Psychotic philosophy

Tyranny Response Team

2011-10-22T11:11:00.000-07:00

This review should be about the new Iced Earth album, but alas, my local CD haunt had not received any copies yet and thus I am left to wait. However, while checking around about the new Iced Earth, I read about Jon Schaffer's solo project Sons Of Liberty. So while I was left without the new Iced Earth, I did pick up the Sons Of Liberty 2010 release "Brush-Fires Of The Mind".

The reviews of this album were middling, but I have to say that I quite enjoyed it. What I find interesting is the albums lyrical subject. He delves into concepts of Corrupt World Leaders, The Federal Reserve System and Big Business. Listening to this now with all the global economic turmoil and rallies like Occupy Wall Street and such makes this album all the more poignant.

"Brush Fires Of The Mind" cries out for a return to the values that the United States was founded on. Liberty and Free Humanity. How does this message hold up in this medium? Pretty damn good. Jon has already expressed his interest in US History with Iced Earth's album "The Glorious Burden", but I find the Sons Of Liberty "Brush Fires of the Mind" a far more interesting and passionate album.

The album kicks off with the epic "Jekyll Island" which sets a serious and aggressive tone for the album chalked full of conviction. The music here is not unlike what you'd hear from Iced Earth. In fact, Jon Schaffer's vocals sound like a poor man's Matt Barlow. The music wouldn't work for Iced Earth and I'm glad Jon chose to release it as a side project instead.

The music is mostly mid-paced with flourishes of speed and a moderate amount of groove, most notably on "Tree Of Liberty". There are no real ballads, but there are softer moments like the first part of "Our Dying Republic". This is my favourite song here with its melodic vocals and hooky chorus and still manages to bring in some metal towards the end.

Overall, this is a solid album and I would recommend it to fans of Iced Earth. I wouldn't say it is of the same caliber, but when taken in the vein of its intent (a labour of love for Jon Schaffer) then it is an enjoyable and important listen.

In this case, the message is the medium.

Troy Has Fallen ... The Happily Ever After ...

2011-10-19T11:11:00.000-07:00

Whilst browsing my new local CD shop (The Beat Goes On) I stumbled across a Virgin Steele album. I had heard of the band, but often passed them up as just another symphonic power metal group along the lines of Skylark and Rhapsody (of Fire). The album was "The House Atreus Act I" the title intrigued me as did the song titles and since it was under $10, I decided why not.

Damn, did I miss the mark completely with this band. First off, Virgin Steele has been around a decade before the previously mentioned bands. Secondly, this album ain't your mother's Symphonic Power Metal. "The House Of Atreus Act I" is pure unadulterated heavy metal with symphonic flourishes to bring out the epicness of the story.

Think Manowar, if Manowar were a European Power Metal band. In fact, the singer David DeFeis is a dead ringer for Manowar's Eric Adams. Both bands came out around the same time, both from New York, so really, Eric Adams could be a dead ringer for David Defeis. I don't know. What I do know is that this album is solid Manowar style heavy metal and I love Manowar.

I feel like a tool for passing this group by for so long and now it's dang hard trying to track down there other albums (especially "The House Of Atreus Act II. This is a double album dammit!). The reviews I've read have been glowing and so they should be. This album is epic and heavy. It is 75 minutes of glorious Greek Mythology based music.

The story concerns the end of the curse of the House of Atreus. After the end of the Trojan War, Agamemnon travels home to his murderously plotting wife (seeking revenge for when Agamemnon sacrificed their daughter Iphegenia) where much unpleasantness happens and Agamemnon is murdered. There is probably more to it then that, but I haven't explored the lyrics much.

What is really important here is the music. Concept albums or metal operas are hit and miss. "The House Of Atreus Act I" is a home run. Think of Manowar's song "Achilles : Agony and Ecstasy in eight parts" only more accessible and simply more epic. The metal songs are grand with biting guitar and soaring melodies interspersed with several interludes that serve as narratives without so much as being narratives. The album does indeed flow well.

For a concept album, I do feel the metal songs could stand on their own merits. This makes the album easier to take in, however, the glory of it all is to hear it as one solid musical journey. I do have to commend the band for their exquisite writing skills. To create a body of work like "The House Of Atreus Act I" that works on a whole, yet still have "radio" hits. That is not an easy task.

My favourite songs are the opener's "Kingdom of the Fearless (The Destruction of Troy)" and "Blaze of Victory (The Watchman's Song)" as well as the pseudo ballad "Gate Of Kings" which is dark and atmospheric with uber catchy chorus.

I cannot say enough good things about this album. If you like power metal this will blow your mind. If you like good Heavy Metal (like mid to late Manowar) this is right up your alley. Or heck, if you like music damn it, this album rocks!

Now to track down Act II ... sigh ...

After being Battered, Einherjer Is Back!

2011-10-16T10:42:00.000-07:00

Another album release this year that was high on my want list was Einherjer's reunion effort "Norron". I've been a long time fan of Einherjer since I bought "Odin Owns Ye All". When I heard they split in 2004 I was saddened. Then I discovered they changed names, and added a couple members to become the thrash act Battered. They released a solid effort under that moniker, and had been quiet since.

Then word came out of Einherjer's reunion and new album and I was stoked. I even thoroughly enjoy "Odin Owns Ye All" which seems to get a bunch of slag. Einherjer play a more groove-laden form of Viking metal after starting in the more traditional blackened base akin to Ensiferum and Thyrfing. To me it made them stand out, much like Tyr's cleaner style of viking metal only rougher around the edges. Einherjer stepped away from being just another viking band rooted in black metal.

What has 6 years and a thrash album later done to the Einherjer sound? Absolutely nothing. "Norron" is a natural progression from 2004's "Blot". Opening with the epic "Norron Kraft", this 13 minute track plods along with a dark and atmospheric rhythm and thunderous flourishes. A solid riff and heavy sound keeps it interesting.

"Naglfar" is similar with a slightly stronger folk edge. More so then normal for Einherjer. "Alu Alu Laukar" is an interesting tune that stands out from the others with driving rhythms riding the line of techno giving us a sense of eagerness. It doesn't quite follow the style of the rest of the album, but that is probably due to it being a cover song. However, it still has a dark urgency to it that is addictive. "Balladen Om Bifrost" closes the album out as a pseudo ballad. Not unlike "A New Earth" from "Odin Owns Ye All", but this song is more epic and beautiful.

I was quite pleased with Einherjer's "Norron". It progresses forward from "Blot" and does not drift from the groove-laden style Einherjer is known for. They simply made it more epic and, I might add, a little darker atmosphere.

If you are a fan, then I see no reason not to enjoy. If you are new to the band, I'd recommend it as solid Viking metal a little different then the bigger names in genre.

I'm The Passenger!

2011-10-14T19:41:00.000-07:00

With Angels and Airwaves new album "Love part 2" coming out in under a month, I wonder how will it hold up to their other epic masterpieces. Well if the first single "Anxiety" is anything to go by. It is going to be simply amazing.

"Anxiety" opens and closes with AVA's signature space effects and the song is simply gorgeous. It's hooky with soaring melodies and a beat you can dance to. It's everything Angels and Airwaves is known for. Very much in the vein of the "Love" album. It's emotionally stirring and very uplifting.

"Love Part 2" is going to be off the hook !

Sometimes It Comes With A Shove ...

2011-10-12T18:05:00.000-07:00

With Blink 182's new album out and being enjoyed (by me), next on my want list is Angels And Airwaves "Love Part 2" featuring their "Love" album and movie of the same name. "Love" was released February 2010 as a free download (with option to pay and get a bonus track) off their website. I'll finally take at look at this album in anticipation of its inaugral CD release with part 2 coming in November 2011.

As with each AVA release I am hooked on it like crack. I can't stop listening to the album. It usually gets a spin once a week. The other 2 albums still get frequent airplay, but "Love" takes precedence.

"Love" takes the AVA sound to a grander more epic arena. It's just as catchy and melodic as the other 2 albums and it's even more uplifting then "I, Empire" was. Simply put, its bright and airy, yet as emotionally poignant and moving as the other 2 releases. "Love" has a spacier feel like U2 meets Pink Floyd as performed by Radiohead, but does not sacrifice accessibility.

"Love" starts with "Et Ducit Mundum Per Luce" which is quiet spacey number that burrows into your brain and "Flight Of Apollo" hooks you in with a biting guitar riff and soaring melodies. "Young London" follows suit with its bouncy pop sensibility and militant beat. A radio friendly hit with a great chorus and uplifting feel. An anthem for young and old alike and a definite crowd pleaser at concerts.

After this 1,2,3 punch it's hard to imagine what the band could do to top the first 15 minutes, but after a killer electronic/drum interlude we get the heartfelt guitar intro for "Shove" and one cannot help but be brought to their knees. The notes cry out with hope and longing that leads the listener to wax poetic on life and love. This is my favourite song on this album.

"Epic Holiday" and "Hallucinations" continue with the stirring assault on your emotions that will leave you tapping your foot and smiling uncontrollably. One cannot help but groove to the fast paced, uplifting rythms. "The Moon-Atomic (...Fragments and Fictions)"and "Clever Love" slow things down in thoughtful reflection, but never get boring. AVA has a strong sense for melodies both fast and slow. The music just sticks with you.

"Love" picks up again with "Soul Survivor" and "Letters To God part 2" (Part 1 is from Box Car Racer's self titled album). These songs grow to an epic level. The soaring soundscapes crescendo unto themselves while continuing to build the granduer of the album as whole. The album closer "Some Origins of Fire" ease's us out like a satisfied sigh.

Angels and Airwaves albums have a similar sound, yet are distinctly different. "Love" feels more focused then the first 2 and takes the music to a grander, more epic level. Perhaps because this album came about whilst the band was working on the movie of the same name and therefore had a stronger focus on theme. I don't know.

What I do know is that I'd pretty much buy anything Tom Delonge has his hands in. The man knows how to write good emotionally stirring music. Whether its pop/punk with Blink 182 or his maturer post punk Box Car Racer or his grandiose vision with Angels and Airwaves. I can't get enough of it. That's not to knock the other members who contribute to each project. Tom has hooked up well with some very talented musicians and songwriters. It's simply because Tom is the constant in all 3 projects.

I CANNOT wait until "Love part 2" comes out.

Welcome To The Neighborhood

2011-10-09T14:14:00.000-07:00

Well it's been a long while since I've posted. I'm hoping to rectify that by getting back to regular posts. Got busy and lost my motivation, but let's not dwell on that. What brought me back? Well several things. Several new albums that are awesome (Einherjer, Mastodon, Dream Theater) and some older ones that still rock (Odds anyone?) I thought I'd start my return with Blink 182's return after an 8 year hiatus and their new album "Neighborhoods".

Like every Angels & Airwaves album that has come out, I can't get enough of this new album from blink. After a number of listens, I figured I should write something on it and here I am. Returned to my blog.

Anyone who has heard Blink's first single "Up All Night" knows that this ain't your teenagers Blink 182 anymore. "Neighborhoods" is definitely a melding of Mark, Tom and Travis's side projects, but you can't miss the Blink 182 at its heart. You won't find the juvenile lyrics anymore. I always thought Blink handled the potty lyrics very well. There was a kind of poeticism to their brand toilet humour that was acceptably offensive.

I love "Cheshire Cat, Dude Ranch and Enema of The State", but "Neighborhoods" is far from those pop punk days. This album is still very much catchy and well written. Blink have matured and maybe that's why they took a long hiatus. Maybe grew up a little. The band still captures the teenage angst and emotions, just more maturely now.

The first single "Up All Night" and the album opener "Ghost On The Dance Floor" are prime Angels and Airwaves tunes. "Heart's All Gone" and "Kaleidoscope" could have been on the +44 album. Although these songs have distinctive influences by the members current projects, they are inherently Blink 182. Maybe it's the dual vocals of Mark and Tom who perform their roles flawlessly and the chaotic drums of Travis Barker, this is the logical next step to 2003's self titled release.

Overall, if you liked 2003's "Blink 182" album you'll probably enjoy this release. If you liked any of their sides projects, you'll like this. If you are hoping for "Dude Ranch" you are out of luck. The closest you're going to get to classic Blink is maybe "Natives", "Snake Charmer" or "Wishing Well". "Neighborhoods" is a solid pop/rock album with a punk edge and any fan of Blink 182 should find something to like here.

Me? Well, I simply love it all. Welcome back Blink 182!

Cameron Blake - With Strings: Live

2011-02-23T17:30:00.000-08:00

Baltimore singer/songwriter Cameron Blake has piggybacked the release of his album "Hide And Go Seek" with the release of his first Live album. "Cameron Blake With Strings: Live" plays like a greatest hits record with a twist (at least for me, as the song list contains a number of my favourites).

Performing live with an orchestra is not a new concept, however, Cameron has chosen a more subtle approach and uses a String Quartet and percussion section to fill out his eclectic brand of folky art house music. Cameron is no stranger to the use of strings in his music. In fact, the violin plays an important role in his songs. On this live recording, the string quartet builds into each song creating an epic jazziness that is emotionally stirring and grandiose.

Songs like "Baby Come Home" and "The Love Song Never Died" get a fuller sound while retaining their playfulness. I'm not sure how, but "Hudson Line" feels even more heart-breaking and "This Is All" just sounds huge. Cameron's stirring cover of Randy Newman's "Baltimore" ends with a jazzy interlude by the quartet and percussion sections that plays into the next song. A nice touch.

I tend to overlook Live albums, having been burned a few times with poor productions. For me, a live album has to truly stand out or else it's no better then a greatest hits album. Here, Cameron has provided a collection of great songs in a live setting with just the right nuances to make it stand alone as an album I'd listen to outside of his studio recordings. The production is also top notch. The instruments are clear and can be heard individually, yet there is still the rawness of the live setting captured exceptionally.

If you're already familiar with Cameron Blake's music, then you are guaranteed to enjoy "With Strings: Live". If you're new, then this is just as good a place to start with as "En Route" or "Hide And Go Seek"

Check out some samples at Cameron Blake website here and MySpace Page

Ryan Adams Says "Thank You" To Denis D'Amour. AKA Piggy

2011-02-06T15:12:00.000-08:00

Ryan Adams is a singer songwriter who I have heard of, but never heard anything by. In all honesty, I'll probably never hear anything else by Ryan except for the Heavy Metal tribute album "Orion" recorded as a thank you to the late, great Denis D'Amour "Piggy" of Voivod fame.

My only familiarity with Ryan Adams to this point was the fact that whenever I was browsing through Used CD stores, I'd always picked up his albums because of the cool cover art and then be disappointed because it wasn't heavy metal.

Anywho, a friend of mine mentioned that Ryan Adams recorded a heavy metal album and I was immediately intrigued. When I found out it was a tribute to Voivod, then I was excited. I have to admit, Ryan Adams put together one heck of a tribute album.

Right from the opening notes of "Signal Fade" to the closing number "End Of Days", "Orion" is a fine example of Voivod worship. Now Voivod has had a long and varied career, and Ryan pays homage Ala "Angel Rat" and "Nothingface" era. "Orion" could easily be slipped in the middle and not feel out of place.

"Angel Rat" and "Nothingface" are part of Voivod's mellower phase, but still relevant in their catalogue. Ryan Adams' "Orion" follows suit, retaining a sense of Voivod's intensity with galloping rhythms and backwards barred chords.

However, this isn't simply Voivod replicating. Ryan Adams does enough to keep the album fresh and stamped with his own style. In fact, "Orion" has moments that sound reminiscent of Alt/Indie Rock especially on songs like "Fire And Ice" and "By Force". Like Voivod, Ryan adds loads of melody to his songs as well as including a Sci-Fi concept to complete the package.

"Orion" is a short album, clocking in under 30 minutes with 13 tracks, but it is fast paced and exhilarating. What "Orion" lacks is Voivod's progressive tendencies and many intricate solos, but this is a minor point as the album comes across as a passionate and honest tribute to a highly influential musician and group.

Overall, if you are a fan of Voivod's "Angel Rat" and "Nothingface" I cannot see you not liking this album. Also, Ryan Adam's is clearly not trying to cash in on Piggy's death as its been 5 years since his passing and the album is VERY limited in its availability. Strictly Vinyl with no plans for wide release. That is unfortunate, because I would gladly purchase a CD copy. I don't even think it is available through iTunes either.

As a Metal fan and Voivod fan, I say "Great Job! Ryan. Piggy would be proud". As a bonus, Michel Langevin aka Away designed the album artwork.

If I Can't Change Your Mind ...

2010-11-22T12:36:00.000-08:00

Sugar is an Alternative rock band formed by ex-Husker Du member Bob Mould. I would even go so far as to call them grunge-like due to their biting guitar tones and sombre undertones. The bands debut "Copper Blue" is one of my favourite albums. "Copper Blue" is more then just alternative or grunge. It is chalk full of hooks and uplifting melodies all while based in a melancholic foundation.

Having never heard any Husker Du, I'm unaware of any influences or styles that may have carried over. Also, I owned the follow up EP "Beaster" for a while, but it never stuck with me and I sold it. I like "Copper Blue" so much, that I'm reluctant to check out their later albums and face disappointment. "Copper Blue" is just one of those albums that is simply great.

There is not a bad song on here. "The Act We Act", "A Good Idea" and the acoustically driven "Hoover Dam" are uplifting melodic rock songs with the formers having a thick grungy foundation. "The Slim", "Slick" are dark songs that are just downright bleak, in my opinion. But they are performed with conviction and passion and retain memorable melodies.

My favourite songs are the epicly simplistic "Hoover Dam", the lullaby-like "Man On The Moon" which I hope to put my kids to sleep with one day. "Changes" is uber catchy and emotionally stirring and is my 2nd favourite song on "Copper Blue" My favourite track is "If I Can't Change Your Mind" which is an acoustic based rock song with an old school rock vibe. It is super catchy and hopeful with an uplifting melody and a great solo.

Overall, "Copper Blue" is a great listen for those looking to listen to something a little more melodic and mellow, but doesn't shy away from it's harder edge influences. Instead Sugar embraces them and creates an album of passionate rock songs that blends the lines of some genres.

Up next, I'm going to review an album by an artist I'm far from familiar with. However, I am very familiar with the band he sets out to emulate in tribute to a fallen member that died 5 years ago.

Ryan Adam's "Orion".

You AreThe Safest Way Into Tomorrow

2010-11-08T06:53:00.000-08:00

Trans-Siberian Orchestra's (TSO) long awaited "Night Castle" has had me on a fence of like and disappointed since I first bought the CD the day it was released. What I mean is, I hold TSO to a high order of quality and I felt they let me down.

I've been a longtime fan of Savatage (since "Edge Of Thorns") owning their entire catalogue and loving both their earlier style and the progressively more theatrical turn with their latest albums. I have also been a huge TSO fan (since The Christmas Attic was released) and have been to every TSO show that has come through my area since they stated adding Canadian dates.

I don't say this in order to brag, but simply to state my passion for all things TSO and Savatage. I have yet to be disappointed by a Trans-Siberian Orchestra album to date and after several (disappointing) delays of the release of "Night Castle". I held the double album in my hands and eagerly anticipated giving it a spin.

And it was on this first listen that my heart sank in disappointment. See, here's the thing. It took around 4 odd years to release "Night Castle" and what we got was a rehash of a number of Savatage songs. For example; Savatage's "Prelude To Madness" became TSO's "The Mountain" and Savatage's "Mozart and Madness" became "Mozart and Memories". This to me felt like lazy writing. I mean, they had 4 years and they couldn't record different classical compositions. For crying out loud, they were pushing "Carmina Burana" for years on tour as coming up on the "Night Castle" album and then put it on as a bonus track. What the hell is that about? They could've just used that song instead of "The Mountain" and put the "Prelude To Madness" cover as a bonus track.

Now this may seem rather harsh, but I had high hopes for this album. I had the feeling that "Night Castle" was too simplistic to have taken so long to release. However, much like TSO's "The Lost Christmas Eve", this album has grown on me and I've come to enjoy it quite a lot. "Night Castle" is a double album, so there are plenty of original songs (more so then plenty of rock albums)and if TSO can encourage fans to check out the back catalogue of Savatage, I say Amen, Brother!

If I can lay down one more gripe. A minor one. Trans-Siberian Orchestra has also done a cover of Savatage's "Believe". Although, it is mostly faithful, I find it odd that with 3 great guitarists (Skolnick, Caffery and Pitrelli) they don't do the solo at that carries the song out as brilliantly as the original. I only say this because "Believe" is not only favourite song, but the greatest song ever written. At least for me. The layered solo is absolutely brilliant and in my opinion, essential. It just seems weird that the 3 didn't recreate that solo.

I'm all for making a song your own, but c'mon! That solo is a killer. Anywho, the TSO version on "Night Castle" is pretty good and better then some of the performances of it live. Heck, they tour with 2 guitarists and usually a 3rd when needed by one of the vocalists.

Well, I guess you're wondering what the album is like. I liken it to a mix of Savatage's "Poets & Madmen" with the rock ballad stylings off of TSO's "The Lost Christmas Eve". Add in a hint of Sava's "Dead Winter Dead" and you get the idea. There is a lot of material here, but truly, the album flows well for a running time of 2 hours.

There are the standard instrumentals with the opener "Night Enchanted" along with "The Mountain", "Mozart and Memories", "Moonlight and Madness" and "Toccata-Carpimus Noctern". These are done in the traditional TSO way of taking classical pieces and giving them some metal cred. Or should I say shred.

We have the rockers in "Sparks" which could be a radio hit, "Night Castle", "Another Way You Can Die" and "Father, Son and Holy Ghost" with the wonderful Jennifer Cella on vocals. Tim Hockenberry and the versatile Jeff Scott Soto bring life to the other rockers.

Mainstays Jay Pierce and Rob Evan bring heart and compassion to some of the slower ballad songs like "Childhood Dreams" , "There was a Life" and "Epiphany". And let's not forget the interludes such as "Bach, Lullaby" and "Embers". I should mention here that "There Was A Life" and "Epiphany" are my favourite songs off the album. Both are epic power ballads that exude passion and emotion by the talented Rob Evan.

All in all, "Night Castle" is a solid release (never-minding my initial disappointments). I very much enjoy listening to it now, and the rockier edge allows it to be a little more accessible then "Beethoven's Last Night". For those looking be introduced to Trans-Siberian Orchestra, I would recommend their first 2 Christmas albums "Christmas Eve & Other Stories" and "The Christmas Attic".

Cameron Blake - Hide And Go Seek

2010-07-13T18:11:00.000-07:00

Cameron Blake’s new album “Hide and Go Seek” is a more folk based affair then his last couple of albums “Over & Over” and “En Route”. The previous albums were certainly rooted in folk, but Cameron embellished those albums with flourishes of jazz, gospel and rock. That’s not so much the case on “Hide and Go Seek”. Here is a collection of traditional style folk arrangements done straight forward with little in the way of experimentation.

Cameron Blake has certainly proven his creativity and exceptional song-writing skills and so I was at once a little taken aback and yet surprisingly at ease with his new album. “Hide and Go Seek” was a refreshingly enjoyable listen, and I say kudos to Cameron for taking a daring chance after setting high expectations with his eclectic and original compositions that, to this reviewer’s ears, gave folk music a modern interpretation.

Right from the start we have the somber “Every Hundred Miles” which sets the mood for the album. The finger picking rhythm and brooding cello melody envelopes the listener, allowing the next song “Never Taught Much” to lift us up into a comfort zone. “Never Taught Much” is a moving piece that builds to an emotional plateau.

The title track picks up the pace a bit, while staying rooted in somber reflection. It’s just after this song that Cameron delivers us the rousing “Down To The River” which plays like a gospel infused folk call to arms.

“Spring Sparrow” and “You Can’t Let Go” wax poetic on life, love and growing up. “Willow Tree” and “I’ll Fly Away” quietly reflect on humanity and spirituality and ease us gently out of the album, letting us ponder on life’s mysteries with a renewed passion.

The two standout songs on “Hide and Go Seek” are “Moonshiner” and “Baby Come Home”. “Moonshiner” is a haunting cover of a Bob Dylan tune. Cameron’s voice is at his most soulful here and one cannot help but be moved by his performance. “Baby Come Home” is a foot stomping, upbeat number that is the lone deviant song that drifts slightly from the traditional folk sound. The memorable melody and beat will stick with you long after the album is over. The sweet guitar solo is cool too.

