From the Tomb to add to your collection.
B -Goz
Question the Motive
Self-released
Out of Brooklyn, Feff brings forth modern hard rock with a 90's flair. They could be compared to Alice in Chains, Creed and Godsmack for similarities in vocals and that style of light metal. I do hear emotion in much of their guitar solos which reminds me of hair metal and other "radio-rock" artists. Though comparisons are certainly plenty, their songs have originality so they don't sound like a rip-off.
I was very impressed with the guitars on Question the Motive. The solos were excellent, like in "Bother to You" especially and "So Deserving", but they were too short or there were not enough of them. It left me wanting more of such guitar candy. For the most part, Rob Pfeffer's vocals are great. I did notice he likes to drag out his vowels. Words ending in 'ie' and 'ay' end up being 'ahyeeeee' and 'aheyyyyy' alot. Like in "When You Lie", "Bother to You" and "Return to Grey". When it's excessive, it tends to get annoying, but otherwise he's right on the money as a contending vocalist.
Half of the music on Question the Motive is upbeat and sing-a-long-y. My favorite track is "Sold Me" because the intro and guitars were interesting and the singing style was very good. The other half of the album is a tad on the slow side. Ballads like "Bathe in my Agony", "Bother to You" and almost-ballads like "So Deserving", "Never Be Lonely", and "Return to Grey" made up half of the album. After growing up through the 80's, the ballads and mellow stuff can get old quick so I know this is an album I can't listen to a thousand times.
I did enjoy the majority of Question the Motive because it had lots of soul and I will listen to it every once in a while. They remind me of my brother's band Skulltoboggan. I'd recommend it to people who like "radio-rock" or Alice in Chains, Fuel, Creed and such. I'd also play it around people who can't stand the heavy stuff I usually listen to just to meet them half-way.
B- -Alesha Brunell
Days of Nothing
Candlelight
Rome's six-piece gothic doomsters The Foreshadowing make their debut with the 10-track Days of Nothing. Chock full of depressing doom, this disc should appeal to fans of Paradise Lost, My Dying Bride, and Katatonia.
The music here is slow to mid-paced, layered beautifully with crunching guitars, melodic bits, good use of keyboards (i.e. not overused) and pounding drums. Vocalist Marco Benevento has a truly sad style that makes the depressive feeling of the music come through that much more strongly. "Departure" is a song that demonstrates all of these things quite well. It intros with just a piano, then is joined by a great melodic riff, and even showcases the bass player for a bit. It goes back to just piano and vocals for a bit, and the end crashes back with a brutally heavy part and a nice guitar lead. The title track is another standout, with a punishing beat pounded out behind a very memorable and heavy guitar part. It throws in some clean guitar parts as well, and comes crashing to a thunderous halt as it fades into the quiet outro for the album.
Overall, a very good debut for these guys. Check it out if you like depressing, doomy, moody music, and/or are a fan of the abovementioned bands.
B- -Goz
Dimensions
SPV
Every once in a blue moon I get the chance to review the complete discography of a band. Germany’s Freedom Call happens to be one of those power metal bands that through the years have improved, but still remain in my eyes on the cusp of greatness. Their early albums are full of stock trademarks in the genre- speedy double bass, flowery keyboard passages, larger than life choir sing a long choruses, and lyrically discussing the dungeons, dragons and warrior ways. Around their third album Eternity a maturation took place as they placed a slight emphasis on slowing things down and introducing more of a straight ahead hard rock element to the proceedings. Now on their fifth studio recording, Dimensions tells a tale of two camps as two new members (bassist Armin Donderer and guitarist Lars Rettkowitz) join the founding members vocalist/guitarist Chris Bay and drummer Dan Zimmerman (who also plays in Gamma Ray) on their quest for melodic dominance.
After a two minute build up intro that probably doubles as their live set opener, “Innocent World” gets the blood pumping along with a children’s choir guesting for some of the chorus work. “Mr. Evil” mirrors some of the goofy/fun material that Helloween have been prone to produce through the years while a strong harmonic guitar line carries the follow up “Queen Of My World”- a darker moody track that twists and turns as one of my favorites. Vocally Chris Bay has one of those voices that prefer the helium high range- reminding me of classic Andre Matos (Angra) and occasionally Michael Kiske during latter cuts deep in the album such as “My Dying Paradise” or closer “Far Away”. Professionally produced and typical fantasy laden artwork aside, Dimensions doesn’t veer far away from the tried and true natural norms of the genre. Acceptable for some, but utterly intolerable for others: where do I sit in this equation?
