MartinDavey87's Reviews
As is always the problem with compilations, they quickly become dated, which is the case for 'Prelude to the Millennium', Symphony X's 1998 collection that nicely compiles material from their first four albums, which in retrospect, covers their mainly progressive/neoclassical phase (subsequent albums would go in a much heavier, power metal-inspired direction).
With that said, there is still plenty of excellent music here which can easily to used to convert new fans. Featuring some of the bands most ambitious and complex pieces, this will appeal to metal and prog fans alike, with a nice mixture of heavy, fast, quiet and epic songs. As is standard with the genre, the technical ability of everyone involved is top-notch, with particular praise going to the chemistry between guitarist Michael Romeo and keyboardist Michael Pinnella, and of course, to powerhouse vocalist Russell Allen.
Featuring some absolutely astonishing progressive metal hits such as 'Through the Looking Glass', 'Smoke and Mirrors' 'Of Sins and Shadows', 'The Damnation Game' and a re-recorded version of 'Masquerade' off of their debut album, the choice of songs here is (mostly) spot-on! And definitely highlights all of the bands strengths. However with that said, there is one problem...
'The Divine Wings of Tragedy'.
Now, the choice of songs is mostly killer here, and although there's one or two songs I'd have left off (this is always the case for compilation CD's), the real overkill is the inclusion of the 21-minute epic 'Divine Wings...'. It's a great song, but damn, it just takes up such a huge chunk here, and really, it just seems too much to hear the entire song! If it'd been up to me, 'The Accolade', 'Church of the Machine' or 'The Eyes of Medusa' are all much more accessible songs that could have taken its place. But never mind... can't win 'em all...
Symphony X are one of my all-time favourite bands, and I strongly encourage everyone to check them out. The music is incredibly well-written and will appeal to fans of both prog and metal. Despite only covering their first four albums, 'Prelude to the Millennium' is still a great starting point for anyone new to the band.
Genres: Neoclassical Metal Progressive Metal
Format: Compilation
Year: 2002
It's very rare for a band to continue getting better and better this far into their career, but with their sixth studio album, Fozzy are showing that there is still plenty of fuel left in the tank. Which is evident by their ever-growing fanbase, headlining tours and playing the main stage of some of metal's biggest festivals.
As they have done on previous releases, 'Do You Wanna Start a War?' sees a few tweaks to Fozzy's sound which prevents them from becoming repetitive whilst still maintaining their unique Fozzy tone. In particular, the riffs and song structures are a bit more stripped-down than before, there's only a couple of guitar solos, and there's a big "electronic" feel to this album. In fact, the first single 'Lights Go Out' was described by the band as being "disco metal", for its grooving dance vibe.
One thing this album has in abundance is those sing-a-long anthems that go down so well at concerts. And with the groups already strong repertoire, energetic live shows and the showmanship of professional wrestler frontman Chris Jericho, Fozzy is a band that just keeps getting stronger and stronger with each release. Guitarist Rich Ward's "less-is-more" approach to guitar riffs is a breath of fresh air in a stagnant metal scene where so many bands are trying to be as technical as possible. He can get more from a couple of chords than most bands do from a thousand notes. Need proof? 'One Crazed Anarchist'. There ya go.
'Lights Go Out', 'Died With You', the title track and an awesome cover of ABBA's 'SOS' (you're not truly a metal band until you've covered an ABBA song)... all reasons to get this album! Simple as that. How does the chant go?
FOZZY!!! FOZZY!!! FOZZY!!! FOZZY!!! FOZZY!!!... [repeat and fade out]
Genres: Heavy Metal
Format: Album
Year: 2014
While Sevendust’s second album, 1999’s ‘Home’, is a step up from its predecessor, it’s still a fairly average album at best. There’s a noticeable improvement in the band’s sound and performance, and a number of solid tracks make this album superior to the group’s debut.
With nu metal on the rise, Sevendust’s “alternative” brand of metal was starting to gain the band some recognition, with a good balance of groove, heaviness and melody, the Atlanta-based five-piece are starting to sound a lot more polished with their sound. In particular, vocalist Lajon Witherspoon’s interesting mixture of singing, shouting and rapping is starting to really suit the music better than before. The guitars are also sounding a lot more confident, with the twin-guitar format being utilized to full effect.
Personal highlights for me include ‘Headtrip’, ‘Rumble Fish’, ‘Licking Cream’, ‘Denial’, ‘Bender’ and the title track. While a number of songs on this album seem similar and repetitive, these ones stand out, and show a band that may have finally stumbled upon a sound that’ll give them their own identity.
