Re:Ignition - "Empty Heart, Loaded Gun" (Corporate Punishment)

After a rather disappointing Summer and Autumn, it warms the heart to finally be hearing some excellent albums coming out. At the top of the pile is definitely this debut from the Bay Area’s Re:Ignition. Unlike other highly anticipated albums of the year, Empty Heart, Loaded Gun surpasses all expectations.

Featuring two former members of Skinlab (Steve Esquivel on guitars and Snake on bass), the band is treading a different path from their former project. While Skinlab was adding more accessible elements to their music (check out 2002's ReVolting Room for some introduction of gruff melodies), Re:Ignition are a whole different, more melodic beast.

From the opening bars of “Short Memory” (a sure-fire hit if it was released as a single) to the final notes of the title track, which closes the album, your ears are not violated by a single bad note. Every single song on this album displays a passion, groove and overall song-writing skill that has been lacking in the rock/metal genre for some time. More than a fistful of these songs could easily be singles ("Head On" a particular favourite, sounding like a song Sevendust wish they wrote), and it would be a shame if the band weren’t given every opportunity to shine and reach as many people as possible.

Vocalist Dave Moore is, for me, the star of this album. Deep, melodic and groove-infused, his singing throughout this album is superb. From his more gruff moments (the doomy "Take What You Want") to the excellent, sweeping melodies of “Lies And Money” and the excellent “Spinning In Circles” (sublime pieces of music from every angle), there’s not a single bum note or bad choice of style. Think of a more passionate, less depressed grunge singer, and you’re getting close.

A difficult band to describe, as their sound is truly their own, Re:Ignition are a critic’s conundrum. Evoking the groove and atmosphere of Sevendust or Stereomud at their most soulful, while not sacrificing any of the muscle behind the songs, Re:Ignition have created the most accomplished metal record of the year. There are hints of a Soundgarden influence, but also a nod towards the Bay Area thrash scene that spawned them. Perhaps the greatest achievement of this album, though, is that Empty Heart Loaded Gun also has that rare quality that makes it an album for any occasion. As a result, it has been the only album I’ve listened to since I first got it one week ago.

My final opinion? This is the album of the year.

http://www.reignitionmusic.com/ / www.myspace.com/reignition

Trivium - "The Crusade" (Roadrunner)

I suppose this was inevitable. Riding high on the awesome response to previous album Ascendancy (2005), Trivium release an album that doesn’t quite live up to expectations. Whether this is because Ascendancy effectively came out of nowhere and was a sucker-punch to the jaw of the over-saturated metalcore scene, is not clear. But, The Crusade, although sprinkled with promising dashes of genius and song-writing excellence, just doesn’t have the same impact.

Take the lead single, “Anthem (We Are The Fire)”; not only is it not a very good single, it’s a little boring and very repetitive. Nothing about this song really made me sit up and think, ‘Wow, the boys have done it again!’ There is a wonderful guitar solo in here, though.

“Detonation” (a song released by the label before the album’s release) would have served lead-single duties far better, with its incredible sung-verse and chorus. But, even here, the song is held back by the rather boring beginning, with Matt Heafy’s gravely vocals prominent over his much better singing voice – the chorus towards the end is one of the best I’ve heard all year. To be fair, though, Heafy’s vocals are much better throughout the album as a whole, if tamer.

Metallica is clearly a heavy influence, as has already been pointed out by everyone who’s come close to this album. Thankfully, though, Heafy’s sung passages make the album stand apart from most other bands, and Corey Beaulieu’s impressive, melodic and catchy guitar solos are simply sublime on this record. If anything, I think perhaps his progress has been greater of them all.

The songs blend into one mass, seeming to be a single song interrupted by excellent melodic choruses. Which, on the surface, might sound great, but when the stuff in the middle will sound like something you’ve heard already, it’s not so good. The final, title track is an 8-minute instrumental that is more jam session than sublime musical passage. Disjointed and ultimately self-indulgent, it wasn't the best way to finish the album.

A pity, but it’ll still sell shedloads. If this album came before Ascendancy (and therefore a younger band), it would make sense, paying strong homage to their influences. But, it doesn’t, so I’m a little disappointed. This should have been the chance for Trivium to solidify their identity as an original force to be reckoned with.

Ultimately, The Crusade sounds like a step backwards. Not necessarily a bad step, but a step backwards nonetheless.

www.myspace.com/trivium / www.trivium.com

Evanescence - "The Open Door" (Wind-Up)

After a 14-million selling debut album, there was a good chance future releases from Evanescence would sell quite well. This will no doubt be the case with The Open Door, but there is a question about whether or not it really deserves similar success? After the departure of main songwriter Ben Moody, Amy Lee and friends were eager to say things would only go from strength to strength. On the strength of first single “Call Me When You’re Sober”, we looked forward to another album full of chunky guitars, sweet vocals and a hint of so-called ‘goth’ influence.

How disappointing, then, what we were actually presented with. The Open Door is nowhere near as good as Fallen (2003). While many complained that the debut was over-polished and too pop, the sophomore release sounds like a demo. Considering the sales figures for Fallen, this is frankly unacceptable.

The only song that seems to be properly produced and mixed is the aforementioned single. “Call Me When You’re Sober” and “Weight Of The World”, at least, have the bombast and huge sound that we are all familiar with. The rest of the album, well… let’s just say I’ll be giving it away a couple of hours after writing this review.

The rest of the album sounds largely forced. “Sweet Sacrifice” opens the album with a familiar sounding atmospheric (definitely heard before it on Fallen). Amy Lee’s voice, clearly the focal point of the song sounds pained and a little grating. In fact, a lot of the album sounds like rewrites, with many of the same tricks and melodies (or at least very similar ones) being used. Yes, it helps us recognise that it’s Evanescence, but the band should have branched out more, especially with more people on the writing team this time around. Also, vocal histrionics are not a good thing in a rock album.

Listenable, but largely disappointing.

www.evanescence.com

Eighteen Visions - "Eighteen Visions" (Trustkill / Epic)

Eighteen Visions have done something very weird with this album. Previous album, Obsession (2004), re-tooled their sound for something more commercial, yet still edgy. This eponymous release sees the band changing their sound yet again.

With this album, the band have trodden a path of more conventional song-writing and more rock-oriented, distancing themselves yet further from the hardcore scene that spawned them. Take, for example, “Truth Or Consequence”, which is a great, conventional and catchy rock song. Perhaps the best on the album.

“Broken Hearted” is pure pop. That, in itself, will likely scare a number of kohl-wearing boys off this album straight away, but in actual fact, it’s not a bad song. Bordering on saccharine-sweet, with the young-choir singing “You left me a little bit broken-hearted”, the song is still very listenable.

The choir-like choruses seem to be a new-found love of the band, cropping up not only on “Broken Hearted”, but also opening track “Our Darkest Days” and “Burned Us Alive”.

There are still songs that bear a great deal of resemblance to those found on Obsession, however, so the band probably won’t completely alienate their existing fans. “Pretty Suicide”, “Victim” (which has nice mosh-pit stomp potential, and is the well-chosen first single - check out the cool video on their MySpace) and “Black And Bruised” are notable examples of this. There’s plenty of deep, rumbling bass, too. These bottom-heavy moments offset the more poppy moments very well.

If marketed well, this album could potentially reap them a huge number of new ones, though – just as Avenged Sevenfold’s City Of Evil (2005) reaped them oodles of critical- and fan acclaim (for an album that was actually rather mediocre, if not completely sub-par, in my mind).

This is a really good album. Catchy, well written, full of memorable melodies, with some pleasantly heavier parts, and a very modern, competent rock sound. But, the band is probably going to annoy a number of their long-term fans… Which would be a real shame, as they’d be missing out on a very good album.

Not to worry, if people are able to grow with their favourite bands (something seemingly lacking in the rock and metal community) then Eighteen Visions have produced an album that should have them laughing all the way to the bank, with an increased fan-base.