When I need a pick me up in a cold, sunless winter stretch I think I can pull out Dimensions- but for the most part this album will probably collect a lot of bench time in the CD racks at home.
C -Matt Coe
Penalty
Metal Mind
This reissue is one of those that may finally get the exposure it is due considering when it was first released Roadrunner lost interest and dropped the band not long after it was released in 1996. Kyle Thomas, ex-Exhorder, current Alabama Thunderpussy, formed Floodgate (originally called Penalty but forced to change due to copyright infringement) after Exhorder broke up. Kyle recruited his brother Kevin on bass, as well as Jimmy Bower (Down, COC, Crowbar, SJ Ritual) on drums, and Kevin Bond (SJ Ritual) on guitar but Bond and Bower were soon replaced by Neil Montgomery (drums) and Steven Fischer
(guitar) before they recorded this album. It should also be noted that Kyle Thomas is often credited as the man who single handedly influenced Pantera into dropping the glam look/sound and grow some balls! So, this band has a lot of history in the line up but it also kicks ass as a heavy stoner rock album that was largely overlooked when it was first released.
"Shivering" kicks off the disc with a balls out riff that pretty much sets the tone for the rest of the album. The guitars are heavy fuzz-distortion sounding and Kyle has a melodic yet ballsy voice that carries thought provoking lyrics. "Till My Soul" sounds like the blueprint for what local favorites Seemless based their sound on as do a lot of the songs on this CD as well as the vocal style Kyle uses. "Whole" is a nice mellow break midway through the album that has bongos and acoustic guitars and Kyle sounds like his singing through the same effect Ozzy used on Planet Caravan. "Second Guesser" is a hardcore influenced rocker that would be a sure fire song to get the pit moving in a live setting. "Imitation Salvation" has a nice doomy riff that is definitely Trouble influenced and "Feel You Burn" and "Black With Sin" keep the groovy stoner/doom vibe of the album going.
This limited to 2000 copies reissue also contains bonus unreleased tracks "Demons Come" (Previously available only in Japan), "The Sublime and the Hollow" and demo versions of "Those Days" and "Imitation Salvation". This edition is pretty much the complete recordings of Floodgate so far. There is talk of a Floodgate reunion, and what better time than now to give the music scene a much needed kick in the ass!
A -Matt Smith
Ill Innocence
Peaceville
Gallhammer is a three-woman band from Japan, playing what would best be described as crusty black doom. Ill Innocence is their debut full length, and comes with a lot of hype attached to it. Does it live up to the hype? Read on to find out...
The album opens with a long doomy piece, "At the Onset of the Age of Despair", which chugs along slowly for close to 8-minutes. Featuring a sluggish and basic riff, up-front bass playing, lazy drumming and grating, screamy, almost whining vocals, this isn't the best start in my opinion. "Blind my Eyes" features a cleaner guitar sound, but still a very boring and basic riff, and adds in some squeaky vocals that sound like a kids toy being tortured by a rabid dog or something like that..."Cover my Ears" would be a more proper song title if you ask me.
I could go on, but you get the idea I think. I didn't care for this disc much at all. Basic, boring riffs, rudimentary drumming, and torturous vocals all add up to a big old mess. So, does it live up to the hype? Not in my opinion.
F -Goz
The End of the World
Self-released
You may instantly recognize their particular sound when you hear Genuflect and not believe your ears. Alas, it is true Reveille is no more. But fear not, the definitive sound that made Reveille what is was, is now inherently present in Genuflect. Former Reveille members [front man] Drew Simollardes and [guitarist] Greg Sullivan have teamed up with half of 7th Rail Crew; bassist John "Meat" Boudreau and drummer Jeff Lawn to bring you Genuflect.
The End of the World may not be, at times, as heavy as Reveille was but they certainly have not lost their vigor. Genuflect's sound can be compared with Rage Against the Machine or Deftones. You may have heard Reveille or Genuflect being compared to Limp Bizkit or Linkin Park, but we are going to end that notion right now. Even without bringing up musical content, and focusing on lyrics and vocals, there is just no contest. Drew's lyrics are always pointed, clever and enthusiastic, plus he could've beat them in a scream-off back as a teenager in Reveille as well as now.