‘Home’, ultimately, isn’t a bad album, and has its fair share of memorable moments. But it’s just not an album I’d consider coming back to very often. Sevendust are certainly showing potential for greater things though, and with the nu metal subgenre on the verge of taking over the world (this is back in 1999, remember), it’ll be interesting to see if the band can fulfil that potential on later releases.
Genres: Alternative Metal
Format: Album
Year: 1999
Me and the classics just can't seem to get along, can we? I know metal fans are going to know nothing but absolute and utter contempt for me (especially since I rated James Blunts first album three stars!), but I just can't get into 'Reign in Blood', which just happens to be one of the most beloved and revered metal albums of all time. Is it hyperbole? Has it not aged well? Am I just a bit of a prick? Probably all three.
Opening and closing with two of thrash metals finest compositions, the legendary 'Angel of Death' and 'Raining Blood' are two of Slayer's most famous and most popular songs. With breakneck speed riffs and some of Tom Araya's most passionate vocals, these are two of the bands most defining tracks.
They're also the only two highlights of this album.
The rest is the usual Slayer recipe... open string chugging, big screams, screechy guitar solos... I've never been too keen on the bands early material, and this certainly hasn't converted me. Sure, the music is ridiculously fast and relentlessly brutal, but that's not enough for me to find it compelling or engaging.
Still, 'Reign in Blood' is regarded as a classic, and this review won't do anything but enrage the few unfortunate souls who find themselves reading it. I've tried and I've tried, but with the exception of the two songs mentioned above, this album is more average than most people are probably willing to admit.
Genres: Thrash Metal
Format: Album
Year: 1986
'Sin and Bones', released in 2012, was a huge breakthrough for American metal group Fozzy. While 2010's 'Chasing the Grail' came out to mostly rave reviews from critics, it flopped commercially, likely due to the fact that most people still couldn't take a band fronted by professional wrestler Chris Jericho seriously. However, relentless touring and an energetic live show helped the band endear to new fans, and so with 'Sin and Bones', an album brimming with anthems that were tailor-made for a live setting, did they really start to gain credibility as a legit band.
Either that, or they're like the annoying gnat of the rock world that just won't go away. But all that persistence was starting to pay off.
With a slick production and some of Rich Ward's most accessible guitar riffs (including one of the most killer tones in rock music today!), 'Sin and Bones' sees Fozzy ease up on the full-blown metal elements of their sound, and instead focus on the sleazy rock 'n' roll vibe. It sounds like it shouldn't work, but it totally suits them, especially when compared to the overall image and showmanship of the band.
Vocalist Chris Jericho (THE Chris Jericho... you stupid idiot!), shows that he is more than just a professional wrestler, but indeed a kickass front man! His vocals are incredible, and while he may struggle with them a bit when performing live, he more than makes up for it in energy, enthusiasm and showmanship.
'Spider in My Mouth', 'Blood Happens', 'Inside My Head', 'She's My Addiction' and the hit single 'Sandpaper' are all Fozzy classics that show a band who are constantly evolving and changing, yet never straying too far from the very essence that makes them who they are.
Indeed, Fozzy are huge rock stars!
Genres: Heavy Metal
Format: Album
Year: 2012
I remember this one so well. It was the Summer of 2003, and I was 16 years-old. I randomly picked up 'Handful of Rain', with no prior knowledge of the band Savatage. It was alright. Nothing amazing, but one or two catchy songs that stuck with me. Fast forward a few months and I was Christmas shopping with my sister. Having stumbled across a secondhand music shop, I had to have a quick look, and it was there that I picked up 'Poets and Madmen'.
And from here, Savatage would go on to become one of my all-time favourite bands.
'Poets and Madmen' sees Jon Oliva return to lead vocals, and Chris Caffery picks up the bulk of the guitar work after Al Pitrelli had left to join Megadeth. Though not strictly a rock opera like those the band were famous for doing, there is a loose concept behind the music, based upon real-life photographer Kevin Carter. It's not exactly an easy narrative to follow, though it doesn't disrupt the flow of the album either.
With Savatage slowly taking more and more of a backseat to the Trans-Siberian Orchestra (a Savatage-related band that was having multiplatinum success), it's evident that a lot of the music here was influenced by the aforementioned group. Bigger and more grandiose than ever before, each of the songs here is a true gem in their own right, with each instrument working in complete synergy to produce some of the bands tightest and most cohesive compositions.
