The Bronx Casket Co. - "Hellectric" (Regain)

Hellectric's sound falls somewhere in the middle of Charon, Sentenced, Billy Idol, Type O Negative and The Cult. A strange mix, I hear you say, but it really does manage to work very well. The music is firmly rooted in the Gothic Rock scene, but Myke Hideous’ vocals seamlessly segue between Ian Astbury’s rawking (The Cult), Billy Idol’s sneer, and the deep, melancholic croon of J-P Leppäluoto (Charon).

“Everything I Got” opens with a riff that even (the highly over-rated) Mastodon would be proud to call their own, so heavy and rumbling is it. The rest of the album is similarly heavy and groove-laden. All the songs have a high level of melody and catchiness, yet rather than pop-Goth - like HIM - they are much more like other Continental European Goth acts (the aforementioned Charon, for example), where the catchiness is created through slightly melancholy melodies.

The only two things that let this album down is the annoying woman bitching on “Sherimoon” (it sounds like an annoying Anime character giggling at the end… absolutely terrible!), and the rather dull, droning “Free Bird” (which is probably how Marilyn Manson would sound, were he to do a song completely stoned).

To further mix things up, “Bleed With Me” sounds like Godsmack’s more grungey moments, mixed with some of Orgy’s better songs (so, stuff from their first album, Candyass).

A very diverse, instantly likeable, highly recommended album!

www.bronxcasketco.com

Burn Season - "Burn Season" (Bieler Bros.)

Oh bloody hell. See, this is why heavy PR on rock and metal sites should be treated with a pinch of trepidation. Advance cuts from their self-titled debut sounded incredibly promising (specifically, “Walk Away”), but the album comes across as a little… confused.

First of all, “Revolution” is simply the worst album opener in the history of hard rock. It’s terrible! It sounds like a reject from the arse-end of the Nü-Metal days, with pseudo-angst and terrible “heavy” vocals (i.e. caterwauling) really made me think I’d wasted my money. Things improved, but the shadow of this first track never left my mind. It’s especially odd as this style of screamed vocals only creeps in once more towards the end of the record – you don’t have to scream, just because you’re in a rock band…

“Perfect” shows the band’s softer side, and is actually one of the best tracks on here. “Falling” and “Addicted” are other good songs.

Overall, though, this album is lacking something to really make it stand out, something to give it a unique identity. Perhaps with time, the band will grow into a sound they can claim as truly their own.

2005 ALBUMS OF THE YEAR - Stef

This year has seen a true plethora of releases that have made the whole rock community sit up and take notice. There have also been a number that slipped completely by the way-side, never receiving the publicity they deserved. Here are the top 15 from this year... (I'm bound to have forgotten a couple, as this year really has been chock-full of amazing records. For those forgotten, I apologise)

15. Rolling Stones - A Bigger Bang

A number of great, older bands released new albums this year, and despite a general weariness for long abscences, they have all been - without exception - true gems! The Stones brought back their sense of rock and roll, and have produced an album that not only sits well within their catalogue, but also on the music shelves in today's stores.

14. Disturbed - Ten Thousand Fists

A choice that will no doubt leave some people scratching their heads in confusion. David Draiman and Co. released a stunning collection of pop-metal singles, and their success in the UK is held back only by the trend-obsessed press who wear too much plaid and thick-rimmed glasses. Muscular riffs, catchy choruses... you know you love it, really.

13. Alston - Voodoo For Fun And Profit

Southern-flavoured rock, with heavy lashings of melody and guitar chunk. If there was justice in the world, they'd be huge, but sadly there's not much. For fans of Foo Fighters who want something a bit heavier and edgier. Make this happen!

12. Sentenced - The Funeral Album

A great band lies itself to rest. The gloomiest sons of Finland, Sentenced changed my view of metal and the gothic scene, opening my ears to many, many new bands. Melodic and melancholy in equal measures, this was everything a party record isn't. Beautiful compositions, superb writing and performances from all members. A fine swansong. The band is dead. Long live the band.

11. The Bronx Casket Company - Hellectric

Gothic and grandiose, The BCC are in the same ball-park as Sentenced and Poisonblack: sweeping melodies, melancholy themes and soundscapes... Perfect for a quiet, rainy night in.

10. Tenebre - Heart's Blood

This album was a pleasant surprise. Another gothic metal album, with only a couple of quirky turn-offs, it's sometimes-bombastic sound and catchy (if often sad) melodies will hook you in on first listen.