Several outstanding tracks on The End of the World make this a great album even for those who tend to resist listening to "nu-metal" and the like. It has abrasiveness and enough roaring vocals to set it apart from other rap-core bands and the same enthusiastic diligence that made Reveille so memorable. "Epinephrine" is about priests molesting kids and has borrowed riffs from the cartoon Inspector Gadget. "Dark as Night" is a playful number that manages to somehow be dark and upbeat simultaneously. "Insurrection" is about soldiers going to war "What for? cuz my God's better than yours". "Bloody Murder", "Masquerade" and "Revelation" and generally the whole album is all angry, powerfully motivating tracks at one point or another.
What is appealing about Genuflect's music is the frenzied climax in most of the songs. Songs are catchy, never boring, and they usually build into a raging fit of anguished screaming and blasting, guitar riffs that easily incites a mosh. Tuned-down guitars add to the heaviness and the flow of vocals is unmatched. Drew really plays his voice like it's a musical instrument. Their energy in the studio is mirrored in their stage presence and worth your while to see live. I'm very happy to see the heart and soul of Reveille resurrected again in Genuflect. As far as room for improvement, they might benefit with a second guitarist and a little more zazz on the percussion end. They're definitely heavy enough, but going a little heavier couldn't hurt.
A- -Alesha Brunell
Goatreign
Wabana
Goatreign is a project of Mike Hickey, who may just be the best traveled guitar player in heavy metal. Having played with such bands as Venom, Carcass, Cathedral, and most recently The Hounds of Hasselvander - Mike has demonstrated his guitar abilities across a pretty wide range of metal in the past. On Goatreign, he takes care of the guitar, bass and vocals, and long time pal Shawn Progen handles the drums.
"Hell in a Handbasket" kicks things off, and while it features some great heavy riffs, and decent vocals by Mike, the strongest part to this song is the guitar lead the occupies the middle half or so of the song. It is played very well, without being noodly or excessive, as many guitarists can get when they showcase their stuff solo for the first time. "Boot to the Head" does just that, gives you a solid boot to the head. Opening with a crusher of a riff and a small death grunt, another nice guitar lead follows. The main riff in this track is fairly simple, but extremely effective in getting you into the song and getting your head moving as well. "Empty Hollow Dripping" has a very southern rock/metal feel to it, especially after it slows down from the fast paced opening segment of the song. Lots of pinch harmonics and deep grooving riffs help to make this one my pick for best song on this EP. "The Ballad" begins as anything but, with another memorable riff, and also featuring some outstanding skin pounding by Progen here, then slows down to a semi-ballad pace for the last half or so of the song.
I'm typically not a fan of many guitarists solo efforts, as they usually do too much noodling and "look at how fast I can play" crap, ignoring good songwriting to show of their playing. Goatreign puts the song first, while still showcasing Mike's ability to lay down a great guitar solo in it's proper place in the song. Good, solid heavy metal with excellent guitar work is always welcome in my CD player, and that is what Goatreign provides for us here.
B+ -Goz
Battle Lords
Moribound
Ex-Vital Remains members Jeff Gruslin (vocals) and Paul Flynn (guitar) bring the Satanic Balls back to metal with help from Michael McPherson (drums), Michael Lecam (Guitars & Bass), and Justin Flynn (Guitars & Bass). The classic Vital Remains sound is all over this disc and anyone who enjoyed "Let Us Pray" will agree that they still have it, including the blasphemic cover art.
"Heathens Rage" kicks off the album at a breakneck double bass drum pace with Jeff's growling voice overdubbed with some high pitched screaming vocals over it. The song breaks into a mid-tempo rage that would have any mosh pit swirling. "Conflict From Within" starts off with screams and a drum roll and some old school death metal riffs.
The title cut "Battle Lords" starts out with machine gun fire and warplanes flying and breaks into a crushing riff with a nice slower moshy feel to it with a ringing ride cymbal in the middle. "Sadistic Ritual Carnage" is a brutal breakneck double bass drum riff song and "The Lair Of Cerberus" is a majestic sounding death metal anthem of brutality. "Ancient Grave Lands"
continues the mythic satanic themes of the rest of the album. "Beyond The Gates, We Desecrate" has more insane double bass drum work with a black death feel to it.
"Revelations Of The Dead King" closes the album on a brutal death riff fest that leaves you wanting more. Michael McPherson's drumming throughout the whole album is superb and bone crushing and a vital piece to the sound! Although I hear he is no longer in the line up, actually I hear Justin Flynn is the only one left from this discs line up. I have to see these guys live to witness the brutality in the flesh!
Blasphemic topics run throughout the lyrics and the song writing is the best I've heard on an extreme metal album since Behemoth's Demigod and The Apostasy. If you're a fan of Old School Satanic Death Metal then you should buy this CD!