Highlights include 'Stay With Me Awhile', 'Commissar', 'There in the Silence', 'Surrender', 'Back to a Reason', and the centerpiece of the album, the ten-minute 'Morphine Child'. Each song really shows a band at the peak of their creativity, with plenty of crushing riffs, beautiful melodies, classical-inspired passages and the vocal counterpoint harmonies that the band had made their own.
A remarkable smorgasbord of every perfected nuance that had ever given this band their own unique sound, it's a shame that Savatage spent the majority of their career in the "underrated" category, because this album is an absolute masterpiece.
Genres: Heavy Metal Progressive Metal
Format: Album
Year: 2001
Released in 2000, 'The Fourth Legacy' is the album which saw Kamelot rise to prominence as one of power metals most popular bands of the new millennium. Following on from 1998's 'Siege Perilous', which saw the debut of vocalist Roy Khan, the band's sound was starting to incorporate a heavy use of keyboards, which added some exotic and middle-eastern touches to the music.
The production has been massively improved upon as well, and it's this which has ushered in a new era for Kamelot. With a polished sound which does justice to the atmosphere and sense of storytelling the band are trying to set, 'The Fourth Legacy' shows a huge step up in quality over its predecessors. The musicianship is also much more confident than before. With faster, galloping riffs intertwined with some interesting keyboard melodies, the group are certainly headed in the right direction in all aspects but one...
Unfortunately, the compositions themselves are still a mixed bag. While there's some instant classics in the form of 'Until Kingdom Come', 'The Fourth Legacy', 'The Shadow of Uther' and 'The Inquisitor', the rest are fairly average at best. Certainly not anything overly memorable when compared to the bands later output.
'The Fourth Legacy' is a huge leap forward from the bands prior work though, and while it still has its flaws, they're mostly overshadowed by the huge improvements in production and musicianship. At best, I could only say it's a decent album, but better things are definitely on the horizon.
Genres: Power Metal
Format: Album
Year: 1999
Back in the early 80's when the metal world was going crazy for the rise of thrash metal and the NWOBHM (New Wave of British Heavy Metal), a new, Connecticut-based band quietly unleashed this gem upon the world, to little or no mainstream recognition; Fates Warning were laying down the blueprint for what would become progressive metal.
Sounding almost identical to early Iron Maiden, 'Night on Bröcken' takes most of its influence from the NWOBHM, with melodic, galloping guitar riffs, choc-full of harmonies and duel-guitar leads. Vocalist John Arch even sounds like Maiden's Bruce Dickinson at times. But with some interesting song arrangements and a few odd time-signatures thrown in, Fates Warning were laying down the foundations that bands like Dream Theater and Queensrÿche would build upon to make prog metal what it is today.
Fates Warning would certainly go on to release better albums than this, but this is a good, solid debut, with some memorable songs and some catchy hooks. Sadly, this record hasn't really stood the test of time, as it's mostly forgotten about today. But if you like NWOBHM or you're interested to hear the roots of progressive metal, then it's worth keeping an eye out for.
Genres: Heavy Metal
Format: Album
Year: 1984
'Manifest Tyranny', the fifth album by Swedish progressive metal band Andromeda, once again sees the group pushing themselves to try new things and evolve their sound. Taking a mixture of the all-out riffage displayed in 'The Immunity Zone' and the proggy atmosphere of 'Chimera', this is a band who sounds a lot more mature and "complete" than on previous releases, with the chemistry between them firmly showing in the intensity of the music.
This is also the album where Andromeda succumbed to the dreaded metal cliché that is the political album! Lyrically, this isn't much different than any other band who has politically-themed songs, lashing out at corrupt governments that favour the rich, keep secrets from the public and advocate wars. The usual. Musically however, the band is as tight and as coherent as ever.
As always, each member here really demonstrates abilities that puts them at the top of their chosen field. After the more stripped down approach of their previous album, 'The Immunity Zone', guitarist Johan Reinholdz is prepared to rip things up again, shredding to his hearts content with some mind-blowing guitar acrobatics, which are matched note-for-note by keyboardist Martin Hedin. The interplay between these two is phenomenal, and puts them right up there with the other top musicians in the genre.
With such heavy hitters as 'Stay Unaware', 'Preemptive Strike', 'Antidote', 'Survival of the Richest' and 'Chosen by God', as well as the softer 'Go Back to Sleep', Andromeda have released an album that further solidifies them as one of progressive metal's finest bands, and a worthy successor to Dream Theater's throne.
