MWRI

“A Thousand Suns”, by Linkin Park (Warner Bros.)

2010-09-13T15:18:00.001Z

Linkin Park disappear further into the musical wilderness…

Well, it’s official: I have officially lost interest in the music Linkin Park produce. A Thousand Suns features not a single song that remains with you once it’s finished, and not a single hook that lodges itself in your brain. Each of the 15 tracks on here (which still, as a whole, only last 47mins) is over-loaded with samples and characterised by forgettable musicianship.

In case you think I’m just being a “hater” of a successful band, I should point out that both Hybrid Theory and Meteora are two of my favourite albums ever. I have no problem with bands being experimental, or trying new things. A Thousand Suns is a strange progression from Minutes to Midnight, which saw the band forsake originality to produce an album of mediocre, repetitive and short songs aimed at eliciting a two-to-three minute response from what were, for all intents-and-purposes, merely a single hook repeated a few times. But, at least on this album there were still songs. The only one that stuck out for me, unsurprisingly, was “What I’ve Done”, which adhered to the ‘classic’ Linkin Park-style. Every other song, as mentioned, was a single hook, repeated. [It’s doubly annoying that I paid for the special edition of MtM, which was expensive and not at all worth the money.]

On A Thousand Sons, the band has effectively disappeared. I don’t remember noticing any guitar riffs, or memorable drumming. The sheer number of samples was irritating and the only thing that stuck with me. A band that built their career on writing singles (the last one to please was “New Divide”, which featured on the Transformers II soundtrack, which bears no resemblance to the ‘music’ on this new record).

I am so disappointed by this album, that I’m angry rather than upset. I do not think this album is any good, and the music has zero redeeming features, overlaid with an air of pretentiousness that is simply off-putting.

I’m going to go listen to Hybrid Theory and Meteora, and remember a time when this band was leading the new wave of melodic-yet-heavy rock music.

“R’n’f’n’R”, by Slash & Friends

2010-04-07T19:39:00.001Z

The new, highly-anticipated solo album from former Guns ‘n’ Roses guitarist

In all honesty, this album is fantastic. The sound is huge and varied. Each track has a guest singer, all ranging in quality and fame. Some of these songs are, of course, better than others, but stand-out tracks for me include “Watch This”, “Ghost”, “Back From Cali”, “Promise”, “Gotten”, “I Hold On” and “Starlight”. Particularly good tracks were ones where I hadn’t anticipated liking it so much: Ozzy’s track, “Crucify” is superb; Miles Kennedy continues to show why he’s one of the most under-appreciated vocal talents in rock on his two songs “Back From Cali” and “Starlight”; Kid Rock surprises on “I Hold On”, offering a slow-burning rock song; Ian Astbury is also on top form on “Ghost”, which reminded me of The Cult’s Beyond Good And Evil album.

To truly appreciate the quality of this album, however, you need to listen to it. So, thanks for Slash’s website, here’s a special player for the album:

Favourite Song of the Moment

2010-03-10T09:46:00.001Z

Demon Hunter’s “Collapsing” (feat. Bjorn from Soilwork)

Three Days Grace: “Life Starts Now”

2009-12-10T03:59:00.002Z

Frikkin’ Awesome Return of Under-rated Hard Rockers

I must make a confession to start: I absolutely love this band, so any review is automatically somewhat suspect. That being said, I shall try to be objective.

The band’s sound has a certain energy to it that is highly infectious. With each new album, they are honing their craft closer to perfection. Their eponymous first album had a couple of good songs, while the sophomore release, 2006’s One-X, had some truly awesome tracks like “Animal I Have Become” and “Riot” to name but two, cementing the band in the echelons of true players in the harder end of the radio-rock spectrum.

Life Starts Now grows on this progression, offering even more catchy tunes. Each song on this album is worthy of attention and repeat listens. The structures are clearly more designed for radio (“World So Cold” and “Someone Who Cares”, for example, are quite repetitive), but the songs do not suffer from this at all. Linkin Park’s recent output has suffered, as they now produce pretty uninspiring pop-rock/-metal that is simplistic and forgettable. Three Days Grace have at least managed to retain some of their edge and gruffness, while also enhancing their hooks and accessibility. The choruses are still huge, the vocals still arresting and varied, and the musicianship is confident and immediate.

Few albums have lived up to my expectations in the past couple of years, but it is safe to say that Life Starts Now has affirmed my confidence in Three Days Grace. They should have a long and successful career ahead of them. Songs such as “Break” (the lead single) and “Bitter Taste” are immediate singles, and if they don’t have you at least nodding your head along, then chances are you’re dead inside.

Highly recommended.

For Fans of: Shinedown, Soil, Drowning Pool, Sick Puppies, Finger Eleven

Vertical Horizon: “Burning The Days”

2009-12-10T03:50:00.001Z

Long-delayed return of soft rockers

Vertical Horizon first attracted my attention with their 2000 release, Everything You Want. It was melodic, well-written and pretty uplifting soft rock music. Their follow-up album, Go, didn’t really register at all. Burning The Days takes more queues from the softer side of this already soft band, mixing the competent melodies with catchy tunes. The only problem is that they aren’t quite as uplifting as they used to be. The songs are good, but they come across a little more shoe-gazing that I would have liked from this band.

If you want something to chill out to, or to listen to with a girlfriend who’s scared of anything even remotely heavy or ‘hard’, then Burning The Days should fill the role.

For Fans of: Vonray, Our Lady Peace, Matchbox Twenty

Creed: “Full Circle” (Wind-Up)

2009-12-10T01:54:00.002Z

The Mega-Selling Grunge Outfit of the 1990s Returns!

I was originally quite sceptical about this album. I always liked Creed (Human Clay, despite it being ‘uncool’, is one of my favourite albums of that period and this genre), so I was interested to see how they might fare after some time apart and with mended fences.

Scott Stapp’s solo album was… disappointing to say the least. The other members of Creed went off, along with Myles Kennedy (formerly of The Mayfield Four) to form the heavier, but still melodic and grungy Alter Bridge.

Full Circle opens with “Overcome” – a heavier take on the classic Creed sound, which serves as a suckerpunch for those who had forgotten what Creed’s original appeal was. “Bread of Shame” and “A Thousand Faces” follow this up with two more toned-down songs, each acting like a step down in intensity. This wasn’t entirely welcome, but the songs are very good, exhibiting some more interesting song structures (still straightforward, but not the standard Creed template that had become well-trodden by 2001’s Weathered). Thankfully, as became clear over the course of the rest of the album, the histrionics have disappeared, and Stapp seems to have got his ego mostly in check. Good for him. Mark Tremonti’s guitar playing is exceptional throughout, and it seems that he’s been able to bring over some solos from his Alter Bridge days, again making the album stand out from Creed’s previous output.

Overall, this is a welcome return from a band everyone loved to deride and hate. Just like Nickelback, who continue to produce songs that appeal to a broad demographic (aging music fans who came of age during the grunge years, for example), Creed’s place in the music world is assured. If you like your grunge straightforward and competently composed and performed, then Full Circle is an album that should appeal.

For Fans of: Alter Bridge, Nickelback, Pearl Jam, Breaking Benjamin, Cavo, Breaking Point, Big Dismal, Bush (not the presidents), Day of Fire, Red

Dead By Sunrise: “Out Of Ashes” (Warner Bros.)

2009-12-06T15:34:00.001Z

‘Solo’ album from Linkin Park’s frontman and members of Orgy

Just as Minutes To Midnight wasn’t the Linkin Park album I had hoped for, Out Of Ashes was not the album I hoped it would be. Chester Bennington has one of the most versatile and powerful voices in rock today (perhaps ever?), and on this album and Linkin Park’s recent output it feels like he’s just churning out songs that lack the punch and impact of his earlier material. The power evident on Linkin Park’s 2001 debut, Hybrid Theory, and their sophomore release, Meteora (2003) is completely absent on this album. Yes, Chester’s vocals are still melodic and catchy, but there’s no bite, and little on here that really stands out.