B+ -Matt Smith
Rise to Ruin
Candlelight
I looked down at the nondescript promo CD Goz had given me. It seemed like just another Candlelight promo disc. “Gorefest. Rise to Ruin,” it read. I sighed. “Mindless grindcore,” I thought aloud.
I have never been so happy to be so dreadfully wrong in my life. Dutch metallers Gorefest’s new album is full of pulverizing ferocity that doesn’t let up until it ends. This album is pure death/thrash (or DeThrash, as it is sometimes called now). It’s an oozing slab of extreme metal coming from the Earth to wreak havoc and destruction. Rise to Ruin is rife with themes of anger, angst, and retribution. While those themes normally come off as childish, this album twists those themes into ruthless aggression. I’m not an underprivileged person and I go to a great college; however, this album makes me feel like one—like I need to start a goddamn revolution! That’s how awesome it is.
The opening track, “Revolt” is so full of determined and focused energy that it conjures up memories of other great Thrash openers like Dark Angel’s “Darkness Descends.” The vigorous chorus of this song is battle cry for all metal fans. I expected that the album simply couldn’t maintain such fierceness after such a great opener. But later songs like the epic “Babylon’s Whores” and the title track keep the death metal flowing, with blast beats and driving riffs galore. Tracks like “Speak When Spoken To” continue to provide the angry, frustrated mood of this album.
This album is forty-eight minutes of an unremitting assault. The mood is intense, pissed off, and of course, angry. The drums are unrelenting, the riffs penetrating, and the overall feel violently energetic. Gorefest have reunited to create one of the best death metal albums of the year.
A -Adam Kohrman
Greatest Hits Volume I and II
Self-released/Dirtcore
To review Graveyard BBQ's recently released Greatest Hits Volume II and not explain the difference between Volumes I and II would be a crime. Plus, a few tracks were re-recorded and in some cases made to sound like totally new songs. While other songs were not duplicated and you may miss out if you were to only get one of these albums.
Of Graveyard BBQ's many traits, humor and fun is the bottom line. They incorporate their strong roots of good ol' rock n' roll, delta blues, southern rock, and almighty metal into their own modern soul-laced style of electrified rock carnival with speed and hilarity that grabs you by the balls and says "I said dance!"
Their sound, labeled 'dirtcore', may be a little country fried at a first listen, but it's so much more. On Greatest Hits Volume I they lead you to believe the band is a joke, like during their humorous cover of Bruce Springsteen's "I'm on Fire". Then clearly, Greatest Hits Volume II proves Graveyard BBQ's ability to pull off thundering beats, meaty riffs, and sleazy guitar licks that give you naughty thoughts and can slip into a chakra or two and send pleasure pulses to your extremities. This, in most cases, causes you to dance or tap your hands or feet or something.
The major difference between these two albums may be due to the change in band members. Brownbag Johnson (guitar and vocals), Bud Black (bass), and the BBQ Girlz remain through both albums. On the second, drummer Peterbuilt Wilson is replaced with Billy Z. Bubb, lead singer Reverand T. W. Brixx is replaced with Howlin' Jack Boone, and rhythm guitarist Higgins is added. On Greatest Hits Volume I you will find the winning song of the 2005 "Be A Guitar Hero" contest "Cheat on the Church" (featured on PS2's Guitar Hero) along with other stand-out tracks such as "Daddy Like", "BBQ Nation" and "{Hell} Billi Shakes". 
On Greatest Hits Volume II you will find duplicate tracks from Volume I for "BBQ Nation", "BBQ Girl", "The Road That Lies Ahead" and "Graveyard BBQ" that mainly sound much improved compared to the previous recordings. The song "Meat Yer Enemy" features guests Ben Crandall and Jet of Sam Black Church and former frontman Rev. Brixx. A cover of AC/DC's "Dirty Deeds Done Dirt Cheap", the fourth track on Volume II, is likely the inspiration behind track nine "Ride the Stache"; a song about moustache rides for a nickel.
I was extremely impressed with the new songs and re-recordings on Greatest Hits Volume II. Graveyard BBQ really does sound like they sold their souls to the Devil at the Crossroads. "By The Grace of The Grill" is an A+ track and most of the others are not far behind such as "The Clothes That Make The Man". Volume II is positively heavier than Volume I with less emphasis on the slide guitar. Volume I is more suited to open-minded metal heads and anyone who likes hard, southern, or classic rock and blues but not the heavier stuff. Both are fun and amusing approaches to classic, feel-good rock n' roll with a modern edge that earns my respect and leaves me yearning for more.