Genres: Progressive Metal
Format: Album
Year: 2011
Released in 1971, Black Sabbath's third album, 'Master of Reality', much like their previous efforts, is today regarded as a classic of the genre. Which means that for some inexplicable reason, I don't like it.
I kid. I kid.
Of course, I've given this album plenty of runs, but much like 'Black Sabbath' and 'Paranoid' (which I only gave a blasphemous two stars), I just really struggle to get excited about any of this. Now, I respect the band and their contributions to the music world, but there's just countless other things I'd rather listen to.
Being optimistic though, 'Master of Reality' does sound more polished than its predecessors, despite the short time span between them (their third album in two years, a near-impossible feat these days). While I don't really care for Tony Iommi's "fuzzy" distortion, the songwriting is sounding a lot more confident than before, and at a stretch, I don't mind the songs 'Children of the Grave' and 'After Forever'. But for the most part the doom-laden riffs kind of plod along uninterestingly, and while I still find Ozzy's vocals mostly annoying, there are moments when he does actually shine. In particular, 'Solitude' shows a mellower, softer side to his voice, which I find actually works for him.
Regardless, Black Sabbath's third record is hailed as a classic, and while my review isn't out to deliberately tarnish that (rest assured that the albums status is under no threat), nor am I trying to deter anyone from listening to it (as if a simple review in this day and age would cause that), this is merely my review of an album I'm not all too keen on, from a band I'm struggling to get into.
Genres: Heavy Metal Stoner Metal
Format: Album
Year: 1971
With 'V: The New Mythology Suite' being a huge hit with fans and praised as one of the bands finest releases, it only stands to reason that they'd further build upon the orchestral elements they'd implemented with that album. And oh boy, does it work, or what?! 'The Odyssey' continues to see the band become heavier and heavier, with more focus on brutal guitar riffs and vocalist Russell Allen stepping further away from the high-pitched wailing he'd been accustomed to with earlier albums.
Essentially split into two parts, the first seven songs are all absolute bangers! Brimming with amazing guitar riffs, mind-blowing solos, intense vocals and all-round top performances from everyone, tracks like 'Inferno', 'Wicked' and 'Awakenings' are head-banging anthems, while 'The Accolade II' is an epic follow-up to its epic predecessor.
Then there's the "second half". The main event. The 24-minute title track, which is arguably one of the bands greatest compositions. Taking the symphonic elements of their previous release, the band really crank it up a level to unleash a song that takes you right into the action with Greek hero Odysseus as he sets on his ten-year journey home to Ithaca. It features some of the most insane musicianship imaginable, with some jaw-dropping interplay between the band members, as well as some of the most emotional and sincere vocals I've ever heard.
And I know that right now you're thinking how cheesy this all sounds, right? Well, cheese is good! Everyone likes cheese! And so will you! ‘The Odyssey’ is well worth the price for the title track alone, get it now and go on the greatest adventure of your life!
Genres: Progressive Metal
Format: Album
Year: 2002
Released in 2004, ‘FWX’ is the tenth studio album by progressive metal pioneers Fates Warning, and much like previous releases ‘A Pleasant Shade of Grey’ and ‘Disconnected’, it shows a band who are continuing to develop and experiment, with more focus on a heavier sound and more traditional song-structures.
Unlike its predecessors, there’s only a minimal use of keyboards and sequencing here, which is a shame as I felt on the last two albums that the band had a great and well-rounded sound, and I was hoping they’d continue in that vein. Especially as, instead of relying on tried and tested prog metal traits such as excessive flashy guitar solos, there was a heavy emphasis on atmosphere, and a fantastic interplay between guitars and keyboards, working together instead of trying to out-perform each other in shredding competitions.
However, this is still a good release, and Fates Warning’s “less is more” approach works well for them here. Sole guitarist Jim Matheos can write some incredible and compelling riffs, Ray Alder’s powerful vocals suit the heavier style of the album, and the simpler arrangements make the songs easier to digest. The polished production gives the music a loud and vibrant sound too.
Overall, ‘FWX’ is far from Fates Warning’s best album, but tracks like ‘Heal Me’, ‘Simple Human’, ‘Crawl’, ‘Stranger (With a Familiar Face)’ and the haunting and melancholic ‘A Handful of Doubt’ are all worth checking out, and given time, this album can grow on you, it just depends on whether you have the patience to let it or not.