“Hide and Go Seek” is 45 minutes of poetic storytelling that allows the listener to relax and enjoy the music all the while feeling emotionally and spiritually satisfied and intellectually stimulated.

Check out some samples at Cameron Blake website here and MySpace Page

Reviewed for www.wrecked.org

Everything That I've Gathered In Life, Could It Be Lost In This Night?

2010-01-18T09:50:00.000-08:00

Trans-Siberian Orchestra's 3rd album and 1st non-Christmas themed "Beethoven's Last Night" is probably their most straight forward and solid release and probably my favourite too. It carries an air more akin to Savatage's "Dead Winter Dead" or "Wake Of Magellan" then their genre bending Christmas themed albums, only more theatrical.

"Beethoven's Last Night" is a story based around ... wait for it ... Beethoven's last night. Having just completed his Tenth Symphony, Beethoven is visited by Mephistopheles who comes to claim his soul. The devil offers a deal to Beethoven that he can keep his soul if the devil gets to erase all his music from the minds of humankind. As if he'd never existed.

Beethoven is given an hour in which to decide and spends the time journeying through his past with Fate (and her son Twist) and given the chance to change anything. After much ado, he decides to leave all as is and refuses the devil's offer. Mephistopheles changes the offer to no avail and then threatens to torture an orphan. Beethoven agrees, Twist helps with the contract and in the end tricks the devil and Beethoven's soul and music are safe as is the unknown orphan.

Overall, not a bad concept. My beef is with the inclusion of the whole random child thing at the end. Maybe I'm cynical. The devil is going to torture a random orphan for their "short" life. Who cares. In that day and age, the child is probably already being tortured and abused. In my opinion, I would have had the devil threaten Beethoven's Immortal Beloved. At least there is an emotional connection and sentiment. This is not to say that the music suffers at this point. In fact the songs around this portion of the story are quite good. But c'mon! Do they have to throw a child in every story!

Anywho, minor complaint. Any metal head who can appreciate classical musics influence on the genre will be in Heaven with this album as it contains loads of classical music and not just Beethoven. You'll hear some Mozart, Chopin and Rimsky-Korsakov as well. This is all intermixed with TSO's special brand of rock interpretations as well as original songs. "Beethoven's Last Night" is probably TSO's most metal album.

"Overture" kicks the album off with a medley of classical pieces that leads us into "Dead Winter Dead" style openers "Midnight" and "Fate". It's around here that Mephistopheles appears with the song of his namesake and here is where the music takes a dark metal turn. This is mostly due to Jon Oliva's signature gravelly vocals. Casting the Mountain King himself as the devil certainly gives this album that darker edge.

The heavier metal influences are mostly on the instrumentals like "Mozart" and "Requiem (The Fifth)". These songs have some great crunch to them and reminds us that these old classical composers were bad ass. "The Dark" although not an instrumental has a somber feel, but a killer, stirring guitar solo. Jon Oliva returns on the bleak and heavy "Misery" where he postulates on the torturing of the little orphan girl. Pretty wicked song with some killer riffs.

There is also no shortage of the uplifting power ballads TSO specializes in. The difference here is that the songs really blend well with the vibe of the album. Perhaps it's because a number of them include classical exerts, but I think the songs were really well thought out. Although similar in style, each are original and equally moving.

My favourites are the quiet piano driven "The Moment", the grandiose and powerful "Vienna" and the passionate "I'll Keep Your Secrets" by the wonderful Patti Russo. Jody Ashworth and Guy Lemmommier bring a lot of conviction to their potent portrayals of young and old Beethoven. What I really enjoy about these ballads is the wonderful blend of orchestra, piano and power chords. Very emotional and uplifting.

My favourite song on this album is the brilliant "A Last Illusion". The song starts with a whirlwind rendition of Rimsky-Korsakov's "Flight Of The Bumblebee" that seamlessly transitions into the most beautiful and soul embracing version of Beethoven's "Symphony No.9 (Ode to Joy)". I haven't been this moved by one of TSO's pieces since "Christmas Canon". I had the joy of seeing this live in its complete form before the band starting switching up the "Ode to Joy" portion with a Christmas carol. A mesmerizing experience.

This is a very well written album and much like Savatage's "Dead Winter Dead" it flows well and is passionate. If this were released under the Savatage moniker, I don't think I would have flinched. Well, maybe a little, but if one is curious to hear Trans-Siberian Orchestra, then "Beethoven's Last Night" is a solid starting point.

Up next, I'll finish with Trans-Siberian Orchestra's newest release, the long awaited "Night Castle".

For The Sake Of Our Brother ...

2009-12-28T14:33:00.000-08:00

Trans-Siberian Orchestra's third part of their Christmas trilogy is also their most diverse album. The first album featured mostly rock transposed Christmas carols and the second album focused more on original songs (I like to call the power ballad album). "The Lost Christmas Eve" combines both while using more of a classical influence. Take their first albums and throw in "Beethoven's Last Night" and you'll have a decent idea about "The Lost Christmas Eve".

This is also, in my opinion, their most poignant album lyrically. (This is not including the newly released "Night Castle" which I have yet to delve into the story). "The Lost Christmas Eve" is essentially about a man who has renounced his faith in God after losing his wife during child birth in which was born a mentally handicapped baby. He gives the child up and spends years brooding and miserable. This, of course, is all told through the eyes of an Angel on a mission from God along with tales of the angels own journey. The man reunites with his surviving and functioning adult child and is filled with regret, yet welcomes a new beginning to his life.

The album kicks off with the bands signature rock instrumental Christmas carol with "First Noel" an uplifting opening. Actually the instrumentals are to a minimum on this album with "Wizards In Winter" (made famous by the Internet viral video of the house with the exuberant light display) "Queen Of The Winter Night" and "Wish Liszt (Toy Shop Madness)" as the other rockin' instrumentals and those are more classical themed then Christmas. Well done mind you. "Queen ..." features some lovely soprano vocal trade offs.

"Christmas Jam" is just that. A killer jam with some great riffs and solos. And "Siberian Sleigh Ride" follows suit Ala "Wizards In Winter". Most are original compositions or classically based. This adds a different dynamic to the Christmas theme. The Christmas instrumentals are left to ambient or transitional mood setting pieces that add a somber feel towards the end of the album.

"Remember", "Anno Domine" and "Christmas Concerto" are big choral classical pieces with a nice triumphant feel. "The Lost Christmas Eve" is a melancholic number that starts the story. And "Christmas Dreams" picks up the pace with its delightful mood. "Christmas Canon Rock" is a reworking of "Christmas Canon" first heard on "The Christmas Attic". It's like the power ballad version. I remember hearing this on the 2003 tour. I damn near wet myself, I enjoyed it so much. I was ecstatic to have a recorded version finally.

What really tickled my fancy with this album are the songs "Back To A Reason (Part II)" and "What Child Is This?". These are power ballady songs that are catchy and full of passion. "Back To A Reason (Part II)" is a reworking of "Back To A Reason" from Savatage's "Poets And Madmen" album. A powerful re-imaging. "What Child Is This?" follows suit with a bleak intro, that builds into a crescendo of emotion both joy and regret. This is the denouement of the album which concludes with "Christmas Canon Rock".

"Different Wings" takes us out with its sugary lullaby feel and the album closes with an acoustic instrumental rendition of "Midnight Clear". This album is also special for me as it features one of the last performances by the wonderfully talented Daryl B. Pediford who gives a powerfully emotional performance on "For The Sake Of Our Brother" featuring a gut-wrenching version of "Hark The Harold".

I had the joy of seeing Daryl perform live for the 2002 and 2003 tours. He was a little man with a huge voice and blew me away with each performance. He is missed on every tour since, but I am glad to have seen him, if only twice.

Overall, "The Lost Christmas Eve" is an enjoyable listen and quite diverse. It took me a while to get into it, but it makes for a nice break from the overly Christmasy previous 2 albums in the trilogy.

I think I'll be finishing up the TSO discography with "Beethoven's Last Night" and "Night Castle" reviews to come soon .... I swear.

Thinking About The Things That I'm Not Supposed To Talk About

2009-11-19T10:23:00.000-08:00

With the Suicidal fix I've been on over the last couple months, it's safe to say that Suicidal Tendencies are one of my favourite bands. Lately I can't get enough of their albums. One of their more over-looked albums is the stellar "How Will I Laugh Tomorrow When I Can't Even Smile Today". A lengthy title for the album that's following on the heels of their punky/thrashy hybrid "Join The Army" album. After a 4 year gap between ST's debut and "Join The Army" we saw a stronger thrash influence appear. Only a year later Suicidal Tendencies has virtually dropped their punk roots and blast through 11 tracks of melodic thrash metal.

The deceptively simple riff work by newcomer Mike Clark is outstanding and Rocky George is mind blowing with some of the coolest, dark and creepy soloing in which I have yet to hear an equal. Mike Muir shines vocally and lyrically here as well with some moving vocal melodies and bleak, yet smart lyrics. This is my kind of Suicidal Tendencies.

It is in my opinion that "How Will I Laugh Tomorrow..." gets overshadowed by the kick in the balls aggression of "Lights...Camera...Revolution". "Lights ..." is a great album, but I don't think it aged as well as "How Will I Laugh ..." did. For all its melody, "How Will I Laugh..." still packs a speedy punch only more melancholic.

The album kicks off with trippy "Trip Of The Brain" and sets the cyco bar for the album. "Hearing Voices" is a darker number with some cool guitar work. "One To Many Times" and "Sorry" are melancholic thrashers that, for me, are probably the weakest songs here.

"Suicyco Mania" and "Surf & Slam" are speedy pseudo-instrumentals with some killer guitar work and strong melodies. "The Miracle" is a moving and thought-provoking number with dark and aching undertones. "The thrashy ballad and title track is one of ST's most popular tunes featured here first before being re-recorded with 2 different versions on their "Feel Like Shit ... Deja Vu/Controlled By Hatred" EP. I prefer the heavier, thrashier version then the latter "Heavy Emotion" version, but this is a powerful and poignant tune every way they play it.

The stand out songs for me are the album closer "The Feeling's Back" which is a super melodic and fast-paced philosophical piece which leaves you humming it long after you've tucked the album away. "If I Don't Wake Up" has a great intro with Mike Muir's sing song narration leading into a sombre thrashy number. And finally, this albums call to arms "Pledge Your Allegiance" is a mid-paced heavy song with a catchy melody where one cannot help but chant along ~ Suicidal~.

Overall, I feel this is an overlooked gem in Suicidal Tendencies diverse career. Perhaps it's the more melancholic undertones this album exudes, but I still find "How Will I Laugh Tomorrow When I Can't Even Smile Today" a moving and philosophical experience.

It's The Size Of Your Heart, Not The Length Of Your Hair

2009-10-13T10:04:00.000-07:00

On Suicidal Tendencies sophomore album we see the crossover influences taking shape. Actually, this is probably the bands most punk/thrash crossover album of bunch. "How Will I Laugh Tomorrow" and "Lights, Camera, Revolution" are flat out thrash and the funk elements of Trujillo add a heavy dose of groove to the later albums. However, "Free Your Soul ..." sees the band moving back to their punk/hardcore roots.

Anywho, "Join The Army" is one of the first ST albums I bought (along with "Controlled By Hatred, Feel Like Shit, Deja-vu"). It still retains a strong punk edge with a raw guitar sound and speedy breaks. The main difference is some longer songs and heavier riff structures. It's a fine transition album without feeling like a transition album.

Kicking the album off is "Suicidal Maniac" which is fast paced with punk conviction. "I feel Your Pain" and "Human Guinea Pig" are also fast paced raw tunes. "A Little Each Day", "The Prisoner" and "Possessed To Skate" have mid-paced tendencies with bursts of speed, but loads of groove and melody. Mike Muir starts to expand his vocal range here and sings most songs while keeping his punk aggression creating a more varied vocal performance. He will continue to improve on each album.

The stand out tracks for me are "Two Wrongs Don't Make A Right (But They Make Me Feel A Whole Lot Better)" mostly cause it's a great title, but it has the balls of a killer tune too. The title track is an anthemic call to arms building the Suicidal Army. It is a mid-paced piece with positive lyrics and killer riffs and loads of melody. It's also the first of anthems that pop up over future albums with songs like "Pledge Your Allegiance" and even "Straight From The Heart".

My favourite song (which just slightly squeaks past "Join The Army") is "War Inside My Head". It's a little faster then mid-paced with solid riffs and catchy lyrics. It's the song that I skip to mostly, but not always as this is a solid album all around and worthy of my full attention.

I hope to have another review out shortly on ST's "How Will I laugh Tomorrow" before branching out to some other bands/albums.

Stay tuned.

I Have Suicidal Tendencies, But I Can't Kill Myself ...

2009-09-21T11:30:00.000-07:00

Over the last few months, I have been haunted with thoughts of Suicidal Tendencies. It all started when I spun ST's "Free Your Soul ... And Save My Mind" and I haven't stopped listening to the bands discography since then. Suicidal Tendencies are one of my favourite bands who have never disappointed me. "The Art Of Rebellion" is the closest they came, but I grew to appreciate it.

I've done a couple reviews on their thrashier sound here and here, so I thought I'd go back to their roots. Suicidal Tendencies began as a hardcore punk outfit in the early 80's with Cyco Miko being the only remaining member of that era. I was always aware of ST's punky debut and quite familiar with the songs, but I didn't pick up a copy until a couple years ago.

As I've said earlier, I've been on an ST fix lately and have been listening to their self-titled debut continuously. This album has it all from blistering punk songs to slower groove-laden numbers and a handful that encompass both tempos. It also features some classic Suicidal Tendencies with "I Shot Reagan" (or the devil), "I Saw Your Mommy" and "Institutionalized"(recently featured in the movie Iron Man).

The album kicks off with a deliciously insane intro before blasting us with the speedy "Suicides An Alternative/You'll Be Sorry". The latter part of the song slows down with a narrative groove as Mr. Muir tells the devil to screw off. "Two Sided Politics", "Memories Of Tomorrow" and "Fascist Pig" continue the speedy template, but there is an underlying smooth groove which adds to their memorability.

Two of my favourite tracks blend slow groove and pummelling choruses. The first is the iconic "Institutionalized" which treated us to such lyrical gems as ~mom, just get me a Pepsi! Please, all I want is a Pepsi!” And she wouldn't give it to me! All I wanted was a Pepsi, just one Pepsi, and she wouldn't give it to me! Just a Pepsi~ Brilliant stuff and the fact that it's super catchy helps. The other is "I Saw Your Mommy" whose twisted and sick humour was like candy to my teenage ears. This also goes to show that the media can't be blamed for every kids problems. "I Saw Your Mommy" is demented, but I turned out fine.

"I Want More" shows a quieter side to Suicidal Tendencies and shows that Mike Muir can actually sing (And only gets better with each album). My favourite song has to be the hilariously appropriate "Suicidal Failure". It's a mid-paced groove-laden tune about trying to kill ones self and failing. Sounds terrible, but it really is a great song obviously done tongue and cheek.

Why I never had this album earlier is a mystery to me. Perhaps it was my delving into more extreme styles of metal, I don't know. Coming back to this album 20 years later and it is surprisingly refreshing. I have always preferred the thrashier side to ST's music, but this album holds up well.

The same can be said for Suicidal Tendencies last album, the funky-punk inspired "Free Your Soul ... And Save My Mind". Another album that took me a while to warm to. Up next I'll take a look at the crossover gem "Join The Army"

We Are The Government! And We Rock 'N' Roll ...

2009-09-02T09:12:00.000-07:00

Warrior Soul are another under-rated band, performing darkly bleak rock n roll. Taking the venom of old school punk into the their spirited style of hard rock and we get a hauntingly bleak form of rock sometimes referred to as Acid Punk.

I first heard Warrior Soul with the video of "Wasteland" on the Power Hour on Much Music. I was enthralled by all the bleeps throughout the song as well as thinking Kory Clarke had great hair (and quite possibly the inspiration for me to grow mine out). I picked up "Drugs, God and the New Republic" and was instantly hooked. This is one of my all time favourite albums.

Unlike the bands oppressive debut (which features my favourite Warrior Soul song "Losers") "Last Decade, Dead Century" as well as their 3rd album "Salutations From The Ghetto nation", "Drugs, God and The New Republic" has a more upbeat rock n roll vibe. That's not to say it's poppy. Far from it. This album is bleak and rage-filled. The difference is that "Drugs..." is flat out rock.

Kicking off with the thunderous "Intro" almost hypnotic in its rhythm and we seamlessly transition into the rocker "Interzone". "Rocket 88", "Real Thing" and the standout song "Wasteland" are flat out fist-pumping rock songs. "Wasteland" stands out due to its melodic bridge.

Melody is not sacrificed one bit here. It is interspersed throughout the entire album making every song memorable and adds loads of conviction. The title track, "The Answer" and "Man Must Live As One" are solid examples of good melodic hard rock. "Hero" is as close to a ballad as you'll get here and is passionate music with thoughtful lyrics. The album closer is this albums call to arms. "Children Of The Winter" is a moving piece chalked full of conviction and a poignant way to end the album.

With an album this good how can I pick a favourite track? Obvious choices are the title track whose bleak hooks that are quite moving and "The Wastelands" blend of kick ass rock and passionate melodies. However, the song I tend to repeat is the thunderously dark and super heavy "Jump For Joy". This song could have easily slipped into cheesy territory, but the band pulls it off powerfully.

It's great when I hear a song that I must buy the album for, but rarely does the album blow away that single. Warrior Soul's "Drugs, God And The New Republic" is just that album and I highly recommend it to anyone who loves outstanding and unique rock n roll.

Leaving The Past Behind

2009-08-12T10:25:00.000-07:00

Tad Morose is a very consistent and talented band who, for some reason, remains fairly obscure in the metal arena. I've been a fan since their debut release "Leaving The Past Behind" and I am continuously baffled at how little people know of them. They are one of most under-rated bands out there. Their blend of doomy, dark power metal is top-notch with their earlier albums having a stronger gothic/progressive feel.

Tad Morose' debut album "Leaving the Past behind" starts off with Sabbath inspired "Eternal Lies". This is my favourite track here and is a fine example of progressive doom. "Voices Are Calling" and "Reach For The Sky" are sombre, haunting doom laden numbers swirling with keyboards and continuing the progressive feel.

"Way Of History" and the title track have stronger progressive elements not unlike early Dream Theater. "Save Me" is my runner-up favourite as it's a powerfully poignant piece both musically and lyrically. Vocalist Kristian Andren shines here. Kristian's soothing tones enhance the doomy/gothic feel on this album, yet they don't have quite the same grit as future vocalist Urban Breed brought.

I wouldn't say Urban is a better vocalist, but perhaps it was the more straight-forward aggression the band was moving towards that maybe Kristian stepped down by the third album. Or maybe it was his leaving and Urban's addition that led to the aggressive approach. I don't know, however, with Kristian's varied career he is by no means a slouch behind the mic and brought a lot of passion to Tad Morose. I'd be curious how the bands later discography would sound with Kristian's vocals.

Guitarist Christer Andersson (the only remaining founding member) is a riff monster, balancing doom and traditional metal styles all while heaping loads of melody into his playing. Although I prefer the heavier edge of the later albums, "Leaving The Past Behind" is a fine debut for an outstanding band.

What If Charles Manson Was Eating Fruit Loops on Your Front Porch?

2009-07-29T11:38:00.000-07:00

Suicidal Tendencies are one of my all time favourite bands. I first heard ST on their "Feel Like Sh*t .. Deja-Vu/Controlled by Hatred" EP which is one of my favourite albums by them. I like them because their music is diverse, emotional, Mike Muir is charismatic and there is even a little spiritual side to them.

In fact "Lights Camera ... Revolution" is one of their more spiritual albums. And one of the most vulgar. I have never minded swears in songs and I feel Suicidal Tendencies use them well ... and often at times. However, the band hints at spiritual-ness on songs like "Give It Revolution" and "Send Me Your Money" with lyrics like ~We'll bow down to no other one, except The Father and His Son ~ and ~See my momma, she didn't raise no fool Cause you can't put a price on a miracle. Amen! ~

Nothing preachy, but thought-provoking. In fact, one of the things I love about ST are the lyrics. With a band name like Suicidal Tendencies you'd expect a really depressing tone, but the lyrics are often uplifting, emotional and positive. Mike Muir delivers the lyrics with one of the most passionate voices in metal. When he sings of pain, you feel it. When he sings of being cyco, I'm convinced. A very versatile and powerful frontman.

Add to Muir's conviction with equally passionate guitar work by Rocky George and Mike Clark and we get treated to some of the most melodic and moving thrash metal I've ever heard. With the thundering bass work of Robert Trujillo and the solid pounding of drummer R.J. Herrera and this is my ideal Suicidal Tendencies line-up.

"Lights, Camera ... Revolution" kicks off with what I think is the greatest ST song ever written. "You Can't Bring Me Down" is a piss fueled speedy thrash tune, aggressive and melodic. Mike's spitfire vocals are angry and powerful. "Get Whacked" and "Disco's Out, Murders In" are also fast aggressive thrash songs, albeit not as convincing.

"Alone" is virtually a thrash ballad switching from uber melodic chorus's and speedy, angry verses. A wonderful balance of passion and aggression. "Emotion #13" is a moving piece as well, though not as aggressive. "Give It Revolution" is slower and melodic with rage-filled undertones.

"Lovely" and "Send Me Your Money" are signature Suicidal Tendencies songs incorporating a funky groove to their thrash foundations thanks to Robert Trujillo. Both are super catchy with a biting satirical edge.

"Lost Again" is a mid-paced tune with crushing riffs and loads of aggression while staying melodic whereas "Go'n Breakdown" (my 2nd favourite song) is sheer crazy rage. The riffs are killer and Muir's vocals are loco. Lyrically, "Go'n Breakdown" is almost poetic with its over the top anger.

"Lights, Camera ... Revolution" is pretty much the peak of Suicidal Tendencies career. It was not all downhill mind you, but it leveled out with some inconsistency. It wouldn't be until "Suicidal For Life" that ST got crazy aggressive again. The album still holds up fairly well after 19 years. It was also a pinnacle in my early heavy metal years and will always be dear to me.

Sometimes The Days Seem To Go Slower ...

2009-07-21T11:39:00.000-07:00

Memory Garden is one of my favourite bands and probably my favourite in the doom metal genre. On the bands 3rd outing "Mirage" the band continues with their crushing blend of doom with power/prog influences. "Mirage" is my first exposure to Memory Garden and is probably my favourite of the 3 albums I own.

Opening with "Prologue" a sludgy atmospheric piece which quietly and slowly narrates the first verse of "A Long Grey Day" as far as I can tell. "A Long Grey Day" blasts in with some pummeling riffs and Stefan's doomy vocals and a haunting atmosphere. As one of the best songs here "A Long Grey Day" starts the album off nicely.

"Hallowed Soil" adds a moving sombreness with it's layered guitars brooding progressive atmospherics. "Shade" , my favourite song here slows the pace some, bordering on balladry whilst not losing it's doomy core. Especially during the haunting bridge.

"Revelation" and "River Of Sludge" are heavy, darker tunes with killer riffs and brooding vocals. "River Of Sludge" is the slower of the two, oozing with melancholy. "Navigate" and "My Pain" are more straight-forward power infused doom.

The album closer "The Search" is an acoustically driven song, hauntingly melancholic and melodic. This kind of ends the album on a bit of a downer, but it's doom metal so I guess that's the point.

Overall, I spun this album loads of times when I first picked it up. It was really my first delving into the doom metal genre and honestly, a really good place to start. I've said it before (and I'll say it again after my review of their latest release "Carnage Carnival") Memory Garden are a highly under-rated doom metal band.

Black Sun ... Black Moon! Whispering Dreams Of Atlantean Spires.

2009-07-02T10:53:00.000-07:00

What can one say about the brilliant and original Bal-Sagoth? This is a band that when people ask "What bands do you like?" I always throw Bal-Sagoth out there. I first discovered Bal-Sagoth when they released "Atlantis Ascendant" in 2001. I was intrigued by the album name and gave it a spin at the record store.