What I like a lot about Graveyard BBQ is that they really get into character when playing. From their "Blues men" names, to their attire at a gig, to the overall vibe of the band and music, they bring the Halloween and fun into the music the same way Alice Cooper and Kiss do all year long. Their artwork shows the embodiment of their theme as well. From their cool cover art, to hot photos, to silly comics, you can plainly see naughtiness, sex, booze, rock n' roll, humor, tributes to important influences such as Dimebag Darrell, Johnny Cash, Robert Johnson and a genuine love of what they do and who they do it for.
B- (Volume I)
A (Volume II ) -Alesha Brunell
Worship me or Die
Beethoven on Speed
Metal Mind
The best noise contained in these CDs is the sound they make when hitting a brick wall…
F -Mike Baronas
2007 Promo
Self-Released
Hail of Bullets is a five piece band from the Netherlands, made up of members of Thanatos, Gorefest, and most notably (at least for me) ex-Pestilence/Asphyx/Comecom/Bolt Thrower/etc vocalist Martin Van Drunen. I still remember the first time I heard Martin's vocals - I put in Consuming Impulse and the opening lines to "Dehydrated" almost made me shit myself. The completely crazy and grating vocal style still easily sticks in my head to this day. That voice is back with a vengeance on Hail of bullets 4-song promo/demo, available for download from their myspace page.
Right off the bat with "General Winter" we get to hear that Martin's voice is still strong after all these years. The music here is fairly basic, with a heavy doomy feel to it, but the vocals are the definite strong point here. "Red Wolves of Stalin" is more interesting for me musically, with some crushingly heavy riffs and solid drumming. "Ordered Eastward" has somewhat of a Bolt Thrower feel to it at times, and the final track "Advancing Once More" comes as the standout track for me. Slow, heavy riffage kicks it off, and the drums will pound your brain in on this one.
Hail of Bullets debut is a good setup for what is to come. If you are a fan of Martin Van Drunen's vocals like I am, you should enjoy this very much. The music is good, but not all that original or inventive, but it does get better through the 4 songs. Hopefully with some more time together, the band will get tighter as a unit and present some better tunes in the future.
B- -Goz
Death is the Communion
Relapse
The Godfather of stoner doom Matt Pike has returned with his band High on Fire and brings us another slab of insane stoner brutality.
“Fury Whip” kicks off the disc with a battering riff that sounds at times like Slayer, then goes into a pile driving riff with his Lemmy influenced vocals. “Waste of Tiamat” starts off with some cool 12-string guitar that breaks into heavy guitar with a swirling drum riff. The song then breaks into a bludgeoning riff that picks up the pace of the song into a blazing guitar solo. “Death is the Communion” the longest song on the CD at 8 and a half minutes sounds like a long lost Sleep song. “Khanrad's Wall” is a middle eastern influenced instrumental that leads into “Turk” with its steamroller like double bass drumming by longtime HOF member Des Kensel and moshy guitar riff and catchy refrain “the sight of god is to unfold memories untold” as only Matt could scream.
“Headhunter” is a minute and a half tribal-like drumming piece that flows into “Rumors of War” a Celtic Frost-like song complete with an “ugh” when the song kicks in and the chorus “spit in their evil eyes”. “DII” has a slow doomy riff and some nice mellotron sounds in it that nicely accents the heaviness (I have to say I’m a sucker for mellotrons). “Cyclopian Scape” starts off with some nice acoustic guitar then rips into a ballsy riff and then slows to a bluesy end. “Ethereal” has a nice sludgy start and kicks into a rocking pace with a searing guitar solo just to break down to a melodic ending. “Return to Nod” ends the album on a heavy note that one won’t soon forget. Definitely one of the heaviest High on Fire albums I’ve heard and this disc will definitely make it to my top 10 of the year!
The bonus DVD with the deluxe edition is a documentary style look into the recording of Death is the Communion. With interviews with all members and footage of them recording their respective parts and Matt explaining how High On Fire came to be with a funny story of how he first met up with drummer Des. Matt also goes on to explain his lyric writing and how it is sometimes inspired by the way the bible is written, the language they use, etc. I wouldn’t say it’s essential to buy the deluxe version although it IS a nice accent to such a brutal album.
A- -Matt Smith
Venus Doom
Sire
Heartagram-heads have something to celebrate with this new CD filled with mostly formulaic HIM songs with a doomier influence. The title track kicks off the album in a heavy rocking that is typical HIM sound with Mille crooning about falling in love with someone knowing it's doomed (hmm, where have we heard this before?).