Good stuff. Certainly much better than the bands who seem to receive all the attention these days (My Chemical Romance, Aiden, et al.). Well worth your hard-earned pennies.

www.eighteenvisions.com / www.myspace.com/eighteenvisions

Muse - "Black Holes & Revelations" (Taste)

The ‘new Radiohead’ accolade was spread so thin in the late 90s, that people began to stop caring about it. Practically every band received it, and most had no time for it. Ironically, on song-writing alone, Muse were the new Radiohead. Showbiz is a remarkable CD, and subsequent albums, particularly Absolution, showed off a band that was unlikely to suddenly peak and then fade.

However, this is the follow-up to Absolution. How do you follow such a phenomenal album? Do you do a Coldplay and produce more of the same, or do you do what Muse have done, and steer in a totally different direction? That’s right - all but gone are the dirty rock riffs and almost punky atmosphere. The Muse of 2006 is very much the Joy Division of 1980. Power has been substituted for electronica and obvious attempts have been made to ensure that this album is more commercial than the previous.

Does it detract from the quality? God no. “Starlight”, “Assassin” and the superb first single “Supermassive Black Hole” are all symbolic of a band still very much at their best. But it is not as instantly gripping as Showbiz. But then, only about five albums in the past few years have been, and one of those was another Muse album. There is no denying that hardcore Muse fans will be disappointed with this record. But even saying that, there isn’t a bad song on this album; just songs that are different from what most of the band's fans are used to.

All in all, it’s a bloody good record. That is a given. However, if Muse want to keep the bulk of their existing fanbase, the next album should really be another Absolution because a second one like this will not be enough and they could well find themselves ending up like Radiohead at about the same time in their career.

CMcG

www.muse.mu

Takota - "The Ivory Tower" (Ares/Revelation)

Opening straight away without preamble, the soaring title-track is an excellent way to start an album. Full of energy, soaring melodies and tight musicianship, the song lays down the blueprint for what is to come.

Hailing from the OC (place, not TV show), you can probably already imagine the style of melodies Takota use throughout their album. However, unlike fellow scenesters, these guys aren’t pretending to be Goths – there’s no kohl in sight!

Takota have managed to craft a sound that is entirely their own, without being completely unfamiliar. Produced by Atreyu’s Brandon Saller, the album sounds crisp and modern, but thankfully Mr Saller has allowed the band to stick with their own sound. This is not Atreyu Mk.II!

“Satellite” and “Lioness” suggest that this band could very easily steal some record sales away from the likes of Lostprophets, Taking Back Sunday and Thursday and, with these bands doing rather well in the charts, Takota should be able to reap some deserved rewards. Sitting comfortably with their peers, but still apart, they should cause a few people to sit up and forget about My Chemical Romance and Aiden (until they are distracted by Kerrang’s next it-band…).

Metal Hammer described Takota as being “girly” and “floaty” at times, which they seem to have decided was a bad thing. Just because a band decides to not overdose on testosterone and leave out the screaming doesn’t mean they’re “girly”. Taking Back Sunday are as girly, if not more so. Also, Grant Arnow might just be the only person in that scene who can actually sing properly, with a decent range…

If you want a summer record, without diverting too far away from the Emo scene, then Takota’s The Ivory Tower is perfect for you. Full of rock anthems, you’ll be singing along in no time. This is unashamed pop-rock for the new generation.

Strong melodies, groovy rhythm and varied guitars that steer away from overly simplistic structures suggests the band are capable of perhaps still more, despite the strength of this debut.

http://www.takota.com/ / www.myspace.com/takota

Panic! At The Disco - "A Fever You Can't Sweat Out" (Fueled By Ramen)

The U.S. can be accused of many things, but producing bad music just isn’t one of them. Modest Mouse, Death Cab For Cutie and Giant Drag have all made waves in the past year or so, and indeed, it's getting to the stage where the U.S. is about the only place left where you’re guaranteed to source a good album. Personally, hailing from a country that – up until now – has prided itself on being a great cultural nation, I think the prospect of America overtaking Britain as the source of quality indie music can only be daunting. We gave the world Oasis, Sleeper and more recently, the incredibly successful Kasabian, the Libertines and Bloc Party. Much as I love the likes of Death Cab, they're hardly blessed with sing-along anthems.

This being the case, Panic! At The Disco are a very strange band indeed. Yes, they are American, and yes, they are arguably Indie, but their sound is not in keeping with the rest of the US scene. In fact, the titles of their songs aren’t in keeping either... “The Only Difference Between Martyrdom & Suicide Is Press Coverage”? “Lying Is The Most Fun Women Can Have Without Taking Their Clothes Off”? This is one of three things: the finest Indie album ever made, the most eccentric Emo album ever made, or possibly the most appalling dance album ever made.

One of those would have sufficed, but in a very gracious, weirdly pleasant surprise move, Panic! has decided to have a go at making a mix of all three. Oh, the wackiness! In fact, by the sixth song, “Time To Dance”, you just don’t know which genre the band fits into anymore. This has both positive and negative effects. On the one hand, you have to praise the band’s brave decision to experiment. On the other hand, this is arguably originality taken that bit too far. No particular style sticks, and although the songs are catchy, they are also quite clearly designed with a view to controlled experimentation.

This album could have been stunning. In fact, based on the hype, I was expecting something so remarkable that the album of the year would be all but decided. However, I’m actually a little disappointed. If the band hadn’t held back to the extent that they have done, this CD would have been phenomenal. As it stands, you have a well-conceived, original pop album. You don’t have what I expected though, and you could argue that Panic! have sold themselves short with this debut. Still, not to worry. Bands who produce debuts that fall short of the standard tend to make sublime second albums, if only to prove themselves and make up for lost time. Kings Of Leon are the ultimate example of this; their second album, in complete contrast to the first, was actually enjoyable to listen to.

Give it time and Panic! will be brilliant. For now, they will do well, but they’re capable of greater things.

(A Fever That You Can’t Sweat Out is in shops now, and I recommend it if you fancy an interesting change.)

Brigade - "Lights" (Mighty Atom)

A varied and thoroughly British album, Brigade's Lights is a fine example of rock and emo fusing together in a seamless manner. As a debut album, this is very polished and professional-sounding. The band have a confident, solid sound that should hold them over through a promising career.

"Magneto", the opening track of the album, sets things up nicely with a gentle easing in followed by explosive guitars and energy. Will Simpson (lead vocals and guitar) sounds a little American on this track, but it's still great.

"Meet Me At My Funeral" has delicate interludes (complete with what sounds like a triangle tinkling in the background), while at the same time having almost Funeral For A Friend-style wails and cries on top of driving guitars and great rhythm.

There are comparisons that can be drawn with Placebo at times ("Made To Wreck" and “Adjust”, for example), though far from plagiaristic, Brigade are perhaps paying homage to a band that has influenced them (much as Trivium pay homage to Metallica). Like Placebo, Brigade never let things get away from them too much, which is perhaps the only criticism of Lights - a little more... verve and bombast would have gone a long way. At the same time, not pandering to a simple radio-rock-pop single format means the band has a recognisable, pleasing sound. Other points of comparison would be Jimmy Eat World and Muse (if they were less flamboyant).

One of the best things about Lights is the way delicate moments are balanced effectively with heavier, more emo moments. They don't really fit into any particular scene. Artrock is present, rock, indie and emo all are nodded to throughout the album. They're a breath of fresh air in the cloying abundance of Emo bands that are clogging up the radios (My Chemical Romance, Aiden, etc. ad infinitum...), and prove that ridiculous clothes and a Hitler comb-over* aren't necessary to make an impact.

Distinct, intriguing and satisfying.

www.brigadeworld.com / www.myspace.com/brigade

* I find it astonishing people haven't been able to see the similarity between the Fuhrer's quoiffeure and the hordes of Emo-kids running around their town centres...

The Forecast - "In The Shadow Of Two Gunmen" (Victory)

Victory made an interesting call with The Forecast. The band's debut was a fantastic rock album, with some of the most exciting songs I'd heard in a long time, but was it emo? Or indeed, was it hardcore? Not at all. This act came from left-field and produced a sound that, while derived from various well-known styles, was fairly unique. This, their second LP, is a whole different animal, with the opening track (“Everything We Want To Be”) feeling like, if anything, a Kasabian track. Part of you expects the band to cover Ian Brown tracks for the rest of the CD. Thankfully this isn't the case.