Genres: Progressive Metal
Format: Album
Year: 2004
‘Angels Fall First’ is the 1997 debut album by Finnish symphonic metal group Nightwish, who would go on to become one of those most popular and prolific bands of the genre.
Compared to later releases, however, ‘Angels Fall First’ sounds very raw, and at times, slightly disjointed and directionless, lacking the epic bombast that the band would incorporate on future albums. However, there’s still a clear vision here of what the band want to accomplish, and there’s no doubting the writing talents of keyboardist Tuomas Holopainen and guitarist Emppu Vuorinen, and the potential they display.
While ‘Angels Fall First’ is full of tasty guitar riffs and some fantastic interplay with keyboards, as well as a good balance of both male and female vocals, I find that most songs seem to deviate from the hook that first got my attention. Songs like ‘Elvenpath’, ‘Tutankhamen’ and ‘Beauty and the Beast’ have some incredibly strong and memorable melodies, but after a few minutes I find myself not really paying attention. It’s almost as if the ideas are there, just not quite the ability to flesh them out into full songs.
Still, this is a young band in their early days, playing a style of music which is equally in its early years, and so it’s forgivable that this album just isn’t overly memorable. No doubt Nightwish will improve vastly over time, but ‘Angels Fall First’ is best left for the die-hard fans of the band.
Genres: Power Metal Symphonic Metal
Format: Album
Year: 1997
Stormtroopers of Death (S.O.D... duh!), is a crossover thrash side project of Anthrax members Scott Ian and Charlie Benante, along with Nuclear Assault’s Dan Lilker (formerly of Anthrax himself) and Billy Milano of the band M.O.D. Their debut album, ‘Speak English or Die’ was released in 1985, and is mostly a metal album with a punk mentality, with plenty of short, minute-long songs featuring satirical, aggressive, and downright offensive lyrics.
The problem for me is that it’s not 1985 anymore, and most of the satire, irony and downright offensive material goes straight over my desensitized head. The music is fast and heavy, and when the band do play for more than 30 seconds, there are a couple of decent headbangers here. But for the most part, these are all comical tracks, recorded by a bunch of friends who had some leftover studio time to kill. Oddly, this would go on to be a hugely influential album. Wish I could get that lucky.
Ultimately, this just isn’t my cup of tea, and the only reason it’s in my collection is because I’m a huge Anthrax fan. For what it’s worth, the songs ‘March of the S.O.D.’, ‘Sargent ‘D’ and the S.O.D.’ and ‘Milk’ are alright, and I’ve always found ‘What’s That Noise’ a pretty laughable track, but otherwise this is mostly immature and juvenile, and that’s probably exactly how the S.O.D. intended it to be.
‘Speak English or Die’ is not an album to be taken seriously, and whilst I’ve never been under the illusion that it was anything else, it’s just not something I’m into.
Genres: Thrash Metal
Format: Album
Year: 1985
Well, 'A Pleasant Shade of Gray' appears to have been a hit with fans, so why not continue in that direction? With the single guitar/keyboard approach that incorporates more ambience, as well as a beefier production that gives the band a heavier sound, 'Disconnected' picks up right where its predecessor left off.
It seems odd for a progressive metal album to be considered "stripped down", but that's exactly what we have here. With the songwriting being the main focus, and not the performances of individuals, there is some solid music that lacks a lot of the shredding musical virtuosity associated with the genre. And it's a refreshing change.
That's not to say these guys are slouches! Guitarist Jim Matheos can write some very interesting guitar riffs, and drummer Mark Zonder is an absolute beast. Neither man afraid to stray away from standard 4/4 time signatures and go completely bonkers in some places, yet with riffs that don't come anywhere near to being too flashy or overbearing. When you include eerily compelling keyboard work by Kevin Moore (yes, THE Kevin Moore), it makes for an all-round solid package by one of prog metals pioneers.
Songs like 'One', 'So', 'Pieces of Me' and the absolute gem of the album, the 16-minute 'Still Remains', make this an essential progressive metal release, especially for fans who are growing weary of excessive soloing and musical indulgence.
Genres: Progressive Metal
Format: Album
Year: 2000
Break out the loincloths and battle axes, it's time to delve into the sword and sorcery world of "real metal", as Manowar's debut album, 1982's 'Battle Hymns' shamelessly ups the ante on pure cheesiness and forces us to ask ourselves what it means to truly be a metal fan.