I was sold. Bal-Sagoth are one of the most unique bands in metal and I have yet to hear the likes of them anywhere else. I immediately went about tracking down their earlier albums and found them without too much hassle (which is good because it would 5 years before they released their 6th and final album of this hexology).

Each album is unique, yet all bear the signature Bal-Sagoth style of symphonic black metal narratives. Each album varies in quality too. I love "Battle Magic" and yet I wasn't blown away that much by "The Power Cosmic". Maybe it was the lack of lyrics and such, but I don't spin it as often as the others.

Their debut album "A Black Moon Broods Over Lemuria" is all the more special, because of it's blackened death metal base. This is the only album to feature Byron's deathly growl. he would stick with black metal shrieks and ominous narration for future releases.

"A Black Moon Broods Over Lemuria" starts off with the ambient instrumental "Hatheg Kla" which sets the a dark and brooding atmosphere. "Dreaming Of Atlantean Spires" begins the blistering blackened death metal assault. The eerie keys are prominent, but enhances the mood without sacrificing their brutality.

"Witch-Storm" and "The Ravening" are also speedy blackened death metal anthems that keeps the extreme in extreme metal to this album. However, that doesn't mean that the sprawling epics like "Into the Silent Chambers of the Sapphirean Throne (Sagas From the Antediluvian Scrolls)/Valley of Silent Paths" and the title track are not brutal. In fact these songs are pummelling, yet varied with quieter passages and orchestral interludes.

The title track "A Black Moon Broods Over Lemuria" is probably my favourite track here, and is one of maybe 3 songs that feature hints of the narrative extreme metal minstreling that would become a large part of the Bal-Sagoth sound. It also has some sweeping guitar melodies that are quite moving.

The album also has a good deal of crunch too as heard on the songs "Spellcraft & Moonfire (Beyond the Citadel of Frost)" and "Shadows 'Neath the Black Pyramid". Some real crushing death metal.

To truly appreciate Bal-Sagoth is to listen to Bal-Sagoth. It is a soundscape of haunting keyboards, heavy guitars and a brutally controlled drums and bass. The over the top barbarian themes and dark Atlantean mythology may seem corny, but the band possesses an extraordinary amount of charm and conviction which one cannot help but be sucked in and a part of.

Up next will be another review for Memory Garden. I will continue with Bal-Sagoth again in August.

Forever Carved In Stone

2009-06-24T13:14:00.000-07:00

You know what? It's safe to say that the doom metal band Memory Garden are one of my favourite groups. I first heard them on their "Mirage" album and was instantly hooked. Memory Garden play doom metal with a little power metal and progressive elements. They are like a mix of Tad Morose and Solitude Aeturnus. They are highly under-rated and can hold their own with the other doom giants without being a copycat.

Starting with the bands sophomore album "Verdict Of Posterity" (I have yet to attain "Tides") which is the second album I bought. I had a couple of songs I downloaded or were on compilations from this album and was ecstatic to find a new copy a few years back.

"Verdict Of Posterity" kicks off with the darkly mournful "Carved In Stone" which lays down some killer riffs, solos and melodies. "Shadow Season" and "Wasteland Foretold" are similar with dark riffs and haunting melodies.

"Awkward Tale" and "Outward Passage" are more straightforward doom metal platters with the latter toying with some progressive elements. "Split Image" has a progressive feel as well as some sweeping melodies and choral work.

"Tragic Kingdom" is a mid-paced cruncher with a nice breakdown/bridge while "The Sum Of All Fears" has some cool dark riffs and a quiet melodic passage. The album closer is the epic "Amen" which is not a bad tune, but slows the momentum down some with its 6+ minute reflective, quiet opening. The last few minutes are bone-crushing doom metal with soaring vocals by Stefan Berglund.

The problem I have with "Amen" is that most of my listening is at work where I keep the volume down to respectful level due to our open concept. This means that I often have to strain to hear the first half of the song. And I'm usually home before I get to the last track while listening to the album during my commute. But hey, this is a minor complaint which is easily rectified if I'd just give the song a focused listen.

Overall, this is a solid album of doom metal with crushing guitar work by Anders and Simon, accompanied by the melancholic smooth vocals of Stefan. My favourite tracks are "Shadow Season" and "Wasteland Foretold".

I'll be taking a look at their next 2 albums shortly, but first I'll be reviewing the first of Bal-Sagoth's hexology of albums "A Black Moon Broods Over Lemuria".

Green Jelly Sucks Even More ...

2009-06-18T14:16:00.000-07:00

After Green Jello's "Cereal Killers Soundtrack" was released, the band encountered several lawsuits which led to the bands name to Green Jelly (with an umlaut over the Y, it's pronounced Green Jello) as well as re-editing their "Cereal Killers" album and cover. I'm ecstatic to have found a copy of the original Green Jello release.

Their follow up under the Green Jelly moniker "333" although good, lacked some of the silliness and spoofery of "Cereal Killers". It has a stronger punk edge and maybe even a mild hardcore delivery.

Kicking off "333" is "Carnage Rules" with its punky groove, sets the mood of the album. "Fixation" is punky as well with some female vocals. Nice variety. And "Jerk" adds rock sensibility to the punk foundation.

"The Bear Song" which is my favourite track, is punky with a hardcore delivery. It's super catchy with lots of crunch and loads of melody. "Super Elastic" is faster with a similar sound to "The Bear Song".

"Orange Krunch" is probably the most metal song here and "Fight" leans toward the industrial side of metal, similar to some Ministry. "Jump" is smooth and melodic with an alternative sound or even Alt Rock. "Anthem" is a silly spoof-like tune that's heavy and catchy and comedic. It reminds me some of Corky And The Juice Pigs' "Rok Stedy". The album closer is a rip on the B-52's that is super catchy with some nice female vocals.

Although "333" is probably a more accessible album then "Cereal Killers", I prefer "Cereal Killers". "333" is not without its charm, perhaps it's teenage nostalgia that holds me to "Cereal Killers". I don't know.

Green Jelly have not done much since "333" with a couple of songs recorded and a recent tour last year, that I was unable to attend. Ah well, maybe they'll come around again.

Up next, I'll be looking at the under-rated doom metal band, Memory Garden.

Green Jello Sucks.

2009-06-07T16:18:00.000-07:00

Back in high school my friend Greg brought in a video tape of the worlds first video only band, Green Jello. The videos were crude, yet entertaining, especially to a teenage boy. The songs were actually quite good too. Green Jello eventually were forced to release a CD and the "Cereal Killer Soundtrack" was born thus making the band a bunch of guys with no talent AND liars.

I had made a tape of my friends CD which I used for years. The band had been sued by Kraft because of trademark infringement and the band was forced to change their name to Green Jelly with an accent over the Y giving it a long O sound. I though the lawsuit was absurd and refused to buy the album under the Green Jelly moniker. However, after a dozen years later I found a used copy of Green Jello's "Cereal Killer Soundtrack". Score!

This also meant I had a copy of the song "Electric, Harley House Of Love" with the Metallica spoofed solo and riff that was later removed due another lawsuit from Metallica's management.

Joke albums can be tricky and often have a shortened shelf life due to dated material. "Cereal Killer Soundtrack" has aged surprisingly well. Maybe it's nostalgia, but I still enjoy the music very much today as I did way back in high school. The videos not so much.

Kicking off with "Obey The Cowgod" one of my favourite songs here, is a fist pumping punk heavy tune. It's funny and catchy. "Three Little Pigs" is their breakthrough single thanks in part to the video and unexpected radio airplay. It's a mid-paced heavy retelling of the fable of the same name. It's silly, but performed with conviction. The title track is my favourite song on this album. "Cereal Killer" is dark and heavy, bringing out serious sinister-ness in some of our favourite breakfast cereal characters. Add to that the killer riffs and powerful vocal performance and this is one seriously killer tune.

"Rock N Roll Pumpkin" is a wailing rock song with wicked riffs and killer solos. "Anarchy In Bedrock" is a wacky parody of the Sex Pistols hit and "Electric Harley House (Of Love)" is a parody of rock and metal in general. With a classic Kiss sound the band rips through rock cliches and a sweet rip off of Metallica's "Enter Sandman" which they openly admit in the song and yet were still sued.

"Trippin' On XTC" is a funk infused tune that has a darkly trippy breakdown and heavy outro. "Misadventures Of Shitman" is a silly song. It is also super catchy with some nice riffwork. "House Me Teenage Rave" is a dancy, techno trip with cheesy porno like dialogue mixed with an industrial flavour in the chorus.

"Flight Of The Skajaquada" is dark, eerie piece with an intro that would make Vincent Price proud. and the album closer "Green Jello Theme Song" is a rousing anthem of self mockery with a sing a long lyrics ~ Green Jello Sucks! ~ A fun ending to an overall enjoyable collection of comic songs.

I missed a chance to see Green Jello live last summer on their reunion tour. Ah well, I at least found a copy of "Cereal Killer" with the Green Jello cover and that's fine with me.

Up next I'll take a look at their follow-up "333".

Dirty Beloved - Letters From A Broken Home

2009-05-14T10:45:00.000-07:00

Ottawa based hard rock band Dirty Beloved are back with another slab of crunchy rock songs with their sophomore release "Letters From A Broken Home". Armin Kamal was kind enough to let me know so I could do another review.

The first thing I noticed with Dirty Beloved's new album is the increase in adrenaline. This is hard driving rock with an almost thrash metal intensity. That appeals to me very much, as I'm a metal head at heart. However, fans of their debut need not fret. Though "A World Made For You" is a more reflective journey, it is still a nice slice of heavy hard rock.

"Letters From A Broken Home" is simply more straight forward rock. Dirty Beloved may be moving into more aggressive territory, but they never sacrifice melody. If anything, "Letters From A Broken Home" is more accessible then their debut. This is not your cookie cutter hard rock platter, though. Dirty Beloved still infuse slower reflective parts, haunting vocals and guitars and that solid back bone groove that was the foundation of the debut.

The album kicks off with "Blind Eye Of God" which is an aggressive melodic number packed full of passion. "You Let Me Drown" continues the riff assault with some blazing solo's and spitfire vocals. "My Days With You" is another song whose riffs border on metal all the while retaining the Dirty Beloved sound.

"Why Would I" has some killer riffs reminiscent of late 80's hard rock, but never sounding dated. It's brooding undertones are intense and poignant. The album closer takes that darker edge to haunting proportions in a powerfully bleak yet inspiring tune.

"Take Good Care", "Not One To Save" and "I Walk Away" are fun rockers with monster riffs and loads of melodies. Heavy with a more upbeat sound. "Homebound" is a quieter, reflective piece that builds into a bleak, haunting rock song and the closest thing to a ballad you'll get here.

Overall, I am quite impressed with "Letters From A Broken Home" and the heavier, aggressive direction. The guitars are biting and the riffs are hooky. Armin's vocals are melodic and intense. There is a lot of conviction in his raspy wail that reeks of passion and honesty.

Dirty Beloved seem to be settling into their own and that comes across with this collection of songs. Their debut was great and "Letters From A Broken Home" builds on that with experience and familiarity.

I look forward to future albums and the musical journeys Dirty Beloved takes us through.

Check them out on their MySpace page, here

I'm Still A Believer ...

2009-04-29T10:37:00.000-07:00

After a 15 odd year hiatus Believer are back with a new album "Gabriel". As with any long - awaited album or reunion there is always a sense of foreboding towards the new material. So what have Kurt Bachman and Joey Daub been up to over the years? Apparently polishing up their thrash skills.

You'd swear that these guys have never stopped playing thrash. Even Joey's stint with gothic metal band Fountain Of Tears did not sway him in any way to perform some killer drums on "Gabriel". Kurt has even spit shined his Voivodian rasp into his most comprehensible vocals yet, while still retaining his recognizable voice.

"Gabriel" is probably their most accessible album since "Extraction From Mortality" and could easily have been a suitable follow up. The production is solid as always and the thrash is technical with Believer's signature dis-jointed riff work and progressive flourishes. They even add a little groove for a more modern sound.

Kicking off with "Medwton" which primes us for the thrash assault that's coming. It's speedy with biting guitars and ends with an eerie Didgeridoo type sound. "A Moment In Prime" continues with a darker edge in part due to strategic keyboards.

"The Need For Conflict", "Focused Lethality" and "Shut Out The Sun" are primo samples of solid technical thrash. There really isn't a standout track because all the songs flow nicely and are outstanding in themselves.

The biggest change are the lyrics which are more cryptic and how pretty much dropped any Christian meaning. I doubt they've renounced their faith, but have taken a more straight-forward thought-provoking angle with their lyrics dealing with (I gather) technology, drug abuse and what not.

Not a huge deal and this will probably open up some more doors for them, although they were fairly widely acclaimed in both secular and non-secular circles. Overall, "Gabriel" is a fine example of thrash done by some masters that stands out in an arena being consumed with new comers.

I look forward to future releases ... hopefully ...

Blurred Vision, Sanity Obscure

2009-04-20T10:30:00.000-07:00

Believer's 2nd outing "Sanity Obscured" is another thrash classic. Where "Extraction ... " was more raw and straight-forward, "Sanity Obscured" is more technical which lends itself to feeling of disjointedness.

The progressive choppiness does not hinder the album, but allows the band to explore more complex riffage while retaining the speed and chugging of their debut. The growth is complimented with suberb production and more distinguishable vocals from frontman Kurt Bachman.

Starting the album of is the title track and probably my favourite song on this album. After an eerie keyboard/sound effects intro with hints of familiar child-like melodies "Sanity Obscured" blasts into a ferocious staight up thrash assault. The rest of the album follow suit with more technical prowess.

The other 2 stand out tracks are the heavy metal/punky attitude cover of U2's "Like A Song" which is catchy faithfully done (I should mention that I haven't heard the original, but the song is straight forward without any thrashy flourishes and a strong U2 vibe). "Dies Irae (Day Of Wrath) is a haunting orchestral piece interspersed with Believer brand heaviness. The song is bleak and sinister sounding and hints at what is to come on "Dimensions" their 3rd album.

Overall, I find "Sanity Obscured" a worthy follow-up, showing growth and talent. Joey Daub is also a killer drummer too.

Feel free to check out my review of "Dimensions" previously posted a while ago.

Up next. After a 15 year hiatus, Believer are back with an unprecidented thrash masterpiece "Gabriel"

Brought By God's Own Might

2009-04-01T17:36:00.000-07:00

With the Christian thrash band Believer coming out of obscurity and releasing a new album "Gabriel" I thought I would take a look at some of their earlier work. Believer debuted with the thrash masterpiece that is "Extraction From Mortality".

Released in 1989 "Extraction From Mortality" was by no means breaking new ground except perhaps by being a Christian band. Carving a niche with fellow Christian bands like Vengeance Rising and Deliverance, Believer took their faith to the stage with a foundation of raw technical thrash garnering glowing reviews both secular and non-secular.

"Extraction From Mortality" is not as technical as "Sanity Obscure" or progressive as "Dimensions", but is a slab of speedy, crunchy riffs, thunderous drums and sickening vocals. Kicking off the album is "Unity" which after a short intro is a blistering thrash assault. "Vile Hypocrisy" continues the onslaught, pacing well with variant tempos and crushing riffs.

In fact, "Extraction From Mortality" is a 40 minute pummelling with little room to breath. "D.O.S. (Desolation Of Sodom)" adds a little groove to the mix with a fairly mid-paced rhythm and the album closer "Stress" is essentially a reggae thrash tune, ska-like with a punk attitude.

"Shadow Of Death" is darker tune with a bleaker feel and "Blemished Sacrifices" brings to mind "Ride The Lightning" era Metallica and is one the fastest songs here with some killer riffs. The title track hints at what is to come with a haunting orchestral intro before pounding us with a speedy crunch and gang style chorus's.

There is really not much to dislike about this album and finding a favourite song is tough. It's a toss up between "Shadow Of Death" and "Blemished Sacrifices" for me. The vocals leave something to be desired and are reminiscent of mid-period Living Sacrifice though slightly more discernible. Not terrible, but not really to my liking.

Overall, this is a solid release and an outstanding debut. Up next I'll take a look at "Sanity Obscured".

Lay Your Head On A Feathery Moss ...

2009-03-18T16:13:00.000-07:00

After a long hiatus I've decided to get back into posting. I just seemed to have lost my motivation for a while, but now I'm back. My reviews will be random this time, focusing on albums as opposed to bands as I was doing. By doing this I hope to have shorter reviews and more frequent posts.

I promise nothing though.

My thanks to those who have continued to check back periodically.

To start off my new stint of blogging, I've decided to review one of the greatest albums I've ever heard. I discovered Mechanical Poet's "Woodland Prattlers" via a metal pack I downloaded. I was instantly hooked by this album and have since tracked it down via The End Records.

From start to finish "Woodland Prattlers" is a magical masterpiece of folk infused power metal with flourishes of Tim Burton-esque classical interludes. After the orchestral intro "Main Titles" whose fantastical whimsy sets the mood for the album, we get the blistering metal assault that is "Stormchild". It is fast and furious with biting guitars and pummeling drums.

The stand out tracks begin with "Bogie In A Coal-Hill" which picks up after a haunting interlude with a razor sharp edge and super melodic and catchy chorus. The avant-garde style is interspersed with classical bits and folk-like bridge. "Strayed Moppet" is similar with a little more speed and more straight up metal.

The heavy songs are broken up with classical/folk interludes like "Will 'O' The Wisp" and a couple of ballads such as the haunting and magical "Sirens From The Underland" and the uber moving power ballad "Shades On Casement". This helps the flow of the album. Even the epic "Natural Quaternion" varies its pace with speedy metal bits and quieter reflections.

My favourite track amongst all these gems is the brilliant and passionate "Old Year's Merry Funeral" which starts off pretty heavy with loads of catchy melodies and transcends into a rousing sing-a- long chorus before dipping into an uplifting folk influenced solo. The haunting bridge builds tension towards the climatic and powerful ending. Absolutely beautiful!

Mechanical Poet has taken this world worn genre and spiced it up with a magical approach. The listener is swept away immediately into a fantasy world of poetic imagery unawares of the spells being cast upon them by these musical sprites. This album has been on constant rotation in my listening schedule and I'm talking months and it hasn't gotten stale yet.

This is extremely recommended to any power and folk metal fan as well as anyone willing to give something a little unusual a chance.

Tribute To The Mountain King ...

2008-12-07T13:43:00.000-08:00

Tribute albums can be hit & miss at best. I love the idea behind them, but when they are done poorly it hurts. I couldn't get into the Black Sabbath tribute "Masters Of Reality" or Queen's "Dragon Attack-A Tribute To Queen". Even the Megadeth tribute album "Megaded" is hard to listen to. However, "A Sikk Tribute To Kiss" is great and Six Feet Under's "Graveyard Classics" are fun.

Another fine example of a decent tribute album is "Return Of The Mountain King" a tribute to Savatage from the Italian label Underground Symphony. I also own the Dwell Records release album, but bought the Underground Symphony version with 5 extra songs. The bonus songs were worth it.

The first 5 tracks are bands who are on the Underground Symphony label and perform their covers with conviction. Despite the slight language hump, they strive to bring an original feel to the Savatage songs they've chosen. Projecto does a faithful version of "Follow Me" (One of my favourite Sava songs) and add symphonic flourishes.

Shadows of Steel's "Strange Wings" and Wonderland's "Tonight He Grins Again" are faithful as well with thunderous drums and slightly more groove. "Tonight He Grins Again" has a more haunting feel thanks to guitar effects. Icycore's version of "Gutter Ballet" is pretty straight forward and then we have Eddy Antonini's cover of "Sleep" which if you know Eddy's solo work and his stuff with Skylark, you can imagine what his cover is like. A faithful and more upbeat piano cover.

Division and Cage do fiery renditions of "Power Of The Night" and "Dungeons Are Calling" respectively and Opposite Earth's and Wraith's covers of "Of Rage And War" and "24 Hours Ago" are vicious metal assaults, aggressive and heavy.

I don't care for Civilian's "Prelude And Resurrection Of The Mountain King" an experimental cover of "Prelude To Madness", but Dofka's "Hall Of The Mountain King" is brutal with the vocalist doing his best impression of Jon Oliva with solid results. Mesmerize's "Sirens" is bleak and intense and heavier then the original.

The standout tracks I skip to are the metalcore-ish "Chance" by Cipher who add brutal breakdowns and black metal like screams to create a unique yet familiar cover of Savatage's first epic song. A brilliant interpretation. The other song is Cyrcle IX's raw and passionate cover of "Believe". I was nervous as "Believe" is my all time favourite song, but the bands simplified cover is sheer emotion from the vocalists compassionate wails to the point of breaking and the bare bones solo makes this one of the most poignant cover song I've ever heard.

Overall, this is a very enjoyable album and every band does a fine job at honouring a great metal band. This is a must have for Savatage fans and fans of cover albums.

This Is Where You Should Be

2008-11-30T12:28:00.000-08:00

Shortly after Savatage released "Dead Winter Dead" the band put out a collection of hits ranging from "Sirens" through "Dead Winter Dead". Fortunately the band conveniently forgot to include something from "Fight For The Rock". And we are all better off for that.

"From The Gutter To The Stage" is a delightful sampling of Savatage's catalogue, displaying their song-writing prowess and their growth over their decade plus career. I'm not going to spend a lot of time commenting on most of the tracks here as they have been covered in my previous posts.

The album kicks off with a killer live version of "Sirens" taken (I think) from "Ghost In The Ruins/Final Bell" which shows the guitar genius of Chriss Oliva with a charismatic Jon Oliva on vocals. This is the first time I heard "Sirens" and I must say it's better then the original.

We get "Power Of The Night" their 2nd albums title track and "Prelude To Madness", "Hall Of The Mountain King" and "24 Hours" off of their 4th outing "Hall Of The Mountain King". These are not my favourite tracks from their respective albums, but are solid songs representing Savatage's straight up heavy metal roots.

As Savatage moved into a more progressive side, we are given a sampling with "Gutter Ballet" and "When The Crowds Are Gone". Top notch songs from "Gutter Ballet". We are treated to Chriss Oliva's "Silk and Steel" acoustic instrumental. Not ones first choice for a compilation, but a fitting memory of Chriss' talents.

"Streets" is represented with the most variety with songs "New York City Don't Mean Nothing", the blistering "Agony & Ecstasy" and my all time favourite song "Believe". We get the title track from "Edge Of Thorns" and the epicly diverse and dark "Chance" from "Handful Of Rain".

Rounding the compilation out are a couple of tracks from "Dead Winter Dead". The "Prelude To Madness" inspired "Mozart & Madness" doing duel duty of hinting at what was going on with their Trans-Siberian Orchestra side project. Thankfully they did not use "Christmas Eve/Sarajevo 12/24". I love the song, but it gets enough exposure. The final song "One Child" brings the album to a grand close with its theatrical epicness and counterpoint vocals.

The treat with this album is the bonus disc on the special edition with 4 previously unreleased songs. The first couple are the "Edge Of Thorns" era "Shotgun Innocence" which is a mid to fast paced rocker with cool riffs and great vocals from Zak Stevens. We also get the hauntingly heavy "Forever After". A mid-paced cruncher with some flashy solos. Both songs would have fit fine on "Edge Of Thorns".

The other 2 are from the "Gutter Ballet" and "Streets" era with the melodic power piece "This Is Where You Should Be" whose melancholic undertones and passionate vocals makes me wonder why this song was left off either of these albums. The other is "D.T. Jesus" which is a bluesy gospel version of "Jesus Saves" from "Streets". A remarkable version of the song creating a whole new interpretation. Very moving and powerful. Though I'm not sure if it would have flowed well with the rest of the album. I'll have to do a test with my ipod and slip this version into a play list with the rest of the album and see if it works.

Overall "From The Gutter To The Stage" is more of a singles collection as opposed to a greatest hits, but a fine sampling of Savatage's career. I don't buy a lot of compilations, but with Sava' I made an exception.

Up next, I'll be finishing up with Savatage with a tribute album to them "Return Of The Mountain King".

Poets And Madmen, All Defy Reason ...

2008-11-23T10:43:00.000-08:00

On Savatage's 11th and final(?) album "Poets And Madmen" sees the band bring back the metal to their signature grandly epic sound. This is, in part, due to the return of the Mountain King himself Jon Oliva on vocals and Chris Caffery's guitar work and co-writing credits. It's nice to see Mr.Caffery get some Savy love after so many years. It is with these elements that "Poets & Madmen" has a Doctor Butcher feel, only more theatrical.