“And We All Return To Our Roots”, followed by “(May You One Day) Carry Me Home”, show the band in business-as-usual mode. This is excellent emo-indie, with memorable guitar riffs and the expert merging of male and female vocal harmonies that is almost a trademark of The Forecast’s sound. “One Hundred Percent” and “Some Things Never Change” are two slower, more emotive songs and the mix of Kasabian-style crowd pleasing, emo explosions and sentimental ballads make for the most consistent opening few tracks encountered this year.

What follows is a refrain, followed by the blistering “A Fist Fight For Our Fathers”. This has been offered as a taster on MySpace, and it’s easy to see why. One listen to this track would make you pre-order several copies. Aggressive emo-core meets alt-country in a way that would somehow satisfy both moody emo kids and Ryan Adams sympathisers alike. This weird re-invention of alt-country continues on “Every Gun Has Its Own Tomb”. On an album that seems to have three very distinct parts, you are left in no doubt that this is the experimental section.

If Part One was the rabble-rousing section, and Part Two was the experimental section, then it stands to reason that Part Three will be the comedown. Freaky obsession-themed ballad “You’re My Needle” leads on to the frankly magnificent “West Coast”, which is The Forecast’s rock sound at its very best. From there, weaker, more melancholy track “It’s A Long Drive” leads in to the brilliant closing track “Welcome Home”. This track is so relaxing, at the same time as being very anthemic. I anticipate the waving of many a lighter at concerts.

I waited just over a year for this LP, and I think I can honestly say it was worth it. Better structure, better songs and experiments with styles that make this probably the most original record released so far this year. I look forward to seeing how it does in the charts, but one thing is certain: Hawthorne Heights, Fall Out Boy, Funeral For A Friend – watch this band very closely. They’re your future competition.

CMcG

www.the-forecast.net / www.myspace.com/theforecast

Rikets - "Anything For The Devil" (EP, Corporate Punishment)

These guys know how to tear it up. The opening bars of "Useless" are so groove-laden and... dirty. It's a wonder these guys haven't caught the ears of all fans of metal, seeing as their sound is commercial while retaining the metallic sheen that will ensure your parents never listen to them.

Mixing deep grooves, industrial sounds, harsh and gruffly-melodic vocals, and metallic guitars, Rikets are like a less goth Marilyn Manson, with more Fear Factory in their music and more Hard Rock in their vocals. The southern-sounding backing vocals and harmonies (not unlike Full Devil Jacket's sound) make the mix more interesting than your average metal band. Another nice different is there use of fewer d-tuned guitar riffs, so they have a piercing quality to them.

With melodic vocals playing more of a role in the background, and as complementary harmonies, rather than as obviously separated as Metalcore bands love to do oh-so-very-often, songs like "Hollywood" and "Blister" would sound awesome coming over the speakers in a rock club, and in a live setting would bring the place to it's knees.

Powerful, angry, abrasive, yet catchy.

www.rikets.com / www.myspace.com/rikets

Shenoah - "Bleeding In The Red" (EP, Corporate Punishment)

Perhaps a little odd reviewing this, as two founder members (Jason Hager and Ben Hollowell) have started to focus on another band, Years Of Fire. Nevertheless, this EP is definitely worth a listen!

Coming from the increasingly noteworthy metal label in America, Shenoah are another band blazing the return to proper hard rock - there's no "-core" in here, there's nothing "nu-" about it, but there's plenty new.

Formed from the ashes of a number of bands that fell victim to the great music cull of the late 1990s and early 2000s, Shenoah have every quality necessary for a band who want to succeed, not to mention the skills to do so.

Soaring melodic choruses, low-end guitars, hard-hitting vocals, hooks to drag you along with the music. Sure, it's nothing completely new, and a lot of Corporate Punishment's bands are in the same genre, but this doesn't mean they're all copyists or devoid of original ideas. Shenoah are possibly at the heavier end, incorporating harsher sounds and verses than labelmates Allele and Switched.

Bleeding In The Red is only a short EP, a brief introduction to the band. As soon as they get their first complete album complete, there's no reason these guys shouldn't make a dent. It also means that, when the albums comes, they should have ironed out all the creases to their sound (just as Switched managed for their second album).

The only criticism is the spoken-word jolt in the middle of "Age Of The White Dove", which ruined the flow of an otherwise soaring, blood-pumping song. On the other hand, "Ashes To Ashes" is an incredibly emotional song, and one that could easily tear up the charts on either side of the Atlantic.

www.shenoah.com / www.myspace.com/shenoah

Satyricon - "Now Diabolical" (Roadrunner)

This is how black metal should be made! I've never been much of a fan of Black Metal, but if everything was this good, I'd be a major convert.

The perfect production and huge sound make this stand above lesser Black Metal bands, who often suffice with sub-standard production because it is more underground - despite sometimes making their records sound like complete garbage, regardless of initial song-writing quality.

The variation on this album is another facet of its greatness; from the pounding opening bars of "Now, Diabolical" to the delicate piano and clean and choral vocals on "The Pentagram Burns".

Ferocity and speed have been pared back a little, Frost (drums) claiming that it doesn't have to be fast to be heavy. He's spot on. Take just the first two tracks "Now, Diabolical" and instantly likeable "K.I.N.G.", and you'll hear crushing musicianship with huge hooks, without any reduction in weight.

Satyricon have produced an easily accesible, yet resolutely furious album that should open them up to a whole horde of new acolytes. Varied, yet distinctly a cohesive body of work. Gloriously unique and black to the core.

Commercial Black Metal - stick it in your dictionaries now.

www.satyricon.no

Switched - "Ghosts In The Machine" (Corporate Punishment)

Another band who could have quite easily disappeared completely off the face of the planet, Switched were given a new lease of life after signing with Corporate Punishment Records. Finally able to release new material after their well-received debut for Immortal Records, Subject To Change (2002), Ghosts In The Machine is a compilation of work that would have made up their sophomore release, as well as demos and EPs from along the way.

If you happened to have caught their previous album, then you'll be pleased to know that the band has grown considerably, finding a sound that is far more their own, and less nu-metal. The mixing of harsher vocals and melodic choruses is still present, of course, but far from being the standard metalcore blueprint, Switched are more in the same area as Soil, Drowning Pool and the others of that ilk. Opener "Save Myself" is a perfect statement of intent that displays the band's whole range perfectly.

Where Subject To Change wasn't immediately cohesive as a single body of work - "Four Walls", "Inside" and "Walk Away" were clear singles, but the rest didn't quite reach the same calibre - Ghosts In The Machine feels a lot more like a band expressing themselves in a single body of work - odd, considering it's effectively a compilation.

The music is far more confident, skillful and immediate. Clearly, the band has grown as a unit, with everything meshing brilliantly.

"Like Suicide" and "Empty Promises" would make good singles - softer, more plaintive vocals (a little like Gavin Rossdale's in Bush, or perhaps Chester Bennington from Linking Park), and an understated, but uplifting chorus (despite the lyrical context). Electronics and beats have been thrown in for an extra layer of detail, and it certainly manages to improve a number of the songs. Never overused, and often understated, it's a welcome progression. "Shattered" is a swirling mix of sounds and vocals - definitely my favourite song on here.

Their new home at Corporate Punishment means Switched should fit in a lot better with their labelmates - Allele, Rikets, Shenoah, Trigger Point all are similar in that they mix heavy and melodic, without compromising on punch and never 'selling out', yet manage to not sound like anyone else out there. Every song offers something new and different, yet equally a pleasure to listen to.

Melodic, catchy, powerful, more unique, and weighty. Great stuff.

www.switched.tv / www.myspace.com/switched

Khoma - "The Second Wave" (Roadrunner)

On first listen, Khoma's second album would fit quite nicely next to your Coheed & Cambria records.

"The Guillotine", a gloomy gothic-movie soundtrack style introduction, with soft vocals and strings (probably a cello) is a great hook to get you into the album. Non-bombastic, quiet yet slightly chilling, it wasn't at all what I was expecting.