The music, provided by Ryan Schuck and Amir Derakh, formerly (?) of Orgy, is ok, but again nothing special.

This promised to be so much more, but ended up falling a little flat. Well-produced and –performed flatness, but certainly flat nonetheless.

“Picture Perfect”, by Soil

2009-11-26T00:24:00.001Z

An unexpected, superb album

I must say that I wasn’t as keen on the new incarnation of Soil after Ryan McCoombs gave up vocal duties (though, Drowning Pool didn’t improve a whole deal when they hired him, either).

Picture Perfect, then, was a wholly unexpected, brilliant hard rock album. True Self was disappointing, because it seemed that the band were trying really hard to carve themselves a whole new identity – which, in itself, is fair enough, because of the importance of frontmen/-women.

With this album, however, the band has found a happy middle-ground. Bringing back the more grungy elements of the Scars (2002) Redefine (2004) era, enhancing the gruff melodicism with new singer, AJ Cavalier’s different range.

“Tear It Down”, “Picture Perfect”, “Every Moment”, “Falter”, and “Lesser Man” are perfect exemplars of the band’s new sound, and it’s one that doesn’t change much throughout the album. Once again they sound unique, and the album is all the better for it. There are some more diverse elements and influences at play, which makes the album interesting throughout and ensures the listener doesn’t just think they’ve listened to one long song.

Overall, this is an excellent, grungy hard rock album. If anyone lost interest after Redefine, then Picture Perfect should hook you right back into the band’s orbit.

Excellent, and highly recommended.

“Amanethes”, by Tiamat (Century Media)

2009-05-07T13:41:00.001Z

The latest gothic metal masterpiece from Sweden

Just a quick review of this, as it’s been out for a while. Tiamat write and produce some of the best heavy, gothic music available today. On Amanethes, their long-awaited ninth album, they blend together their earlier, gruffer sound with that of their previous two albums, Judas Christ (2002) and Prey (2003). From the moment “The Temple of the Crescent Moon” kicks off, you know you’re in for something special.

The mix of heavy, dark and melodic elements proves to be excellent, offering songs for most tastes in gothic and metal. Certain songs (e.g. “Until the Hellhounds Sleep Again”) nod more towards their later work, while others (e.g. “Raining Dead Angels”) have more in common with their earlier, heavier work. Johan Edlund’s vocals are more varied on Amanethes, re-introducing the harsher style of the band’s earlier work, alongside his superb ‘clean’ vocals.

The pace of the music is pretty varied, though predominantly unhurried. “Will They Come?”, for example, has a slow, funereal melody, reminiscent of much of the Judas Christ album.

I find myself preferring Judas Christ and Prey, though I admit this might have more to do with familiarity, rather than Amanethes being of lower quality. After five years, those two albums have become very familiar. No doubt, given time, I will come to like Amanethes as much.

Overall, this is a very welcome return for Tiamat, one of the most underrated metal bands working today. Anyone with a taste for dark, gothic, gruffly melodic music should own (at least) Tiamat’s three latest albums.

Discography: Sumerian Cry (1990), The Astral Sleep (1991), Clouds (1992), Wildhoney (1994), A Deeper Kind of Slumber (1997), Skeleton Skeletron (1999), Judas Christ (2002) and Prey (2003)

For Fans of: Moonspell, Sentenced, Fall of the Leafe, Poisonblack, Samael, My Dying Bride, Type O Negative

“No Regrets”, by Dope (Koch)

2009-03-18T13:27:00.001Z

Latest album from Edsel and friends moves forward by looking backward

A new Dope album is a truly wonderful event in the music world. Despite the seemingly endless revolving-door of band members, Edsel Dope’s rock-steady leadership has seen the band stick to what it’s very good at – i.e. releasing heavy, gruffly-melodic hard rock-metal albums with a rather punk attitude.

The 16 tracks on this album are all brilliant, with the first 13 being simply amazing (the final three tracks on the album are bonus oddities; “Die, Bom, Bang, Burn, Fuck”, for example, is an amalgamation of a number of past songs in a live mash-up style). If you are familiar with Dope’s previous output, then you’ll be pretty sure of what you’re going to get on No Regrets.

Edsel’s gravelly-yet-melodic singing style remains as strong as ever, with Virus’s guitar playing going up a notch – the power-chords are still there, but you’ll also find some interesting harmonics and solos throughout the album. The punky, snotty, anti-establishment attitude is still strong and it makes for a fast-paced album. If the music doesn’t get your blood pumping, then you might just be dead.

The music is a blend of what has come before. There are the more melodic moments that featured prominently on Life (2001), but equally the harsher, heavier and angrier elements of their debut, Felons & Revolutionaries (1999). The band has always mixed these elements, it’s true, but it’s possible that they’ve finally found the perfect mix, which coupled with their realization that sometimes shorter songs work better, makes No Regrets an exceptionally gratifying listen. I have no doubt that my neighbours both upstairs and on the same floor are already annoyed with my singing along to “My Funeral”, “Rebel Yell” and especially “Addiction” (which is ready-made for mosh-pits the world over).

Simply superb, and just what we needed in this depressing, serious time. Very highly recommended.

Best cuts (if I have to choose some): “No Regrets”, “My Funeral”, “Rebel Yell”, “Addiction”, “Violence”

Discography: Felons & Revolutionaries (1999), Life (2001), Group Therapy (2003), American Apathy (2005), No Regrets (2009)

For Fans of: Makeshift Romeo, Static-X, Five Finger Death Punch, Twisted Method, Motograter, Engel, Drowning Pool, Egypt Central, Burn Halo, HellYeah, Rev Theory

“Burn Halo”, by Burn Halo (Rawkhead Records)

2009-03-09T20:25:00.000Z

Former Eighteen Visions’ singer releases one of the best rock albums of the decade

For anyone familiar with Eighteen Visions’ final, eponymous album, Burn Halo’s sound will come as a pleasant surprise. This is a straight-up rock album, with none of the emo or hardcore posing of Eighteen Visions. Songs like “Too Late To Tell You Now” and “Dead End Roads & Lost Highways” easily fit alongside songs by such bands as Shinedown, Black Stone Cherry, Foo Fighters and other more commercial rock acts. “So Addicted” has a snotty, punk-rock snarl throughout, reminiscent of Buckcherry or Papa Roach, and maybe Dope at their more commercial. This is not to say that Burn Halo are carbon-copies of the above bands; far from it. The band clearly have their own sound, and while James Hart’s vocals are still reminiscent of his previous work (though leagues ahead in terms of quality and variation), overall the music has more in common with Guns ‘N’ Roses, recent Avenged Sevenfold, and perhaps even Aerosmith than his previous cohorts in the emo/hardcore scenes. For this reason, this is one of the best albums recent in quite some time.

If you’re put off by the reference-heavy nature of this review, don’t be. Burn Halo are their own band, and their sound is their own, but the varied-yet-consistent quality of the songs allows them to mix with a broad spectrum of other contemporary rock acts, and should give them a massive appeal to the wider community of rock fans the world over.

In four words: Superb, addictive, original, essential.

A must for fans of: Papa Roach, Buckcherry, Avenged Sevenfold (post-City of Evil), Guns ‘N’ Roses

www.myspace.com/burnhalo

“Dark Horse”, by Nickelback (Roadrunner)

2009-01-18T12:35:00.001Z

Chad Kroeger’s band of merry men release the best albums of their career

Nickelback has always been a band in a strange position. Lambasted and ridiculed almost constantly by the British music press, they consistently have bestselling albums. What’s the deal?

While you’re thinking about that, it must be said that Nickelback’s latest offering, Dark Horse, is simply superb. The more grunge elements have now been combined with a healthy dose of “rawk”, with the band writing and playing songs that are more tongue-in-cheek and also more fun.