Paul O'Neill has also stated that the heavier sound was sought to help distinguish Savatage from Trans-Siberian Orchestra (which to this point Savatage was sans the R&B elements). The bare-bones line-up and shift in musicians led to a fresh start and a rejuvenated band. "Poets And Madmen" could easily have been released between "Gutter Ballet" and "Streets" or before or after "Handful Of Rain". Elements from both era's are front and center, yet blended nicely like a warm cup of cocoa... heavy metal cocoa.

"Poets & Madmen" forgoes the orchestral intro and kicks in with the dark, heavy and symphonic "Stay With Me Awhile". "There In The Silence" takes grandiose darkness and adds an ominous undertone thanks to Jon's sinister vocals. The song has some cool riffs without losing melody. "Commissar" has some wicked riffs and a dark grand sound and variant tempos.

"I Seek Power" is a slower, brooding piece that has a delicious evilness to it (again, thanks to Jon). That's 4 songs in and the musical theme has been disturbing, dark and heavy. Classic Savatage with flourishes of new Savatage's progressive prowess. "Drive" shifts the mood a little as a melodic mid-paced metaller and "Morphine Child" adds the theatrical epicness of "The Wake Of Magellan" only darker. Jon gets the counterpoint vocal treatment on this song.

"The Rumor" and "Surrender" are mid paced metallers, the later being eerily bleak with touches of hopefulness. "Man In The Mirror" is a power ballad with a heavy chorus whose pace picks up midway through. "Awaken" is a catchy, heavy mother that leads into the epic ballad "Back To A Reason". This is a passionate somber piece that's quite moving. There is also a narrative bridge with news headlines running in the background.

"Poets & Madmen" is a strong, solid effort from a band that has a tenuous hold on its fans. This album is like a throw back to the early years of Savatage while retaining the growth the band obtained as song-writers over the years. "Poets ..." is a refreshing album and gives hope to wary fans who may have been disappointed in "The Wake Of Magellan".

For me, I can't wait till their next album .... (cough, cough) ...

... Maybe 2009 ... Check out their new MySpace page here and revamped Website here.

Up next I'll be taking a look at Savatage's "From The Gutter To The Stage" compilation as well as the "Return Of The Mountain King" tribute album. Not sure which will be first.

At Night When The Waves Are Near, The Dead Whisper And I Hear

2008-11-16T09:49:00.000-08:00

Savatage continues their grandiose style of progressive metal on their 10th studio album "The Wake Of Magellan", a concept album based around an old sailor looking to die. Loose references to Maersk Dubai Incident and murdered journalist Veronica Guerin fill out the story of the old Spanish sailor who sets out to sea to die (In a Vikingesque way) and ends up saving the life of a thrown overboard stowaway drifting in the waves. Returning to shore, the old sailor rediscovers a new lease on life, cherishing every single moment from then on.

Musically, "The Wake Of Magellan" doesn't stray to far from Savatage's new style. However, this is by no means a copy of "Dead Winter Dead" and "Handful Of Rain". The music carries a largely theatrical feel and more grandeur then their previous efforts all while retaining strong sense for melody and memorable hooks. And some killer riffs to boot.

The album opens with "The Ocean" an atmospheric piano heavy instrumental that sets a sobering mood leading into the grand and theatrical "Welcome" which is literally an introduction song IE; ~ Welcome To The Show ~

"Turns To Me" takes the music to a faster and heavier area that builds into a moving and passionate bridge/outro. A killer solo as well. "Morning Sun" opens with a somber acoustic riff that turns into a heavier dark mid-paced piece with some nice riffs.

"Blackjack Guillotine" is another heavy a dark with a great solo and huge sound. "Paragons Of Innocence" takes the dark heavy riffs with a more symphonic sound and a bit more groove. "Complaint In The System" has a mechanical, almost industrial feel to its narrative progression. Loads of groove here as well.

"Another Way" is a heavy melodic number with Jon Oliva on vocals and a grand theatrical feel. "Anymore" is a power ballad of sorts with Elton John-ish flourishes and a bridge reminiscent of the opening instrumental and a powerful outro lead by Zak's solid vocals. One of the best songs here.

The title track is probably my favourite song as it seems to have the most staying power for me. It's an urgent piece with passionate poetic lyrics and moving melodies as well as fine use of their newly signature counterpoint vocals. That's a lot of Zak! The album closer "The Hourglass" is a haunting epic that wraps up the album with flourishes of previous melodies and a symphonic grandness the Sava boys do so well.

There are 2 other instrumentals that are quite nice. "Underture" is an instrumental medley of various musical themes not unlike "Erotomania" off of Dream Theaters "Awake" album. "The Storm" is a huge and heavy symphonic number that crashes through riffs and solos like breaking waves. I can almost feel the raging winds in my face with this tune.

"The Wake Of Magellan" is one of Savatage's more under-rated albums. Probably due to the overtly theatrical feel. This, however, is a solid album with great songs and huge sound.

Up next, Jon Oliva takes the reins from the exited Zak Stevens on "Poets And Madmen". Their darkest and heaviest album in years.

It's Not Who I Am, But I Know That It's All That You See

2008-11-09T16:58:00.000-08:00

Green Day's "American Idiot" was continuously praised for bringing back the concept album, but the mainstream media always overlooks Metal. Heavy Metal bands have long been burning the concept album flame with no recognition. Savatage were one of those metal bands that pumped out concept albums years before Green Day cashed in on the idea.

After "Streets" mediocre success one would have thought Savatage would never do another concept album, but lo and behold 3 albums later we get (what I consider one of Savatage's best) "Dead Winter Dead". The story is about a Serbian boy and a Muslim girl who our brought together by the haunting melodies of a lone cellist who played in the Sarajevo town square during wartime.

I remember reading an article in Readers Digest about Vedran Smajlovic "the Cellist of Sarajevo" who for 22 days straight played his cello in the town square during on-going battle in honour of 22 victims killed while waiting for bread. Paul O'Neill has stated that Vedran is the inspiration for "Christmas Eve/Sarajevo 12/24" and has developed a poignant and heartwarming story around this man.

The album "Dead Winter Dead" begins with the thoughts of an ancient stone Gargoyle who watches over a fountain in Sarajevo's town square with vivid imagery established by mood-setting grandeur and Savatage's signature heaviness on the opener "Overture" which transitions darkly into the haunting and heavy "Sarajevo". The story picks up with the Serbian boy on "This Is The Time (1990)" which is a passionate bluesy number with some very moving vocals and guitar work. This is one of my favourite songs here.

All hopefulness is crushed on the broodingly sinister and deliciously evil "I Am" featuring vocals by the Mountain King himself, Jon Oliva. A heavy song with a killer riff. "Starlight" takes on a military feel with its ominously pounding riffs and lets loose towards the end with wailing solos. This speed and heaviness is continued on "Doesn't Matter Anyway" a crunchy heavy metaller. It is here that we are introduced to the Muslim girl who is buying weapons to fight with her comrades.

"This Isn't What We Meant" is a moving and powerful blues-infused ballad and has the sense of hopelessness and broken dreams. "Mozart And Madness" is an instrumental loosely based around compositions of Mozart. This is an antsy piece with soothing breaks and builds the story's tension nicely. "Memory (Dead Winter Dead)" is a somber, yet uplifting take on Beethoven's "Ode To Joy" which leads into the title track "Dead Winter Dead". This song is a mid paced cruncher. "One Child" follows in the same vein as the "Handful Of Rain" album. A piano/guitar rocker with some nice melodies and counterpoint vocals first used on "Chance".

The albums focal point and story climax is the break away hit "Christmas Eve/Sarajevo 12/24" made famous by the Trans-Siberian Orchestra. It's ancient melody and dark sound create a wonderfully conflicting feeling of joy and foreboding. The closing song and my favourite "Not What You See" is in the new staple style of Savatage power ballads. The somber versus' create a pleading optimism that crescendos into a raw and powerful climax. It's simplistic piano/guitar work and use of counterpoint vocals is inspiring and passionate bringing the album to a hope filled and bright close. Great solo too!

Of all the Savatage concept albums, "Dead Winter Dead" is my favourite and quite possibly my favourite album of their catalogue. The story's concept, though not hugely original has a very unique edge and a timelessness that's refreshing.

Up next is the theatrical "Wake Of Magellan".

The New Savatage

2008-11-02T17:40:00.000-08:00

I have to admit, when I first picked up Savatage's album "Handful Of Rain" I was a little disappointed. It had a melancholic feel and a monotonous rhythm. However, after a while I grew to appreciate this album for what it was.

After the loss of guitarist and founding member Chriss Oliva, this album has a dark reflectiveness and a sombre elegance that is unlike anything Savatage has done. And as I mentioned before, there is a grandness on this album that has not been seen since "Gutter Ballet".

"Handful Of Rain" is essentially a Jon Oliva solo project released under the Savatage moniker, yet these epic theatrics would carry over to future Savatage albums. Recording all instruments himself, Jon had Zak Stevens perform the vocals and Alex Skolnick to perform the guitar leads. Johnny Lee Middleton would tour with the group, but long time member and drummer Steve Wacholz would depart and Jeff Plate would step in for the tour.

Starting the album off is "Taunting Cobras" which is a fast and heavy song pummeling forward with some crushing riffs giving the album a great start. "Nothing Going On" is the other metaller with fast riffs and a thunderous feel.

The title track "Handful Of Rain" is a twangy acoustic/electric rocker with a nice melody and groove-infused breakdown. "Stare Into The Sun" and "Castles Burning" are bluesy rock ballads of sorts. More reflective then sappy with some fine melodies and their own charm.

"Watching You Fall" is a blues infused ballad with similarities to "Castles Burning" and some nice guitar/piano work. "Symmetry" is ballad like as well with acoustic verses, a catchy chorus and a darker edge.

The truly stand out tracks here are the epics "Chance" and "Alone You Breath". Both are grandiose and theatrical, but with completely opposite tones.

"Chance" starts off with a haunting intro that builds with orchestral theatrics into a dark and heavy metal tune. The song eventually breaks down into a quiet reflection which gets broken by the orchestral theatrics and a chunky bridge and some killer riffs. The song also is the first Savatage song to use counterpoint vocals that builds into a crescendo ending.

"Alone You Breath" on the other hand is an epic, heartfelt piece reeking of conviction and whose emotions are worn on every note. The opening piano is moving and builds into a huge theatrical song layered with passion. The solos are brilliant and the song just reeks of compassion. A fitting tribute to the great Chriss Oliva and my favourite song here.

There is also an instrumental piece "Visions" which is an extended version of the orchestral/guitar breakdowns from "Chance".

It took me a while to warm up to this album, but now it's one of my Savatage go to albums when I'm having a hankering for them. It's sombre reflection is haunting and yet at times comforting. A highly under-rated album.

Up next is probably my favourite Savatage album. "Dead Winter Dead".

The End Of Savatage ... ?

2008-10-26T17:08:00.000-07:00

Although Jon Oliva had stepped down as vocalist for Savatage, he remained around and helped pick Zak Stevens as his replacement. Jon continued to write and perform piano/keyboards with the band while pursuing a solo project with Chris Caffery.

"Edge Of Thorns" sees Savatage return to straight forward heavy metal while retaining the progressive sound introduced on "Gutter Ballet". The production here is much improved and Chriss' guitars regain their signature crunch. "Edge Of Thorns" is the first Savatage album I bought as it was their newest release when I was introduced to them by the Nielsen brothers in high school.

Starting off with the title track, "Edge Of Thorns" begins with a piano riff that's soon joined by guitars and the band. It's a melodic tune with a galloping riff and a nice solo. "Lights Out" is a faster song with wailing guitar work. "Skraggy's Tomb" is a haunting reflection on alcoholism both sombre and moving .

"Labyrinths" is a vivid instrumental along the lines of "Last Dawn" from "Hall Of The Mountain King" which seamlessly transitions into "Follow Me", my favourite song on this album. The finger picking intro is super melodic and Zak shows his range here with his velvety voice. The song builds into a passionate metal tune with great solo work.

"Exit Music" is a piano instrumental which really should have been at the end of the album because it literally feels like end credits music or a theme playing people out. It's a beautiful piece. "Degrees Of Sanity", "Conversation Piece" and "Damien" are solid melodic crunchers with some unique and heavy riffs. This reminds us fans that Savatage still know how to be metal.

"All That I bleed" is a raw piano driven song both haunting and hopeful. A very moving song with a beautiful solo. "Miles Away" begins quietly and builds into a rocking uplifting song. The album closer "Sleep" is a sombre acoustic song simple and moving.

"Edge Of Thorns" is a fine follow up to "Streets" and continued to grow as song-writers. The addition of Zak Stevens was great. His soothing tones complimented Chriss' gritty guitar work.

Unfortunately, the rock world was delivered a shocking blow when founding member and lead guitarist Chriss Oliva was killed by drunk driver on October 17th 1993. At least he was able to leave his musical mark with some of metals greatest songs before his life was cut short.

Would Savatage continue on after this tragedy? We'll find out with my next review of Savatage's "Handful Of Rain" album.

Ghost In The Ruins

2008-10-19T13:56:00.000-07:00

Savatage followed up "Gutter Ballet" by taking the theatrical element one step further. "Streets (A Rock Opera)" is a concept album based on a play producer Paul O'Neill wrote. It's about a man named DT Jesus, a low life on the streets of New York who rises to rock star fame and falls, then rises again ... and so on.

This is the first (of what would become a staple for Savatage) concept album by the band and an album of controversy. I believe this is a highly under-rated album, but it garnered a lot of debate amongst fans. After a supporting tour for "Streets" founding member and front man Jon Oliva left the band (sort of, more on that later).

"Streets" is one of the first Savatage albums I bought and is one of my favourites. It has a sentimental appeal for me as well as including the song that would become my all time favourite tune. My one complaint of this album is the weaker production quality. Where "Gutter Ballet" was full and thick, "Streets" seems convoluted and thin. Perhaps it's the layers of instrumentation and what not, but the guitars lack a certain bite.

"Streets" starts off with the haunting and dark title track which opens the album with a bleak and eerie atmosphere. "Jesus Saves" is where the story begins. After a short dialogue "Jesus Saves" kicks in with an upbeat metal narrative with some killer solos.

"Tonight He Grins Again" continues the haunting, dark atmosphere as does "Ghost In The Ruins" later on in the album. "Strange Reality" is a darker tune with cool riffs and "Can You Hear Me Now"s dark rock atmosphere is broken with a great breakdown.

The theatrical feel is brought forth with songs like the upbeat and thankful "You're Alive" as well as the passionately pleading "St. Patrick's". A powerfully poignant song and one of the stand-out tracks here.

"If I Go Away" and "Somewhere In Time" bring it home with heartfelt and moving melodies and a narrative theatrical quality. "A Little Too Far" is a piano piece that is raw and passionate in its simplicity. A sweetly sombre tune. "Heal My Soul" based on a Welsh lullaby called "Suo Gan" is an uplifting piano piece, raw and hopeful. Jon Oliva shines on these simple pieces.

"Streets" is a rock opera and it doesn't water anything down. "Sammy And Tex" is a fast and heavy tune whose vivid storytelling of Sammy and DT Jesus' fight makes anything from West Side Story seem wussy. Killer guitar work by Chriss Oliva. "Agony & Ecstasy" is similar in style, but has a more aggressive edge a darker sound. And "New York City Don't Mean Nothing"s acoustic opening is pummelled by a thumping rock rhythm that sees the song through.

As I mentioned, "Streets" has the greatest song ever written on it and that song "Believe" closes the album as it should. "Believe" is a heart-wrenching plea with beautiful piano work and powerful vocals by Jon Oliva. Its inspiring lyrics are strengthened by Criss Oliva's brilliant guitar work and has the greatest guitar solo Chriss ever performed. It is a powerful song that moves me every time I listen to it. And I listen to it a lot.

"Streets" takes a well worn concept and gives it a shot of passion and conviction. There are no bad songs here. No filler, just brilliant rock songs with a theatrical theme.

Up next is Savatage's "Edge Of Thorns".

From The Gutter To The Stage

2008-10-12T15:42:00.000-07:00

After Jon Oliva saw a performance of Phantom Of The Opera in Toronto, Canada he envisioned a new direction for Savatage. Focusing on more of a progressive edge the band incorporated larger use of piano and keyboards as well as grander themes and an overall theatrical sound.

If you ask me "Gutter Ballet"s sound is not really seen again until "Handful Of Rain" although "Streets" and "Edge Of Thorns" have a largely progressive feel, just not as grandeur. This album is really like a new beginning for Savatage which would grow and nurture for the rest of the bands career. Despite the softer edge to the metal, some of the songs here are the heaviest the band has recorded.

For example, the albums opener "Of Rage And War" is slab of pure heavy metal with a darker edge and a pre-chorus with biting crunch. "Mentally Yours" is a solid chunk of heavy metal reminiscent of "Power Of The Night" era. "Thorazine Shuffle" is an eerie mid-paced cruncher very much in the vein of "Hall Of The Mountain King"

"Hounds" is a hauntingly dark tune, ,however, it feels a little disjointed ala "Fountain Of Youth" but not as bad. "Unholy" is probably my favourite of the metal tunes because of its straight up '80's metal sound with galloping guitars and a super melodic chorus that would make Iron Maiden envious. "She's In Love" is a flat out rocker that seems to be a staple in every Savatage album up to this point. Kind of cheesy, but not as much as say "Hard For Love". Not a bad tune, it just doesn't feel right.

The theatrical grandeur arrives on the 2nd song and title track "Gutter Ballet". The piano work is simplistic yet very moving which leads into a huge wall of sound, thick and epic and operatic. "Temptation Revelation" is a moving instrumental like HOTMK's "Last Dawn" only more complex while building into a cacophony of symphony."Summer's Rain" is a melancholic power ballad with some great emotive guitar work and moving melodies.

My favourite song on this album is the sombre, yet inspiring "When The Crowds Are Gone". The songs bleak themes are poignant and the music is huge and theatrical. It's a very moving tune and Jon's voice is full of passion and Chriss' solo is full of conviction.

"Silk and Steel" is a little showcase of Chriss Oliva's guitar finesse with this acoustic ditty. Some impressive playing.

"Gutter Ballet" is a strong step forward for Savatage and the shift in style I think helped keep them relevant instead of being washed away by the new wave of hair bands and grunge in the 90's.

Next up is Savatage's "Streets: A Rock Opera" which is a superb album and features my all time favourite song (not just from Savatage's catalogue, my absolute favourite tune) "Believe".

Return Of The Mountain King!

2008-10-05T19:09:00.000-07:00

Aaahhhhh Savatage's "Hall Of The Mountain King". The pinnacle Sav(y) album and critical turning point early in the bands career. Coming off the convoluted fiasco that was "Fight For The Rock" Savatage blasts nay-sayers with a classic heavy metal album. This is the album that should have come after "Power Of The Night", but better late then never.

"Hall Of The Mountain King" takes the dark aggression of "The Dungeons Are Calling" EP and adds accessibility. Jon's vocals have never been weak, but it's as if he were born for this particular moment and as such garnering him the nickname "Mountain King". Chriss' guitar work shines here with some of his most memorable work both heavy and melodic. Chriss Oliva is truly one of the most unique and talented guitar players ever.

The album kicks off with "24 Hours Ago" which sets the tone with darker melodic riffs and wailing guitar solos that never quite reach show off level. Jon's mountainous voice is powerful, aggressive and reeks of conviction. "Beyond The Doors Of The Dark" is next and its haunting intro sends chills before blasting in with aggressive riffs and sickening vocals. This is a dark/bleak tune and is my favourite song on this album.

"Legions" and "The Price You Pay" are solid metal anthems worthy of the raising of the metal fists children. "White Witch" is a pummeling assault of speedy riffs and aggressive vocals. After a short guitar instrumental, the soothing and sombre "Last Dawn" in whose reflective optimism leads to the deliciously bleak "Devastation". It's a melodic mid-paced piece with a biting edge especially as Jon spits out lyrics like ~What can you do when you're a fool? It all goes this way. You should have listened to what Christ had to say~. A wonderfully downer way to close the album.

"Strange Wings" is a power ballad-like song without really feeling ballady. It's a powerful song with a simple yet moving melody and a majestic feel. "Prelude To Madness" is a metal take on Edvard Grieg's "In The Hall Of The Mountain King". It is dark and haunting, brilliantly executed and a fitting intro to the albums title track.

"Hall Of The Mountain King" is a mountain of a song with a solid foundation by Johnny Lee Middleton and Steve Wacholz and bludgeoning riffs and monstrous solos by Chriss Oliva. Jon Oliva's vocals are at their best here ranging from guttural mid range to insane screeches and eerie chuckles. A song truly worthy to be a title track.

"Hall Of The Mountain King" is a true heavy metal classic and is Savatage at peak form. From here the band moves in a progressive direction more grandiose then epic. This is also the first album with long time producer Paul O'Neill whose influence becomes a strong part of the Savatage sound.

Up next is "Gutter Ballet".

They Fought The Rock And The Rock ... Won ...?

2008-09-28T18:10:00.000-07:00

Savatage's third full-length album is a step backwards for the band. A kind of fumble at a critical point in their career. Upon reading the background story behind the recording of "Fight For The Rock" I can sum it all up with the phrase, a gong show.

"Fight For The Rock" is a solid rock album with the emphasis on rock, but frankly, it's not Savatage. Being comprised of music mostly written for other Atlantic label artists, the album comes across as a bit of a sellout or an attempt at commercial success when in fact it was youthful naivety that dang near destroyed them. I'm inclined to believe the liner notes history simply cause of the quality albums the band had recorded up to this point and afterwards.

This is an unfortunate black mark on Savatage's long career. All the same "Fight For The Rock" has some decent tracks with a little Savatage metal sprinkled in. This could have spelt disaster in the hands of another band, but Savatage are great song-writers and superb musicians.

Starting off with the title track, "Fight For The Rock" is a solid rock anthem with catchy melodies and a sing a long chorus. I find the intro to "The Edge Of Midnight" to be corny, the song itself is a strong effort with a mild Sav(y) edge to it. And "Hyde" (my favourite song here) could easily have fit on "Power Of The Night". Its haunting melodies are catchy and Jon's vocals shine over Chriss' dark riffs.

"Crying For Love" and "Lady In Disguise" are fairly standard tunes catchy but not Savatage. "She's Only Rock N Roll" is memorable with some nice guitar work and "Red Light Paradise" adds a darker Sav(y) touch to its cool riffs.

The band rerecorded "Out On The Streets" (from "Siren") which is a nice slower piece, though hardly distinguishable from the original and shows the band were struggling for filler. The 2 covers are done nicely, but don't have the Savatage feel to help them stand out. "Day After Day" is super catchy and sticky sweet with some beautiful melodies. A very nice song. "Wishing Well" is not bad, but nothing to write home about. The fact that this is the ONLY Savatage album to feature covers speaks volumes.

My copy came with 2 bonus live songs "The Dungeons Are Calling" and "City Beneath The Surface" which are of killer quality and damned fine songs.

"Fight For The Rock" is actually pretty good ... for a rock album. As Jon Oliva states, it is not a Savatage album. It's unfortunate the mess the band went through with this album, but it can be pretty much forgiven with the solid effort of "Hall Of The Mountain King" that came next.

It's A Power I'm Drawing ...

2008-09-21T16:46:00.000-07:00

On Savatage's Third outing the band softens a bit leaving more accessible songs that lose most of the dark, bleak feel of the "Dungeon's ..." EP. "Power Of The Night" is by no means a bad album, it's chalked full of catchy riffs, screeching solos and gravelly melodies. This is one the first "early" Savatage albums I picked up and have thoroughly enjoyed it.

"Power Of The Night" kicks off with the albums title track which is a mid-fast paced anthem that is instantly hooky and memorable. "Unusual" is a catchy galloper with an eerie chorus assisted by subtle keyboards.

The dark edge is not completely lost. "Necrophilia" is a mid-fast pace song with some killer riffs. "Fountain Of Youth" is pretty dark with some cool guitar work and wicked breakdown which showcases Jon Oliva's unique vocal qualities. This is a fun song, but it has a disjointed feel. Like tacked together parts that don't have a continuous flow.