Guitars make an entrance on "Stop Making Speeches", upping the tempo and level of heaviness. It's a good song, but apart from the meaty chugging guitars, the harmonics are a little grating.

Very proggy, with lots of tempo changes, melodic and soaring vocals that fail to really engage, but otherwise highly listenable stuff. As background. Hints of Radiohead are audible, which is okay I guess, but ultimately means it sounds like we've heard this all before, and can come across as a little limp ("If All Else Fails")...

Lacking the flair and panache of Coheed & Cambria, this band are probably not going to make as much of an impression, but if you're lucky enough to get your hands on a copy of The Second Wave, you will certainly be in for an interesting musical experience. Could have been better, though, and less sleep-inducing.

Not your usual Roadrunner fare.

www.khoma.net

Lacuna Coil - "Karmacode" (Century Media)

Italy's finest Goths produce highly commercial, much-hyped 5th album.

To be perfectly honest, I was originally a little disappointed with this, when I first heard it. The album sounded a lot more... pop, sweet, and Evanescence-like. It's not a particularly bad thing, but I was really hoping for something with more stomp, especially after reading interviews where band members announced Karmacode to be heavier and more metal. To that, I simply reply: "I think not."

Let's start with the first single, "Our Truth", which promised so much. Huge chorus, crushing guitars and the occasional cleaner grunt from Andrea (male vocalist), who sounds much better on this album. It sounded huge, and I thought to myself, "Cool, they've done another cracking album!" - though they spoil it with the most bizarre ending (volume fades out, there's some weird guitar-string noise, and then a final chord).

But, having now heard the album in its entirety, I have to say it's not so cracking. I'm all for bands toning down the ferocity and heaviness to shift more units (surely you can only stay really angry at the world for so long?), but when it's to such an extent that Evanescence (seriously, "Tourniquet" and "Going Under" have more stomp than some of Karmacode) sounds heavier... well, that's a touch too far.

"Fragile" and "To The Edge" are good enough, for sure, but each song starts very similarly - the chorus of "To The Edge" is quite similar to "Our Truth". In a way, this is a good thing, because it means that album works very well as a whole, rather than singles. "Within Me" does have a beautiful melody to it - perhaps their version of "Immortal" (Evanescence) or "Stand My Ground" (Within Temptation).

Bonus track "Enjoy The Silence" (Depeche Mode cover) is pretty cool - Cristina and Andrea harmonise during the chorus, which works extremely well. Recognisable, yet not a direct cover. Very good ending to the album.

I sound like I've been very harsh on this album which is perhaps unfair. It is a good album, very well written and should send them stratospheric in sales and popularity (it would be more justified that HIM's meteoric rise, too...).

On the plus side, the CD has oodles of enhanced material for you to enjoy (videos, wallpapers, etc.).

Melodic, enchanting, but not as heavy as it could have been...

www.lacunacoil.it

Faktion - "Faktion" (Roadrunner, USA)

The long-awaited album from these American rockers proves that patience is a virtue. The eponymous debut is a cracking slice of commercial hard rock, in the vein of Dry Cell, Egypt Central, a stripped-down Linkin Park (if you take out Mike Shinoda's rapping and Mt Hahn's input), and some similar elements as bands such as The Calling, Kutless, Falling Up and Our Lady Peace (trans: not afraid to wear their hearts on their sleeves occasionally, toning down the "rawk" from time to time).

You'll find the full mix of styles and tempos on Faktion, ranging from the rocking openers "Forgive Me" and "Control", to the more soulful and emotional "Six O'Clock" and "Distance". The band clearly wanted this album to showcase everything they could do, not just what they felt would sell gazillions of albums (though, given the backing, there's no reason they shouldn't...).

A new take on a busy genre, Faktion offer something a little more contemporary and devoid of cliches. Roadrunner made a good move, signing these guys, padding out the more commercial end of their stable (Nickelback, Theory Of A Deadman, etc.)

Having done the rounds on MySpace and various other web-based mediums, expanding their fanbase from the ground up, I would be very surprised if Faktion don't make at least a small splash in the melodic hard rock genre.

A thoroughly satisfying album, and one that should have rock fans the world over happily humming and bouncing along to. Great stuff.

www.faktionband.com

Rob Zombie - "Educated Horses" (Geffen)

Educated Horses sees Mr Zombie implementing a more musical sound. Previous albums had the feel that they were produced in order to be remixed (particularly the incredibly popular Hellbilly Deluxe which was a little dull on its own).

Now, the music is more conventional, with a great amount of groove, some added bluesy elements and great guitar crunch.

Zombie’s vocals are still his “spooky” rasp, but again more conventional and actually melodic. He sounds more like a less-angry Edsel Dope (Dope) than he did before. There’s more of a Rock ‘N’ Roll sneer to it all, now – like Guns ‘N’ Roses or Beautiful Creatures, while still instantly recognisable as Rob Zombie.

Still eclectic and mixed – take the eastern influences in “17 Year Locust”, Educated Horses builds on the sounds created by Alice Cooper and also Rob Zombie’s previous works (including those with White Zombie), creating a very cool, groovy album.

“The Scorpion Sleeps” is perhaps the best song on the album, with a very Marilyn Manson-esque, huge and bouncing riff underpinning a great party song (think "mOBSCENE" from The Golden Age Of Grotesque, but with a distinct Zombie flair).

Overall, this is a major improvement on what came before. Yes, certain remixes will forever be immortal, but Educated Horses is a more conventional rock music album, and for this reason Rob Zombie’s music career should continue to grow, despite his predilection for directing movies now.

It won’t set the world alight, and doesn’t re-invent the wheel, but pleasantly much better than expected.

www.robzombie.com

Soil - "True Self" (DRT Entertainment)

Soil are back with a new vocalist and a sort-of new sound.

Overall, this album does exactly what it says on the tin, really. If you want heavy guitars, gruffly melodic vocals and pounding groove, then Soil have once again delivered on this, their 3rd album.

But - and it's a sad fact that there's a but - True Self doesn't quite live up to expectations. Scars (2001) and Redefine (2004) were flawless examples of a talented band blending the groove and grunge of Alice In Chains with heavier metal elements of Metallica and Machine Head (in my opinion). Ryan McCombs, the previous vocalist (now with Drowning Pool) had the perfect voice for the type of music they were producing - gruff but not too gruff, melodic without being too pop or commercial. Soil's new vocalist, AJ Cavalier is equally talented, but different. When he actually sings, he hits it perfectly, but his growls sound a little too generic.

"Last Chance", for example, sounds like the mid-point between old Soil and Machine Head, only lacking the panache and punch of either. The title track and "Give It Up", on the other hand, sound excellent, with melodies creeping back to the fore, utilising a good amount of weight without compromising on accessibility (something bands are sometimes prone to doing).

The second half of the album is the more melodic and 'commercial' half, with AJ using more melodic, yet still gruff vocals. First song "Fight For Life" is a little flat, which initially made the album a disappointment. It grows on you, though.

So, ultimately a good album, only I think they could have done a bit better. Musicianship is still very high quality, and the band sound tight as ever. But, it has left me eagerly anticipating what the new Drowning Pool are going to sound like...

Powerful, crunchy, gruff and accessible.

www.soil-music.com

Atreyu - "A Death-Grip On Yesterday" (Victory)

With their latest, highly anticipated album, Atreyu have thrown a bit of a curveball. Instead of producing The Curse Mk.II, the band has decided to alter their sound to something more refined and mature. Now, this doesn't mean the band has got rid of the roars, the churning and melodic guitar riffs, the dual-vocals and the emotion from their signature sound. This is still Atreyu, after all.

Indeed, the band has managed to refine their sound, making it far more focussed. On first listen, the album sounded muted and less... impressive. But, with continued listens, I found the album to be better than the curse. Its melodies are better performed (especially the vocals, which do weigh heavily on the clean side, rather than the powerful screams we know Alex Varkatzas is very skilled at delivering).

Lead single, "Ex's And Oh's" is excellent, and a perfect example of how the band has progressed with their songwriting. The structure, the melodies, the riffs and the rhythm section all mesh together seamlessly. It's nothing like "Right Side Of The Bed" or "Bleeding Mascara" (both from The Curse), which had everyone bounding about their rooms like apes on speed, but certainly it has enough energy and emotion to get you moving.