“Something In Your Mouth” kicks the album off with a bang, and things don’t let up until the CD stops playing. Almost every song on here works on its own, and also as a whole album. Personally, I liked Silver Side Up (their break-out album), but Dark Horse is the first Nickelback album that I just stick on repeat, listening to it for most (if not all) of the day. The songs “S.E.X.”, “Burn It To The Ground”, “Next Go Round” and “Just To Get High”, in particular, hit all the right rock buttons: huge guitars and choruses, catchy hooks and an almost addictive quality that will get you singing along. Best of all, the songs have a clear continuity, but in no instance do you feel like you’re listening to something you’ve heard before – either on this album, or from any of their back catalogue.

Easily the band’s best album, and very likely one of the best album of the past decade (at least). This is fresh, rocking, addictive, but also nicely familiar, like an old friend who’s been away for a while, but is now back in the fold.

A pleasant surprise. Very highly recommended.

Best tracks: “Burn It To The Ground”, “S.E.X.” and “Next Go Round”

www.myspace.com/nickelback

“Save Me From Myself” – Head (DrivenMusic)

2009-01-16T17:22:00.001Z

Korn’s former seven-stringer steps out on his own, with some interesting results

This album poses a bit of a quandry. On the one hand, there is a great deal to be happy and impressed by, but on the other hand, there are a couple of things that really irritate, thereby ruining one’s listening experience.

First off, let’s start with the good. Brian “Head” Welch is an excellent song-writer. The opening pair of songs, “L.O.V.E.” and “Flush” (heavier), are superb, as is “Home”, balancing the darker moments of Korn’s later catalogue with Head’s distinctive, husky, anguished vocals – “dark, heavy, melodic, industrial menace” one might say. The choruses are great, and in many ways Head’s songs have the feel of how some Korn songs should have sounded, if they’d had a more conventional vocalist. Head’s distinctive guitar-tone rumbles throughout, showing considerable growth and that he continues to try new and interesting things, while still sticking with what he’s really very good at. There are even hints of older Coal Chamber on this disc (only better constructed and execute). There are equally a lot of interesting constructions (from choirs to synthesizers) and plenty of experimental instrumentation throughout the album, which creates a varied and surprising listen.

I don’t use the references to Korn lazily – Head was a major songwriter for that band, so there are understandable overlaps in style and substance. Given Head’s newfound Christianity, I was expecting an album that was nowhere near as dark and menacing as this one. In a way, this is a plus, as it allows him to explore a wider range of material and subjects (I am not one of those people who are automatically turned off a band because of their religious beliefs – I still hold Demon Hunter and Skillet among my favourite bands).

Now for the “bad”. I’m not sure if Head was aiming for a metal, latter-day Dark Side of the Moon, but Save Me From Myself is peppered with interludes and song-segues that pretty much ruin the flow of the album and irritate beyond compare. This, sadly, is the case between “L.O.V.E.” and “Flush”, where the sound of Head gagging is unnecessary, and the creepy-baby-crying at the beginning of “Loyalty”… well, it was just creepy, and annoying when it reemerges later in the track. This is a real shame, as the songs themselves are brilliant. Without these odd interludes, I would have rated this album much higher than I do.

An interesting new direction, with plenty of brilliance on display, but unless Head can reign himself in when it comes to “artistic flourishes”, then I can’t imagine many people will enjoy sitting through a whole album. Unless they are somewhat disturbed. Let me stress, though, that taken as individual songs, this is a great collection of songs.

Two of the Greatest Albums of 2008 (& All Time?)

2008-10-26T11:25:00.008Z

The second half of 2008 has seen a wave of exceptional albums released by both established bands and newcomers alike. Here's a quick review of the two albums to have completely taken my breath away:

Sonic Syndicate returned this year with Love & Other Disasters which builds on what they gave us previously, showing an equal amount of growth and skill. Songs such as "Jack Of Diamonds" and "Encaged" show that the band can still rock like the best of them, while "My Escape" shows a softer side of the band (while not being wimpy or pop). An excellent example of modern metal done right. Easily one of the best albums of the 2000s, let alone this year.

This year, Shinedown have given us The Sound Of Madness. I wasn't sure what to expect, as I'd been a huge fan of their first album, Leave A Whisper (2004), but was slightly underwhelmed by their sophomore effort, Us & Them (2005). When I first put this album in my CD player, though, I was blown away. The band have managed to create a sound that is wholly their own, but firmly within the darker reaches of hard rock. Heavy, super-melodic, with a healthy dose of bombast, I seriously doubt anyone could not like this album. Picking any one track to recommend would be impossible - the first two tracks form a pucnhy beginning with the driving, anthemic "Devour" and the huge title-track. But, even when the band are more introspective, they still create some moving ballads ("Call Me", "The Crow & The Butterfly" and "If You Only Knew"). Perhaps the song that exemplifies everything that the band has become is "Cyanide Sweet Tooth Suicide": mixing heavy guitars, a melodic hook (guitar and vocal) to die for, and enough power behind it to make anyone jump up and sing along... Truly amazing. Best album of the year, and certainly up there in my top five albums of all time.

If you only buy two rock albums this year, make it these two.

"Wasteland Discotheque" - Raunchy (Lifeforce)

2008-08-05T17:31:00.003Z

Melodic, heavy, not the best but still pretty good...

I've been a fan of Raunchy since they released Confusion Bay (2004). With its mix of heavy-and-light elements it didn't present us with anything particularly new, in terms of style, but there was something about the way band wrote and performed that made them stand out among the others peddling the same or similar metal. Harsh vocals went hand-in-hand with more melodic, soaring choruses, all on top of ultra-melodic instrumentation.

The band's been going through a lot of label changes and line-up changes, but the band remains much the same as we've come to expect. Mixing Fear Factory-style industrial production with In Flames/Soilwork Melodic Death Metal, Wasteland Discotheque is a solid album. Perhaps not as good as the aforementioned Confusion Bay or the band's previous release Death-Pop Romance (2006), this album still contains plenty to keep you headbanging and ears open for more. But, with other bands out there doing similar things and better (specifically: In Flames, Soilwork, Sonic Syndicate, Scar Symmetry), it will be hard for Raunchy to get enough people to notice them, which is a shame.

If we gave grades, this would be a B- or C+. They've released better, but the album still has some redeeming features (almost Nightwish-esque use of keyboards, for example, is a nice addition). We'll have to see what they do next, I guess.

Choice cuts: "The Bash" (superb chorus), "The Warriors" (sinister verses, almost emo chorus), "Straight to Hell" and "Welcome to the Storm" (both of which bring to mind the style on Confusion Bay)

www.myspace.com/raunchy

Disturbed, "Indestructible"

2008-06-02T16:18:00.002Z

Latest offering from David Draiman and his merry, heavy men

Disturbed have always held a special place in my heart. Their debut, The Sickness (2000) came out just as nu-metal was starting to bore me - its blending of the better elements of the genre and Draiman's quirky vocal tics, not to mention a healthy attention to melody grabbed my attention and I've remained hooked ever since.

As one of the only surviving band from that era maintaining a decent fanbase (probably a growing one, in fact), Disturbed have evolved their sound over the years, culminating in Indestructible, which blends all the heavier elements of The Sickness and builds on the melodic and bombastic elements that emerged on the truly excellent Believe (2002) and Ten Thousand Fists (2005).

On first listen, Indestructible sounded competent and melodic, but didn't fully grab me. Now that I've been listening to it for a good while, though, it can safely sit among Disturbed's other releases as another example of melodic hard rock done very, very well. The darker atmosphere of the album ("Inside the Fire") combine flawlessly with bombastic bounce ("The Night") making a varied and exciting album on all fronts.

If you're familiar with Disturbed, you probably won't be surprised by anything on here (that's a good thing). If you're new to Disturbed, you'll find an accesible hard rock album that you can both dance to and sing along with, without sacrifice of heaviness.

Highly recommended.

"Vengeance", Nonpoint (Bieler Bros.)

