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.