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

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)

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)

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)

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)

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

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

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

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

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

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

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

Trivium - "The Crusade" (Roadrunner)

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

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

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

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

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

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

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

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

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

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

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

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

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

Listenable, but largely disappointing.

www.evanescence.com

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

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

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

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

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

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

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

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

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

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

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

Muse - "Black Holes & Revelations" (Taste)

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

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

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

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

CMcG

www.muse.mu

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Brigade - "Lights" (Mighty Atom)

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

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

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

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

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

Distinct, intriguing and satisfying.

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

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

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

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

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

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

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

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

CMcG

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

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

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

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

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

Powerful, angry, abrasive, yet catchy.

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

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

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

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

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

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

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

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

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

Satyricon - "Now Diabolical" (Roadrunner)

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

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

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

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

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

Commercial Black Metal - stick it in your dictionaries now.

www.satyricon.no

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

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

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

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

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

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

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

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

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

Khoma - "The Second Wave" (Roadrunner)

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

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

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

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

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

Not your usual Roadrunner fare.

www.khoma.net

Lacuna Coil - "Karmacode" (Century Media)

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

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

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

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

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

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

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

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

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

www.lacunacoil.it

Faktion - "Faktion" (Roadrunner, USA)

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

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

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

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

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

www.faktionband.com