2008-04-04T16:04:00.002Z

I’ve always had a soft spot for Nonpoint, ever since I heard “What A Day” from their 2001 debut, Statement. Blending the common nu-metal themes of the times with more eccentric and esoteric styles (latin, especially) and a whole load of personal character that has made them stand out from every other band before and after. They defy categorisation, and that might be their secret to success, leaving them free from being tarnished by any fleeting fad or “it” genre.

On Vengeance, Nonpoint haven’t broken their original mould too much, growing still in the direction exhibited on 2005’s To The Pain, which showed the band simultaneously going in a heavier and more melodic (some would say commercial) direction. After the success of their cover of “In The Air Tonight” (which feature in the Miami Vice movie remake), the band sound more confident to try new things.

Elias Soriano’s vocals are more husky in the opening numbers of Vengeance, the melodies less overt, but at the same time still there.

The pace of this album is actually pretty slow, despite the urgency that comes across occasionally in the vocals. The title track typifies this – the vocals are pretty urgent, but the instrumentation behind it is not especially fast. This is the perhaps the only thing I found a little disappointing (only a little, mind). I was hoping for something a little faster and urgent, but after accepting the slower pace, the album really started to grow on me. Whether it’s the anger of “March Of War” and “Wake Up World”, or the more introspective and considered “What I Do Best”, “A Way Out” and “Breathe” (the latter two are particularly excellent songs).

Often it feels like the band are throwing nods to their previous output, perhaps something for the long-time fans that might have been wary after their successful, aforementioned cover-single. The songs all blend nicely together into a cohesive whole, which makes it difficult to really pick stand-out tracks. Some won’t like the “vanilla” feel of the songs (to quote another reviewer), as if you’re not paying attention you could be made to think you’re listening to just one long song. But, if you do listen properly, you’ll be able to hear that Nonpoint have written a solid rock album. Perhaps it doesn’t meet their previous albums in quality or experimentation, but that shouldn’t disqualify it from your collections.

A surprisingly slow-burning album, that should translate well into the live setting, it’s clear that Nonpoint are a band that, while purveying their own take on hard rock, will continue to survive, long after their peers have faded away.

www.myspace.com/nonpoint

Destinity - "The Inside" (Lifeforce)

2008-02-29T18:29:00.003Z

Quality Death Metal with occasional melodic flourishes

Destinity have produced a rather satisfying album with The Inside. Vocally heavy, instrumentally both heavy-as-hell and yet also retaining a certain musical flair and penchant for melodic guitar-lines, there is little doubt that this album should appeal to fans of both Death Metal and Melodic Death, maybe even some fans of symphonic Black Metal (especially if you like bands like Dimmu Borgir, and their later releases).

One interesting difference that makes Destinity stand out is their use of "clean" vocals. If you've heard the band Pain (side-project of Hypocrisy's frontman and producer extraordinnaire, Pete Tatgren), then you will have an idea of what the sung vocals are like. Used sparingly and to excellent effect, they add another dimension to an album that could otherwise have been subsumed by the ever-expanding stable of bands who try this sort of thing.

With hints of Dark Tranquility, Ill-Disposed, Arch Enemy, early Soilwork and other luminaries of the Melodic Death Metal scene, Destinity can be proud of the album they've written and produced, standing tall with their peers. Though I must say, having mentioned those stars of the Gothenburg scene, that Destinity do not peddle a well-worn knock of that sound. Sure, there are some universally used elements that crop up in all Melodic Death Metal, allowing identification with that genre, but Destinity add so many other elements that they almost (but only just almost) defy categorisation.

Heavy, technically excellent, and the know-how of to structure heavy songs, Destinity are a band to watch as they will no doubt grow in both confidence and skill as their careers develop. If you like these guys, also check out fellow Lifeforce stable-mates Deadlock.

www.myspace.com/destinity

Demon Hunter - "Storm The Gates Of Hell" (Solid State)

2008-01-14T16:50:00.000Z

Metalcore Juggernaut keeps on rolling...

Demon Hunter are one of the better purveyors of Metalcore at the moment. Some complain that they are too like Killswitch Engage, apparently having taken too many cues from that band's mega-hit The End Of Heartache (2004). I, on the other hand, think the opposite. I think Demon Hunter are one of the only bands out there, still producing Metalcore, that are actually worth listening to.

Having said that, Storm The Gates Of Hell is far from perfect. This is largely the fault of the scene and genre than any specific fault of the band's. The thing is, when Demon Hunter are at their most "commercial", they are awe-inspiring, oft jaw-droppingly good: their biggest hit before this album was "My Heartstrings Come Undone" from Summer Of Darkness (2004) - a melodic ballad that evoked a whole swathe of emotions in the listener, retaining minimal amounts of crunch and barely any heavy elements. I'd go so far as to say that much of Summer Of Darkness was perfect, or at least as near to perfect as this genre can get (check out lead single, "Not Ready To Die"). Follow up album The Triptych (2005) was good, but didn't live up to its predecessor.

With Storm The Gates Of Hell, we get a blend of all the best bits from Summer Of Darkness coupled with higher levels of ferocity, reminiscent of their eponymous debut (2002). But, while that may make some long-term, purist fans salivate with glee and excitement, the album again did not quite live up to my hopes.

On this latest album, Demon Hunter have written some songs that have none of the commercial elements that made them such cross-over successes. The opening, title-track is relentless and fast, but ultimately boring. It would work in a live-setting, if your intention was music-to-kill-others-by. Listening on a stereo at home, it sounds a little ridiculous. I'd go so far as to say it's a carbon-copy of almost every other non-commercial Metalcore band out there. A pity.

At the same time, the album has two of the best songs written in 2007, in my humble opinion. There's the ballad "Carry Me Down", which is even more melodic than "... Heartstrings...", and actually has a great uplifting effect on the listener. The second, near-perfect song, is "Fading Away" (the album's first single). This single perfectly displays that band's songwriting chops, perfectly juxtaposing the heavier and melodic sides of the band's personality and signature sound. I defy anyone to not spontaneously start singing along to this song. Ryan has some of the most powerful vocals in the Metal scene as a whole, and it seems criminal to not utilise them to their fullest. Truly amazing, his singing voice, and when used well in conjunction with his truly demonic roars, you get a real yin and yang effect.

Other songs manage to inject huge melodies into otherwise bludgeoning songs, including "Lead Us Home", "Sixteen", "Incision", and "I Am You".

Ultimately, this is a good album, but it suffers from the Metalcore affliction of containing a clutch of excellent or notable songs, and the rest being largely forgettable (and, as is invariably so, it's the "-core" heavy songs that are ultimately discardable).

www.demonhunter.net / www.myspace.com/demonhunter

Best Songs Of 2007

2008-01-12T17:34:00.000Z

I usually get annoyed with end-of-year list articles, but for some reason I've been moved to write a short list of the best songs released in 2007. It's not in any particular order, and is far from definitive, but I thought I'd share my opinion with you. Some of them are singles, but others are gems that I thought I'd let people know about. Feel free to comment if you agree or disagree.

Soilwork - "Breeding Thorns"

Demon Hunter - "Carry Me Down" & "Fading Away"

NB-All Stars - "Dysfunctional Hours" (Anders Friden)

Sonic Syndicate - "Denied" & "Enclave"

Bruce Springsteen - "Radio Nowhere"

Funeral For A Friend - "Into Oblivion (Reunion)"

OneSideZero - "My Confession"

Apocalyptica - "I'm Not Jesus"

Finger Eleven - "Paralyzer"

Strata - "Cocaine (We're All Going To Hell)"

Seether - "Fake It"

Engel - "Next Closed Day" & "Casket Closing"

Korn - "Evolution"

Fuel - "Halos Of The Son" & "Again"

Black Stone Cherry - "Rollin' On"

I'm sure there are others, but these are the ones constantly on my MP3 player's playlist. Enjoy.

Engel - "Absolute Design" (SPV)

2007-12-08T16:48:00.000Z

Long awaited album from Swedish Scene darlings throws a bit of a curve-ball...