9. Alice Cooper - Dirty Diamonds

It's Alice. Better than The Eyes Of Alice Cooper by miles, and as good as all of his early stuff that people cream themselves over. Mixing all the styles that have made him great over the years, Dirty Diamond is an absolute pleasure to listen to - even my dad liked it.

8. Ra - Duality

They've grown up! The Asian and Middle-Eastern influences aren't as prevalent as on their debut, but Ra have manged to retain a sound wholly their own. To compare them to anyone would be folly. Melodic, exotic, rocking, highly memorable. And you can dance to it, too.

7. Hinder - Extreme Behavior

As this has just been reveiwed, below, I won't go into too much detail. Suffice it to say - you need this album.

6. Billy Idol - Devil's Playground

It's Billy Idol up to his old tricks. If "Rebel Yell", "Hot In The City", "Mony Mony", and "White Wedding" were your thing back in the day, then Devil's Playground will suit you absolutely fine - Billy's back to his snarling, combative ways, with a dash of modern rock (a la Foo Fighters, in one instance) to get you all riled up all over again.

5. Within Temptation - The Silent Force

Ah, Sharon... How our hearts sing so... Truly the voice in metal, Sharon and Co. upped the ante for this release: perfect metal with perfect, sublime, gorgeous vocals to carry you off on the weird boat in their video.

4. Soilwork - Stabbing The Drama

It's metal, Jim, but not as we know it! Bludgeoning, fast, technically flawless, big, catchy, melodic, scathing, intense, immediate, hummable, perfect. Melodic Thrash Metal with a heavy lean to the melodic side.

3. Trivium - Ascendency

So much has been said about these guys that there is little else I could add that would mean anything to the hordes of people who have already discovered and started to adore these Metallica-loving metal behemoths from Florida. The singer's 3 years younger than me... Bugger.

2. Sevendust - Next

Soulful, heavy, emotional, groove-laden... It's got to be Lajon Witherspoon and his motley band of Southern musical geniuses. Every Sevendust album-release is an occasion to be savoured and treasured. If this doesn't set your heart racing, or your blood pumping, I really think you're dead...

1. Silvertide - Show & Tell

Rock N Roll in the most classic sense, yet with a modern edge, Silvertide were the victims of the most woefully inept publicity campaign in the history of music. Ignored over here by their own label, Show & Tell never reached the majority of people's radar. Groove, sex, drugs and a welcome sense of fun, this album all but reinvented the '70s.

2005 ALBUMS OF THE YEAR - CMcG

Here's the top-rated albums for our long-abscent writer, CMcG...

This year has probably been one of the finest alternative music has had to offer. Whether you be an indie, punk, metal or grindcore fan, music has had something to offer everybody. Every band has stepped up their game, and almost every new band has made a worthy contribution. To condense this list down to a Top 30 has been incredibly hard. Hope there's something for everyone though.

30 - ROTTEN SOUND - EXIT

Absolute top-notch grindcore. I remember receiving this as a promo in December last year, and it wasn't leaving my CD player. Rest assured, if you like your grind ridiculously violent, this absolute treat is for you.

29 - SUPERGRASS - ROAD TO ROUEN

Oxford's coolest band came back with probably their lightest release to date. However, the beautiful, meandering sound, mixed with a the more confident musicianship, go together to make a delightful album indeed.

28 - ENTRANCE - WANDERING STRANGER

Apparently, it's cosmic blues. Karen O thinks this guy's wonderful. I personally have to agree. A cross between Tom Waits and the White Stripes, you will get lost in this record. Considering how much I paid for it (£1.96?!?), it was a fabulous purchase.

27 - DESOLATION - THE STONE ORACLES

Life-affirming doom metal. My promos seemed to get less interesting soon after hearing this. I think this was more than part due to the overwhelming quality of Desolation's debut.

26 - ART BRUT - BANG, BANG ROCK 'N' ROLL

Just over half an hour of sublime indie. Eddie Argos is a more than charismatic frontman, and the sound is just pure magic.

25 - WHITE STRIPES - GET BEHIND ME, SATAN

Subdued, but this is no bad thing. The new White Stripes album is definitely their best yet, largely because they stopped dicking around and wrote some decent songs.

24 - GORILLAZ - DEMON DAYS

Don't need to say a lot, other than that a darker sound suits Gorillaz far more and Damon was well shut of Blur.