"Washed Out" and "Skull Session" are fast and heavy with thick galloping riffs and wailing solos that never sacrifice melody. "Hard For Love" is a toss away rocker with a strong commercial feel that's made for radio. It's catchy, but just doesn't feel right here. "Stuck On You"s commercial rock feel is not as cheesy, but still a throwaway.

"In The Dream" is the album closing ballad whose sombre passion lets the listener ease out of the record. It's a nice tune with some cool solos. My favourite song here is "Warriors". It starts off quiet and atmospheric before kicking in with a killer mid-pace riffs and solos. It's the song that sticks with me long after I've stopped listening to the album.

Overall "Power Of The Night" is a solid album, though not their best work. The band at this point was really laying down a distinct style and the Oliva brothers really shine here.

However, the band took a step back with their next release. The lackluster "Fight For The Rock".

That's coming up next.

Madness Reigns!

2008-09-14T19:17:00.000-07:00

Where "Sirens" suffered with a few clunker tracks, the follow-up ep (apparently recorded during the "Sirens" sessions) "The Dungeons Are Calling" makes up for in spades. Even the throw away Motorhead inspired track "The Whip" is a solid pummeling slab of 80's heavy metal.

"The Dungeons Are Calling" is one of my favourite Savatage albums of their early sound and is super dark blurring the lines of heavy metal and speed metal with killer riffs and solos and solid song-writing whose quality won't be matched until 1987's "Hall Of The Mountain King".

The album opens with Sava's signature haunting intro as it eases us into the bleak onslaught that is the title track. "By The Grace Of The Witch" doesn't let up with it's dark melodies and catchy riffs. "Visions" picks up the pace with speed metal flourishes and "Midas Knight" slows us back down with a clean intro and heavy mid-paced riffs.

"City Beneath The Surface" is a stand out track with floydian keyboard intro and a heavy brooding Sabbath inspired doom style riff. The rest of the song is straight forward dark heavy metal. Though the title track is my favourite, this is a close second.

The 3 bonus tracks here are even pretty solid. "Metalhead" is a raw blistering rocker, "Before I Hang" is mid-paced cruncher with "Streets ..." style screeching riffs. "Stranger In The Dark" is a power ballad which has early usage of the pre-chorus riff and lyrics from "This Is Where You Should Be" from "From The Gutter To The Stage" and the solo and rhythm guitar part of "Follow Me" from "Edge Of Thorns". It was fun to hear an early recording which ended up being dissected and put to better use.

The hidden "rap" is amusing if not skip-able. "The Dungeons Are Calling" is a flat out fine example of traditional heavy metal. It's dark, heavy and melodic. Jon Oliva's vocals find their own here. His rasp tears through like gravel with a strong sense for melody and he hones his screeches that would eventually crown him the Mountain King.

Coming up next is Savatage's 2nd full-length and 3rd offering "Power Of The Night"

In case you haven't noticed, I've been way behind in posts, but I'm hoping to be caught up soon.
Thanks loyal readers for continually checking!

You're Approaching The Island Of The ....

2008-09-07T17:18:00.000-07:00

As I've stated in a few of my posts, Savatage is my favourite band. It's hard for me to narrow that down, but if asked Savatage is the band. I first got exposed to Savatage in Highschool by the Nielsen brothers who introduced me to "Edge Of Thorns". I then picked up "Streets ..." and "Hall Of The Mountain King". I was hooked.

"Sirens" the bands debut was hard to find and so I only got it via iTunes to round out my collection. Although this album features one of my favourite Savatage songs (the title track) the album as a whole is not one I spin through frequently.

"Sirens" is raw traditional heavy metal and hints at the bands early unique sound that would peak (in my opinion) on "Hall Of The Mountain King". The title track kicks of the album with a killer riff and haunting intro. It's dark and catchy. "Holocaust" continues the dark riff work and is nice and heavy. These songs are most like the sound Savatage would polish on later releases.

"On The Run" is a mid-paced rocker with a dark groove. "Rage" and "Scream Murder" are straight up heavy metal with "Rage" having a Motorhead feel. "Living For The Night" and "Twisted Little Sister" are not bad, but seem like filler. "I Believe" has a melodic opening before jumping into an aggressive groove with a fine solo.

The album ends with the power ballad "Out On The Streets" whose sombre melody hints at a bleak hopefulness. I've always enjoyed Savatage's ballads. The bonus tracks are not bad either with "Target" being another ballad and "Living On The Edge Of Time" being faster and melodic. The hidden track ("Island Of The Kings" as listed on iTunes) is a sweet acoustic instrumental that's catchy and vivid.

Overall, I enjoyed "Sirens" and it was a solid start for the band. However, it's the follow-up ep "Dungeons Are Calling" which shows the bands true potential.

That's coming up.

Still, We've Sighted Only Sea Till Now

2008-08-31T10:36:00.000-07:00

Tyr is one of those bands where either you love them or you hate them. Like Manowar, Motorhead and Anvil who have found their niche and stuck with it while churning out solid albums year after year. This is a delicate subject for music as a whole. If a band sticks with their style they are critiqued for lack of variety, growth. If they change their style they get critiqued for letting down fans.

Few bands have managed to both stay similar and change genres with little grief. Off the top of my head, Virgin Black is one band who started off gothy and switched to doom/death metal and no one seemed to mind. Tyr is part of the former group who play the same style album after album and those who love them are happy, and those that don't fail to see the growth and progression with each album.

Tyr's "How Far To Asgaard" was a straight-forward heavy metal romp with traditional folk melodies. "Eric The Red" thickened the sound while staying true to their heavy metal style. "Ragnarok" saw far more complex songwriting and a fuller narrative feel and seems to be the fan favourite.

That's how it should be. A solid growth of a band coming into it's own. "Land" is no exception. Take the focused narrative elements of "Ragnarok" and the heavy metal stylings of "How Far To Asgaard and Eric The Red" and then make them epic and you have "Land"

"Land" sees Tyr develop grandiose themes into epic narratives all the while staying true to their brand of riff driven melodically folk viking tales. Starting off with the scene setting "Gandkvaedi Trondar" an orchestral narrative that sets a brooding atmosphere steeped in traditional elements.

"Sinklars Visa"s A Capella gang vocals opening is great and spurs into a rousing traditional folk tune with Tyr's signature guitar work and a doomy A Capella breakdown chant. One of the stand out songs. "Fipan Fagra" continues that traditional feel swimming in melodies and "Lokka Tattur" throws in some biting guitars to the folk elements.

"Ocean" is an epic length traditional Tyr song heavy in guitar riffs and a crunchy sound. "Gatu Rima" picks up the pace some with a rockier edge. "Valkyrjan" is an acoustic heavy piece with loads of melody and a darker atmosphere. Some great solo work here as well.

The 16+ minute title track epic is a showcase of the bands skill in weaving narratives. It's grandiose themes are at time theatrical with ocean sound effects and spoken word sections which carry the songs folk and heavy metal elements adventurously to its quiet and subtle outro. A grand effort and successfully executed.

As a special treat the band has added a 2008 re-recorded version of their debuts "Hail To The Hammer". This is in fact the 3rd version of the song I have and although it is my favourite of the 3, it does seem a little excessive. If the band had included a version on "Ragnarok" I could see a pattern, but I think their efforts could be focused towards new songs.

As for this version, it is essentially the same with maybe a thicker guitar sound and a bluesier jazz feel towards the end. Reminds me the solo work off of "Handful Of Rain" era Savatage.

Overall Tyr's fourth outing is a great work of traditional sounding folk metal with a thicker guitar crunch and beautiful clean vocals. The Lyrics are steeped in Viking/Norse mythology, but don't think these guys are Ensiferum or Moonsorrow. I love the folk sound with the electric guitars and native language vocals adds an element of the days of yore.

A truly modern day retelling of traditional tales and another solid effort from Tyr.

That is if you like this sort of thing ...

Sorrow Ever Awaits On Joy ...

2008-08-24T15:43:00.000-07:00

It's taken me a while to warm up to Virgin Black's 3rd part to their "Requiem" trilogy. It's not that it's a bad album, it's simply because I loved "Mezzo Forte" so much that nothing short of pure perfection may have surpassed it.

Don't get me wrong here, I knew going into this album that it was going to be pure metal and Loud and that is certainly what you get. "Requiem - Fortissimo" starts off with the doomy/death metal opus "The Fragile Breath" which is slow almost to funeral doom tempos book ended by speedy blasts. Susan Johnson's haunting vocals are used sparingly as well as recurrent melodies of the Requiem Trilogy.

"In Winter's Ash" has a chilling orchestrations amongst the dark and doomy riffs. "Silent" (the first single) picks up the pace some before slowing into a moving, melodic doom riff. "God In Dust" blends the heavy doom/death structure with haunting melodies and "Lacrimosa (Gather Me)" soothes them and creates a moving and uplifting sound.

"Darkness" comes crushing in with Virgin Black's staple doom metal continuing with the recurring melodies and similar riffs to "Domine". This is probably my favourite track because it feels like a medley of "Mezzo Forte" just heavier.

Ironically "Requiem Fortissmo" ends with the quiet piano melody of "Requiem, Kyrie". I'm guessing this will be relatible to "Requiem - Pianissimo" which has yet to be released.

As far as doom/death metal albums go, Virgin Black's "Requiem - Fortissimo" is brilliant. It's heavy and dark and crushingly bleak, but all the while has the element of hopefulness that Virgin Black do beautifully.

My main complaint (which is not so much a complaint, but praise to Rowan London) is that Rowan doesn't get to use his beautifully tragic voice. He is THE best metal vocalist, in my opinion and honestly ... I missed it here.

When You See A Car With The Christian Fish On It ...

2008-08-17T15:27:00.000-07:00

Frank's Enemy is an extreme metal band from Florida and despite their Christian leanings have been banned from both secular clubs and churches and youth group concerts for their extreme musical stylings. However, they have also garnered respect from the likes of Steve Rowe (Mortification)and Jason Truby (Living Sacrifice)who themselves have forged careers playing extreme Christian metal.

Before I get into the music, allow me to explain the bands name. Julio Rey once said that he had read an article that quoted Frank Zappa as saying ~When you see a car with the Jesus fish on it, you have seen the enemy~thus he must then be Frank's Enemy. Makes sense (Note the band logo is an F and E in the shape of the Jesus fish).

The album I'll be reviewing today is "Illumination" their third and final release. This is 15 tracks of chaos. It starts off with ska like guitar work before blasting us with fast sickly death metal on the opener "Frank's Enemy/Codebasher". This sets the listener up for the most extreme the following songs would get, but leaving it open to a few surprises.

Let me start with the death/black metal songs. The death metal vocals are virtually incoherent (which maybe why Christians were turned off)They are so sickenly low and distorted that they are like gurgling. I prefer the black metal shrieks that are interspersed in some of the songs and are more legible. The guitars are down-tuned extremely low and if I can quote the No Life Til' Metal website ~It must be like playing with wet spaghetti noodles~ . Prime samples of these songs are "My Night Alone", "John The Baptist Revisited" and "Dysfunctional". These tracks put the extreme in extreme metal. Frank's Enemy also play with some funky call and answer style vocals between death metal and clean, "Straight Up/Down" and "Antigod" which is a really cool effect especially with the thrashy guitars.

Speaking of thrashy guitars, I found the later half of the album heavily thrash influenced with the likes of "Nothing Changed" and "One For Them". Most notably the guitars just rip with thrash riff after thrash riff which makes the songs rather memorable and Julio Rey's vocals are clean and gruff.

The stand out tracks here are "Lamento" with its psychotic machine gun drumwork and melodic rhythms and acousticy interludes. "Friends In The Sky" is a mocking thrashy tune about life on other planets and such and is ridiculously catchy. "Serenity" the album closer is a salsa-y jazz like acoustic number with some nice violin work. A peaceful way to end an otherwise chaotic album.

There's also "Frank's Enemy Metro" which deserves special mention cause it's a technoy rave like tune bass driven with intermittent guitar riffs. It's alright I guess, but way to long.

My favourite track I would say is "Straight Up/Down". It has a funky bluesiness to it with death metal/clean vocal call and answer style and thrashy guitar work. It's lyrical message is also something I believe in. It basically is saying it's ok to have questions about God and religion, it doesn't make you less of a Christian. Talk about your questions or pick up the Bible and seek out your own answers, don't just accept what others say is right. And I say Amen to that.

Frank's Enemy are not so much breaking new territory, more like they have beaten and left for dead the familiar ground. This is probably the bands least assessible album, but it is also their most fun and original.

Up next, Virgin Black's "Requiem - Fortissimo" and Tyr's "Land" and then I'll move onto Savatage's catalogue.

The Question I Hope You've Been Asking ...

2008-08-10T18:12:00.000-07:00

On Frank's Enemy' follow up album we see the band take a more extreme turn in metal with a stronger influence of death/black metal. "Neoblasphemies" is a nice mix of their debut's thrash roots and "Illumination"s chaotic brutality. The album is bass heavy in tone which gives the album a slightly muffled sound, but also creates a sickeningly brutal down-tuned album.

"Neoblasphemies" starts off with an eerie acoustic classical guitar with a female vocalist on "I Think" which sounds like an an old record that gets scratchier until it is cut short by the blistering assault of "Human Reich". "Human Reich" is where the chaoticness begins. It's fast and heavy with ultra low death metal vocals, which only slows briefly for melodic crunchy bridge.

There are essentially 2 styles of music here. Thrash and extreme death/black metal. Along with "Human Reich", every other song follows a similar style. "Cannibalized" is super fast and heavy, "Torturer" is crunchy with a grind feel to it and some crushing riffs. "Cauldron" rounds out the extreme songs with fast chaotic and brutal death metal.

The thrash songs are quite heavy with pounding riffs. "Imbecile Factory" starts this series off with death metal intensity and flourishes. "Uncalled For" adds a darker edge and has a catchier sing along rhythm. "Inevitable" speeds things up with a punky feel akin to Julio Rey's early days in The Lead. it's catchy with a nice heavy breakdown. "Hanging On A Tree" completes the thrashy set furthering the punk feel with thrash groove. It's super catchy and may pass as a radio hit.

The album closer "Stephen Hawking Walked Away" is a funky slap bass heavy tune bordering on ska. It has a Red Hot Chili Pepper feel without the melody. It ends with a sped up sound akin to the end of Believer's "Trilogy Of Knowledge".

My favourite song is the reflective and epic "In Answer". It is melodic yet unsettling and representative of Frank's Enemy' unique quality. The quiet overly distorted feel is brooding and builds into a brutally dark and sombre death metal tune whose oppressive riffs weighs on the soul. Despite the sickening brutality there is a strange melodic-ness to the song. This is in my opinion the bands best song.

Frank's Enemy continue with the bold Christian lyrics without feeling overly preachy. They are thoughtful and sincere especially on the song "In Answer".

~In answer to your question i hope you have been asking I'll take off my fangs and stop all the scaring I could quote John 3:16 pray for the best That you'd grasp what it all means that we are in a test ~

Coming up is a re-posting of my review of Frank's Enemy's 3rd and last full-length album "Illumination".

Reasons To Say Yes ... !

2008-08-03T19:03:00.000-07:00

Though I would not say Frank's Enemy is my favourite band (that's Savatage as I cleared up in an earlier post) but when it comes to the Christian metal scene, I would rank them pretty high. Frank's Enemy is the brainchild of Julio Rey formerly of Christian punk/thrash crossover band The Lead.

The Lead's later material is an early example of what Frank's Enemy would be. Starting off with their self-titled (or sometimes known as "Not Silent") debut Frank's Enemy took that thrash/punk crossover and starting tuning down into a thrash/death mix and eventually becoming grindcore/death and thrash.

The music became less accessible as the albums progressed, but musically they are like none other I've heard experimenting in chaotically beautiful brutality. Today I'll be looking at "Not Silent".

Frank's Enemy' debut is the most straight forward leaning more so on the trash element with death/black metal intensity. Think along the lines of Vengeance Rising with a little Suicidal Tendencies flourishes and an MOD tonal quality.

The album blasts to a start with "Link Line" which is a flat out thrasher, fast and heavy with Julio's vocals leaning more towards gruff thrash and death metal. "Things Don't Work Out" slows a bit with some heavy thrash riffs and more of a gruff raw sound.

"Judas" has the air of Vengeance Rising to it's death thrash sound as well as a darker edge. "Psychic Pain" continues the deathy thrash with some killer riffs and a faster brutal quality. "Man, You Made A Lonely World" thrashy as well, but here there is more experimentation. The vocals range from gruff thrash to death with almost black metal quality. When the chorus kicks in I can't help but think of Bob Dylan or 60's protest songs ... I don't know why ...

"You Are God" is slappy bass heavy funk with thrashy riffs with and a lot of groove. It also has the most melody and probably the only sing along chorus. "Reasons To Say No' is the epic 14+ closer which which features the bass heavy sound as well, but stronger thrash roots. It has a jazzy free form feel, only with heavier riffs and wailing solos and more of a chaotic quality.

"Acts Of Love" has a Suicidal Tendencies feel with the versus' clean guitar work which has a mild ska like quality. It turns thrash towards the end while remaining kind of ballad like. My favourite song here is "Destroy" which is the song whose roots are carried through onto the next couple albums. It is a death/thrash crossover with black metal intensity and a sickeningly brutal heaviness to it which makes me think ~ funeral Thrash?!? ~ a killer song by all standards, but mostly extreme metal's.

This album was hard for me to track down (thanks Blastbeats!!) but I'm glad I did, and I love the raw straight forward thrash and the death metal influences.

Next week I'll look at their follow up "Neoblasphemies" which sees the band coming into their own.

There Is No Excuse After Death For Your Ignorance During Life.

2008-07-27T18:45:00.000-07:00

Focal Point is a spirit filled hardcore band out of Elk Grove, California who (from what I can tell, so correct me if I'm wrong) released one album during a crowded period for the hardcore scene. I can't find much information about the band, but it should be stated that Ryan Clark played guitar here before joining brother Don with Training For Utopia and eventually Demon Hunter.

"Suffering Of The Masses" is not a bad album, but not unique enough to stand out in an over-crowded hardcore scene. The album begins with a sombre acoustic guitar intro of "Inception" which nicely sets the underlying mood of the rest of the CD. Strategically placed acoustic passages throughout the album is one of the unique features, since acoustic guitars are not often used in the hardcore scene.

"When I Die" kicks in with mid-paced riffing and bleak undertones. "Homicide" adds a darker edge to the heavy crunch. "Broken Bonds" gets a little faster with some pummeling riffs and screeching guitar work.

"Enraged" starts off slow and melodic and is moving before bringing on the crunch at mid-paced speed. "No Return" is aggressive with some riffwork and is solid and heavy. "Upright" adds an element of thrash into the riffs and a touch of groove. It also features the closest thing to a solo here.

"Deception" is melodic and mid-paced and honestly, fairly standard fair. Though the spoken part is nice. The title track starts off melodically with a bit more speed and some nice guitar work. The album closer is the instrumental "Attainment" which uses melodic riffing with electric guitars to ease us gently out of the album.

My favourite track here is "Neglected" with has some unsettling guitar screech mix in with their heavy riffs adding a darker edge while retaining some melody. A bleakly memorable tune with some good crunch.

After several listens I've come to enjoy the album and its epic hardcore structures. The songs range from 3 to almost 6 minutes which in itself is unusual for hardcore, yet I don't feel this album is at all metalcore.

The riffs are solid and the overall sound carries an epic darker feel, akin to Unashamed and later period Focused. I do feel the album suffers some from weaker production mostly in the muffled drums which carry the punch they should and an overly bassy sound. I would have definitely liked to have seen further material by these guys, because in the end this was a pretty solid start.

However, Ryan Clark has moved on to bigger and better projects in Training For Utopia and Demon Hunter. Two very different bands with strong albums.

That said, I'll be taking a look not at either of the previously mentioned bands, but instead at Frank's Enemy starting with their self-titled (aka Not Silent) album.

Seek The Mind Of God ...

2008-07-20T17:48:00.000-07:00

On Focused's 1st album, the band is raw, heavy and at times chaotic. Their follow up album is slightly more focused with slicker song writing and a stronger sense of melody. The hardcore edge is not lost due to Tim Mann's aggressive narrative.

"The Hope That Lies Within Us" starts off with a thrashy, aggressive approach on "Empty". The mid paced riffs complement the gruff vocals and quiet reflections. This is my favourite track here as it reminds me most of "Bow".

"Red" is a bleak mid-pacer with touches of melody and "Killing Years" is a heavy crunch that quickens with thrashy flourishes. "No One" has thrash tendencies with a more aggressive edge that clings to melody.

"Consumer" is a little faster using off-tempo riffing akin to Helmet to create a meaty mid-paced chugger. "Evasion" and "Dead Sky" are both slower mid-paced chuggers that suffer because of the similarities. They are not much different though "Dead Sky" is a little more upbeat.

The album closer "Hurts To Ask" is the speediest track here with a punky vibe.

Although this album is pretty solid, I find the songs are not as memorable as "Bow" and the production is weaker. The guitars are a little thinner and don't pack the same punch. The melodies though nice take a bit of the edge of the aggressive, but I do find Tim's vocals refreshing. He has a great style that works with the music.

Coming up next is one more spirit-filled hardcore band before I move onto other styles.

Stay tuned for Focal Point.

As I Walk Through The Valley Of Death ...

2008-07-13T12:12:00.000-07:00

With this weeks review, I encountered the age old question of what came first. The band name or the band. I can just hear the crowd at a concert for these Orange County boys saying to one another ~Wow, these guys are unashamed, who are they?~ ~Why they're Unashamed~~I know, they are bold with their Christian message, but who are they?~~They're Unashamed~~ I know ...~ And so on.

Unashamed are exactly that. They are one of the founding fathers of Spirit-filled hardcore scene. The lyrics are bold, profound yet avoid being too preachy. As in my previous review of Unashamed's first album "Silence" I coined the term angry feel good music to describe this scene.

As far as hardcore goes, Unashamed are the rawest and heaviest of the spirit-filled bunch. On Unashamed' sophomore release the band stays true to form. "Reflections" starts with a crunch on "Meet Us Here" which comes at you aggressively with hook-laden guitar riffs.

The title track is similar in its approach while "Everlasting Father" adds a touch of groove to their head-smashing riff work. "Strength Within" continues the mid-paced attack with flourishes of thrash mixed in. "The Dividing Wall" is speedy thrash-infused that slows to a crunch towards the end.

One of the things I like about Unashamed is the darker edge they bring to their music which sets them apart in the hardcore scene. "What Will Become" is bleak and dark with some killer riffs. "The Agony Of Deceit" takes the darker edge and creates a reflective feel with some acoustic bits.

"Turn" is faster and heavy with a broodiness that seamlessly transitions into my favourite track, the spitfire "Sustained" (which was also included on "Silence"). "Sustained" is pained in its approach and venomous with a slow crunch. It's dark and passionate.

"Gateway" features some fine heavy riff work and "Separated" , the heaviest song here, crushes at variable speeds. The album closer and close second for fave is a popular Praise song "Awesome God" which is a blast with heavy guitars and gang chorus's presented with punk-like intensity. A great version of a simple, yet passionate tune.

Unashamed are no longer together, but they have left a pair of heavy, aggressive hardcore albums that are brutal and stand the test of time. It's odd hearing positive, moral messages over top such angry music, but hardcore is all about passion and conviction and Unashamed have that in spades.

Up next I'll take a look at Focused' second album "The Hope That Lies Within". Till then check out my review of their first album "Bow" here.

We've Forgiven You, So Forgive Yourself

2008-07-06T20:44:00.000-07:00

On August Burns Red's 2nd full-length "Messengers" we get much of the same style though the bands influences are not as readily upfront. This album seems more focused on brutality and aggression then their previous effort, yet continue with the strong melodies.

"Messengers" starts off with the chunky, aggressive "The Truth Of A Liar" whose melodic elements are blasted apart with black metal intensity. "The Eleventh Hour" has the same black metal flourishes as does "Black Sheep" which adds a haunting element to the style.

"Up Against The Ropes" takes their melodic crunch to the level of death metal and "Back Burner" takes the death metal to bone crushing heaviness.