Back in early 2006, Engel released their song "Casket Closing" on their MySpace page and later on a free Metal Hammer CD. It was, simply put, absolutely killer. It had everything: soaring vocals, harsh vocals, chugging riffs, guitar hooks and a melody that would just not let go.

Then they released this album. And I scratched my head in confusion. Produced by Anders Friden (In Flames' vocalist and sometime producer extraordinaire), "Casket Closing" now sounds closer to 1980s disco than Melodic Death Metal. The vocals have been almost completely cleaned up, with extra pop-melodies layered on top, completely stripping the song of most of its edge.

The rest of the album also confused me. "Next Closed Day" is an excellent song that mixes Duran Duran with heavy guitars and yet another chorus that I can't help but warble along with. Really, it's an excellent song.

Now, elsewhere on the album, the band exhibits a diminished sense of originality. Vocals often bring to mind Static-X's angry outbursts (particularly on "The Hurrican Season", "Trial And Error" and "Propaganda"), and at other times songs feel like they're about to do something amazing but then give away the store to do something either weird or "eccentric".

There is lots to appreciate on this album (particularly the guitar-work, which is melodic and exemplary throughout the album), but after the truly excellent demo version of "Casket Closing" and the subsequent reinvention of the song and the band's sound, it can't help but feel a little like a let-down. I'd still recommend buying it (especially if you didn't hear the advance song), but also try to get the demo version, too. After the initial disappointment, I listened to this album constantly for a week, and it's now one of my favourites, filled with varying styles, ideas and textures that raise it above the level of many other melodic-&-heavy bands currently being touted as the next big things.

These guys could very well be big, given the chance. Do your part to help out, and buy this album.

Stand-out tracks: "Casket Closing", "Next Closed Day", "Propaganda", "The Paraclete", "Scythe"

http://www.engelpropaganda.com/ / www.myspace.com/engelmusic

Submersed - "Immortal Verses" (Wind-Up)

2007-12-08T16:39:00.001Z

Another forgettable album

Submersed are another young band from the Wind-Up Records stable who continue to release albums that are, more or less, forgettable. Sure, there are some nice melodies thrown in there, the occassional guitar riff that catches one's ear, but other than that, it's completely forgettable. In fact, having listened to it a few times now, I can't recall a single song. At all. Like their debut, In Due Time (2004), there is one song that one notices; on this album it's "Better Think Again", which is track one. On their debut, it was "Hollow", which was track one. Sadly, Submersed are one of those bands that front-load their albums with their one or two best songs, and fill the rest with sub-standard songs (see also now-defunct Closure and Clockwise). It's a pity, as they occasionally do display flashes of inspiration and originality.

When compared with other albums on Wind-Up - such as Seether and Megan McCauley (both of whom have recently released very good albums) - it's a wonder people at the label don't wonder why they keep Submersed around.

More rocking than elevator music, but not rocking enough to make much of a dent, I really wonder whether anyone's going to notice or remember this album in a couple of months.

I have nothing more to say on the album. Check it out if you have nothing else to do.

http://www.submersed.com/ / www.myspace.com/submersed

Soilwork - "Sworn To A Great Divide" (Nuclear Blast)

2007-11-01T15:58:00.000Z

Yet another heavy, melodic masterpiece from Bjorn & Co.

This will just be a quick review as, while an excellent album, if you know Soilwork’s previous material then there will be little on Sworn To A Great Divide that will be a surprise.

Soilwork are one of the best bands out of Sweden, along with In Flames and up-and-comers Sonic Syndicate and Engel (review coming soon). However, like these other bands, they have broken away from the ever-growing pack of Melodic Death Metal/Gothenburg scenesters and have forged ahead with their own blend of heaviness and melody.

In some ways similar to Scar Symmetry in that they mix not only melodic guitar lines with roared and screamed vocals, but also proper, clean vocals that are truly remarkable! The fact that they both come from the same throat makes it all the more impressive.

As hinted in the first sentence, this is Soilwork exactly as we would expect them to sound. While some have decided that this is a bad thing, I think that’s very far from the truth. With bands constantly trying to reinvent themselves or jump from one bandwagon to another (Avenged Sevenfold please stand up), it’s refreshing for a great, talented band to stick with what they know they do better than everyone else.

The first few tracks start things off heavier than previous album Stabbing The Drama, but following that we are entertained by 11 more stunning blends of brash heaviness and sing-along melodicism. There’s no great variation in structure between the songs, but that’s not to say that they are all carbon copies of each other. The similarities allow the album to blend into a cohesive whole which makes it all the easier on the ears.

“Breeding Thorns” is a track that particularly stands out in my mind, mixing all the instrumental elements we’ve come to love from Soilwork, not to mention three different singing styles (roared, sung and something that falls in the middle of the two). It’s also impossible not to be lifted by this song. That, actually, is one of the defining things about Soilwork’s music: despite it being heavy and angry, each song has a distinct uplifting feel to it. It’s strange, but I love it. The album passes the goosebump test, easily.

Not the most expansive review, or even the most detailed considering how much I love the band, but every song on here is one that deserves attention. Soilwork are a band that doesn’t need flowery or poetic prose, they just need your attention. Sure, Sworn To A Great Divide is not the best album in the world, but this is as close as heavy music can gets to highly-consumable without being pop or Linkin Park.

Go buy this album. It works, on every level that an album should. It would also act as a perfect bridge for anyone who wants to delve deeper into heavier music but hasn't completely committed to it, yet.

www.soilwork.org / www.myspace.com/soilwork

Nuclear Blast All-Stars - "Out Of The Dark" (Nuclear Blast)

2007-08-13T19:59:00.000Z

An exercise in modern metal, blistering guitars, and melodic screaming…

This album took my pleasantly by surprise. Following the considerable success of Roadrunner’s All-Star Sessions, I was concerned this might end up being a cheap imitation. On the contrary, however, it is actually a highly accomplished and polished collection of modern metal – true, it’s populated mainly by Scandinavians, but modern metal is something they do oh-so-very well.

While the songs all feature different vocalists, they manage to create a cohesive whole that makes it seem as if this could really be an album from a single band – no small feat considering the eleven (!) vocalists who took part in the project. The first two opening tracks, “Dysfunctional Hours” (featuring the ever-excellent Anders Friden of In Flames) and “Schizo” (featuring multi-talented Hypocricy’s Pete Tatgren), start things off with two fast-paced, expertly executed slices of melodic death metal, with the most melodic screaming I have ever heard.

Clean vocals make an appearance on “Devotion” and “The Overshadowing”, while retaining the heavier, coarser vocals to ensure the songs don’t disrupt the overall feel and punch of this album. Having said this, the middle of the album features the majority of “cleaner” vocals (i.e. little or no screaming), with “The Dawn Of All” proving to be an excellent rock/metal song, and one of Bjorn Strid’s most accomplished vocal performances, as well as the biggest and most sweeping song on the album. The bruising follow-up track, “Cold Is My Vengeance” re-ups the ante by packing a wallop, and Maurizio Iacono’s harsh vocals over furious drums and staccato guitars leaves us in no doubt that this is first-and-foremost a metal compilation.

While I was only expecting to like the songs which featured my favourite vocalists (the aforementioned Anders Friden and Pete Tatgren; Bjorn Strid of Soilwork on “The Dawn Of All”; the boys from Sonic Syndicate on “The Gilded Dagger”), every single one of these songs offered something to keep me interested and listening again and again, and could easily act as singles.

If ever you needed an introduction to Nuclear Blast’s heavier bands, Out Of Darkness is your ideal album. True to each vocalist’s sound, yet a cohesive whole, this is an excellent album, and does an impeccable job of both providing an excellent showcase for Nuclear Blast’s leading male vocalists, as well as a collection of kick-ass metal music.

Incidentally, Nuclear Blast’s female vocalists were catered for with the preceding NB All-Stars collection, Into The Light.