Kind of like America's answer to Judas Priest, Manowar's early albums seems more akin to hard rock than metal. It's got a bluesy, swinging feeling to it, that doesn't quite match up to the imagery of the band. But that's not going to stop them from preaching the gospel of the metal Gods.
But the thing is, while this might have been heavy and cutting edge in 1982... by today's standard, it's tame, light, and... well, it'll always be cheesy no matter when you hear it. Vocalist Eric Adams sings his heart out, and certainly possesses an impressive range. And guitarist Ross the Boss... yeah, that's his "name"... certainly has incredible guitar skills... just not very good songwriting ones.
Still, not all's lost, as there is some stuff here which is, well... alright, to put it bluntly. 'Death Tone', 'Metal Daze' and 'Manowar' (born to live forevermore, and don't you forget it), are all okay, nothing fancy, but certainly a precursor to the cheese that is to follow. Much like the Priest... their earlier material is pretty tame when compared to metal today, but Manowar's sound will adapt with the times and they will certainly improve on later albums, but otherwise, 'Battle Hymns' is a bit of a naff one, to me anyway.
Genres: Heavy Metal
Format: Album
Year: 1982
Released shortly after the bands second studio album, ‘Interlude’ is the 1999 EP by German power metal band, Iron Savior. While their debut album was decent enough, their follow-up, ‘Unification’ was a solid release, with some strong compositions and performances. But sadly, they seemed to have gone back a step with this rather mundane, by-the-numbers disc.
Broken into two parts, live tracks and new tracks, there’s not really anything here that stands out. The live songs, taken from the bands 1998 Wacken Open Air festival performance, are okay. They’re nothing amazing, although the crowd seem into it, which is pretty nice to hear, but I think I’d prefer the studio versions.
Then there are the new compositions, and man... these suck. I just totally can’t get into any of them, and not for any particular reason either, they’re just not doing anything for me. The best one is a bloody Judas Priest cover, which in itself isn’t bad, but speaks volumes about the bands original output here.
Overall, this is one for die-hard fans... if any actually exist.
Genres: Power Metal
Format: EP
Year: 1999
With nu metal being at its peak in 2001, it’s no surprise that Static-X’s album that year, ‘Machine’, gave them a huge mainstream push and garnered them a bigger fan base than before. Looking to capitalize on that success (and apparently with record label pressure to boot), it’s even less of a surprise that their third album, 2003’s ‘Shadow Zone’ picks up where its predecessor left off.
While there is a slightly more melodic emphasis to this album than previous releases, ‘Shadow Zone’ is still an unrelenting assault of industrial grooves and pounding, jackhammer guitar riffs, sounding massively overproduced to help make the music as big and beefy as possible. The songs are well written, and Wayne Static’s unique blend of singing, shouting, grunting, and whatever other random noises he makes, helps give the band a bit of their own identity (although, there are a couple of instances where he sounds reminiscent of Korn’s Jonathan Davis).
All the tracks on ‘Shadow Zone’ are very short in duration, with only three of them barely scraping by the four-minute mark by mere seconds, however, this makes the album easy to digest, and while some of the songs are catchier than others, none of them have time to drag on, making this album flow effortlessly. And an abundance of electronic effects give the music a great ambience and vibe.
Songs like ‘Shadow Zone’, ‘Monster’, ‘Destroy All’, ‘New Pain’, ‘Kill Your Idols’, ‘The Only’ and the melodic and eerie ‘So’ are all highlights that make this album worth checking out. While nu metal’s day at the top were Static-X’s best realistic chance at mainstream success, ‘Shadow Zone’ is still a great listen for industrial fans, and any metal fans that like their music intense, heavy and accessible might enjoy this too.
Genres: Alternative Metal Industrial Metal
Format: Album
Year: 2003
In today's edition of Bash-a-Classic, I'm looking at 'Hell Awaits', album number two for Slayer, and I'm still struggling to see what made them stand out amongst all the other thrash metal bands of the 80's.
One of the notable differences between Slayer and the other members of the Big Four of thrash (Metallica, Megadeth and Anthrax) is that Slayer's music is much less melody-based, focusing more on raw aggression and darker themes. Unfortunately, the lack of melody, in both the guitar riffs and the vocals, makes it harder for any songs to really stick in my head.