"Composure" is still kept despite the blistering blastbeats thanks to its moving melodies. "Vital Signs" are clear with The Chariot style choral bridge creating a powerfully majestic song.

"The Balance" is heavy and melodic, much like As I Lay Dying whereas "An American Dream" is heavy, fast and brutal and seamlessly transitions into the melodically moving "Redemption" which closes the album off and is one of the stand out songs here.

My favourite song, though, is "The Blinding Light" whose eerie intro leads into an intense black metal flourished tune both fast and emotionally melodic all the while staying heavy.

It seems to me that August Burns Red have found their groove in that both these albums are not too different yet not entirely the same. "Thrill Seekers" is more atmospheric (and heavy and melodic) and "Messengers" is aggressive (and heavy and melodic).

If you like As I Lay Dying, Misery Signals or Between The Buried And Me, then August Burns Red is a perfect fit.

Up next I'll take a look at Unashamed's "Reflections" album. Feel free to check out my review of their first album "Silence" here.

Grab The Wheel And Make This Life Yours

2008-06-29T18:15:00.000-07:00

August Burns Red is a Christian Metalcore band out of Pennsylvania who play a metal akin to As I Lay Dying, Misery Signals and Between The Buried And Me. They are sickeningly brutal while retaining a strong sense of melody.

It boggles me that metalcore often gets shunned by the metal community when in fact metalcore essentially blends the extreme styles of metal (death, black and thrash) with the aggression of hardcore as well as the melodic sensibilities of traditional heavy metal. It doesn't make any sense.

Anywho on with my review. It had been a while since I spun my August Burns Red albums and I had forgotten how brutal and heavy they were. At times they broke into death metal and black metal within the same song.

"Thrill Seeker" the bands full length debut is a slab of brutal melodies, heavy yet moving. The album begins with "Your Little Suburbia Is In Ruins" which is blistering assault, fast and disturbing with moments of head-banging crunch.

"The Reflective Property" takes the speed and adds more melody while "Consumer" blasts brutality around the melodic parts.

"Too Late For Roses" is moving yet dark with a sickly heavy outro. "Barbarians" speeds things up again retaining a strong melodic sense and "A Wish Full Of Dreams" adds to that with some crushing riffs.

"Endorphins" has a bleaker sound staying heavy and using gang chorus's. "Speech Impediment" leans more on the hook and is a moving heavy piece. The last few songs really bring home this album and are the stand outs in my opinion.

"A Shot Below The Belt" is dark and heavy song with some classic metal riffing and some good chunk and melodies. "Eve Of The End" is a heavy instrumental with hooky riffs and an eerie groove.

My favourite song, however, is the album closer "The Seventh Trumpet". This is an epic track beginning slower and rhythmic whose dark atmospheric riffing builds without variant into a cacophony of bleakly uplifting melody. A triumphant tune.

I have a lot of albums and there are times when I'll let gems such as these guys fly under my radar for a while only to be surprised as I cycle through my collection. Up next is August Burns Red sophomore release " Messengers".

Stay tuned!

In Broken Flesh We Hide

2008-06-22T20:40:00.001-07:00

Mindrage were a Christian Metalcore band out of Little Rock, Arkansas who released one album and an EP split with Nailed Promise. "Sown In Weakness, Raised In Power" is a solid heavy album, but Mindrage's biggest claim is probably guitarist and vocalist John LeCompt who went on to work with Evanescense until 2007.

Let it be known that John LeCompt also worked with Rocky Gray, performing live with Soul Embraced. Rocky was also a member of Evanescence until 2007.

Anywho, back to Mindrage. The band plays a a style of Metalcore much like Living Sacrifice with similarities to Nailed Promise. The latter giving Mindrage more of a groove then Living Sacrifice. As a big fan of Living Sacrifice, I took to this album pretty quickly.

"Sown In Weakness, Raised In Power" is heavy, dark with memorable hooks and solid riffs. The album starts off with "Not Alone" which sets the basis with thick heavy guitars and melodic undertones.

"Voice Of Disgust" comes out a little faster and touches lightly on thrash as does the album closer "Sown In Weakness. The thrash elements are minimal here despite the Living Sacrifice influence who incorporated more.

"Destructive Patterns", "Lying Breed" and "Ashes" are all heavy and aggressive in approach. "Passover" is crunchy with a heavier groove sound. "Born Blind" and "Asphyxiate" are more mid-paced crusher. "Raised In Power" splits the album as a groove heavy instrumental that's almost acoustic and carries an eeriness in the riff patterns.

"Child" is the strongest resemblence to Living Sacrifice (Reborn/Hammering Process era) to the point that I thought it might be a cover. Great song mind you and one of the darker tunes. As much as I enjoy "Raised In Power's" melodic instrumental, "Passover" is my favourite track here because I feel it blends the bands influences nicely.

Mindrage have released a strong album and if you don't mind the strong resemblances one can truly enjoy this release. I do. My complaints lie mostly on the lack of a lot of variation and solos (something that Living Sacrifice does quite well).
All the same Mindrage's lone effort (sans EP) is very well done if not completely original.

Up next, I will take a look at August Burns Red.

I Hate The Devil, The Devil Hates Me

2008-06-15T18:58:00.000-07:00

Travail is a Texas Nu-metal band with strong Christian leanings. They play a groove oriented style of metal-core (or groove-core) akin to secular bands Korn and less rappy Limp Bizkit. It's solid down-tuned metal with some crushing riffs and soothing funky rhythms.

Travail are often categorized in the rap-core genre and though some of the mellow parts reflect some hip-hop rhythms (akin to Anthrax' joint effort with Public Enemy) the vocals never rapped, but stick to a pained growl or style like Korn's Jonathan Davis or even Mike Patton to a lesser extent and not as chaotically versatile.

Travail only released a couple albums of which I only own one. "Beautiful Loneliness" is essentially a re-recording of their self-tilted album with a few extra songs. I managed to secure a copy of "Beautiful Loneliness" from my favourite source for hard hitting Christian music, Blastbeats.

I got hooked on Travail years ago when I downloaded a few tracks and spent ages trying to get an album (I still want to get their split album with Luti-Kriss). Anywho, "Beautiful Loneliness" opens with one of my favourite tracks "And So I was Thinking" which is versatile vocally and musically switching between grooving rhythms, crushing riffs and a metaphorical philosophising.

"Devastated" and "Darkness" are similar in style with groove-oriented rhythms and heavy riffs. The vocals mix well between almost spoken and spitting growls. "Lies" adds a reflective feel to the quieter bits while not loosing any brutality.

"Weakling", "Dead", "Beaten" and "When I Fall" are all fairly standard in their approach as metal-core songs and are straight forward and heavy, leaning toward Living Sacrifice and Gryp in style. Competent songs, but not necessarily memorable.

"A Song For A Friend" keeps the groove, but adds more tempo variety giving the song an aggressive approach all the while staying funky. "Judge Me" 's bone-crushing riffs are almost thrashy at times without sounding out of place amongst the metal-core. The album closer "Return" is a little speedier and a bit more chaotic and nice heavy breakdown with the closest thing to rappy vocals and at that only minimally.

"Her" and "Opposition" are slow groove-oriented songs that are darkly smooth and mildly hypnotic. Very catchy adding milder breaks to a pretty heavy album. There is also a hidden track which is a crushing rendition of "I Hate The Devil, The Devil Hates Me" which was one of their more popular tunes live.

Overall, this is a very enjoyable album with a number of great songs. Travail had a nice style and blended metal with groove rhythms with expert ability. I would have liked to see where this band could have taken this style.

Coming up next week, metal-core band Mindrage.

Eversinceve

2008-06-08T20:06:00.000-07:00

Included in my order for EversincevE's "Fire Finds Beauty In Ashes" off the bands website was a sweet ball cap as well as a CDR copy of their "As Pride Falls" ep from 2005. I don't know if this was ever officially released (by that I mean independently or by label).

Either way, I thought I'd include a little review of it as well. "As Pride Falls" sees the band add a more progressive sound via keyboards which gives them a sound closer to The Death Campaign as well as a stronger metalcore style.

In my opinion, that's not a bad thing, but it is different then their first full length which I found to be more metal then core. "As Pride Falls" begins with "Atrocity" which is melodic with heavier use of keyboards that softens the brutal edge, but adds atmosphere.

"Theory Of The Godless" takes that melodic edge a little further and adds some groove. This is my favourite track of the new songs mostly due to its catchiness and moving bridge/outro. "Instrument Of Vengeance" starts of with an eerie church organ intro giving this song a darker edge. This song is heavier with a melodic black/death metal feel and is most like "Fire Finds Beauty ..." album.

"From These Gallows" is keyboard heavy and continues the black/death metal sound adding a metalcore groove and some of the only soloing on this outing.

The ep also includes 2 re-recordings of songs from "Fire Finds Beauty ..." . The first is "Tangled Web Of Misery" which gets a darker atmosphere with the added keyboards, but I find it sacrifices the brutal edge of the original. The other song is "See Through Soul" which sees the addition of keyboards and some fancier guitar work.

I honestly prefer the originals and overall wasn't hyped on the atmospheric sound brought with keyboards. Not a bad effort, but "fire Finds Beauty In Ashes" had a great balance of melody and brutality that you don't get to often.

Not sure what I'll be reviewing next, so come on back and be surprised!

I Will Take My Hand And Wipe Your Tears Away

2008-06-01T15:18:00.000-07:00

First off. For all my faithful readers, if you haven't noticed, I've been backdating my entries. I apologize for this weeks delay. I do like the backdating feature! It keeps things organized.

Anywho, this weeks entry is on the Florida based Metalcore band EversincevE. EversincevE are a thought-provoking Christian metal band who I feel are highly under-rated. They play a metalcore style similar to Mindrage and Travail, but with stronger metal leanings.

"Fire Finds Beauty In Ashes" is a brutal album with sweeping melodies mixing death metal-like growls and clean vocals layered over crushing riffs. EversincevE kick the album off with "Tangled Web Of Misery" a mid-paced cruncher with bursts of speed and brutal vocals. "See Through Soul" is similar though more pummelling and "Then Fell Faith" takes the crushing riffs and adds a bleak darkness to it.

"Childless" is almost death metal in intensity and sickeningly brutal without sacrificing melody. "Hole Inside" is death metal like with a Travail-ish groove to it. Some great rhythms and heavy breakdowns.

"Old Dead Skin" is a melodic metalcore tune with some heavy brutal bits and a strong sense of melody. "Undone" is a slower piece with dark, bleak undertones.

The album also includes a couple acoustic interludes with "At The End" providing a breather with a calming passage before the next brutal assault. And the album closer "Kaia Vuggesang" whose sweet melodies are accompanied by fire sounds. A wonderfully moving tune. Fire with Beauty? A nice outro.

My first exposure to EversincevE was their cover of "O Holy Night" on the Brutal Christmas album. Their cover was beautifully brutal and I had to track down their album(s).

More on that when I take a look at their "As Pride Falls" EP coming up next.

Decapitated Sheep

2008-05-25T19:56:00.000-07:00

Throughout high school I had a running sheep joke going, to the point that when any of my friends found any kind of sheep item (postcard, figure, pictures, stuffed toy, you name it) they bought it for me. Though the items have stopped coming in, I still have a fondness for those woolly beasts of burden.

That said, when I was browsing a website of Christian bands years ago (I think the site was called something like punkreview however, I believe the page is now defunct) and I came across an album review for Decapitated Sheep's "Woe" I had to have it. The problem was, how do I get it? I searched high and low for it and eventually I came across an email address for the band (or at least Hope Lopez, the lead singer) and simply asked if I could buy it.

Unfortunately, they were all out of stock of the pressing of "Woe", but Hope did send me a CD-R copy of it with a personalized cover and printed off lyrics. Not the most professional packaging, but I love the personal care put into it.

So what does a band called Decapitated Sheep sound like? Let me tell you, they are not baaaaaaaaaaaad ... sorry. D.S. play raw doom/death metal with a gothic touch. "Woe" kicks off with "Seed Of Resentment" which is probably my favourite song simply cause it lingers with me long after the album is over. It's pummelling bass and thick guitars crush you with doomy riffs and Hope's resonating voice is bleak.

"Rachel" begins with a gothy bass riff and doomy vocals before getting downright morbid with thick raw guitars and sickly death metal vocals that would make Frank's Enemy proud. It's a slow piece that's bleakly melodic.

"Angst"(s) funeral doom-like opening is brutal leading into a gothy doom-laden number with a little groove. "Solace Dream"(s) thrashy riffs enhances Hope's bleak melodies all the while throwing in some Black Sabbath inspired doom bits making this a memorable tune.

"Wake The Living" starts bleakly with some extra female vocals (guest vocalist? I don't know) mixed with Hope's haunting melancholly voice creating a sombre sound varied with bursts of death metal blastbeats and sickly vocals.

"Woe" is only a demo/ep, but the production is super with a solid, thick quality and just enough rawness to keep it from being too polished. A great mix. This is a great album, highly recommended for any doom metal fan, just good luck finding a copy.

Decapitated Sheep did eventually find a label in PsychoAcoustiX Records and produced a self-titled full length release which I eagerly awaited for copies to become available. But due to the unfortunate passing of the label founder, Decapitated Sheep's full-length never made it to market. Fellow label-mates Frost Like Ashes were able to find distribution elsewhere.

Sooooo, if Hope or Paul or Tim or Brian (or any new members) of Decapitated Sheep are reading this, Please leave me a comment with how to contact you. I would love to pick up a copy of your full length album.

Now, I guess I just wait.

Coming up next week is a highly under-rated metal-core band called EverSinceEve.

Welcome To The Isle Of Lore.

2008-05-18T17:24:00.000-07:00

I'm still reeling some over Eluveitie's absence from the Canadian leg of Paganfest 2008, however, I won't let that influence my review of their sophomore full length release "Slania". I bought this album after Paganfest and have had a few weeks to enjoy it.

Although I miss the chaotic structures of Eluveitie's "Ven" and "Spirit" albums and their noisy melodies, I have to commend the band on this latest effort and the more organized and focused blend of folk and metal. I feel here the band lets the guitars kick out some fine riffs as opposed to just being heavy rhythm instruments.

The album starts off with "Samon" which is a slower melodic instrumental with their standard folk elements. "Primordial Breath" kicks it up as a darker, faster number utilizing more flute soloing much akin to Waylander. "Blood-Stained Ground" and "Calling The Rain" are similar in style with super heavy riffs blended nicely with folk melodies.

"Tarvos" is a pummeling beast fast and heavy, almost death metal in intensity. "Inis Mona" is a bit slower with stronger folk elements and an Asmegin brutality. "Elembivos" is a heavy epic with an earlier Eluveitie sound. It is instrumental like with repetitive choral vocals, heavy with folk melodies and pretty catchy. My favourite track is "Gray Sublime Archon" with it's Elvenking style folk sound with an uber catchy chorus. That and it's a very moving song.

"Anagantios" is a traditional folk piece with a moving melody and "Giamonios" is a flute soloing traditional piece that's vivid in its imagery. My copy has the more traditional sounding acoustic version of "Samon" as a bonus track which is a nice treat. It's a beautiful piece.

The album shows real growth for Eluveitie as they continue to perform some of the finest folk metal around. They don't skimp on the traditional instruments in studio and in live performances which is exactly why I am very disappointed in their lack of appearance at Paganfest 2008. They would have been awesome to see live!

I do hope they come back to Canada for a proper tour and make it up to me! And feel free to bring Suidakra with you!

(They joined Paganfest after the Canadian leg too!!! aaarrrrrgggghhhhhh!!!!!!!)

With Heavy Hearts We Head On Towards The End

2008-05-11T18:14:00.000-07:00

Tyr's third outing "Ragnarok" sees the band, in my opinion, becoming more focused structurally and balancing out their folk/viking influences without losing the signature Tyr sound. The narrative feel here is epic and really flows through the album. I also found the riffs seem more rooted in metal with a thicker sound.

"Ragnarok" consists of 18 tracks with a number of them being more transitional pieces that really tie the album together. All the while not disturbing the pace. The album begins with "The Beginning" a folkish instrumental with Tyr's doomy riffs and melodies which leads into "The Hammer Of Thor". "The Hammer Of Thor" is a rockier number with more metal based riffs.

"Wings Of Time" and "The Hunt" have a stronger traditional Tyr sound with subtle folk influences. "Torsteins Kvaedi" is a Tyr style folk metal song as with "Lord Of Lies". They are traditional sounding and melodic.

"Brothers Bane" is a slower melancholic narrative with a thick fuller sound and the title track "Ragnarok" feels more sombre and bleak. "The Ride To Hel" kicks off with a heavy crunchy riff leading into a darker, yet moving song.

The transitional pieces vary with "Envy" and "The Burning" having an acoustic folk sound with the later being a touch more brooding. "Grimur A Midalnesi" is a rousing gang chorus of A Capella singing and "The Rage Of The Skullgaffer" is a faster instrumental with some nice guitar soloing and a traditional folk-rock melody.

I have the digi-pack release that comes with a couple bonus tracks. "Valkyrie's Flight" is a boisterous instrumental that is just fun and "Valhalla" is a catchy rocker that seems to feature "Valkyries Flight" melodies.

It's hard to say why I enjoy this album so much more then the others, it just has a comforting feel and a nice flow. I'm thoroughly enjoying it and can't wait to see what "Land" their fourth album will be like. From what I heard at Paganfest it should be dang good!

Up next I'll take a look at Eluveitie's 2nd full length release "Slania"

Hail To The Hammer

2008-05-04T18:16:00.000-07:00

On Tyr's sophomore release we see the band taking a more folk sound with their melodies and a stronger viking influence. This is still Tyr and the growth is subtle. I have the re-release of "Eric The Red" issued in 2006 and this is my first exposure to Tyr. I feel this is a superior album to "How Far To Asgaard" and so when I herd their debut, I was a little disappointed at first, however that changed after further listens.

The album starts off with the epic "The Edge" which establishes the new tone the band has developed. The melodic riffs are still there and the narrative feel, but the song is more thick and powerful and moving. This is my favourite track here.

The rest of the album is therefore a big let down. Nah, just kidding. "Regin Smidur" brings in the strong traditional folk melodies with full on viking chorals. It's rousing and features some fine guitar work. "Styrisvolurin" is traditional sounding as well with a stronger folk element as also with "Ramund Hin Unge".

Tyr's cover of the popular ~drinking~ tune "The Wild Rover" is brilliant. It is crunchy and metal-ish without losing the songs traditional melody. A fun song performed with conviction. If the band had more then 20 minutes at Paganfest, I bet this song would have made the set list.

The title track "Eric The Red" follows in the album openers epic tradition with flowing guitar riffs and narrative structure with a more upbeat sound and reminiscent of their "How Far To Asgaard" debut.

"Rainbow Warriors" follows the "...Asgaard" style as well with a strong rock base, whereas, "Olavur Riddararos" takes that rock base and mixes nicely viking gang vocals. "Alive" slows things down as a hymn-like ballad and the Tyr narrative structure. A beautiful and emotional piece.

The re-issue contains demo versions of "Hail To The Hammer" and "Gods Of War". The difference is negligible, but the quality is good and I like that in my bonus tracks. I liked the fuller sound and further traditional and viking elements here, but when it comes to putting on a Tyr album, I reached for "Ragnarok" which is coming up next week.

... And They Came From Faroe

2008-04-27T18:55:00.000-07:00

Well Paganfest 2008 is come and gone. Unfortunately, Eluveitie drop out of the tour much to my dismay. Local band O'Faolain stepped in to fill out the line up with a decent set of epic black metal. I'll have to keep my eyes on them. I also found out later that Suidakra will be joining the tour starting May 5th. I would have loved to have seen them. Ah well, maybe next year.

Tyr for their part put on a fine performance both energetic and fun. Unfortunately it was only about 20 minutes long. A damned shame if you ask me. Turisas put on a helluva show with full outfits and face paint and a load of energy. And finally Ensiferum blew me away with their technical prowess and aggressive speed without losing the folk elements. A great performance and a powerful end to the night.

They did not have the CD's I was hoping to pick up there, so today I'll be looking Tyr's "How Far To Asgaard"

Tyr is a viking metal band from the Faroe Islands that do a rather unique style of Viking metal. The lyrics are steeped in Norse/ Faroese mythology, however the music is a little different then your standard Viking metal.

Their sound is more rock based with an almost Black Sabbath style riffing. It's like doom metal without the doom feel. "How Far To Asgaard" kicks off with the one of the bands most popular songs "Hail To The Hammer". This is an anthemic, proud song and rousing.

"Sands In The Wind" has a strong rock feel with a nice solo and a faster tempo which is nice because the album doesn't vary much with speed. "Excavation" is a somber tune and a little droney.

"Ten Wild Dogs" incorporates some swirly guitar/bass work and choppy riff work. "Gods Of War" has the most doomy sound with crunching riffs, some nice solo work and a narrative feel. The album closer and title track "How Far To Asgaard" is doom-ish as well with some crushing riffs.

"Ormurin Langi" is a very traditional song that plays like a folk anthem. My favourite track here though is "The Rune". The song is sweetly melodic and almost haunting in atmosphere. A moving tune.

Overall this is a unique and fine start to this bands career. Next week I'll take a look at Tyr's "Eric The Red".

My Way Or The Varangian Way

2008-04-20T17:23:00.000-07:00

Turisas's follow up album "The Varangian Way" sees the band with a bit more focus which I think is in part due to the conceptual theme. It's the story of the Varangian's that ventured eastward and southward through what is now Russia into Constantinople. A fascinating topic. Lately I've been picking up all kinds of Viking themed music and this is a fine album.

The album still has the heavy symphonic sound, but more viking metal style guitar work, and a lesser folk metal feel. There is even a sense of traditional Russian music in the melodies which makes me think of Swinish Multitude's "Paddy's In The Kremlin" just more metal.

The album sets sail with "To Holmgard And Beyond" which is a triumphant symphonic tune with a strong viking metal feel. The clean vocals and gang chorus' enhances that sound. "A Portage Into The Unknown" continues with some beautiful orchestrations that are movie soundtrack quality and a more majestic viking sound. I'm reminded more of Thyrfing style viking metal on this album.

"Field's Of Gold" brings out their Bal-Sagoth style orchestrations and a very theatrical feel. "Five Hundred And One" takes the minimal folk elements into majestically theatrical metal tune. The narrative vocals adds some nice atmosphere. "In The Court Of Jarisleif" is a flat out traditional style folk metal tune with a Russian flavour and a party atmosphere much like Korpiklaani.

"The Dnieper Rapids" is a harsher faster tune with black metal intensity and some crushing riffs. However, my favourite track is "Cursed Be Iron". This song has some killer Einherjer style riffs and is probably one of their more brutal tunes even with the traditional elements. I'm hoping they play this song at Pagan Fest this coming Friday!

The album closer is a powerful majestic tune with a regal, triumphant chorus and an epic theatrical sound. If Symphony X played viking metal this would probably be what they sound like. A huge tune and a great ending.

Everything on "The Varangian Way" just seems to fit and the Russian/Viking themes both lyrically and musically is beautiful and well executed. Turisas is branching out musically with losing their style. They are enhancing it.

Coming up next week will hopefully be Turisas's "Rasputin" ep which I want to pick up at the concert or if not Tyr's "How Far To Asgaard".

Hearts Of Steel

2008-04-13T18:50:00.000-07:00

Another band on the bill for Paganfest 2008 is Finland's Turisas. Turisas's play a mix of viking folk metal that's slightly out of the ordinary. Today I'll be looking at the bands full length debut "Battle Metal".

This album kinda throws me each time I listen to it. It's viking metal at its core, but there is a strong folk element and more symphonic than most viking metal bands.

The album opens with "Victoriae And Triumphi Dominus" which is like a Rhapsody (Of Fire) orchestral intro with viking chorus's. "As Torches Rise" brings the metal in the form of heavily symphonic black metal with folk elements. Like Bal-Sagoth without the narration.

"Among Ancestors" features a similar style of heavy symphonics and black metal intensity. The title track does too with a more triumphant viking influence. "The Messenger" takes those heavy symphonics and blends them better with a sound more akin to Moonsorrow.