In fact, that can be said for the whole album. The emotion and content of the album is more mature and skillfully written and performed. The band are older, so perhaps they decided to diminish the power and ferocity for something more thoughtful and meaningful.

Let's just make one thing clear, though: This is not shoe-gazing emo. Far from it. The band still sound very much like the Atreyu you've all come to know and love. A Death-Grip On Yesterday is the band stepping out further on their own and spreading their musical abilities. A natural progression from their previous two hit albums.

Emotional, melodic, powerful, essential.

www.atreyurock.com

End Of You - "Unreal" (Spinefarm)

Following on from their stunning, self-released debut EP, End Of You return with this, their first full-length record for Spinefarm Records.

Melodic, evocative, emotional, romantic, dark, achingly beautiful, and atmospheric. All these words could describe End Of You's sound. Firmly in the Gothic Rock genre, the band have some of the trademark elements that are audible in all those bands. But, unlike others in the growing scene, End Of You are more sedate, preferring sweeping atmospherics to bombast.

They are not somnambulent, though. Some people might find Jami Pietilä's vocals a little droning, but if you listen, you'll hear that he pours a huge amount of emotion into his deeper singing. This is helped across by the perfect production - the sound is crisp, clean and pitch perfect. This was a given, though, as Spinefarm rarely hold back on production standards.

Similarities can be easily drawn between End Of You and Depeche Mode, who utilised many of the same effects and styles. This is no bad thing, though, as End Of You have brought the electronic Gothic Rock scene into modern times, infusing it with greater emotion and drive than any of their predecessors. Yes, there are comparisons to be drawn with Entwine and Charon, but End Of You is much more of an atmospheric band than rock band.

Stand-out tracks are: "Walking With No One", "Upside Down", and "Liar". (Though really, they're all good.)

Beautifully dark and sad, this album is perfect for the long, cold, winter nights.

www.endofyou.net

Katatonia - "The Great Cold Distance" (Peaceville)

A band that just keeps on going, Katatonia release their 7th full-length album, The Great Cold Distance is a fantastic return to the scene. Most importantly, they are still unhappy.

Utilising much of the same styling as found on Viva Emptiness (2003) and Last Fair Deal Gone Down (2001), The Great Cold Distance does, however, reinject some of their earlier, heavier moments.

The guitars are deeper, and more immediate, while Jonas P Renske has reintroduced some harsher vocals. Though never allowed to run away from the overall atmosphere being produced, they add a welcome dash of variation into the mix.

Each song is extremely dark and sweeping. Don't expect anything you can dance to, as this clearly isn't their MO. For all the pretenders out there, peddling their Gothic Rock to the teenage crowd, Katatonia's latest is a reminder that they have no idea. Mixing perfectly elements of Gothic Metal and Doom, yet keeping it sufficiently well paced to ensure a better level of commercial viability, The Great Cold Distance would make a perfect addition to your collection.

More modern, crushing, but equally depressing.

www.katatonia.com

Caliban - "The Undying Darkness" (Roadrunner)

This album turned out to be a little disappointing. Their previous album, The Opposite From Within (2004), was somewhat of a landmark Metalcore album, both more ferocious and more melodic than many records already out there.

The Undying Darkness, however, sounds a little rushed. Not to mention, almost exactly the same as The Opposite From Within.

Sadly, this means there's not too much to say about this. Second album "I Rape Myself" has perhaps the only moment to raise an eyebrow. There's something delightfully irreverant about a beautifully sung chorus with the main refrain "I rape myself, but don't know why...". Not sure what it means, but it made me chuckle. Probably a metaphor for something, but not a very clever one.

So, Caliban are continuing to plod along in the Metalcore furrow, worn deep by the hordes of immitaters and copyists. The genre has lost most of its appeal, and bands really aren't doing enough to keep the listeners' attentions piqued.

Unfortunately, the album is very formulaic, and the riffs sound too familiar. Instead of pushing boundaries - something I'm sure the band could have pulled off with aplomb, if enough attention had been paid to the idea - the band have just redone their previous works.

The songs on The Undying Darkness will no doubt go across very well, live, with the requisite breakdowns, choruses we can holler along with, and riffs we can headbang along to. Sure, the album's perfectly produced, and the songs are well written. But, sadly, the spark of interest has largely gone. There's even the now-obligatory, gentle instrumental intro. Once, that was nice, but not it's just annoying. Mendeed and Coheed & Cambria can get away with them, because theirs are substantial and actually examples of superior song-writing nous, but when you have someone randomly plinking away on a keyboard... well, it's just annoying.

Ferocious. Fast. Formulaic.

www.caliban.net

BoySetsFire - "The Misery Index: Notes From The Plague Years" (Burning Heart Records)

When I first stuck this on, I was pleasantly surprised at how melodic the band had become. With an extremely melodic, commercial intro and heavier but equally-melodic “Walk Astray”, followed by the excellent “Requiem”, this album was shaping up to be the best surprise of 2006.

Then “Final Communique” came on, and destroyed the spell. Harking back to their hardcore days, this is pure screaming, and pretty pained screaming, too. It doesn’t sound like it would be much fun to do. It’s a terrible song, really. “So Long… And Thanks For The Crutches” is another poor song – like a mix of Limp Bizkit and a bad Blindside tribute band… Very disappointing.

But, “The Misery Index” returns to the soaring, melodic musicality of the first two tracks, and I started to feel better with myself. Josh Latshaw’s vocals are perfect. Sounding like a less crooning Howard Jones (Killswitch Engage), with some elements of commercial, American Radio Rock – either Breaking Point or Vonray’s cleaner, more commercial singing, the album has great cross-over potential. Think The Calling, but with balls and conviction, and slightly less pop. Occasionally, a favourable comparison can be drawn with Blindside (especially with their latest single, "Fell In Love With The Game") The trend is continued on “(10) And Counting”, “Falling Out Theme”, “Empire”, and “With Cold Eyes”.

Overall, the band has grown as musicians, and their songwriting has improved tremendously, thanks to finding a home at Burning Hearts Records – the band have changed labels so many times, it’s not surprising that they always had an unsettled feel to their music.

Soaring, melodic, emotional, yet unique in many ways, this is the band many people should be listening to, instead of all the bandwagon-pap that’s spewing forth from some factory-like labels. It’s just a pity they fell flat on a couple of these songs.

www.boysetsfire.com

In Flames - "Come Clarity" (Nuclear Blast)

It’s often difficult to review your favourite band and be objective. Sometimes you can end up being too harsh – as I was with In Flames’ previous release, Soundtrack To Your Escape.

In Flames have grown yet further with this latest release, Come Clarity (their 9th full-length album). Some purists will again cry foul when they hear the guest vocals of Lisa Miskovsky on “Dead End”, or when they notice that every chorus on here will lodge itself in your subconscious. “Dead End” adds a lot to the band’s repertoire, and is perfectly placed on the album, making it all the more enjoyable to listen to.

This is not to say that the band have gone pop – far from it. “Take This Life” and “Leeches” open the album with a visceral roar of defiance, and the pace never really lets up. Guitarists Jesper Stromblad and Bjorn Gelotte continue to peal off melodic riff after melodic riff, while retaining a healthy amount of heaviness. The rhythm section, too, puts in an especially good performance, with Pete Iwers’ bass rumbling along in a satisfying manner, and Daniel Svensson’s superb drumming (groove, speed, variation, actual catchiness) underpins the whole work.

‘Anthemic’ is a good word for the whole album. With Anders Friden’s vocals continuing to defy all preconceptions of what the human voice can do, his highly melodic screams (seriously, have a listen to “Take This Life” and “” to hear it in its purest form) manage to lift the songs out of the drudgery that can often befall Death Metal albums. Other stand-out tracks include “Vacuum”, “Crawl Through Knives”, and “Versus Terminus”.

The title track drops the tempo a little, but not in a way that will jar us from the moment.