23 - THE PADDINGTONS - FIRST COMES FIRST

It's punk. Not particularly original punk, but who cares when they write such gems as 'Sorry'? Buy if you like the Clash.

22 - DOGS - TURN AGAINST THIS LAND

Obnoxious debut by one of the better London bands. Brattish, biting and very, very cool.

21 - 10,000 THINGS

This band are undoubtedly the coolest thing to come out of Yorkshire. They sound like the New York Dolls, but they dress like the Jam. Every track is a winner, and the ending is particularly funny. Don't miss out.

20 - MAXIMO PARK - A CERTAIN TRIGGER

Newcastle's latest prodigies are clearly heavily influenced by Television, and the NY punk contribution does them a favour. Sharp, catchy and with some fabulous singles. 'Graffiti' will pack moshpits for years to come.

19 - THE FORECAST - LATE-NIGHT CONVERSATIONS

The Forecast were a bit of an unusual signing. Unlike metalcore stars Atreyu, The Forecast are a fine mix of soulful indie, grunge and some of the more powerful hardcore. This is accessible rock music for people who are just a tad bored of the Foo-fighters-esque dirge. Lovely clean vocals too.

18 - THE SUBWAYS - YOUNG FOR ETERNITY

Pure, unadulterated rock, very much in the vein of The Jam and The Clash. For a band so young, this is a terrific debut. Definitely worth a look.

17 - CORALIE CLEMENT - BYE BYE BEAUTE

Sarcastic, sultry and possessing a very arousing voice, Coralie Clement is everything French music should be but often isn't. Fantastic acoustic melodies compliment a superb vocal performance. Perfect French pop.

16 - THE CORAL - THE INVISIBLE INVASION

Psychedelic rock courtesy of Liverpool's finest. They get better with every album, and tracks like 'Arabian Sand' confirm The Coral as one of Britain's most exciting bands.

15 - DEPECHE MODE - PLAYING THE ANGEL

A subdued return for Depeche Mode actually sees them releasing one of their best albums to date. It is very much an old-school goth record, but it's brilliant nonetheless, and while there's nothing new to speak of here, the rehash of the old is done to great effect.

14 - KATE BUSH - AERIAL

Kate returns after twelve years, releases a double album, and finally manages to better 'The Dreaming'. Eighty minutes of eccentric, ethereal pop. Single 'King of the Mountain' barely begins to touch the surface of a record with so many surprises in store. To be honest, most of today's female solo singers still can't compare.

13 - COLDPLAY - X&Y

Coldplay's best to date, but very much following in the vein of the 2nd LP. Having said that, It was a wise move to avoid being too ambitious though, as every track is pure gold. Not one for your average metal fan, but definitely one for someone who appreciates brilliant musicianship.

12 - PUSSYCAT DOLLS - PCD

They used to be baroque dancers; now they make R'n'B. I'm sure there's some logic there somewhere.... This album should be dire. However, it's really not. I'd go as far as to say that this is the best R'n'B album I've heard in years. Funky, infectious and very, very showy. But what do you expect?

11 - JULIETTE AND THE LICKS - YOU'RE SPEAKING MY LANGUAGE

Ok, she may be a film star, but one listen is enough to tell you that Juliette Lewis was wasted in movies. Garage rock done by someone who clearly loves music more than anything. The passion shows.

10 - DEATH CAB FOR CUTIE - PLANS

Beautiful lo-fi album, which confirms Death Cab as the masters of mellow indie. Every song is stunning, but the exceptional 'Your heart is an empty room' won't fail to tug at your heartstrings.

9 - THE CAVES - THIS WAY TO...

Twenty-three minutes of blistering ROCK. Don't expect anything fresh, but do anticipate something essential. The Caves are to modern music what the NY Dolls were to punk - not major players, but without them, you'd be lost. One of the few records you simply have to buy.

8 - THE DEPARTURE - DIRTY WORDS

Northampton brings us yet another New Order copy. Or do they? The Departure are far better than The Bravery, and significantly more talented songwriters than the Killers. I doubt they'll last longer than two albums, but what a pair of albums they'll be.

7 - KANYE WEST - LATE REGISTRATION

Hip-hop with the unique flavour of cynical mockery. Kanye West has done wonders for the genre, and this latest LP goes to show why gangster rap is utter rubbish. Funny, well-written and incredibly poignant rap music.

