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

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