In a bizarre twist, on “Reflect The Storm”, Anders’ vocals actually make him sound like some of the American imitators that have sprung up in recent years, citing In Flames as influential. It’s odd, but he still sounds better than anyone else in the genre.

If you purchase the special edition with DVD, then that, too is pretty interesting. A little unimaginative, perhaps, as it merely shows the band perform the complete album in their rehearsal space, but interesting nonetheless.

Overall, this is the band once again spreading their wings, continuing to try new things, regardless of what people might think. They are all the better for it, and if this record doesn’t send them stratospheric, there really is no justice in this world. Each song could be singled out as potential radio hits, but there would be little point in spelling it out for you.

Truly essential listening.

www.inflames.com

Amorphis - "Eclipse" (Nuclear Blast)

One magazine likened Amorphis to Nightwish (I think it was the well intentioned, if lamentably edited Zero). This is wholly inaccurate.

Eclipse sees the band returning to a more gruff, muscular sound than their previous few releases. New vocalist, Tomi Jousten, in particular has brought a completely new element to the band's sound. He doesn't sound anything like previous vocalist, Pasi Koskinen, and sounds all the better for it. His vocals are actually an interesting blend of styles - at times pure Death Metal (or "grunts", as the press release describes them), at others coming across as groove-laden, soulful singing. Even many of his roars and screams retain a high level of melody (something I've only come across before with Anders Friden, of In Flames).

The band are not attempting to live in the past, instead they are trying to move forward, while remembering where they came from.

The music as a whole still retains a certain "bounce" to it (probably the result of the Finnish folk music influence), particularly in the guitar work, and especially evident on "Leaves Scar" and "Brother Moon".

As for specific songs of note, "House Of Sleep" sounds like a progression of Elegy (1996) and Tuonela (1999), assuming Am Universum (2001) and Far From The Sun (2003) never happened, while both "Perkele (The God Of Fire)" and bonus track "Stone Woman" sound like even earlier material than that.

Definitely a progression, different approach to the Amorphis of old, forging ahead with a (largely) new identity. If you were not a fan of previous Amorphis albums, I would still recommend giving Eclipse a listen, as you might be pleasantly surprised with what you find. As for existing fans, this should please fans of all types, coming across like a career retrospective in many ways.

Highly distinctive, without sounding like anyone else, this dark and melancholy album is highly recommended.

www.amorphis.net

Entwine - "Sliver" EP (Spikefarm/Century Media)

Entwine are one of the finer bands to come out of Finland in the past decade or so. Having shed themselves of their Death Metal roots long before they recorded their first album for Spikefarm Records (1999’s The Treasures Within Hearts), Entwine delved into the world of gothic rock.

Since that debut, the band have continued to evolve their sound to something completely their own – namely, dark themed, bombastic rock. On Sliver, a stop-gap EP before the release of their fifth full-length, the band are slaking the ravenous thirst of their fans for something new.

The three new tracks – “Break Me”, “Carry On Dancing” and “Still Waiting” – are all excellent examples of what the band are best at. Namely, big choruses and stirring musicianship. “Carry On Dancing” shows the band stretching their sound yet more, incorporating some new harmonies and stylistic elements that bode well for the new album. Mika Tauriainen's vocals in particular are on top form, with the rest of the band also sounding tighter than ever.

Sadly, the release is let down by the two live recordings. The energy of these two songs is no where near that of the studio recordings –often the case with live versions. The sheen and perfection of the studio is replaced by a rather limp sound. Still recognisable as Entwine, but after the perfection of the first three tracks, this is a great let-down.

With a wider appeal than HIM (yes, really), not as gloomy as Sentenced or Katatonia, better songs than most bands in any genre, and a hopelessly romantic air about them, it really is a wonder more people aren’t falling for these Finns’ music.

Recommended. Role on the fifth album proper!

www.entwine.org

Sinamore - "A New Day" (Napalm)

Touted by many as the band most likely to take up the slack of the Gothic Rock scene since the untimely demise of Sentenced, a lot is riding on A New Day, the band’s debut album.

“Sleeping Away”, the first released song from the album shows that the band just might have the talent to do so. Although not as good as Charon, Icon & The Black Roses or Entwine (two other leading lights on the scene), but different enough to avoid outright competition, Sinamore will likely be welcomed with open arms by the Gothic music scene. It does sound very similar to “Crimson Leaf”, though, dampening the impact of the song.

The band seem to borrow elements from all the leading lights of the gothic scene, but thankfully manage to retain enough of an identity of their own. Mikko Heikkila’s vocals are less ‘pretty’ than Ville Valo’s, which also makes the band stand out a lot more. Crunchier guitar riffs (Tommi Muhli), more varied drumming and bass (Miika Hostikka and Jarno Uski, respectively), and darker atmospherics make this band a very attractive proposition.

“Fallen” incorporates more forceful vocals and a heavier pace, and is easily one of the best tracks on the album. Sadly, “Misery Carnival” drops the pace, with slightly more droning vocals, and less of a punch.

Overall, though, and considering the press that preceded the release, this album doesn’t quite live up to expectations. Often derivative, the lack of any great variation weakens the album somewhat, and as a result the album never quite lives up to the promise.

Having said this, if you find your life with a gaping hole where Sentenced used to be, and HIM just doesn’t do it for you, then Sinamore’s A New Day could go a long way to filling this void (at least until you go and buy Icon & The Black Roses’ eponymous debut, that is…).

Sweeping melodies and sombre atmospheres, but with enough energy to avoid being somnambulant, Sinamore are like a more energetic, commercial Katatonia. Lacking the pop-commercialism of HIM, the band are also likely to be taken more seriously by the ever-pretentious and elitist Gothic Rock fans.

www.sinamore.com

Zero Cipher - "Diary Of A Sadist" (Anticulture)

Metal with ADD, on amphetamines. Completely uncompromising, forward-looking, genre redefining metal.

Below the screaming vocals can be heard some very good, clean harmonising (like a more angelic Anders Friden). Incendiary guitar licks and solos, catchy hooks galore and a musicianship unmatched by the majority of the music scene today, Zero Cipher are, along with Mendeed, great British hopes for metal!

Any description of this cornucopia of styles and boundary-defying noise could make it sound like any band from either the New Wave Of American Heavy Metal, or Metalcore. But, this has so much more going for it, that it would be folly to pass it up because you’ve heard “brutality and melody” blended together before. This is different, and far more superior!

They meld their infectious metal with beats and scratching, harking back to the days when One Minute Silence (R.I.P.) were still a force to be reckoned with. Yap – vocalist with One Minute Silence – guests on “My Statement Of Misintent”, but, rather disappointingly, this is the weakest song on the album. Bear in mind, ‘weakest’ is not the same as ‘weak’. The song’s still good, but he doesn’t sound as forceful or confident as he once did.

“It’s No Secret” is the album’s quieter number. It’s a single, if ever I heard one, with superb melodic vocals, great catchy music and it travels along at a fair clip, not once reducing the immediacy of the album at all.

Your parents will refer to this as noise. It’s guaranteed, but beyond the dissonant aural assault, Diary Of A Sadist is one of the most compelling albums to be released this year, if not decade (young as it still is).

Can something be beautifully insane? It can now.

www.zerocipher.com

Deathstars - "Termination Bliss" (Nuclear Blast)

“Tongues” opens with chugging guitars reminiscent of Rammstein, and Depeche Mode-like synth. Unfortunately, the song never takes off quite like Rammstein are able to. Deathstars have a lot in common with the German industrial superstars. “Blitzkreig” sounds a little too similar, I have to say. Vocalist Whiplasher Bernadotte (don’t ask) sounds too close to Till Lindeman for there not to be some influence creeping in.

But, the Deathstars have not managed to develop the skill of (or perhaps penchant for) large, catchy choruses that get the blood pumping. True, the chorus for “Blitzkrieg” is kind of catchy, yet bears more in common with the gloomy atmospherics of Type O Negative (minus the irony and sarcastic wit) than anything currently bothering the rock charts. “Motherzone” continues the deep vocals and synthesised music, but despite being rather interesting, is a touch forgettable.