"Love In Cold Blood" starts off with a heavy riff and carries on in typical HIM fashion. The middle of the song has a Type O Negative influenced slow part that breaks up the pace of the song. "Passion's Killing Floor" has a pretty doomy riff but then picks up to a goth piano laced verse and a chorus refrain, "My hearts a graveyard baby".
"The Kiss Of Dawn" starts off with a riff Zakk Wylde could have written for Ozzy and continues in a typical HIM fashion. "Sleepwalking Past Hope", at 10 minutes, is an epic tune that starts off with soft piano then kicks into a doomy riff but the song tends to drag on a bit with a Sabbathy riff that goes into a nice haunting piano instrumental middle section that is pretty cool before it kicks back into the riff and picks up the pace with a guitar solo and rides out on the heavy doomy riff with some analog synth sound fading it out. "Dead Lover's Lane" sounds like the single off the album because it's so damn catchy and "Song Or Suicide" is an acoustic ditty interlude at only a little over one minute. "Bleed Well" continues the HIM sound and "Cyanide Sun" ends the album with a very Type O sounding slow doomy riff and doesn't pick up the tempo much to keep it mellower throughout the song.
HIM has become like AC/DC and Type O Negative, churning out similar sounding albums year after year to an adoring fan base, and hey, if it ain't broke, don't fix it, right?
B -Matt Smith
Summon in Thunder
Century Media
Himsa have done it again. Summon in Thunder is yet another quality metal album. They have delivered what they had promised to be an album combining the strengths of their last two albums Courting Tragedy and Disaster and Hail Horror. It is exactly what I had expected from this Seattle metal band.
I'm afraid there isn't much I can tell you about Himsa's music that I haven't already mentioned in my previous review of Hail Horror in the last update. This new album is like the others in that it is still uniform and that makes it tough to pick favorite songs. Tracks on Summon in Thunder are a little more memorable than those on Hail Horror, such as "Big Timber" and title track "Summon in Thunder". The album also has some catchier guitar melodies such as in "Given in to the Taking" and "Curseworship".
Even though Himsa have a great sound and can produce albums that are good from start to finish, there still seems to be something missing. I guess I'm looking for tracks I want to hear over and over again. All of the tracks are very good, but there's nothing outstanding. As a bonus, Summon in Thunder has a second disc which is a Century Media compilation of seven tracks from Himsa and these artists: At All Cost, The Agonist, Arsonists Get All the Girls, Divine Heresy, Suicide Silence, and Winds of Plague.
B -Alesha Brunell
Framing Armageddon: Something Wicked Part I
SPV
Pioneers of the rhythm heavy power sound- Jon Schaffer waits 10 years to add to his science fiction conceptual tale with this first part conceptual effort. Joined on this journey for his second studio sojourn is vocalist Tim Owens, and re-joining in the drum ranks is long time kit man Brent Smedley. Schaffer handles most of the guitar and bass duties, leaving the solo work for Troy Seelie while new bassist Dennis Hayes guests on a couple of tracks and they both will tour in support of the album. The 19 tracks run the gamut from short instrumental/spoken word introductions and segues to full length songs- most of which run in the 4-6 minute range with the exception of epic centerpiece “The Clouding” at 9:18. Being that I’ve followed the band since the classic Night Of The Stormrider era, I never expected anything less than the best from Iced Earth on this eighth studio
disc- and you’ll get a highly impressive album my friends.
People in the past may have criticized Schaffer’s affinity for the triplet chug riffs or his insatiable propensity for faster song/ slower song/ faster song/ slower song running order to keep the emotions running up and
down- but with Framing Armageddon the slower, moody material is kept to a minimum. Hard charging tracks like the Pink Floyd-ish death march “Motivation Of Man” or the single “Ten Thousand Strong” push Tim Owens to the brink vocally, spitting the words out quickly and in a convincingly high manner.
Musically the guitar harmonies you’ve come to know and love are expanded further in the epic tracks while Jon seems comfortable adding in a slight progressive element with the off tempo snare/bass interplay throughout “Infiltrate and Assimilate” or the cultural Egyptian touch in “Retribution Through The Ages”. To compare to one of his long time bands that Schaffer respects Blind Guardian, this album should be their Nightfall In Middle Earth as it contains the right amount of bombast and flair while also containing a slew of memorable tracks that should kick rear ends as they tour the world.