"One More" is heavier on the folk side with Elvenking style violin work and a more traditional sound. "Sahti-Waari" blends the folk and viking elements while flavouring it up with their orchestral touch. The album closer "Katuman Kaiku" is a more traditional sounding folk instrumental with the metal styles of say Korplikaani. A beautiful piece.

"The Land Of Hope And Glory" has an Egyptian sound to it and a more groove oriented folk melody. "Midnight Sunrise" is probably my favourite track because of its more focused folk metal feel. With the added female vocals it creates an epic traditional sound like Finntroll and Elvenking.

"Prologue For R.R.R" is essentially an atmospheric narrative, albeit inspiring, that intros "Rex Regi Rebellis". "R.R.R" is a Finntroll influenced folk metal tune with stronger orchestral elements.

Overall, I really enjoy the hugeness of this album, though at times it seems like the band is still waffling between viking metal and folk metal with out truly embracing both. I believe they remedied that on their follow up "The Varangian Way".

That review is coming up next Sunday.

Festival Of Pagans

2008-04-06T17:08:00.000-07:00

Coming up in a few weeks is Pagan Fest 2008 tour which I'll be attending and to get ready for it I thought I'd look at a couple of the bands that are on this tour. Today I'll be looking at Eluveitie a Helvetian Celtic metal. Feel free to check out my review of Eluveitie's debut EP "Ven" here.

Eluveitie's full length debut "Spirit" continues with the Celtic heavy style of folk metal though not as chaotic as on "Ven". "Spirit" feels more organized (not saying "Ven"s chaos was bad) This seems more polished. The sound here mixes Waylander's flute-ish melodies and Elvenking's violin rhythms and add Asmegin's brutality and you might get some idea here.

The album opens with the title track "Spirit" whose traditional instruments set the mood and style before the guitars and such kick in with the metal. Nature sounds carry through this album like on "Ven" and adds some authenticity.

"Aidu" is a traditional sounding tune that's almost atmospheric in its subtlety, whereas "Siraxta" catchy folk groove opens the song for a good minute and a half before the band rocks out with some crunchy riffs. This song blends traditional melodies and metal ferociousness wonderfully. This is my favourite song here. The song takes Celtic music and then adds black metal intensity to it.

"The Gaulish War" leans more towards the metal end without forgetting its folk core, just more brutal. "Of Fire, Wind And Wisdom" takes the folk roots and pummels them with crushing brutality. The same with "The Song Of Life" which blasts into you with blast beats galore and ripping riffs.

"Tegernako" and "The Endless Knot" balance out the folk elements and metal more evenly and is reminiscent of Moonsorrow or even Ragnorok (UK), just not nearly as epic. "The Dance Of Victory" and "AnDro" have a more traditional blend of folk elements in the metal more in line with Waylander and Elvenking though with a Viking style of metal riffing.

Overall, I find Eluveitie to be top of their game in the Celtic metal genre. They don't split the metal and folk like Ragnarok (UK) does and they aren't as brutal as say Asmegin, but rather fall more in line with Waylander with more viking metal tendencies in their riffs and chorus's.

I am looking forward to Paganfest big time and I have a feeling Eluveitie will be a memorable experience. I have yet to purchase the bands new album "Slania". I've been denying myself until the show where I'll grab it and review shortly after.

Up next I'll take a look Turisas's "Battle Metal" album.

Safety First

2008-03-30T16:25:00.000-07:00

Helmet is one of the first Hardcore/Alternative metal bands I listened to. They are not in the same category as Korn, Slipknot or Soulfly, but I still consider them as one the earlier nu-metal bands. Helmet is also one of the only alternative metal bands listed on Encyclopaedia Metallum
who can be particular about nu-metal bands. It is in my opinion that if the Administrators like a nu-metal album then it's okay to post the band, but if they don't then it's NOT metal. That's just what I think.

Anywho, today I'll be looking at Helmet's sophomore album "Meantime". This is the only Helmet album I own (though I did have "Aftertaste" for a while,but decided I didn't care for it and sold it. I do like the song "Like I care" from "Aftertaste" but that was all). "Meantime" is a solid slab of chunky melodic metal with a hardcore edge. This album could almost be considered an early form of metalcore.

The album kicks off with the title-ish track "In The Meantime" which is a mid-paced cruncher with Page Hamilton's hardcore like growl which is used with his most conviction on this song. The riffs are off-timed and grooved oriented. "Turned Out" and "Better" are similar in style, though not as convincing whereas the album closer "Role Model" is a fine example of gritty groove-like noise.

"Ironhead", "He Feels Bad" and "FBLA II" use the off-timed crushing riffs, but with Page's clean vocals the songs feel more melodic. "Give It" is like a hardcore ballad whose soothing groovy riffs beat you over the head pleasantly.

My favourite tracks are "You Borrowed" which is crunchy with clean vocals and a nice melodic edge to the groove-oriented riffs. However, "Unsung" is the topper. It has a darker edge, but super hooky guitar riff. It's simple yet complex in its structure and seemingly comes noisily untangled in a control chaos. A truly fun and memorable song.

Helmet's "Meantime" is heavy and memorable as well as wonderfully laid out. I've thought about getting more of their albums, but I think I'll settle with this gem and stay comfortably in what I know I like with this band.

Anglo-Saxon Metal

2008-03-23T10:31:00.000-07:00

Forefather is an Anglo-Saxon metal band out of the UK who play viking/folk metal with lyrics steeped in Anglo-Saxon history. The self-proclaimed description is their way of avoiding being labelled black metal. I can see where they are coming from seeing as I wouldn't call them black metal anyways. There are black metal styling as is the deal with a number of folk/viking metal bands but these guys stay true to heathen metal.

I only own one album by this duo (the rest of their catalogue is hard to find, but I'm trying!). "Ours Is The Kingdom"is a delicious blend of Twin Obscenity influenced riffing and the rousing battle chorus's of say Tyr and the folk styling of Falkenbach. This is a stirringly brutal album.

The album kicks off with "The Shield-Wall" which is a blistering assault of fast riffs and drums with a triumphant chorus. "Ours Is The Kingdom" the title track and "To The Mountains They Fled" follow the same pattern.

"Proud To Be Proud" is mid-paced and ...well... proud. It's catchy and memorable. "The Golden Dragon" is also mid-paced and rhythmic while the album closer "Wudugast" is more folk influenced a triumphant, rousing edge.

"The Sea Kings" is a thunderous keyboard instrumental that's fun and invigorating. However, "Smashed By Fate" has an edgier black metal sound reminiscent of Twin Obscenity. "Rebel Of The Marshlands" is similar with more clean vocals.

Overall Forefather's "Ours Is The Kingdom" is a brilliant viking metal album reminding me much of Twin Obscenity's harshness, but with more anthem-ish chorus's and folk elements. I haven't been moved by an album like this in a while and though they may not be going far from a tried and true style, they are certainly a head above in their genre.

If I had to pick a favourite I think "The Shield Wall" is the catchiest song here. I do hope to pick more of their albums if I can find them.

Epic Fantasy Metal For The Progressive Metal Crowd

2008-03-16T12:16:00.000-07:00

Anthropia are a french progressive metal band in the vein of Dream Theater and Pagan's Mind. The difference here is the fantasy concept. If (early) Freedom Call or Rhapsody (Of Fire) played progressive metal then we'd have Anthropia.

I gave this album a spin simply because of "Part 1: Journey of the Beginnings" section of the title. I love concept albums and more so fantasy based concept albums. Of course, I was expecting to hear a Rhapsody clone, but what I got was a progressive metal gem.

"The Ereyn Chronicles" starts with the Rhapsody style operatic opening fueling my assumption that Anthropia would be a clone. "Welcome To Ereyn"s orchestral choirs are soon joined by heavy guitars and transition seamlessly into "Question Of Honour". "Question Of Honour" is a progressive metal gem styled after Pagan's Mind, but whose vocals sound more like Drakkar's lead singer. It's a mid-paced cruncher with a nice heavy breakdown.

"Lords Of A World" mixes up the tempo with a heavy, airy sound and starts/stops with great ease. "Through The Sleeping Seaweed" and "Where Secrets Lie" carry an air of Dream Theater influence mostly in the riffs and switch back and forth through chunky heaviness and melodic interludes.

"Lion-Snake" continues the heaviness and introduces some female vocals into the mix as well as some narration. It's melodic and moving. "The Walk Among The Ruins" is a light keyboard piece with a narrative feel and female vocals that transitions into the chaotic progressive epic "In The Maze Of A Nightmare".

My favourite track is probably "Forgotten". The acoustic opening is super catchy with a beautiful melody that is allowed to carry out to completion and not feel cut short before the song moves into more epic metal proportions. The album closer "The Desert Of Jewels" opens acoustically before switching it up into a grandiose mid-paced cruncher ending with a little narrative.

Overall Anthropia's "The Ereyn Chronicles Part 1" can be considered formulaic, but it is performed wonderfully and with conviction. The songs are memorable and although the influences are apparent, they aren't exploited or copycat.

Anthropia's sound is unique and I look forward to future chapters in the Ereyn chronicles.

Metallic Triumph!

2008-03-09T16:25:00.000-07:00

I first heard of Magic Kingdom from a Limb Music CD insert in one of my other CD's. It was just the album cover and nothing else, but I was intrigued. I'm a sucker for fantasy based heavy metal and Magic Kingdom was right up my ally. I was eager to check them out. After waiting several months for their release of "Metallic Tragedy" (and for my local record store to receive it) I gave the CD a sample listen cause I may be a sucker for this stuff, but I don't want to pay for crap.

For the most part Magic Kingdom play straight forward symphonic power metal, though done quite well. What sold me was the epic album closer "Metallic Tragedy". More on that later. The album opens with a short intro "Tazira's Magic Kingdom" whose mystical keyboards and melodic solo seamlessly transition into the blistering "Child Of The Nile". This song is straight-forward power metal with speedy riffs and renaissance style keys (much like Skylark) which I'm not huge on, but as long as there is solid guitar work, it doesn't bother me.

"Master Of Madness" and "The Fight" are similar in style with "The Fight" having a nice slow and chunky breakdown reminding me of Pagan's Mind progressive metal. "The Iron Mask" is fast and melodic and "Flying Pyramids" touching on Sci-fi topics is a pummelling riffster with an up beat chorus. "Black Magic Castle" is a fast keyboard heavy instrumental that doesn't rely on virtuoso, but instead stays focused on song structure and quality.

"Barabas" is a mid-paced cruncher, slowing things down some and is darker with little touches that remind me of Rainbow's "Stargazer". "Another Sun" is your standard power metal ballad not unlike something from Hammerfall, and has a nice melody. "Time Will Tell" is a bonus song on some releases and is my 2nd favourite. It is fast and dark with a catchy chorus and reminds me some of Drakkar.

The best song here and worth the price of the CD is the title track and album closer "Metallic Tragedy". This is a 13+ minute epic metal opera that transcends standard power metal by mixing genres and creating a Gothic sound scape bordering on theatrical. It blends black, death, clean male and female vocals into a surprisingly catchy metal opera. That's not all, the music which opens with Rhapsody (Of Fire) like chants blasts into solid power metal riffing.

The song forgoes a lot of flowery soloing and sticks to focusing on a solid song structure. That's not to say there is no soloing, but instead it it used sparingly and spread out jumping from both guitar and keyboards to further the songs momentum. The song also manages to blast into a killer black metal section. The whole song flows beautifully through its themes and rounding out with death metal vocal narrative (and eluding to a continuing story). A brilliant piece of music.

Magic Kingdom's "Metallic Tragedy" is a solid power metal album altogether, although not necessarily ground-breaking except for the grandiose title track. The other songs, however, don't feel like filler in order pad out a full length album and that's good. I'm looking forward to Magic Kingdom's future work.

Up next is Anthropia's progressive metal gem "The Ereyn Chronicles Part 1"

By The Hammer Of Thor

2008-03-02T17:58:00.000-08:00

Today's post is on the Netherlands symphonic goth metallers Mjolnir. I picked this album up simply because the cover was deliciously cheesy. I mean a scantily clad lady on a flying unicorn, who can pass that up?!? Mind you, I gave it a listen before I purchased it because c'mon, a scantily clad lady on a flying unicorn?!? Who knows what kind of music they'd be playing.

What I heard was completely different than what I was expecting. I thought it'd be getting standard female fronted symphonic power metal. Especially with the bands uber glamour shot in the album jacket. What I got was symphonic gothic doom touching on black and death metal. I hadn't been this thrown since I first heard Battlelore's first album.

keyboards before kicking the album off with a The album begins with "Mysteria" which sets a dark and sombre mood mixing rain and thunder sounds with keyboards that build atmosphere. The title track leads in with a gothic doomy riff and I was hooked in when, after the gothy female vocals, came some death metal growls adding a darker brutal sound.

"Dragon Sword" and "A Wasted Journey" stick more to the gothic sound. "Dragon Sword" is the first song to pick up the pace and really use death metal vocals. "A Wasted Journey" is more keyboard heavy, but is haunting and dark using a nice blend of female and death vocals.

"Falling Into Decay" opens with a crunchy riff and is probably the fastest song here with borderline black metal riffing. "Lost" opens black metally and turns into symphonic death metal. A brutal tune.

My favourite tracks are the doomy death metal ones like "My Sweltering Black Eyes Of Innocence" which uses the style effectively, yet the gothic elements create an uplifting feeling towards the end. The best track is "Times Before The Past" whose doomy bass and bell intro is brooding and dark and builds through an airy Renaissance-like bridge into a crescendo of death, black and female vocal harmonies.

Mjolnir blend styles very well and although I find the guitars not as prominent as I like, they do feel raw and gritty. The atmospheres created here are brooding and bleak and consistent throughout the album. They even successfully use narrative vocals without being terribly cheesy.

There is an airy keyboard instrumental hidden track about 10 minutes after the last track which is nice. I don't think Mjolnir are still together and "Whispering Sorcery" is their only full length release. If you like gothic metal with a little twist and memorable atmosphere, this is a pretty good album.

Up next is a review of Magic Kingdom's "Metallic Tragedy".

God Rules Over My Soul

2008-02-24T16:45:00.000-08:00

Groms, like Corpse, is another Christian death metal band though these guys are more technical. Where Corpse was flat out old school death metal, Groms borrows heavily from Carcass in style, though they are not a copycat.

Groms play groove-laden death metal with thrashy riffs and flashy, but unobtrusive solos packaged into a solid mid-paced album.

"Ascension" was released 3 times with 3 different covers (all are out of print) my copy looks like it was from the 2nd pressing which I acquired from a local used CD store. In my mind this was a great find since I had been reading about this band for a while and was rather curious to check them out.

Starting off with the title track, the album kicks in with a mid-paced groove-oriented riff and you can pick out the Carcass influence almost immediately. The vocals are a more deeper growl, but not incoherent and not cookie-monster like. The song ends with doom style riffing.

"The Riddle" is also heavily groove-laden and mid-paced and "Truth Misunderstood" opens with a strong similarity to the title track "Ascension". The song finds its own, but doesn't stray to far.

"True Wisdom" opens acoustically before kicking into a slower groove. "The Voice Of Righteousness" offers up some more doom style riffs intermixed with more traditional and technical death metal.

"No One" is borderline metal core in its rhythm and picks up the pace some as does "The End Of The Age" which is more traditional death metal and somewhat faster

The album closer is a bonus track "The Just Shall Live By Faith" and although the recording is rougher the tune is straight up brutal death metal. "From Dust To Dust" is probably my favourite track in that it mixes Carcass style death metal with Pantera like thrash riffs. It's mid-paced and hooky.

I wouldn't say Groms is better than Corpse, they are different in their delivery of death metal. If you like old school blastbeats then go with Corpse. If you want more technical death metal Groms is your band.

Lyrically, Groms is unashamed of their Christian roots, but the lyrics are for the most part reflective and thought-provoking.

Overall Groms released a fine album of solid mid-paced death metal and it's a shame that they couldn't grow further as a band in an ever-increasing Christian extreme metal scene.

I'm not sure what will be coming next, but I bet it'll be exciting!

Life Everlasting Metal ...

2008-02-17T12:08:00.000-08:00

When I think of Christian metal, I think of brilliant thrash bands like Believer and Tourniquet, Grindcore/ death metallers like Mortification and Crimson Thorn and unblack metal bands like Horde and Crimson Moonlight. Mind you, I've spent years broadening my knowledge of the Christian extreme metal scene. Most people I know think Christian metal is simply Stryper or to a lesser extent King's X.

One of my goals with this blog was to expose the large and varied Christian metal scene. Today I'm going to look at Kentucky's Christian death metal band Corpse and their one full length release on the now defunct Cling label "From The Grave". I got this album as a replacement for a Gryp cd I ordered from Blastbeats (your source for hard-hitting Christian music) when the used Gryp album was deemed unplayable by the sites administrators.

Mind you, Corpse's album is one that I'd been thinking of so it wasn't a bad trade off and I have recently acquired the Gryp album "Indecision" that I had originally requested so don't worry!

What we have here is old school death metal not unlike Cannibal Corpse and perhaps some influence from Lament. This is raw bone grinding death metal that is not trying to be innovative or ground-breaking, but simply looking to beat their message over the listener's head with some solid crunch.

Beginning with a brooding and dark intro "Left To Die" growls its way into a pummeling death metal gem. Without dwelling too much on individual songs, there is not a ton of variation I'll just say that other songs like "Black Death" and "Deceived" blast the listener with crushing riffs and beats as well as some acoustical interludes which makes me think of Lament.

"Faith" builds into its speed and "The Will" builds on that. Songs like "In Doubt" and "So Called Unity" add some groove to the riffs and melodies while slowing things down a bit. Corpse also sporadically throw in some nice and spastic at time solo's through out.

My favourite tracks are "Regrets" slow crunch and mid-paced brooding. It's a heavy tune with Gregorian-like background vocals that add to its darkness. "Deceived" varied tempo's and crushing riff work is a fine example of this bands grasp of the genre.

If it weren't for the odd ~Jesus is Life~ and ~don't waste your life and believe in the Truth~ type lyrics that seep through with guttural clarity one might not even know they are Christian. Overall, this is a solid death metal album with great production and solid song-writing. My main complaint is that most songs just end with any warning and feel like they've been cut off. They could use a little extra care with outros.

Coming up next I'll be looking at Groms "Ascension" album and more solid Christian death metal.

There's Chamber Music, And Then There's Cavern Music.

2008-02-10T12:14:00.000-08:00

How can I describe what Xathagorra Mlandroth has created musically with his project Catacombs. How does one describe the desolateness and isolated terror brought forth with mammoth sized sound? Well I guess I just did. As I previously mentioned in my last post, my knowledge of Funeral Doom is limited to Ahab and this album "In The Depths Of R'Lyeh" and so far I'm really enjoying it.

Funeral doom is not a genre one listens to a lot I think. It's more of a mood inspired style that one would choose to throw on funeral doom. And this is why there is a limited audience for this style of music. Again, speaking with a limited knowledge of funeral doom, I do find it to be a very vivid, picturesque music bordering on theatrical.

Ahab took the genre with atmospheric keyboards and leviathan-like riffs to envision a bleak watery torment and a man's descent into madness. Here Xathagorra Mlandroth creates a desolate, cavernous eeriness with an unsettling horror slowing awakening as though a mountain itself was moving. To try and break the songs down would be useless.

The first 3 tracks rumble forth with slow, sludgy heaviness and a sinister piercing melody that unsettles the soul. With each track clocking in over 10 min (with the longest passing the 16 min mark) this is a long slow process with subtle tempo changes and melodies tweaks. The behemoth crushing riffs and reverberating deathy vocals take on an eeriness come track 4 and carry through tracks 5 and 6.

There is 20 minutes of uneasiness that resonates through your soul like dragging a boulder through an underground cavern. The melodies eeriness is like discovering that the ever present rumbling isn't the rock settling, but in fact the monstrous Cthulhu (having risen from the depths of R'lyeh) in all it's tentacled horror bringing upon the destruction of the Earth and your the first thing in its path.

"Awakening Of The World's Doom ... (Reprise)" which closes the album chugs away with its mildly speedier tempo to signify the beginning of our end only to fade off and leaves us shivering in its wake.

Catacombs' "In The Depth Of R'Lyeh" is another example of funeral doom's surprising versatility. I often wonder lately why this style isn't used in more movie or tv soundtracks. It's the perfect framework for all kinds of emotional impact. I do hope to explore more of this genre, but for now I'll move onto some more of metal's styles.

Up next ... I don't know. Maybe some thrash, or black metal. Maybe some death metal. I guess you'll have to come back next sunday and find out ... (wink,wink)

Tha'r She Blows ...

2008-02-03T14:23:00.000-08:00

I'm new to the funeral doom genre with Catacombs as my only other point of reference, however Ahab's full-length debut dirge is nothing short of crushing doom/death metal with musical vividness creating powerful and bleak imagery intertwined with madness. "The Call Of The Wretched Sea" is based on Herman Melville's Moby Dick which may seem odd, but Ahab have presented the tale in probably the most musically faithful way via funeral doom.

Starting with "Below The Sun" the album eases us in with quiet keyboards much like the ambient calm of the sea. The rest of this song crashes into us like the massive bulk of great white whale. The riffs are slow and crushing retaining a rhythmic pattern with gothic undertones.

"The Pacific" is a monsterous epic with thunderous drums and a bleak and dark interlude. "Old Thunder" mellows out with an acoustic intro and some sombre guitar soloing. The song then takes a pummelling turn with unsettling keyboards and bombastic riffs. This leads into the ambient and vivid instrumental "Of The Monstrous Pictures Of Whales" which soothes us shortly before "The Sermon" kicks in.

"The Sermon" is my favourite track here. This doom dirge crashes through riffs and verses like Ahab's vessel The Pequod until it slows into an atmospheric interlude with sound bites from John Huston's film version of Moby Dick. This dense "calmness" is destroyed by a crushing riff and thunderous drums much like the great white leviathon on the cover. Once the excitement and fear is over the song slows into a slow reflective doominess.

After this behemoth onslaught, "The Hunt" is on. With refrained crushing doom we are carried along on Ahab's fall into revenge addled madness. This twisty and sickeningly sludgy dirge drags us through the depths of the ocean and one man's inner turmoil.

The album closer "Ahab's Oath" carries a haunting melody with all that is bleak in death metal. The growls are sickening and the melancholic riffs linger. It is depressingly emotional and mind meltingly heavy. A powerful ending to a tragic album.

Ahab have created a musical sound scape of literary classic and opened the doors for future literary interpretations via heavy metal, albeit they set the bar pretty damned high. I cannot imagine a more appropriate and fitting interpretation of Moby Dick. This seems like a one off deal, which is a shame because this is truly a brilliant creation.

Up next, I'll look at my other funeral doom epic Catacombs' "In The Depths Of R'Lyeh".

If I Had My Own World ... I'd Build You An Empire ...

2008-01-27T14:55:00.000-08:00

As on their debut album, Angels and Airwaves (AVA) continue the epic emo-infused U2 style rock anthems on their sophomore release "I-Empire". Being a fan, although not a rabid one, I was unawares of this new album, until I saw it in the local record store. I was immediately intrigued, but sampled it first to avoid being burned by the crappy follow-up syndrome that can plague mainstream bands. I was not disappointed. In fact this album is a step forward and perhaps more grand.

I only needed to hear the opening anthem "Call To Arms" to be sold on this album. It kicks off the album with their signature keys and thunderous drums intertwined with some electronics only to blow me away with an upliftingly moving anthem. The melody is uber catchy and one of their most emotionally impacting songs. While I don't want to suggest the album is all downhill from here, I will say this is my favourite song on this album and altogether by this band.

"Sirens" is another uplifting energetic song with a bright melody. "Secret Crowds" which falls just shy of my favourite song is a Box Car Racer influenced song whose biting guitar riff exposes the wounded hopefulness in this majestically rousing Anthem. And I just love the bells used in the chorus.

"Rite Of Spring" is another emotional punching bag and probably the most personally raw song Tom Delonge has ever wrote. It has a killer classic rock riff while retaining the melodic and passionate conviction AVA is famous for. "Everything's Magic" is an upbeat, fun and energetic song layered with emotional melodies.