While bands like Metallica and Anthrax were already utilizing plenty of vocal hooks and memorable guitar lines, 'Hell Awaits' is a barrage of mind-numbingly boring riffs that fail to do anything other than show off Slayer's penchant for sheer speed and wailing guitar solos that go absolutely nowhere. Tom Araya's vocal style, a weird combination of angry talking and shouting, doesn't produce anything catchy, with literally every single song on this album sounding identical to the last.
Despite repeated listens, I just can't get into this album. I know Slayer are one of metals most beloved bands, and in fairness they will go on to produce some great material, but damn, these earlier releases are just brutal, and not in the good way.
Genres: Thrash Metal
Format: Album
Year: 1985
After their 1995 concept album 'Dead Winter Dead', which spawned a small radio hit for the band, and the recently-formed Trans-Siberian Orchestra, which also garnered mainstream success, Savatage continue down the route of epic rock operas which would see the band reach new heights of creativity and critical acclaim during the late 90's.
Featuring all the pomp and circumstance that the band had incorporated into their sound since 1994's 'Handful of Rain', and even way before that if I'm being realistic, 'The Wake of Magellan' sees everything come together for Savatage. The story itself doesn't really make much sense to me, but it ties around the fictional story of a sailor who goes out to sea to end his life, only to find new meaning to carry on, and two real-life events involving a journalist who was murdered whilst trying to battle the growing drug trade in 90's Ireland, and of a sea captain who had Romanian stowaways thrown overboard.
How does any of this fit together? I have no idea (and I doubt many people do), but the music itself is compelling and the performances are sincere. That's good enough for me!
Using the same lineup from the previous album, the band have really gelled by this point, and the chemistry is evident. Zak Stevens delivers powerful vocals as always, and founding member Jon Oliva returns to sing for a number of songs, having never sounded better or more confident. His keyboards add a warm depth to the record as well, giving it that orchestral feeling but without all the pomposity of a full orchestra.
'Turns to Me', 'Morning Sun', 'Another Way', 'Paragons of Innocence' and 'The Hourglass' are all highlights that this fantastic album has to offer, with the true gem being the title track, 'The Wake of Magellan'. It's a big, epic piece, with an absolutely mind-blowing finale which sees the band utilize the vocal harmony counterpoint which they had used more and more over the last few releases, but perfected here.
A truly underrated gem when it comes to concept albums, capturing the very essence and atmosphere of a journey out to sea, 'The Wake of Magellan' is an absolute epic from start to finish.
Genres: Heavy Metal
Format: Album
Year: 1997
With Kamelot's third studio album comes a major turning point in the bands history for two reasons. Number one being that with 'Siege Perilous', keyboards started to play a more pivotal role in the music, as opposed to previous releases where it was used sparingly in the background. And number two, of course, is the addition of former Conception frontman Roy Khan, a man who's distinct voice would go on to give Kamelot the identity they needed in order to stand out from the other power metal bands.
Unfortunately, these changes didn't instantly bring huge success upon the band, and while this is a good effort, it tends to feel more like a transitional period for the band as they begin to truly develop their own style.
Of course, that doesn't make this a bad album. Although there are a few rather forgettable tracks here, there are others that ooze of Kamelot's medieval-inspired charm. Songs like 'Providence', 'Parting Visions' and 'Irea' are all up there as some of the bands most memorable moments.
The addition of Khan and more prominent keyboards have laid down a path for where the band are headed in the future, but this still remains as nothing more than a good album. The symphonic elements are starting to materialize, though they're simplistic compared to future releases. Still, 'Siege Perilous' is a step in the right direction for Kamelot.
Genres: Power Metal
Format: Album
Year: 1998
Released in 2002, 'Edward the Great' is a compilation album by Iron Maiden that focuses mainly on the bands singles and "hits", as opposed to songs that are generally favored by fans. As a result, while it's a decent enough selection, it's also very predictable.
Of course, the music itself is still great! I mean, come on, it's Iron freaking Maiden! 'Run to the Hills', 'The Trooper', 'Can I Play With Madness', '2 Minutes to Midnight' and 'The Number of the Beast'... these are all iconic metal classics! However, there's a lot of songs missing, even by 2002, there was an absolute wealth of material that should have been included on a release such as this, but wasn't due to time limitations.
Overall, you're better off going for 'Best of the Beast', especially if you're new to the band. Despite being released six years earlier, it has a more well-rounded track listing, and the packaging as a whole is a lot nicer, with more pictures and detailed information on the band. Leave 'Edward the Great' to collectors like me.