In a perfect world this album would join the 6 figure sales ranks stateside and allow Iced Earth to sell out mini-theaters. Part two coming in spring
2008 has a lot to live up to. Let’s hope this ends the Barlow/Owens debate
forever- I respect both singers as they know their strengths and limitations, but for IE 2007 Owens more than lives up to the standard of the material.
A+ -Matt Coe
Road of Bones
Cruz Del Sur
Humid, hot climates in the United States produce a ton of killer metal bands through the years. It’s been well documented that the Bay Area thrash movement plus the Florida death metal booms that occurred in the 80’s and 90’s took the underground by storm, and I often think the environment and energy combine to make in roads for a scene. Add Texas as another state that year in and year out produces a killer movement, as I’ve often heard of national acts touring the state for a full week to hit the major cities and small town in support of their metallic wares. Ignitor continues in the tradition of previous acts like Omen and Helstar to fly the flag for the roots of heavy metal- melodic metal anthems filled to the brim with savage riffs, guitar solos, lyrical topics regarding mystery, historical legend and violence as well as a female vocalist who has the pipes of Doro, Leather Leone and Debbie Gunn all rolled into one.
“March To The Guillotine” wouldn’t sound out of place on an early Metallica album, as the riffing has that same Kill ‘Em All quality to it, minus the drum tempo which befits more of the early 80’s British metal grooves. The title track opens with fast guitar licks and tricks while Erika’s voice navigates between lower melodies and the stratospheric screaming she can convey with nary a breath loss. I also enjoyed the extra sound bytes that come into play in certain songs- for instance the air fighter work that opens “Wings Of The Blackheart” or the German dialogue that takes place in the middle of Maiden-like closer “ReinheitBgebot” (which I can surmise if given an English subtitle would be “Metal Is The Law”). Out of the quintet the person with the most experience in the business is guitarist Stuart Laurence, who previous played in Agony Column- but this represents much more of a back to basics approach for Ignitor.
I feel that the drumming could have been a little stronger throughout this album, as I believe Pat Doyle plays a little too stiffly in spots where he needs to cut loose. Outside of that, Road Of Bones harkens back to the early Combat and Metal Blade years of independent metal and would be a wise choice if you miss bullet belts, jean back patches and constant horn saluting at live shows.
B+ -Matt Coe
The Challenger EP
Translation Loss
The Challenger is an EP that follows up LA quartet Intronaut's 2006debut CD, Void. Featuring three new songs, 5 lives songs from the bands earlier releases, a remix of "Burning These Days" (from their Null EP), and a recording of one of their sound checks, this disc is full of super heavy, progressive metal.
The title track is first, and it opens with a crushingly heavy riff that should get just about anyones head moving. The drumwork here is simply incredible, too. Danny Walker beats the skins like his life depends on it, using double bass frequently, but not overdoing it, and dropping in plenty of fills where they are necessary. The guitar sound on this is simply brutal - heavy as hell, with a buzz-saw like feel to it that somewhat reminds of old-school Swedish death metal at times. Joe Lester is the bass player, and he throws down some amazing lines in this song as well - and you can easily hear the bass here to, as the mixing is done right so everything comes through clear and where it should be. The only weak point in this song is the boring breakdown at the midway point that lasts just a bit too long, but the song rages back strong to recover from that weak moment.
"Whittler of Fortune" and "Deep Architecture" are the other new tracks here, and both pack in the same amount of insanity and intensity that the opener gave us. Guitarists
Sacha Dunable and
Dave Timnick shine a bit more in "Whittler...", with some cleaner guitar parts and a bit more melody for them to add their own crafty touches to.
The live portion of the disc is made up of tracks from shows in Tempa and LA, and show that the band can translate their crazy aural assault quite well in a live environment. The final song is a remix of "Burning These Days", done by Sacha, and incorporates a lot of electronic elements and sampling...not really my cup of tea, so I'll stick to the three new tracks and the live stuff here.
This was my first exposure to Intronaut, and I'll be picking up the rest of their releases next time I visit my local music store - they are THAT good!
A- -Goz
Juggernaut
Candlelight
Thundering, plundering, terrifically horrific metal that sounds so evil it will either give you nightmares or put a nice big smile on your face. Arizona's Knights of the Abyss have created a consistently brutal album with dark, mosh-friendly music. The screams and growls are so intense, they had to re-record Juggernaut (thus having two album covers) because vocalist Mike Manheimer blew out his voice box during the first recording and they had to ask friend Dustin Hadlock to finish the album. Wow, that sounds pretty hardcore to me.