Lead single, “Cyanide”, is a much more impressive beast. It’s also another Rammstein-alike romp. Whiplasher’s vocals take on a depth and gruffness akin to (Moonspell). It’s pretty good, almost stomping, but the lack of energy might be detrimental in a live setting.

Taking the more twisted, darker imagery and subject matter of the European industrial scene, Termination Bliss is a good album, but falls short of the mark. This will never be considered ‘great’, but considering the improvement we’ve seen from their debut, Synthetic Generation (2004), it’s possible that their next album will be something very good indeed. Personally, I think they should embrace some more commercial elements to make them properly memorable, as without obvious hooks, these songs are not so easily remembered.

Deep, dark, fun, bizarre, not pretty. Good, but ultimately unfulfilling.

www.deathstars.net

Trigger Point - "A Silent Protest" (Corporate Punishment)

Generally speaking, this album is okay. If you’re after a straight forward hard rock-metal crossover album, then Trigger Point’s debut will probably provide exactly what you’re looking for.

Sadly, that’s the problem. Although the music is well put together, the songs have punch and immediacy; they lack a certain finesse that is evident in the leading lights of the genre. Trivium, for example, mix perfectly executed metal with flawlessly melodic hard rock. Trigger Point’s album is somewhat disjointed and generic.

The title track, although skilfully and confidently played comes across as a first attempt. These guys have been in bands before, and they really should be better at writing.

“My Time” delves into the latter end of the Nu-Metal era, bearing similarities with Unloco, Twisted Method, Noise Therapy and American Head Charge. At least they are better than some of the casualties of that genre. This song has an almost melodic chorus that simply annoys because it never takes off, and really doesn’t sound very convincing. Singer Taylor doesn’t sound like his heart is in it. He does give a better performance on “Picking Up The Pieces”.

Compared to label-mates Allele, Trigger Point fall very short of the mark. As always, though, one person’s symphony is another’s earache, so have a listen for yourself.

The grooves are flat, the melodies are uncared for, the heavier moments are plodding. Potentially, this could have been great, but ultimately it was let down by a lack of spark, attention to detail or unique x-factor. Sadly forgettable.

Revelation Theory - "Truth Is Currency" (Idol Roc Entertainment)

Oho, this was a pleasant surprise! The mixture of grunge and harder, heavier rock is a rapidly growing genre in the USA, particularly in the Southern states (specifically Georgia and the Carolinas, which have given us Sevendust, Stereomud, Dark New Day, Virgos Merlot, to name but a few). Revelation Theory sort of fit into this genre, mixing less grunge with their heavier, harder-hitting moments. At the same time, they have a much more pronounced commercial skill that makes almost every one of these songs a potential single.

It’s a tough album to describe, other than that. In their own words, they say, "Most of our fans describe us as a mix between Sevendust, Staind, and Seether," the band tell me. Well, I think I'd agree to a certain extent. The band's sound certainly contains elements of heavier grunge (Seether), 'crooning' vocals (Staind - kind of, but nowhere near as whiny as Aaron Lewis), and a whole skip-load of raw emotion, power and talent (Sevendust).

Julien's heavy, driving guitars, coupled Rich's rougher singing and the groovy rhythms of Matty and Dave, the band have a sound purpose-built for the live setting.

Overall, this album turned out to be far more interesting, catchy and also better written than other reviews had led me to believe. No, they don’t reinvent the wheel, but they know how to rock like bastards, and surely that’s all we really need, right?

Top cuts: current single "Slowburn", and "Selfish And Cold" (personal favourite)

Far from being mere immitations of other bands, Revelation Theory have a familiar, yet unique hard rock sound that should be attractive to the majority of hard rock fans.

Mendeed - "This War Will Last Forever" (Rising)

Mendeed are an interesting proposition. Blending many musical styles and elements usually attributed to Scandinavian bands - controlled speed, guitar melodies you can almost sing, coherent roars and screams, precise and enthralling musicianship and bucket-loads of writing talent, you might be surprised to learn that they're from Scotland.

If you popped the album into your stereo and pushed play, you'd probably find yourself checking the box again: yes, it is Mendeed's album, and not some instrumental, Celtic thing. Intro "All That We Have Become" is simply a sublime piece of instrumental music. It's certainly not metallic in any way, sounding like a cut from the Braveheart soundtrack, but it serves its purpose in lulling the listener into a sense of calm and security before the poundingly heavy "Beneath A Burning Sky" slaps us awake again.

At times sounding like Arch Enemy, and at others sounding like a Scottish Children Of Bodom (the Celtic music influences don't disappear completely after the intro), Mendeed offer a fresh take on a growing number of Scandinavian-metal-influenced bands who do not wish to travel the now-dulled path of Metalcore.

Perhaps the only let-down for this album is the production on the clean vocals, which sound suppressed and slightly muffled. A minor gripe, perhaps, but rather noticeable on an otherwise impeccably produced album.

I've been following the band since their debut mini-album, From Shadows Came Darkness (2004), and subsequent singles. With This War Will Last Forever, the band have come of age and fully grown into their roles of metallic masters.

Fast, melodic, furious and exquisitely put together, one can only hope this band gets the recognition they deserve. Judging by the swathe of excellent reviews they've been receiving in the music press, it's only a matter of fighting your way into the consciousness of the record-buying public.

Fall Of The Leafe - "Vantage" (Firebox)

This album came across like an unexpected curve-ball. Fall Of The Leafe's debut album, Volvere, was a darkly majestic, sweeping gothic affair. Vantage is rather different.

Eschewing the morbidity and gloominess of the Finnish Gothic Rock scene that spawned them, the band now sounds like they have much more in common with Pearl Jam at their most introspective than anyone else. This is most evident in Tuomas Tuominen's vocals, which sound almost identical to Eddie Vedder - only somehow deeper and more arresting.

This is by no means a bad thing, as the band have much more of an identity now than they did previously - despite the striking vocal similarity, Fall Of The Leafe do have a very unique blend of grunge, hard rock and gothic rock. The latter is far more understated than any other element, but there are some idiocyncracies that almost all Scandanavian bands have; an air of slight melancholy.

Like Pearl Jam playing Gothic Rock, or Sentenced playing Seattle Grunge... It's very good. One gripe: there's not much variation between songs, so it can feel like you're listening to one (very) long song, instead of 12 great rock songs. This is why I haven't picked out any specific stand-out songs to draw your attention to. But, despite the formulaic songs, I do find myself continuously drawn back to it. Perhaps this album is perfect for the argument against constantly changing styles and being overly varied on an album. It's certainly become one of my albums of the year.

If you're looking for something a little different, and unafraid to follow a path that isn't in vogue, then Vantage is an album you should pick up.

P.O.D. - "Testify" (Atlantic/WEA)

POD have come under a bit of an attack from the broader British music press. While it's true that their previous album, Payable On Death (2004) didn't live up to the success or overall quality of their break-out record, Satellite (2002), which yielded a bucketload of singles and general adoration over the pond.

Testify shows the band a little more confident, and not so self indulgent throughout. The song-writing is tighter and more focused, with most songs having solid structure and some good melodies. Being a POD record, it would be incomplete without some reggae influences and flavours (I'm sorry, but I refuse to write 'flavaz'), which again add to the songs, rather than detract - as they did in Payable On Death.

The two opening tracks - "Roots In Stereo" and "Lights Out" - are good, strong numbers to start the album with heavier guitars. "If You Could See Me Now" is a softer, more soulful number, never really taking off like, or having the same style as "Youth Of The Nation" (which appeared on Satellite). It's a good song that, despite the drop in pace, doesn't derail the album.

"Goodbye For Now" sounds like POD trying to produce an Incubus song - mixing in their own rap elements, with the sweeping melodies we got from Incubus' Morning View and A Crow Left Of The Murder. There's a certain amount of irony that one of the lyrics is "when will we see a new song..." (repeated).

Overall, then, the album isn't as bad as the press has let on - most giving it a paltry 1 or 2 out of 5, which is rather harsh. Yes, it doesn't break the mould of what we've come to expect from the band, but really this isn't a bad thing.

More like Satellite than Payable On Death, I can imagine that the album will probably do quite well. This will probably be predominantly because of the die-hard POD fans (or 'Warriors', as they rather pretentiously call themselves).