Highly recommended for even the casual metal fan, and an essential purchase for Melodic Death Metal and Metalcore fans the world over.

www.nuclearblast.de

Karnivool - "Themata" (Bieler Bros.)

2007-07-20T19:52:00.000Z

A long awaited delight from Australia’s latest, greatest exports.

Karnivool’s Themata is an exercise in melody and sweeping soundscapes, eliciting an emotional response normally associated with classical music, rather than the rock genre. From the opening track “Cote” to the closing bars of “Change (Part 1)” the band have explored various methods and styles of melody, each creating unique songs yet at the same time maintaining a cohesiveness that makes Themata a thoroughly rewarding listen.

Comparisons can be drawn with Boy Hits Car (especially on the best track on the album, “Themata”) and fellow Australians The Butterfly Effect and, at a push, Tool. In an environment filled with metalcore and emo clones, it’s refreshing to hear bands coming out with more individual sounds that defy pigeon-holing. The aforementioned title-track, for example, while kind-of-conventional in structure has some of the most emotional, melodic and soaring choruses that remain strangely understated. With vocalist Ian Kenney’s voice switching between a range of pitches and tempos, backed up impeccably by the instrumentalists in the band (particularly the oft-fuzzed-up guitars). Truly excellent stuff, and I would bet money that this could make an excellent single.

With a distinctive sound that runs throughout the album, while still retaining variation and surprises, Themata should have something for everyone, but at the same time might not be recommended for those who like simple, 1-2-3 music (i.e. pop music), with simple structures and so forth.

Difficult to describe, but well worth checking out, Karnivool is a band that you should look out for in the future as they prepare to release their next album (Themata was released some years ago in their Australia).

www.karnivool.com.au / www.myspace.com/karnivool

OneSideZero - "OneSideZero" (Corporate Punishment)

2007-06-27T19:49:00.001Z

After six years in the wilderness, OneSideZero return to show everyone how it’s done. Again.

On 2001’s Is This Room Getting Smaller? album, OneSideZero dropped an album of immense melody and intense musicianship on a relatively unsuspecting music scene. Different from the vastly popular and over-populated Nu-Metal scene, they peddled more melodies in one song than many band of the day had on an entire album.

Now back with their eponymous sophomore release, it’s really like they never left. “Carry Your Gun” opens proceedings with a bang, blending all the elements we’ve come to treasure (soft, husky melodic parts and more angst-ridden verses). This would make a very good single.

One of the best things about this band is that they defy comparisons – there really is no one else out there that sounds like them. True, they have certain elements that might sound (if only read about) pretty standard, but when you actually hear Jason Radford’s vocals, how he is able to switch effortlessly from a clean, almost angelic sung vocal to a rabble-rousing cry for revolution (“Breath”) is refreshing to say the least. Think Tool if it was fronted by someone who could not only write a decent melody, but also stick with it for long enough for everyone to care, mixed with the instrumentation of Jimmy Eat World or Strata at their harshest. Perhaps not the best description, but that’s the image my mind conjures when I think about it.

While for a long time we only had lead single “My Confession” to whet our appetites in the lead up to OneSideZero’s release, the song is another microcosm of OSZ’s sound, with its rousing choruses and harsher middle-eight, if you like the single, you will definitely like the whole album. It has become a heavy-rotation song on my stereo and playlist (actually, it’s on there twice, to make it more prevalent).

It’s not all balls-to-the-wall metallic melody, though; “Levitation” brings things back to a more calm pace, a moment of calm respite after the three opening cuts.

While I wouldn’t go as far as to say the album as a whole is perfect, it has a clutch of near-perfect songs to make it a necessary purchase for anyone who loves metal, and also for those who are perhaps tiring of the metalcore and emo scenes. OneSideZero contains enough to hold the attention of devout fans of both genres, and they would benefit from getting their paws on this great album.

www.onesidezero.com / www.myspace.com/onesidezero

Funeral For A Friend - "Tales Don't Tell Themselves" (Mighty Atom/Atlantic/Warner Bros.)

2007-05-14T17:57:00.000Z

Welsh superstars return with their most radio-friendly disc to date

"Into Oblivion (Reunion)", the first single and album opener, starts things off very much as they mean to go on: massive choruses, great instrumentation, hooks galore and tight playing and writing.

It must be said that I was originally sceptical about their new, more commercial direction - apart from "Into Oblivion", I had heard a couple of tracks on HMV's radio station (I spend a lot of time in there), and thought that the songs sounded just alright, rather than great. But, having listened to this album in its entirety, it certainly has a completely different impact as a single, cohesive body of work.

To put it simply, this is a very good album. True, it doesn't have the punky urgency or anger as their debut (2003's Casually Dressed & Deep In Conversation - one of my favourite albums ever), the band members have clearly grown as musicians, and the writing on Tales Don't Tell Themselves is more daring and they appear to have pushed the envelope more than they ever seemed brave enough to do. It's an effort that has certainly paid off.

Unfortunately, there is only so much that can be written about the album, other than it's really very well written and a very satisfying listening experience. Summery without being sickly, catchy as it needs to be, this is an album that will work very well with the top down, and cruising along in sunny California. Which just makes it so very weird that these guys are from Wales...

Other tracks that stand out are "The Great Wide Open", "The Diary" (nice additional female vocals), "Out Of Reach" (a heavier, faster track) to name but three.

A refreshing breath of fresh air from a band distancing themselves from the Emo crowd. Recommended.

www.funeralforafriend.com / www.myspace.com/funeralforafriend

Sonic Syndicate - "Only Inhuman" (Nuclear Blast)

2007-05-11T19:45:00.000Z

Sonic Syndicate are a breath of fresh air for the Melodic Death Metal genre. Blending the driving, technically impressive and above all melodic instrumentation that we have all come to love from this genre, Sonic Syndicate take it yet another step further with their vocals, joining the prestigious ranks of In Flames and Soilwork as bands willing to utilise a more conventional singing style, along with their (readily understandable) screams and roars.

It’s hard to believe that they needed to join a competition to get a record deal, as the strength of their music is near-unparalleled. A nod from Anders Friden of In Flames fame won’t hurt much, either!

While a cohesive body of work, Only Inhuman comprises 12 unique tracks, mixing more melodic moments with heavier, fist-pumping metal. With the brothers Sjunnessen forming the back-bone of the band (Richard on vocals, Roger and Robin on guitars – and what amazing guitar playing!), Karin Axelsson providing bass duties as well as some vocals, John Bengtsson pounding the drums and further vocals provided by Roland Johansson, the band are able to provide a diverse sound that sounds fresh, urgent and so very, very catchy. While recognisably Melodic Death Metal, the band have managed to create a sound that remains very much their own, without paying overt homage to any of their influences. An admirable feat for a genre that has started to sound more and more formulaic and just a little stale (check out Dark Tranquility’s latest, Fiction, for sad proof of this).

From the opening bars of “Aftermath” to the closing notes of “Flashback” (and everything in between), Only Inhuman presses all the right buttons, never allowing the pace of delivery to drop. The songs are huge, anthemic and infectious. It’s almost impossible not to fall immediately in love with this band (and their strikingly beautiful bass player).

If you like heavy, melodic music, Sonic Syndicate are your new favourite band. Only Inhuman is as close to flawless as an album can get.

Stand-out Tracks: “Psychic Suicide”, “Double Agent 616”, “Callous”… I know I’ve said this before, but every single song on Only Inhuman requires your immediate attention. An essential 2007 purchase.

http://www.sonicsyndicate.com / www.myspace.com/sonicsyndicate

3 Mile Scream - "A Prelude To Our Demise" (Corporate Punishment)

2007-05-11T18:52:00.000Z

Blistering metal for the new generation.

Following in the wake of multiple plaudits from peers and fans alike, 3 Mile Scream’s debut was a hotly anticipated release. It would seem that almost everyone in the heavy music world has been impressed by this band – including (most notably) Arch Enemy, God Forbid, Unearth, Byzantine, Kataklysm, and Unearth. Everyone who’s come in contact with the band seems to have something very positive about 3 Mile Scream. You can add MWRI to this growing list (even though we have nowhere near the pull of the aforementioned fans).