6 - BLOC PARTY - SILENT ALARM

So uniform, so well-played, so impossible to get rid off. This album reminds you just how brilliant rock can get. The fact that the album needed to be remixed soon after release is testament to just how cool it is.

5 - FRANZ FERDINAND - YOU COULD HAVE IT SO MUCH BETTER

How to describe this album... Like the first, except heavier, darker and with far more bite. Thought Franz had peaked with their debut? No bloody way. Practically every track makes you want to jump around and hit someone.

4 - THE OTHERS - SELF-TITLED / EDITORS - THE BACK ROOM

Needless to say, I raved about this record. I still maintain that I was right to. This is brattish, energetic rock that has neither aged over the past few months, nor lost any of its kick. Dom Masters adds an energetic performance to an already incredibly raucous record, and the effect is effortlessly sublime. / This will bring the Top 30 to a Top 31, but on a par with the Others was definitely the Editors' debut, which manages to recreate Joy Division's sense of foreboding to marvellous effect. This is an equally terrific record, with every song possessing more than a stylistic nod to the great Ian Curtis (R.I.P)

3 - ANTONY & THE JOHNSONS - I AM A BIRD NOW

It's like the musical equivalent of haiku. So much beauty, pain and emotion captured into just 35 minutes. Mixed with Antony's marvellous voice, the impact of this album just can't be described in words.

2 - BABYSHAMBLES - DOWN IN ALBION

I know what you're thinking - how did Doherty avoid the top spot? it's simple - I think Doherty's a magnificent songwriter, and this album borders on flawless, but while he proves once again to be a genius of our age, there is something better than Babyshambles' model CD of indie anthems.

1 - DEAD FLY BUCHOWSKI - LAND OF THE ROUGH

If someone suggested marrying the bluesy sound of Entrance with the Pixies and the Ramones, no-one would agree to it. The very thought sounds barbaric. DFB have done just that, only the Glasgow band have pulled it off, and it's awesome to listen to. From the first time I heard 'Russian Doll', I was hooked. I have no doubt that you would be too, and when you consider that, by some travesty of music consumerism, this album can be bought on CD for less than a pound, you really can't afford not to invest in DFB's debut.

2005 closes, with possibly some of the finest albums I have ever heard. If 2006 can top it, I'll be very surprised, but hey - let's just get pissed on snowballs and ponder the possibilities.

Fort Minor - The Rising Tied (Machine Shop/Warner Bros.)

I’m not really sure how to review this one. As one half of Linkin Park’s vocal element, you might think that Mike Shinoda’s ‘solo’ album would hold some interest for his existing fan-base. As a big fan of Linkin Park’s albums (actual albums, rather than their ‘mash-up’ with Jay-Z, which had a limited shelf life), I was rather surprised by this completely hip-hop (apparently totally underground, no less!) album.

I gave it to a fan of hip-hop to listen to, and they said it was actually pretty good. True, the tunes are all very nice, but that’s all that really drew my attention – very much in the vein of b-side “Step Up”, which is kind of what I imagined this album would end up sounding like. I’ve never been able to sit through more than one rap/hip-hop song at a time, before I start wondering how on earth do people manage to sit through an entire ‘gig’ of this?

Some of the guest vocals are very nice – Holly Brook is very talented, but the rest all sounds the same. I couldn’t tell you which verses were done by Mike (except on “Petrified” which has the refrain “Hi, my name is Mike…” – awesome…) or one of the many guest stars.
So, if you really, truly can’t live without anything done by any of the members of Linkin Park, then get this – you’ll be so confused! If you were a fan of last year’s Collision Course, but wanted less melody in the vocals, then get this. If you like underground hip-hop, then also give this a go, especially if it’s all you listen to (though, quite why you’d be reading this magazine is beyond me, if this was the case).

Demon Hunter - The Triptych (Solid State)

This was always going to be a difficult one to review objectively. It’s better than their sophomore release, Summer Of Darkness (2004), which received full marks, but in all honesty I can’t give this the same, simply because that would have required the band to shoot out so far beyond their contemporaries and perhaps break a little more from the Metalcore template they faithfully adhere to.

Still following the same path as Metalcore luminaries Killswitch Engage, Demon Hunter have continued to infuse their metallic music with some truly wonderful melodic choruses. Ryan's vocals can be as scathing and brutal as those of any hardcore veteran, but it is in the increased number of melodic passages that his talents as a singer really shine.

