Rob Zombie - "Educated Horses" (Geffen)

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

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

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

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

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

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

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

www.robzombie.com

Soil - "True Self" (DRT Entertainment)

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

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

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

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

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

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

Powerful, crunchy, gruff and accessible.

www.soil-music.com

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

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

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

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

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

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

Emotional, melodic, powerful, essential.

www.atreyurock.com

End Of You - "Unreal" (Spinefarm)

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

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

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

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

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

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

www.endofyou.net

Katatonia - "The Great Cold Distance" (Peaceville)

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

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

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

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

More modern, crushing, but equally depressing.

www.katatonia.com

Caliban - "The Undying Darkness" (Roadrunner)

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

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

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

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

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

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

Ferocious. Fast. Formulaic.

www.caliban.net

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

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

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

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

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

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

www.boysetsfire.com

In Flames - "Come Clarity" (Nuclear Blast)

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

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

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

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

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

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

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

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

Truly essential listening.

www.inflames.com

Amorphis - "Eclipse" (Nuclear Blast)

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

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

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

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

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

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

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

www.amorphis.net

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

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

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

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

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

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

Recommended. Role on the fifth album proper!

www.entwine.org

Sinamore - "A New Day" (Napalm)

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

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

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

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

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

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

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

www.sinamore.com

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

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

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

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

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

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

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

Can something be beautifully insane? It can now.

www.zerocipher.com

Deathstars - "Termination Bliss" (Nuclear Blast)

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

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

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

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

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

www.deathstars.net

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Fall Of The Leafe - "Vantage" (Firebox)

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

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

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

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

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

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

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

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

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

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

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

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

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

New Talent: Megan McCauley (Wind-Up)

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

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

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

http://www.meganmccauley.com/

Charon - "Songs For The Sinners" (Spinefarm)

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

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

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

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

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

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

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