To begin with, ‘Scream’ is a good word to include in their monicker, and Matt McGachy can certainly do this with great aplomb! His less extreme vocals are also not bad, and add a great melodic element to the band’s sound. Unlike some bands, when you’ll be particularly impressed by a certain facet of the band’s sound, 3 Mile Scream appear to be one of those bands which manage to create a cohesive whole, with every member’s input being as equally important to the final product as the next. This is particularly evident on the first song proper on the album, “Mourning The Lost” which, starting as the band mean to continue, hits us with a sucker-punch of speed, brutality and tempered melodic moments that would make even the most cynical metal fan hit the repeat button. ("Confession" is another particularly fine song.)

As good as this album is, it’s not reinventing the wheel to any great extent, but the band do a very good job of providing their listeners with enough diversity and inspired song-writing to keep everyone interested from beginning to end. This is particularly evident on “Forced Entry”, perhaps my favourite song on the album (and could actually qualify for a single).

One might mistakenly slot them into the metalcore genre, but 3 Mile Scream have such a diverse pallet (including Thrash, Death Metal, Melodic Metal, and perhaps Hard Rock) that it might just be better to call them Metal (capital ‘M’, of course).

Furious, brutal, fast, in-your-face, technically impressive and occasionally melodic in all the right moments, A Prelude To Our Demise provides much for every heavy music fan.

Surely now the album is available, the praise will only snowball. Well worth checking out.

www.myspace.com/3milescream

Dimmu Borgir - "In Sorte Diaboli" (Nuclear Blast)

2007-03-27T18:16:00.000Z

Dimmu Borgir return with another masterpiece to retain their Black Metal Throne.

This album turned out to be very different from what I was expecting, pleasantly so. Dimmu’s dark symphonic tendencies are still firmly intact, exhibiting the band’s continued growth and skill at both composition and execution of their dark and heavy style. This album grabbed my attention far quicker than their previous albums, and is far more ambitious than previous outings. It should certainly slake any fan's thirst for blistering symphonic black metal.

In the fashion of Satyricon’s Now Diabolical (Roadrunner, 2006), Dimmu have gone for a much bigger sound, as they have before, utilising the superior production skills of Fredrik Nordstrom once again. As is expected from the master of Fredman Studios, the production and sound quality is impeccable. There are hints of many bands, here, if you want an idea of who they’ve influenced: Children Of Bodom and, especially, Cradle Of Filth (though, Dimmu are far easier to like than Dani’s crew).

The problem with reviewing this album is that other than stipulating that it is a very good Symphonic Black Metal album, it doesn’t provide enough opportunities for effusive praise for either expanding or breaking any boundaries that the band have already set themselves. Needless to say, this is a very good album and should please former fans of the band as well as hopefully open up their music to a wider fan-base. Given Nuclear Blast placing high priority on promoting this album, this could well be Dimmu Borgir’s year.

A concept album, the songs blend brilliantly into each other, neither jarring the listener with sudden changes or going unnoticed. The clean vocals on opening track “The Serpentine Offering” are a nice addition.

Yet another example of a 2007 release that has lived up to the great anticipation that has preceded its release. Individual, heavy, orchestral and great – everything a black metal album should be.

www.dimmu-borgir.com / www.myspace.com/dimmuborgir

Ghost Machine - "Hypersensitive" (Corporate Punishment)

2007-03-03T17:27:00.000Z

Ghost Machine, featuring members of the sadly-dead Motograter, have returned to our stereos with an esoteric, industrialised listening experience that is not entirely comfortable... Unlike with some bands, though, this is actually not a bad thing.

Intro track "The End" is truly creepy; with heavily industrialised instrumentation mixed with clean and helium-fuelled vocals, it could very well come straight from a horror movie.

In fact, that is a good analogy to run with, for Hypersensitive: it's the musical equivalent of the current stream of popular horror movies that are breaking cinema records at the moment. It's thrilling, exciting, different, but also rather unsettling.

The vocals are superb, mixing some amazing singing and distraught screams that only add to the despairing, suffocating atmosphere of tracks like "Sheltered". If you were fortunate enough to catch Motograter's eponymous release, then you might find that a lot of Ghost Machine's output sounds like the best parts of that album. The reason I spend so much time on the vocals is that they truly are the most striking element to Ghost Machine's sound - "Headstone" in particular showcases some exceptional singing blending hints of Tool's more normal moments, as well as sharing some elements with labelmates Onesidezero (new album out in June). However, these similarities are only in terms of style as, in terms of actual sound, Ivan's vocals are unique in pitch and delivery. Really quite amazing.

The music dips and soars throughout the album, hitting emotional peaks and wrenching troughs, never predictable but never sloppily put together. The songwriting is exceptional, as has become expected from Corporate Punishment's growing (and increasingly impressive) stable of bands.

The use of bizarre interludes is one of the devices the band has brought over from their days in Motograter. While for the previous band it was every other track, Ghost Machine rein themselves in a little bit more, making the album progress much smoother. Though, in truth, leaving out some of the more bizarre ones might have made this album gel better, and allowed the stream of soaring, emotive songs constant, rather than being interrupted by the occassional break in momentum. A minor quibble, but one nonetheless.

If you're after emotive, soaring and different music, in a rock world increasingly populated by Emo/Screamo bands, then I highly recomment you check out Ghost Machine's Hypersensitive. Something different to reinvigorate the genre.

www.ghostmachine.net / www.myspace.com/ghostmachine1

Mendeed - "The Dead Live By Love" (Rising Records)

2007-02-19T23:51:00.000Z

Just a quick review for this one. The Dead Live By Love is excellent. Blending Children Of Bodom-style melodic death metal (minus the keyboards) with more soaring, melodic and ‘cleaner’ moments, this album packs the punch of Scandanavia’s best metal acts (think the aforementioned COB and the mighty In Flames), but adds extra flavours on top, making their music conform and yet also defy pigeonholing. It sounds fresh, yet familiar. "Invigorating" would be a good word to describe how this album sounds, as well as what it does for the genre as a whole which is getting a little stale.

The fact they band hails from Glasgow and not Sweden or the US is another head-spinner: who would have thought the Scots would produce such an amazing metal band, with a sound all their own? Mixing brutality, amazing musicianship and varied vocal styles (always melodic, even when David Proctor’s screaming) Mendeed might have produced an album that would win a few Metal Album Of The Year gongs, if only it wasn’t released so early – when have the awards ever really gone to an album released in the early months of the year? Like the Oscars, it’s always to the ones people can remember the most. So, all we have to do is get them to release a reissue (or enough singles) to keep them fresh in the ever-fickle minds of the metal massive.

I've followed the band since their first EPs, and it's very refreshing to here the band growing into such a formidable force! As musicians they are almost peerless (certainly in the UK), and as a band they have clearly grown more confident in their own abilities. If these guys were from the States, you'd see them filling huge venues. Let's hope the fact their British won't hold them back from the recognition and success they so clearly deserve.