"Unholy", the current single, is a perfect showcase of what the band are about: brutality and beauty. The guitars seem a little slower overall on The Triptych, which is no bad thing, but sometimes is can let down the thundering pace.

With the harsher sounds coming across as more and more dated, and less interesting, the band have thankfully made a stab in the right direction, carving out the way they apparently intend to tread in the future: still heavy, but with more bonafide singing! More please.

www.demonhunter.net

Trapt - Someone In Control (Warner Bros.)

Trapt are a band the UK music press was destined to loathe. Soaring choruses, commerical to the core, it was not especially surprising for them not to feature to prominently on magazine covers. Simply put, this is a shame.

There is a place in the world for shiny, pop-infused rock. This fact is ably proven by the continuing success of the excellent Nickelback (I don't care that it's cool to dislike them, they sure know how to pen a catchy tune, and Chad's deep guitar sound is simply superb).

There's no real departure from the successful formula the band used on their eponymous debut, but the band has certainly grown more confident in their writing and performances - definitely audible on the whole album, with a lot more of the songs being memorable, rather than on Trapt, where there were only three really good tracks, while the rest were simply good.

If you're after simple (though not simplistic), melodic, new-age arena rock, then Trapt are your band.

www.trapt.com

Korn - See You On The Other Side (Virgin)

There's something exciting about the release of a new Korn album. Despite critics constantly writing them off as past their prime and suggesting they are no longer relevant (which happened a lot in the UK, with the release of this album), the Bakersfield Boys have produced a varied, engaging, challenging piece of work.

Anyone interested in Korn will have no doubt caught "Twisted Transistor" already, but for those who missed it, you're in for a treat. Quite possibly Korn's best single, with a solid song-structure, catchy-as-clamydia chorus, deliciously irreverent lyrics, a more industrial sound and excellent musicianship throughout.

"Politics" and "Hypocrite" show that the band still have some steam to vent, and that being rich and famous rockstars hasn't completely softened them since the anger and exasperation of their bruising debut.

It's a little difficult to compare this with their other works, as they've made quite a departure from their usual sound. Some have called SYOTOS "Untouchables Pt.2", which although not a bad likening, is perhaps a little off-putting. Untouchables confused a lot of people, with Korn swirling their way across the whole musical spectrum (to superb effect, though it was let down by commercial sales), showing us what Korn was really capable of. SYOTOS further pushes our understanding of what these guys can achieve, as well as reiterating the scope of their skills. "Throw Me Away" could easily have come from the Untouchables sessions; mournful chorus, dark atmospherics, and quite melodic in a depressed-kind-of-way. "Open Up" is another quality track, playing on Jonathon's distinctive vocals and heavy atmospherics - never letting the tune get away from them, but never underplaying the chorus.

Now, it's not all great. "Twisted Transistor" is preceded with a minute long silence (as part of the track), which is completely irritating. Sadly, things do get a little wobbly in the middle, with some songs (the average "Love Song") not displaying the usual calibre we've come to expect. Perhaps this is down to them being different, or the higher level of experimentation. The Darth Vader-and-bagpipes ending of "10 Or A 2-Way" is also a little annoying.

If you weren't clever enough to buy the special edition, then you've really missed out on "It's Me Again", which to me is one of the best songs on here! With a great catchy chorus, in Korn's typical style, churning, bottom-heavy grooves and Jonathon's vocals really on top form, it's really a wonder this wasn't included on the main disc. "Eaten Up Inside" doesn't quite have the same class, with a slightly more industrial-meets 80's pop sound going on. "Last Legal Drug" is yet another departure, led by a funereal guitar riff (proving Munky can go it alone, without departed Head's input), and Jonathon's mournful vocals.

Overall, this album won't return Korn to the heady days of Follow The Leader, but it should convince the earlier doubters that the band are far from has-beens, and still have a lot to give to the world of rock and metal. Sometimes it pays to do things noone was expecting - including the band's decision to use primarily pop-producers.

www.korn.com

Naio Ssaion - Out Loud (Napalm Records)

Violins are not total strangers to the rock genre - indeed, they are often used as backing instruments to add depth and atmospherics to Gothic and Black Metal albums. Slovenians Naio Ssaion, however, have decided to elevate the instrument to one of the main elements of their sound, giving them a whole new sound of their own.

Some might think this wouldn't work too well, given the heavier guitars and drumming on display here. Their sound bears large resemblances to that of Evanescence - the guitar riffs have the same, deep metallic edge of Ben Moody's (particularly on opening number "Static"), and vocalist Barbara can often sound like Amy Lee.