The U2 influence is still present, but is more diluted by AVA's ever-growing unique sound. The album's closer "Heaven" uses the faster, upbeat influence mixed with Blink-like guitar riffs to create a whole new sound although never sounding out of place. "Love Like Rockets" is one of the only songs to feature the spacey-sound effects and electronic sounds that spotted their debut, but used minimally here. It's a thunderously upbeat song with U2 nods.

The electronics are used mainly on the short instrumentals that lead into a couple songs. "Star Of Bethlehem" is a Floyd-ian influenced spacey piece that seamlessly transitions into "True Love". "Jumping Rooftops" electronic technoy beat and familiar keyboard melody leads us into "Rite Of Spring".

"Breathe" is a slower moving piece with what I feel are Peter Gabriel like influences. An airy anthem full of passion. "True Love" builds slowly into a poppy upbeat and hopeful tune. A fun song. "Lifeline" is a stirring uplifting anthem with versatile vocal work by Tom, some of his best I might add.

Angels and Airwaves have delivered again with "I-Empire"s anthemic rock masterpiece that has overtaken a consistent listening position in my regular CD rotation. I'm blown away by the emotionally powerful music that Angels and Airwaves consistently produces. It's everything I've loved about Blink 182 and Box Car Racer and enhanced with influences of some of rocks greatest innovators.

You can't miss their influences, but the band blends them together into one of the more original sounding music I've heard. I just hope they can keep up this kind of caliber. With Tom's track record, I'm not that worried just as long as the "we're making rock n roll history" egotism doesn't sour it.

Up next I'll be heading back to The Metal with a review of funeral doom bands starting with Ahab followed by Catacombs.

A Little Death Makes Life More Meaningful

2008-01-20T17:12:00.000-08:00

+44 is the band that Travis Barker and Mark Hoppus of Blink 182 formed after the disbanding of Blink in 2005. Their name is taken from the UK international area code where Mark and Travis first discussed the project. After finding the rest of the members guitarists Craig Fairbough and Shane Gallagher the band began writing and recording and released "When Your Heart Stops Beating" in fall of 2006.

Of course, being a Blink 182 fan and thoroughly enjoying Angels & Airwaves, I was curious to what direction the other 2/3 rds of Blink were taking musically. What we have here is more pop then punk and more alternative sound with obvious Blink melodies with a touch of Cars style rock at times. Just a bit.

Honestly, the album grows on you, but at first it never really stuck with me the way Angels and Airwaves did. The music is more like newer Sum 41 with more mature lyrics and a reflective atmosphere.

The album starts off with the punky "Lycanthrope" which is like their Blink sound and is hooky with a catchy melody. The title track is punk infused rock with heavy keys influence, as is "Cliff Diving" which adds a sunny poppier beat.

"Baby Come On" slows things down and is very much like "Story Of A Lonely Guy" and "Stay Together For The Kids" in their Blink days. It's a sing a long that is reflective and vivid. "155" is the Cars like song mainly due to the keyboards. It's melodic and rocky, with a pop chorus. The acoustically enhanced version bonus track is essentially the same only with more acoustic.

"Little Death" has an Everlast sound with the rap. Mark's vocals are deep and electronic and monotone until the chorus where he belts it out. "Lillian" is an acoustic driven piece that is passionate and poetic. A nice ballad and one of the strongest songs here.

"No, It Isn't" is a response to the demise of Blink 182 and is a spitfire of those who feel burned. It's darker and bitter with lyrics like ~This isn't just goodbye, this is I can't stand you ~. It's aggressive and sharp with an early Blink punk style to it. Irony?

Victoria Asher makes a guest appearance on "Make You Smile" which reminds me of Straylight Run's "Tool Sheds And Hot Tubs". It has a dancy beat and poppy sound. Not a bad song, but a little out of place.

My favourite song is "Chapter 13" the album closer. It's uber catchy and anthemic alternative style guitars. The vocals are nice and the song is passionate and full of conviction.

Upon further listening of this album, I've come to appreciate the songs and realize it's more then the generic pop/post punk album I originally labelled it. It's not an album I dig out a lot and frankly I'd tend to pick up Angels & Airwaves more. But if A&A annoys you and your longing for a more Blink influenced post punk band +44 have put together a beautiful collection of songs and honestly, with a lot less pretentiousness.

Up next, I'll complete this Blink 182 retrospective with Angels & Airwaves second release, and following that I'll be heading back into some extreme metal reviews with write ups on Ahab and Catacombs to kick it off.

If Loves A Word That You Say. Say It, I Will Listen

2008-01-13T11:11:00.000-08:00

During Blink 182's 2005 hiatus, Tom Delonge hid himself away to write and record "We Don't Need To Whisper" with his fellow Angels And Airwaves band mates in his home studio. At this point Blink 182 was done, the rest of the band just didn't know that at the time.

During my research while writing these reviews on Blink and such, I've concluded that Tom Delonge quite possibly may just be a self-absorbed prick. That, or perhaps a musician who has outgrew his current band, but didn't want to leave. However, he was overflowing with melodies that just didn't fit with said current group.

I don't know. Perhaps Box Car Racer was an attempt to satisfy those creative urges without alienating Blink fans, but back-fired. And perhaps the last Blink 182 album was an attempt to compromise, but created an inconsistent body of work. Who knows except those involved and honestly I don't care (though it is a hot debate over the Internet). What I do know is that Blink is ca put leaving fans with a delicious catalogue of pop/punk gems and those members have split into completely different directions.

I'll start today with Angels And Airwaves since they hit the stores first. So what did Tom accomplish while locked away from the medias attention during 2005. Putting together one of the best albums I've ever heard. I remember hearing a song on a work radio and thinking, oooh Blink 182 has a new album out! (This was before I heard any of the hiatus controversy).

After discovering it wasn't Blink, I went to the record store to check it out Tom's new band. What I heard was a post punk/emo sound that was instantly hooky and memorable. Angels And Airwaves sound blends Box Car Racer with early U2 and space-influenced electronics and effects. What this created was a huge rock sound packed full of emotion and performed with conviction.

"We Don't Need To Whisper" begins its odyssey with "Valkryie Missile" whose ambient space themed intro opens into a U2 inspired rock anthem that's rousing and moving. The first single "The Adventure" continues the U2 inspired guitar work with an upbeat and uplifting song that's catchy and anthemic. "The Gift" which is one of my favourites is similar, yet more moving and passionate and resonates through your soul.

The Box Car Racer influence can heard on "Do It For Me Now" which is rhythmic with airy keyboards and a slower melody. "The War" is probably the rockiest song here with a biting riff that leads into an acoustic march-infused anthem with stellar drums and Tom's Soaring vocals. A truly inspiring song full of conviction. "Start The Machine" continues the Box Car sound with the clinking toy keyboards reminiscent of Box Car's "Instrumental". It's a powerful song that builds into a passionate crescendo blending all their influences into the album closer.

"It Hurts" is an upbeat tune that hammers home an emotional punch about relationships with Tom's signature poetic narrative lyrics. "Good Day" is a slow build with some nice keyboards into a thunderous passionate anthem.

Though I'd say that "Start The Machine" is probably the best song here, the one that I turn to on a regular basis is "Distraction". It's super simple and catchy keyboards and powerful drums create a moving melody both emotionally resonant and sing a long-like. It reeks of relevance as it jumps into a hypnotically crushing chorus. A delightful tune that I can't shake from my head.

Angels And Airwaves to me, is the very definition of post punk emo. Their sound is original and thematic without sacrificing melody or commercial appeal. They blend styles faithfully creating a unique listening experience. One of the complaints I've read is that the songs all sound the same (which I disagree with) However, there is a conceptual theme both musically and lyrically that was fully intentional.

If you ask me, this is something special (perhaps not world changing as Tom would have us think) but certainly a damned good rock album. Despite whatever opinion people have of Tom Delonge (D**khead or Misunderstood) he can write some great music and I plan on continuing to following his career closely.

Up next I'll take a look at the other 2/3 of Blink 182 and their new project +44.

Blink Car Racer

2008-01-06T15:32:00.000-08:00

After the bands 2 year hiatus they got together to record a self titled album and the bands last outing. I imagine this is what the band would have put out if Box Car Racer included Mark Hoppus. You can hear the song writing styles of both throughout this album as it's becoming more prominent that their preferences were changing. We no longer have the consistent sound of say "Dude Ranch" and "Enema Of The State", but more of a compromise of songs.

Here we see the band drop all potty humour and stick with a more mature sound both lyrically and musically. I honestly liked this direction the band was taking. How long could they continue singing about masturbation and poo. In fact, only now are Canadian pop/punkers Sum 41 growing into maturity and I'm digging their last couple of releases. After this post I'll be reviewing both Tom Delonge's and Mark Hoppus/Travis Barker's new bands.

This album starts off with the pop/punky "Feeling This" which is moving and shows some nice production styles. It's hooky with Box Car Racer sensibilities. Box Car Racer is present on tracks like "I Miss You" whose acoustic melody is deliciously repetitive as is "All Of This" which features Robert Smith from the Cure as guest vocals. A sombre gothy tune that's haunting.

"Always" features heavy use of keyboards and is more pop then punk and the album closer "I'm Lost Without You" is a slower melodic ballad with a melancholic epicness and a nice drum solo to end it all.

Blink 182's signature sound is not completely lost and I feel this is strongly influenced by Mark Hoppus on songs like "Easy Target", "Go", "Here's Your Letter" and "Asthenia". "Go" and "Easy Target" are fast and aggressive without sacrificing melody or hooks. After a space sound effect intro "Asthenia" is a pop/punk gem which throws back to an"Enema Of The State" style.

The band experiments on tracks like "Violence" which is a funky pop/punk piece that transitions into "Stockholm Syndrome" with a narrative reading of letters written during WWII. The woman is passionate and the simple piano melody create a heartbreaking atmosphere. A very nice bit. "Stockholm Syndrome" is an aggressive punk tune with piano interludes ("Violence" melodies) and some classic dual vocals by Mark and Tom.

"Down"s sombre aggression is uber catchy and has a nice uplifting chorus. "The Fallen Interlude" is the strangest song here. It is a Pink Floyd-ian influenced funk piece with some fine drum work and atmospheric guitars. It's an interesting song which feels a little out of place.

My favourite tracks are the acoustic pieces "I Miss You" and the Cure induced "All Of This", but "Down" is a great song as is "Feeling This". This is not the Blink album I reach for a lot (Dude Ranch and Enema Of The State are my favourites) but I can respect the direction the band was taking. While not completely abandoning their roots, but maturing both emotionally and musically.

It's a shame we won't be getting anymore Blink 182 releases, but as I said, the last couple releases have felt split musically and inconsistent. That said, over the next couple weeks I'll finish this Blink 182 retrospective with Mark and Travis's +44 album and Tom's Angels And Airwaves. +44 is a decent release, but Angels And Airwaves have been on my play lists consistently for over a year with 2 solid releases.

This is coming up next.

Blink Without The 182

2007-12-30T16:36:00.000-08:00

After Blink 182 released "Take Off Your Pants And Jacket" the band took a sort of hiatus. Well Tom Delonge took a hiatus and Mark and Travis waited. Tom used this time to spend with his family ... and record a self-titled album with side-project Box Car Racer. This is commonly thought to be the thorn that started the fall of Blink 182. Tom asked Travis Barker to help on drums, however he recorded all the bass-lines himself and hired Anthony Celestino for videos and touring.

It is thought that Mark Hoppus felt slighted by his exclusion from this project, but who knows what the truth is. Tom Delonge used Box Car Racer to record a number of songs he felt did not fit Blink 182's sound. It is in my opinion that if Blink 182 released an album called "Box Car Racer" featuring those songs, I don't think I would have been disappointed.

I would have been slightly taken aback by the mellower sound and matureness, but in the end I would have been impressed with the bands growth. Blink's last album was showing signs of maturity, yet a little split on its overall sound. The band was looking for a change whether they knew it or not. All the same, this is not the case and Tom Delonge's side-project Box Car Racer served its purpose and after some touring is now disbanded. What is the music like you ask? Well ...

The album starts with their first single "I Feel So" whose discordant piano and mechanical intro leads us into the punky and melodic signature riff. The verses are slower that grow into an emotional chorus and hooky guitar work. This would not have felt out of place on a Blink 182 album. In fact the second track "All Systems Go" is a blink-like song that's catchy and melodic with a pop/punk sound ripped from "Take Off Your Pants"

"Tiny Voices" quirky guitar work and moving bridge is not so different then say "Story Of A Lonely Guy" and "Stay Together For The Kids". And the same could be said with "And I" whose dark reflectiveness underlines the pop/punk melody. Throw in the fast and short "My First Punk Song" which is the most punk song Tom and or Blink 182 have ever done. So far a pretty good Blink 182 album.

The real difference can be seen on the slower songs whose sound is more post punk almost alternative. Whether it's the groovy "Cat Like Thief" with the walking melody and memorable guest vocals and Tom's airiness makes for one of mellowest songs here. "Elevator" groove is repetitive, yet catchy and fun. Mark Hoppus guest vocals on this song so he wasn't completely shunned and bringing in Blink 182's dual vocal harmonies that are unmistakable. A fun Song.

My favourite tracks are the more sombre and reflective pieces like "Watch The World"s quietly moving anthem build into a passionate, yet discordant crescendo. Then there is "Sorrow"s desperate pleading both melodic and crushing. "There Is" is an acoustically driven song that is beautifully heartbreaking and reflective. This isn't boy meets girl anymore, this goes deeper with real emotions. It's a powerfully subtle song and my 2nd favourite on this album.

My favourite song is "Letters To God" which is a bare-bones acoustic driven song whose lyrics passionate in their defiant confusion. It's raw sound is fantastic and enhanced when the electric guitars kick and end the song off in a powerfully bleak and moving fashion.

Box Car Racer is a great album full of catchy songs full of emotions performed with conviction. Whether this was the straw that broke Blink 182's back, maybe, but listening to Tom and Mark's dual vocals singing ~Let's forget this, all move on ~ on "Elevator" to me says otherwise.

A year later Blink 182 released a self-titled and final album. That's coming up next.

Have a Happy New Year everyone!

2007-12-25T12:00:00.000-08:00

I can't remember exactly when I first heard Sound Of The Dead records compilation album "Brutal Christmas: A Season In Chaos", but I remember stumbling across the SOTD records site and they had an mp3 medley of the various christmas tracks available on "Brutal Christmas" and it was at that point that I had to have it. I knew it would be terribly cheesy or absolutely awesome. It is both and I love it.

The main guy at SOTD records had heard Deliverance's cover of "Silent Night" (A touchingly faithful cover with some killer thrash riffing and an slightly darker edge) and thought ~hey why isn't there an album of various extreme metal bands performing their own interpretations of traditional christmas carols? ~ . Now seeing as he owned a record company (now defunct, unrelated to the album I'm sure) and knew of several metals bands who could contribute. He ended up with "Brutal Christmas", a compilation of 11 bands performing Christmas carols like you've never heard them before. This is why I'll be giving each track a little blurb.

First off we have a thrashy cover of "Angels We Have Heard On High" by Archer. This has a great solo riff of the songs melody opening and closing the track. Though a faithful rendition it manages to have some killer riffing and blistering drum work. A shining start.

Next is Kekal's "God Rest Ye Merry Gentlemen" which is standard Kekal fair. Kekal is an Indonesian Christian black metal band who are industrial. It's an interesting mix. Though the melody is not as traditional, Kekal manage to give the song a fresh sound while not ruining it.

Then it's "Mary Did You Know" by Royal Anguish (featuring guest performance by Henrik from Mistral). Royal Anguish do a passionate rendition while sticking to their distinct sound of progressive death metal. The song uses mostly clean vocals and some fine guitar work and keyboards. If Mary didn't know, she knows now!

Frank's Enemy destroy all that is "Lully Lullay" with their performance of "Coventry Carol (Lully Lullay)". It starts off with a renaissance sound and female vocals that are traditional, yet slightly unsettling. The music gets warped and woozy just before the band obliterates any sense of melody with their brand of sickenly brutal death metal. They do slow it up with some crunchy guitar work and a single bell. It's very disturbing and darkly sinister. The song ends with the chilling renaissance sound and female vocals. Oh those Frank's Enemy boys are one of the most brutal metal bands I've ever heard.

The renaissance sound continues on the intro to Frost Like Ashes "Let All Mortal Flesh Keep Silence/O Come Emmanuel" with use of a harpsichord. The the band kicks in with brutal black/death metal rendition of "Let All Mortal ..." It's fast and pummelling. They slow it down into a gothy doom bit while transitioning into "O Come Emmanuel" and once we catch our breath we are blasted again into "Let All Mortal Flesh Keep Silence". There is no silence here.

Tortured Conscience's old school death metal rendition of "Little Drummer Boy" is worth the price of the CD. It is so brutal it's almost silly. It is extreme death metal at it's best. The bone-crushing drum work is blistering, but the melody is still recognizable. Though it may get mocked (featured on the Howard Stern show) they perform the song faithfully with a little touch of good ol' death metal to enhance it. I would have liked to see a killer drum solo here, but maybe that's just me.

Hearken pull of a very melodic death metal cover of "O Come All Ye Faithful". It's mid-paced heavy with some nice off timed drumming and very melodic vocals that defy anyone who says death metal vocals can't carry melody.

I am unfamiliar with the song "Child Messiah" and cannot find an alternate version to compare to (maybe they changed the title?!?) But Death Requisite pull off some nice black metal here with hints of ethnic flavour in some of the melody. Good work

Eversinceve toss off a 7 min version of "O Holy Night" that is pure metalcore. The death/black metal vocals are great and the music is brutally faithful. The heavy breakdowns are mosh worthy and the middle bridge is stirring. But what I love here is the raw emotion inherit throughout the song. It is by far the most passionate song here because of its brutality.

Lucky for Faithbomb that Kekal's "God Rest Ye Merry Gentlemen" is uniquely their own or else we might have had some repetition. Faithbomb's "God Rest Ye Merry Gentlemen (take 2)" is faithful to the melody, one really fast with some brutally heavy breakdowns. at a minute twenty, this is the shortest song here, but it delivers.

Pure Defiance closes the album out with a Christmasy sounding mid-paced thrash rendition of "Joy To The World". It's upliftingly wicked, with some fine thrash work in the middle and wailing soloing. It ends the album on a lighter note without losing the metal edge carried through the album.

As much as I love "Little Drummer Boy" I'd have to go with Eversinceve's "O Holy Night" as my fave, it's just so moving. This album is a must for any metalhead to own and crank through the holidays. I also have a silly cover of "Do They Know It's Christmas" by the Deftones, though faithfully done, is almost mocking, but not quite. As well as a Rush-esque cover of "O Come Emmanuel" with hints of Pink Floyd and new age. I don't know who the artist is though. And lastly if you can check out Korn's disgustingly brutal death metal version of Jingle Bell's... It's brilliant.

This is it for the Christmas posts, but come on back this coming Sunday for my continuation of Blink 182 and their side projects. I'll be starting with Box Car Racer

Merry Christmas and a Happy New Year!!

Christmas In Glam ...

2007-12-24T11:11:00.000-08:00

A friend of mine gave me "Monster Ballads Xmas" which honestly I don't think I would have bought so it all works out. However, it actually is a surprisingly eclectic collection of Christmas tunes. Some covers, some original but all around a decent album that was not quite what I was expecting.

The album kicks off with Skid Row's punky take on "Jingle Bells" which is raw and fun (but it ain't no death metal gem from Korn). It gets the album moving fast. Danger Danger offer up "Naughty, Naughty Christmas" which is a straight rock song and what I expected as is Jani Lane's glammy hard rock cover of "Have Yourself A Merry Little Christmas". It starts off slower and gets fun and peppy in a Warrant way.

Styper's live recording of "Winter Wonderland" is a solid rock song faithful to the melody whilst adding some touches of blues. LA Guns add a bluesy rock touch to "Run Rudolph Run" and Firehouse brings out the grit on the rock n roll classic "Rockin' Around The Christmas Tree". But its Tom Keifer's "Blue Christmas" that reminds us of why Cinderella were masters of Blues rock. It has some nice solo work and Tom's voice is smoother than the rough screech I remember.

Nelson's glammed up "Jingle Bell Rock" is a faithful cover, but the production seems weak and the cymbals get on my nerves and . However, Enuff Z'Nuff's pc ditty "Happy Holidays" is surprisingly catchy. It's a slower rocker, but has some nice hooks. Billy Idols "Christmas Love" is a acoustic folk-like tune with a 60's sound and closes the album off.

The stand out tracks are Queensryche' "White Christmas" is very much what I'd expect from this band from Geoff Tate's soaring vocals to the airy electric guitars adding some nice solos and atmosphere to the crisp acoustic picking. A wonderful version that does lose the songs sentimentality. On the other hand Faster Pussycat's "Silent Night" is almost unrecognizable as a gothic tinged industrial tune. A very cool and funky cover, but not quite the sleazy rock sound I remember them as.

My favourite I'd say is Dokken's heavy cruncher cover "Santa Claus Is Coming To Town". It is a slower mid-paced metal song that adds just enough dark tones to make one wary of this red-suited stranger coming into our homes. A great version.

All around this isn't too bad, but I find I like certain songs as opposed to sitting through the whole album. Though it is a good start in the right direction for more hard rock/heavy metal Christmas albums.

Up next is a re-posting of my favourite Christmas album and it has yet to be dethroned.

My True Love Gave To Me ... A Tattoo Of Ozzy...

2007-12-23T10:21:00.000-08:00

Last year Twisted Sister have done what I hope more metal bands do. Release a Christmas album. I also hope the metal bands do it with the same bravado passion that Twisted Sister does. "A Twisted Christmas" is the first new release by Twisted Sister in like over a decade (sans the re-recorded "Stay Hungry" called "Still Hungry" with bonus tracks). And this is a fitting return to form.

As a Twisted fan, I'm in the ~I love the "Stay Hungry" album and I am not real familiar with their other work~ group and I put the Christmas release up there with "Stay Hungry". "A Twisted Christmas" is a flat out solid hard rock/heavy metal album. From start to finish, it's thick solid riffs and pounding drums and even Dee himself supplies some of his best vocal work.

The album starts of with an acoustic guitar strumming and Dee Snider crooning "Have Yourself A Merry Little Christmas" before a band member (I think drummer AJ Pero) interjects with a ~Hey this isn't Twisted Sister, this is!~ and a thunderous drum beat begins and those solid rock riffs come in to turn this little ditty into a very rocking Christmas carol. The intro reminds me of Kermit, Floyd and Animals cover of "Wild Thing" off of "Kermit Unpigged"

It was quoted in Entertainment weekly last year that of all the covers of this song, songwriter "Hugh Martin" was most curious to hear Twisted Sisters version. If that's not a selling point, then I don't know what is.

How about "O Come All Ye Faithful" done the tune of "We're Not Gonna Take It". That is worth the price alone. I have mixed feeling on this song. I don't know if I should enjoy this brilliant re-imaging or be disturbed that Twisted Sister ripped off a Christmas Carol ... I don't know... ah I just kidding, it's a brilliant move and a great cover. And you can't mistake that killer drum beat anywhere.

"Silver Bells", "I Saw Mommy Kissing Santa Claus" and "Deck The Halls" are all solid crunchy hard rock tunes with anthemic choruses and cool solos. Even "Deck The Halls" has a slight dark, gothy edge to it. Pretty sweet!

"I'll Be Home For Christmas" features a duet with Lita Ford who joins Dee Snider on the mic to make this the heavy metal ballad of Christmas time and a song I'd like to see featured on any number of the Christmas special on this time of year!

"The Christmas Song (Chestnuts Roasting On An Open Fire)" is another slower song, but no less chunky. Some solid guitar work here. And "Let It Snow, Let It Snow, Let It Snow" is almost punk like in energy and has a cool riff.

The goofy album closer "The Twelve Days Of Christmas (A Heavy Metal Christmas)" is not high on my list of favourites here, but its corny heavy metal themed lyrical take on "The Twelve Days Of Christmas" is silly enough to carry me through to the end of the album. It's tongue in cheek, but is a solid heavy metal tune.

For an album I thought would be deliciously cheesy, I was blown away by the solid thick guitar sound and booming drums in what is a surprisingly thunderous production of some Christmas classics. A real treat for any Twisted Fan or of unique takes on Christmas carols.

It's so good, I listen to it all year round.

Coming up tomorrow is my review of "Monster Ballads Xmas".