A truly awesome album, with not a single bad track, if you only buy one metal album this year, make it Mendeed's The Dead Live By Love. (It's in stores today, so there's no excuse not to!)

http://www.mendeed.co.uk/ / www.myspace.com/mendeed

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

2006-11-23T18:38:00.000Z

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)

2006-10-09T16:00:00.000Z

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)

2006-10-02T10:18:00.000Z

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)

2006-07-17T16:56:00.000Z

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)

2006-07-16T12:38:00.000Z

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)

2006-06-24T16:56:00.000Z

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)

2006-05-27T17:35:00.000Z

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)

2006-05-10T22:56:00.000Z

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)

2006-05-05T10:49:00.000Z

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)

2006-04-22T20:47:00.000Z

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)

2006-04-21T20:25:00.000Z

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)

2006-04-18T11:46:00.000Z

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)

2006-04-08T12:42:00.000Z

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)

2006-04-06T17:01:00.000Z

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)

2006-04-04T22:59:00.000Z

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)

2006-04-03T22:46:00.000Z

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)

2006-03-31T17:11:00.000Z

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)

2006-03-28T12:01:00.000Z

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)

2006-03-26T23:55:00.000Z

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)

2006-03-22T14:26:00.000Z

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)

2006-03-16T13:16:00.000Z

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.

ww w.katatonia.com

Caliban - "The Undying Darkness" (Roadrunner)

2006-03-02T11:14:00.000Z

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)

2006-02-28T14:03:00.000Z

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)

2006-02-25T14:28:00.000Z

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)

2006-02-22T11:36:00.000Z

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)

2006-02-13T22:14:00.000Z

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)

2006-02-11T17:47:00.000Z

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)

2006-02-07T18:06:00.000Z

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)

2006-02-07T17:53:00.000Z

“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)

2006-02-05T21:49:00.000Z

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)

2006-02-02T14:38:00.000Z

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)

2006-01-31T23:08:00.000Z

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)

2006-01-31T22:52:00.000Z

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)

2006-01-21T17:20:00.000Z

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)

2006-01-18T17:35:00.000Z

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)

2006-01-18T17:26:00.000Z

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)

2006-01-10T19:02:00.000Z

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.)

2006-01-10T17:48:00.000Z

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

2006-01-10T15:03:00.000Z

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"

2006-01-10T13:18:00.000Z

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

Bleeding Through - "The Truth" (Roadrunner)

2006-01-08T17:40:00.000Z

Bleeding Through have come a long way since their last album, This Is Love…This Is Murderous. As pioneers of the Metalcore scene, the band have thankfully gone some way to ditching their ties to it, forging ahead with a much more abrasive, gripping sound. Still, we have the thundering music and coarse vocals, but instead of sounding like plain old Metalcore, the band has managed to step out on their own, upping the ante considerably.

Brandan’s vocals have particularly improved a great deal. Firstly, his (predominant) roar bears more in common with Melodic Death Metal bands such as Arch Enemy and Dark Tranquillity, while his clean vocals are far less Emo. Speaking of his clean vocals; I’m a little disappointed. On occasion they sound less confident than before. Whatever the reason for this, there’s little doubt that live, he is still an imposing vocalist. However, on stand-out track, "Kill To Believe", his singing does sound very good.

With stellar performances from all members of the band, this is a treat to listen to. Guitars duelling with each other, crushing the senses, drums and bass pummelling our ears, and Marta’s keyboards adding extra dimensions to the band’s sound. Overall, the song-writing has greatly improved, with these cuts easily proving to be their best – not to mention heaviest – material. The songs are shorter, on the whole, which also gives the album a great pace that never lets up – at times, This Is Love… tended to get a little bogged down and distracted by longer tracks, sapping some of it of the frenetic energy these guys display in a live setting. With these songs, the mosh-pits at their shows will be bigger and better, not to mention irresistible.

It’s good to know that bands are finally deciding to pursue more individual paths in extreme music, as really the Metalcore scene was long overdue an overhaul and spring clean. For those who were fond of their old sound, do not despair! Bleeding Through are still recognisable as the same band, and have not completely rid themselves of their roots. This is a progression, rather than a reinvention.

If you’re looking for convincing, angry, frenetic and impeccable metal, then The Truth is an album you should look into getting your mitt on.

Although it is far too early to say for sure, I think Bleeding Through might just have released one of the best extreme metal albums 2006 will see (I’d be truly amazed if any Metalcore band managed to produce anything more immediate, individual and stylistically superb).

Bottled fury at its best, The Truth ensures that Bleeding Through will still be around after Metalcore has been relegated to the bargain-bin of music history.

www.bleedingthrough.com

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

2005-12-25T21:14:00.000Z

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

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

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

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

A very diverse, instantly likeable, highly recommended album!

www.bronxcasketco.com

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

2005-12-21T20:55:00.000Z

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

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

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

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

2005 ALBUMS OF THE YEAR - Stef

2005-12-16T22:48:00.000Z

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

15. Rolling Stones - A Bigger Bang

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

14. Disturbed - Ten Thousand Fists

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

13. Alston - Voodoo For Fun And Profit

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

12. Sentenced - The Funeral Album

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

11. The Bronx Casket Company - Hellectric

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

10. Tenebre - Heart's Blood

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

9. Alice Cooper - Dirty Diamonds

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

8. Ra - Duality

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

7. Hinder - Extreme Behavior

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

6. Billy Idol - Devil's Playground

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

5. Within Temptation - The Silent Force

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

4. Soilwork - Stabbing The Drama

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

3. Trivium - Ascendency

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

2. Sevendust - Next

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

1. Silvertide - Show & Tell

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

2005 ALBUMS OF THE YEAR - CMcG

2005-12-16T22:43:00.000Z

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

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

30 - ROTTEN SOUND - EXIT

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

29 - SUPERGRASS - ROAD TO ROUEN

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

28 - ENTRANCE - WANDERING STRANGER

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

27 - DESOLATION - THE STONE ORACLES

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

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

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

25 - WHITE STRIPES - GET BEHIND ME, SATAN

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

24 - GORILLAZ - DEMON DAYS

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

23 - THE PADDINGTONS - FIRST COMES FIRST

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

22 - DOGS - TURN AGAINST THIS LAND

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

21 - 10,000 THINGS

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

20 - MAXIMO PARK - A CERTAIN TRIGGER

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

19 - THE FORECAST - LATE-NIGHT CONVERSATIONS

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

18 - THE SUBWAYS - YOUNG FOR ETERNITY

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

17 - CORALIE CLEMENT - BYE BYE BEAUTE

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

16 - THE CORAL - THE INVISIBLE INVASION

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

15 - DEPECHE MODE - PLAYING THE ANGEL

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

14 - KATE BUSH - AERIAL

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

13 - COLDPLAY - X&Y

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

12 - PUSSYCAT DOLLS - PCD

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

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

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

10 - DEATH CAB FOR CUTIE - PLANS

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

9 - THE CAVES - THIS WAY TO...

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

8 - THE DEPARTURE - DIRTY WORDS

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

7 - KANYE WEST - LATE REGISTRATION

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

6 - BLOC PARTY - SILENT ALARM

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

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

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

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

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

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

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

2 - BABYSHAMBLES - DOWN IN ALBION

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

1 - DEAD FLY BUCHOWSKI - LAND OF THE ROUGH

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

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

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

2005-12-16T19:50:00.000Z

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

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

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

Demon Hunter - The Triptych (Solid State)

2005-12-16T19:38:00.000Z

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

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

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

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

www.demonhunter.net

Trapt - Someone In Control (Warner Bros.)

2005-12-16T19:21:00.000Z

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

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

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

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

www.trapt.com

Korn - See You On The Other Side (Virgin)

2005-12-16T18:57:00.000Z

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

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

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

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

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

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

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

www.korn.com

Naio Ssaion - Out Loud (Napalm Records)

2005-12-12T15:43:00.000Z

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

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

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

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

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

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

Raunchy given a new lease of Life

2005-12-09T13:59:00.000Z

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

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

Good to have them back.

Aphasia - "Fact & Fiction" (DRT Entertainment)

2005-12-07T18:59:00.000Z

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

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

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

Enjoyable and melodic, but ultimately forgettable.

Hinder - Extreme Behavior (Universal)

2005-12-05T14:14:00.000Z

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

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

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

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

System Of A Down - Hypnotize (Universal)

2005-12-05T14:09:00.000Z

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

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

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

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

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

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

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

Allele - Point Of Origin (Corporate Punishment)

2005-12-05T14:08:00.000Z

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

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

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

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

www.allele.com

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

2005-12-05T14:03:00.000Z

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

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

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

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

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

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

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

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

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

www.sevendust.com

MWRI Online

2005-12-05T13:23:00.000Z

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

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

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

Enjoy!