Thankfully, this is not mere imitation. Songs like the perfect "The Mirror" are sweeping soundscapes full of violin-led emotion (probably sadness) and melody, raising the odd goose-bump in the process.

Barbara's vocals are now in English (previous album Numedia was solely in Slovenian), and are more eloquent and meaningful than 99% of British pop. Granted, that was a given, as international non-English-speaking acts tend to be far better lyricists. Yes, some of the themes are slightly adolescent, but when you consider the musical technicality and skill on display, that is quickly forgotten.

Not wanting to be overly-analytical, this album will appeal to all fans of melodic, female vocal-led "gothic" rock. Barbara's gorgeous vocals, Rok's classical violin, Mic's pounding drumming, Lenart's bass, and the heavy twin-guitars of Tine and Luka - all these elements combine to form one of the best rock albums of this year.

If you are familiar with the work of Evanescence, Die Happy and Guano Apes, then you will have a pretty good idea of what these guys sound like. Add to the mix some Apolcalyptica and you'll be at the right spot.

Raunchy given a new lease of Life

Danish "Futuristic Hybrid" metallers Raunchy have recently signed a multi-album deal with Lifeforce records!

Their new record, Death Pop Romance will be released towards the end of February 2006.

Good to have them back.

Aphasia - "Fact & Fiction" (DRT Entertainment)

Fact & Fiction was produced by Trapt vocalist Chris Brown. And you know what? It's so obvious... Aphasia, although a good band in their own right, owe a lot of their sound to bands like Trapt - often coming across as a plagiaristic. Everything from the vocal melodies (not to mention the style) and guitar lines are just far to similar to both Trapt's eponymous debut, and their sophomore release, Someone In Control. These similarities are particularly noticeable on songs like "House Of Cards" and "Away From Me". The latter cut actually sounds like many more bands out there at the moment, with a decidedly Emo flavour (only not so wimpy).

This is not to say that the album is not an enjoyable listening experience. Far from it, it's just so predictable, and the predominant thought throughout was, "I've heard this before...".

Lead single, "Flatline", is a huge, commercial, melodic rock song that will undoubtedly have many people bouncing along happily. But, apart from this song, the rest of the album just doesn't cut the mustard. Every song is very safe, tame and fells sanitized. Following the long hype-campaign, this left me feeling rather hollow and jilted.

Enjoyable and melodic, but ultimately forgettable.

Hinder - Extreme Behavior (Universal)

This album is another rare diamond that got a little lost in the industry crush. Released with little apparent fanfare or promotion, Hinder’s new album resides in the same park as Silvertide, Beautiful Creatures and Forty Deauce trying to re-create the classic rock ‘n’ roll sound and ethics of AC/DC, Guns ‘N’ Roses, early Aerosmith.

However, to make them stand out in the crowd, Hinder’s sound has a slight grunge tint to it – not immediately recognisable as influenced by any band in particular, but songs such as “Stoned” and “??” certainly have the groove and introspective feel of such leading Seattle natives Pearl Jam and Alice In Chains.

To find stand-out tracks on this album would be impossible; every single one of the ten tracks on here could make successful singles on rock radio stations across the globe. Even the closing track, "Coulda, Shoulda" is musical gold, and as one of the strongest tracks on the album, destroys the notion that albums tail off at the end.

If you get one rock album this summer, make it this one.

System Of A Down - Hypnotize (Universal)

I think I might actually be impressed! After the rather plain, predictable “Attack”, the sublime chorus and melodies of “Dreaming” showed to me that Serj Tankian (vocals) and Daron Malakian (guitars, vocals, and principal song-writer) are capable of writing superb rock songs.

The same can almost be said about “Kill Rock ‘N’ Roll”, which has a great chorus, with the song spoiled by the less contemporary vocals that are sprinkled into the song. The melody is fantastic, too. “Tentative”, too, with the layered vocals and Serj’s distinctive singing voice makes for very pleasant listening.

This is what annoys me about System Of A Down: they clearly have the talent to pen some truly phenomenal songs, yet they have this innate aversion to doing anything contemporary or consistently.

Whereas avoiding pack-mentality can be good in come instances, when it’s avoided to the detriment of the overall sound of an album, I think it’s a real shame. All their hits have been very commercial, so for them not to capitalise on this is reprehensible – it’s not a case of they would be selling out, they’d merely be focussing on their strengths.