Opening title track "Juggernaut" is an instrumental complete with creepy keyboards, doom style music and eerie radio transmissions. When the drums kick in, the music is somehow fast and slow at the same time. This track brings on the feel of a journey. A fitting entrance to an album that definitely has carrying instrumentation. In fact, the steady quality of the entire album make it difficult to pick favorite tracks.
In all the songs, I was impressed with the guitar's grinding, chugging rhythms as well as their melodic solos. Aggressive percussion and bass keep the music sinister and motivating. The fierce vocals add to the horror factor especially during "Gridlock", one of the stand-out tracks, because it sounds like someone popped his vocal chords during that one. Another version of "Gridlock" with Dustin on vocals is "Hadlock" available for a listen on their web site here. Other tracks that stood out a little more than others include "Our Emancipation", "Karmageddon", "Hell Bent" and "I Pledge Agrievance" for their blended styles of old-school death metal, thrash and doom with a little Scandinavian influence showing.
Since I've already mentioned the first six tracks, I could just name them all. The problem with delivering a uniform album, where all the songs are equally good, nothing stands apart from the rest. Hits are memorable and I do hear memorable songs. It's just tough to figure out which songs you like more after listening to the album even a dozen times because they all blend together in common brutality. That is a good characteristic and shows potential. Maybe Knights of the Abyss are a band you have to see live before you can really appreciate their talents. They sound like they would put on quite a show. Let's hope they take care of those vocal cords and make it to this area sometime soon.
B- -Alesha Brunell
Legacy of Evil
Candlelight
Norway's Limbonic Art began as a band in 1993, then broke up in 2003 having run out of ideas. They then decided to reunite on June 6, 2006, and Legacy of Evil is the first result from the reunited two-piece symphonic black metal band.
They blast off to a good start with "A Cosmic Funeral Of Memories" - no intro or any other cliched bits to start it off, just right into the blast beats, tremolo picking, and raspy vocals. At the midway point of the song, their is a nice quiet keyboard part for a bit, then right back to the chaos. The keyboard work is fairly prominent throughout this disc, hence the symphonic bend to their brand of black metal. "Grace By Torments" slows things down a bit, bringing up the atmosphere as well. The keyboards a more up front here, and have the feel of a horror movie score as well. A nice diversion from the blistering pace that has been set so far.
The title track has a great mix of the blasting, grinding black metal with layers of keyboards added to give it an eerie feeling. It also has one of the best riffs on the disc to start off the song, then repeated throughout the track a few times. The title track, and the tempo-changing "Nebulous Dawn" are the two standout tracks for me here.
Production is very well done here. Guitars sound great, the keyboards fit in perfectly, and the vocals come across powerful and angry as they should. The band lacks a drummer, so they are programmed - therefore they obviously sound programmed, but in fact they sound as good, or better, then most of the crappy triggered drum tracks that are used by metal bands that actually have a drummer. Overall this is a very good release from the reformed Limbonic art.
B+ -Goz
Envenomed II
The Will to Kill
Arctic Muisc Group
I hadn't realized that either of these albums had gone out of circulation for any amount of time, but since they have recently been "reissued," because of their caliber it seems appropriate to mention them to any death metal fans who may have somehow let these slip through the cracks, even though they don't differ in any way from the previously available versions of the two titles.
Many of you probably recognize the name Malevolent Creation, since they have released slab after slab of quality, technical, surgically precise brutal death metal since 1991's The Ten Commandments. Despite the revolving door of members--almost 10 drummers, three stints each for vocalist Brett Hoffmann, drummer Dave Culross, and guitarist Jon Rubin, etc.--over the years, mainstay Phil Fasciana (g) has managed to ratchet up the intensity and gain ground songwriting-wise, almost with each successive release. In my opinion, Envenomed and The Will to Kill are the two best MC discs in their storied discography. If I had to pick just 2, these would be they.
Envenomed originally saw release in 2000, but in 2002 was re-issued with 3 bonus tracks and re-titled with the "II." Catchy riffs abound on this album, and the production is rock solid, the mix fat with the slight exception of Culross' snare which sometimes sounds a little thin. The songwriting is lean and mean (compared to a few slower, drawn out, interest-losing tunes on the 2 albums preceding this) with puh-lenty of blast beats and killer fills everywhere to drive those razor-sharp riffs over the top. Some blistering solos can be heard adding flavor here and there, but it's about the mean, relentless songs themselves. The mastering was done nicely, too, with just about zero space between songs so that there is no time to recover before the next assault is unleashed upon the ears. Brett turns in another good vocal pe rformance, although it's not quite as rabid as what he contributed t | 