Ultimately, though, rap-rock has passed its prime, so this won't help the band set the scene alight again. Dated, but competently written.

New Talent: Megan McCauley (Wind-Up)

This isn’t so much a review, as a preview of an amazing new talent on the rock/pop scene. You might have come across her songs on the Elektra and Fantastic Four soundtracks (both also released through Wind-Up Records). With the catchy hooks of Avril Lavigne and Evanescence – minus the ‘Goth’, backed up by a heavier guitar sound and a massive chorus that will get your blood flowing, “Die For You” is the perfect pop/rock song. Its somewhat darker subject matter is also another boon.

The only other tracks I’ve managed to get a hold of were “Reverie” (a softer, sad crooning number) and “Wonder” (another soaring chorus, coupled with a grungy, smokey verse). If you were after a female singer who doesn’t sound like a waif – something that is increasingly prevalent in the rock and metal genres, then Megan’s strong, powerful and sometimes forceful vocals should go a long way to pleasing you.

Her delayed debut album should be out sometime in early 2006. Something to keep an ear open for.

http://www.meganmccauley.com/

Charon - "Songs For The Sinners" (Spinefarm)

Ah, Finland. Where would we be without the magnificent Gothic Rock/Metal scene that seems to be part of the Finns’ genetic make-up? There are too many quality bands that have come out of that scene to name here, but without a shadow of a doubt, Charon are one of the top, if not the only band you really need to know from there, incorporating all of the best traits from the scene into one, handy, melancholy, and highly talented package.

Songs For The Sinners is their fifth album, and the band have remained true to their signature sound yet again! Whereas for some bands, this would be seen as a detriment, Charon have a sound so powerful, melodic and melancholy that it is hard not to get swept up by their huge choruses and the overwhelmingly dark atmosphere they manage to produce.

Often compared to Finland’s leading Gothic Metal band – Sentenced (R.I.P. 2005) – Charon are actually much better, never allowing themselves to be too drawn into the gloom, and always retaining a healthy amount of catchiness. They also bear some resemblances to Poisonblack, Fall Of The Leafe, Sinamore, and For My Pain.

JP’s vocals are so full of emotion that you’ll often find yourself covered in goose-bumps. His choruses are never quite as large or catchy as Charon’s most famous hit, “Little Angel” (Downhearted, 2001), which saw the band take a bit of a more commercial sound, before they returned to their sombre moods for The Dying Daylights (2003) and this most recent record.

Best cuts: “Rain”, “Ride On Tears”, “Gray”, and the superb opening track “Colder” (wonderful female vocals at the start and harmonising elsewhere).

If you are familiar with the work of HIM, but find that Ville and crew have gone too far down the commercial, pop-Goth route, then I strongly recommend any album from Charon for you, despite the relative difficulty in getting hold of their albums in the UK (thank for Amazon!).

http://www.charon.cjb.net/

Raunchy - "Death Pop Romance" (Lifeforce)

This third release from Denmark's Raunchy sees the band stepping further out of genre moulds, producing an even more catchy, infectious and gripping sound.

Compared to Confusion Bay (2004), Death Pop Romance is a far more assured, consistant piece of work. All the songs come equipped with the sort of catchy choruses that make bands like Atreyu and Linkin Park such fan favourites.

The arrival of new vocalist Kasper Thomas can be seen as a true turning point in the band's sound and no doubt - given time - success. His screams are far more powerful and coherent, while his clean singing is likewise superior to many in the genre. He does come across as similar to Anders Friden (vocalist with In Flames), at times, but this is no bad thing. Also, the melodic singing is much cleaner and... well, 'angelic' is the wrong word, but you get my drift.

There are so many huge choruses on this album! The band has clearly taken note of the success of their previous two singles, "Watch Out" and "I Get What I See", from Confusion Bay, both of which were focussed around crowd-pleasing, blood-pumping choruses.

They are described as 'Futuristic Hybrid Metal' by their label. Okay, I'll accept that as a tag. They have an industrial, busy element to their sound which does make them lean towards the territory of Strapping Young Lad - this is less pronounced than on Confusion Bay, which at times sounded so dense with all the elements blending into one powerhouse wall of sound.

But, now, I think the band has far more in common with In Flames and the increasingly (excellently) commericial Soilwork. It's good to know melodies are finding more and more purchase in the metal world.

Soaring, melodic, fast, heavy, and immediate. Excellent.

www.raunchy.dk

HIM - "Dark Light" (Sire/Warner Bros.)

This was bound to happen. HIM have produced an album that sounds pretty much exactly like everything they’ve released since their massive hit album Razorblade Romance (2000), which was, I admit, faultless. Razorblade Romance was my first HIM album, which I got when it came out. Since then, I’ve been eagerly awaiting everything the band releases, and have never been let down. Until now. Sort of…

This is the first HIM album where I’ve found myself skipping songs. Well, only one song, really: “Dark Light”. It’s just awful! Cloying, limp, poorly written, boring drivel. In my opinion, they should have left this off the album, and replaced it with the B-Side from the first single (“Wings Of A Butterfly”), “Poison Heart” (a Ramones cover).

On a completely different note, and while speaking of “Wings Of A Butterfly”; how amazing is this guitar riff? In fact, the whole song is certainly one of the best songs the band has ever written, not to mention the most ear-catching and likely to have you humming all day long. Love them or hate them (and isn’t that a long-dead debate in all the magazines…), you can’t deny that Ville Valo and chums certainly know how to write dark pop songs. “Killing Loneliness” fits into this category, too.

Apart from this stand out track, and the poorer one, the rest of the album is pretty much HIM-by-numbers, and is therefore only ‘okay’. Even then, they’ve made the album sound a lot weaker, toning down much of the bombast in favour of something they probably thought would sound like heartfelt angst… While “Under The Rose” and “Behind The Crimson Door” sound far too like a couple of other songs from previous albums.

Ordinarily, the lack of progression wouldn’t have been a problem, but the band are resting too much on their laurels and perhaps it’s time to up the ante! I don’t think a change in direction is a good idea (indeed, it would probably destroy their careers), but I think they’ll need to start doing something new to keep interests high, and keep the fans coming back for more.

http://www.heartagram.com/

Clap Your Hands Say Yeah - S/T

This band comes to England from the US on a wave of critical acclaim. The more careful critics label them as a lo-fi treat, while the less careful ones regard them as the new Modest Mouse. This is particularly dangerous. For one thing, Modest Mouse are lo-fi pioneers. To make this comparison is foolhardy at best. Second, this band don't even come close to their hype.

CYHSY have elements of Modest Mouse in their sound, but first and foremost, they are your average, run-of-the-mill, lo-fi band (Schizo Fun Addict wannabes, anyone?). 'Over and Over Again' is an absolutely stunning track, but I personally think it's the best one by a long way. The rest of the album plods along in the same manner most standard lo-fi albums do. Whoohoo… You sound dreamy and ethereal. Great; but how exactly are you different from every other band in your genre?

Do yourself a favour and buy Death Cab For Cutie's new album instead. It's far better, and guaranteed to have much the same effect.

CMcG 7/10

The Strokes - "First Impressions Of Earth"

I'm not going to lie to MWRI fans. The Strokes represent everything that is bland about garage rock to me. To be honest, it almost feels like they want this effect. The first album sounded like a mediocre attempt at NY punk and the second was just drivel. In just two albums, the band became the point of reference for both the scene's greatest supporters and harshest critics.

For this reason, the Strokes needed to do something truly amazing with album number 3. It should have been their masterpiece. After 2 and a half years of writing the bloody thing, it needed to be perfect. Was it perfect? God no!

Just two tracks in, they descended into yet another samey riff, and from there, the album only picked up in sporadic moments. Does Julian Casablancas really need someone to extol the virtues of development as an artist? Unfortunately, where the one saving grace with the first two LPs was their merciful brevity, FIOE is a 52 minute piece of dirge.

I'm less than wowed for much the same reason I'm always less than wowed by The Strokes. Blah, blah, blah… Get a haircut and try actually being punk for once. BORING!

CMcG 6/10