When they hit the right notes – particularly in the form of their melodies and choruses – the band are great, but unfortunately there is far too much on here that I would consider mediocre or cause for a severe beating (“Vicinity Of Obcenity” and “She’s Like Heroin” in particular).

Overall, though, despite the admirable spread of influences and styles, this album still lacks the accessibility I like in an album. There’s no reason a band like System Of A Down should be releasing albums that are less accessible than the most extreme Death Metal album. Nobody wants to listen to an album that makes you tired – we want to be entertained, yes, but we don’t have to struggle with it. Hypnotize is, however, so much better than Mezmerize, and therefore I’m very pleasantly surprised.

I have an inbuilt aversion to pretension, which I often feel permeates System Of A Down’s output to such a degree that it often becomes unlistenable, placing them in the same category as The Mars Volta.

Allele - Point Of Origin (Corporate Punishment)

This album proved to be one of the few this year that truly lived up to expectations. With quite possibly the strongest 3-song opening of any album released this year, this is mainstream metal at its very finest.

“Closer To Habit”, the initial single release is an angst- and hook-filled 3 ½ minutes of musical perfection. The two songs preceding it, “Fake” and “A Different Someone” are equally fantastic, with the former being my own personal favourite.

Kelly Hayes, one of the band’s guitarists, was formerly in Cold (one of America’s most highly underrated bands), and there is a slight tinge of a similar sound to a lot of the material on here. But, Allele are not a band trying to play off another band’s successes; this is a band who have created their own, melodic-yet-driving hard rock sound that should appeal to a wide range of music fans, and not only rockers.

A variety of styles and tempos (though thankfully nowhere near as eccentric as System Of A Down), Point Of Origin is a very fine debut album indeed, and fully deserves your attention. The only reason this didn’t receive full marks was because although not sounding like anyone per se, a lot of this is familiar ground. Also, from the strength of the first three tracks, the rest seems to dull a little.

www.allele.com

Sevendust - "Next" (7Bros./Roadrunner)

Without a shadow of a doubt, Sevendust's Next is one of my albums of the year (it was tough to choose between this and Silvertide's Show And Tell). Sevendust have been going from strength to strength over the course of their five album career, consistently releasing better and better albums. Their debut was treading familiar water for the times, but certainly since Animosity, the band has carved out their own, distinctive and immersive sound.

Very much rooted in the scene of America’s Southern States (Dark New Day, Stereomud, Drowning Pool, and so forth), but with the added x-factor that is Lajon Witherspoon – possibly the best vocalist in metal today (if not ever).

“Hero” opens the album with some well aimed fury and anger, starting the album in a way that harks back to first two albums Sevendust and Home.

Able to switch seamlessly from gruff barks to crooning soul-infused singing, Lajon brings the greatest dimension the band’s sound. The singing is similar to Howard Jones’ (Killswitch Engage), but far more sonorous and powerful.

Guitarist John Connolly’s riffs are superb throughout the album, adding muscled tones and textures to this album, complementing Lajon’s vocal styles and the rhythm section perfectly. New-boy Sonny Mayo (formerly of Snot and Amen) also lays down some superb riffs, fitting nicely into the hole left by departed Clint Lowery (he went on to join Dark New Day). Still no guitar solos, another fact that help them stand out from the current glut of NWOAHM and Metalcore bands.

The rhythm section throbs, rumbles and thunders their way throughout the album. Drummer Morgan Rose also adds some more extreme screams to certain songs (such as the aforementioned “Hero”).

It’s not clear whether this album will allow Sevendust the chance to enjoy the mainstream success they so rightly deserve, but with ever greater acceptance of heavier music, it beginning to look more and more likely every day.

Picking individual songs that you should check out is difficult, as the album works best taken as a whole, single piece of work. “Ugly”, “This Life” and “Pieces” are excellent cuts, though, if you want to start somewhere.

Melody, power, skill and style. One of the few perfect metal records.

www.sevendust.com

MWRI Online

After months (and months) of problems surrounding our official website, I have decided to try something a little different.

This will, for the meantime, be the MWRI presence on the web. I will post reviews, interviews, news and so on up here for all to read and - most importantly - comment on! It will add a nice element of reader-participation, and also allow record labels to upload their own comments to articles (correct mistakes, add interesting tid-bits, or whatever takes their fancy).

Expect things to start taking off properly in the next week or so.

Enjoy!