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