Genres: Heavy Metal
Format: Compilation
Year: 2002
25 years after their inception, 2010's aptly titled 'A Dramatic Turn of Events' ushers in an era Dream Theater fans thought they'd never see, for this was the first release after the departure of drummer and founding member Mike Portnoy.
With the prog world eagerly anticipating who would have the impossible task of replacing one of the greatest drummers in the world, the band announced a new album and, via an online documentary, unveiled that man to be none other than Mike Mangini, who's résumé includes the likes of Steve Vai, Annihilator and Dream Theater frontman Jame LaBrie's solo project, proving him to be a more than competent successor.
However, other than the inclusion of a new drummer, this is pretty much a by-the-numbers release. Big, epic songs, which display a vast array of heavy, crushing riffs, beautiful and haunting keyboard melodies, an unlimited supply of instrumental mastery and James LaBrie's powerful vocals. It's clear that the drama of the past year hasn't prevented the prog legends from doing what they do best.
I was saddened though, as I'm sure many others were, to hear that Mike Mangini didn't have any creative input in the compositions for 'Dramatic...', as they were written before he joined the group, leaving him to play session musician. It's not really a detriment to the album, but I was more than a little excited to see what musical differences Mangini would bring to the table.
Some of the highlights from 'A Dramatic Turn of Events' includes the single 'On the Backs of Angels', and the longer, more epic tracks 'Bridges in the Sky' and 'Outcry'. The shorter, "metal" tracks such as 'Lost Not Forgotten' and 'Build Me Up, Break Me Down' show that guitarist John Petrucci can always be relied upon to produce riffs that put most metal bands to shame, and ballads like 'This is the Life' and 'Far from Heaven' soften the mood to enable listeners to catch their breath.
With their eleventh studio outing comes a landmark release in Dream Theater's discography, which, while it's a remarkable piece of work in itself, will always be known as the first of the post-Portnoy era. It's a good sign that the band are ready to continue on, and can only leave one excited to see where they will go from here.
Genres: Progressive Metal
Format: Album
Year: 2011
Blind Guardian’s fourth studio album, ‘Somewhere Far Beyond’, was released in 1992, and follows on from the bands previous three albums, in which this is mostly generic power/speed metal, but with outside influences creeping in. Prior to this the band had dabbled with folk and Gaelic influences, and here the band incorporates subtle medieval and pop influences.
Overall however, this is still very much a power metal album, and much like the bands prior efforts, I struggle to really pick out many highlights. The production has been improved, making the music heavier and giving it more clarity and depth, but the writing overall is still pretty lacking, with most songs having uninspired guitar riffs and bland melodies throughout.
Now, I know this is sacrilegious, but hear me out! I swear, I do love Blind Guardian! But this is a simple matter of taste. I love the bands later material, the epic, orchestral and progressive stuff. So perhaps this is what these earlier albums are missing? Because all I’m hearing here is one speed riff after another.
If I had to pick out any highlights, opening track ‘Time What is Time?’ is decent enough, and ‘Theatre of Pain’ introduces some of the more orchestral elements that the band would really excel at, but ultimately, probably the most memorable track from this album is a cover of Queen’s ‘Spread Your Wings’, which, while Blind Guardian do a great job of this, truly making it sound like one of their own songs, it also speaks volumes about the quality of their own material, at this point, anyway.
To any fans that are furious at my blasphemy, I swear, I love this band, I really do! But it would just seem that these earlier, straight-up power metal albums just aren’t for me. Bring on the concept albums and orchestras!
Genres: Power Metal
Format: Album
Year: 1992
Eight albums into their career, and Iced Earth’s output was proving to be very hit-or-miss with me. Sure, they’d released some absolute masterpieces, such as their self-titled debut, its follow-up ‘Night of the Stormrider’ and 1998’s ‘Something Wicked This Way Comes’, but they’d also put out some very sub-par stinkers, such as ‘The Dark Saga’ and ‘Horror Show’. And so, with their ninth studio album, 2003’s ‘The Glorious Burden’, the rollercoaster ride continues, as the American power metal quintet once again are on top form.
Most notable here is the addition of new vocalist ‘The Ripper’ Tim Owens. Recently ousted from Judas Priest, this was a huge score for Iced Earth after the departure of long-time singer Matt Barlow. Owens’ powerful voice is not only a great fit for the group without copying his predecessor, but it sounds like it sparked a few creative juices for band leader Jon Schaffer, who was probably as motivated by the new recruit as he was by his passion of the albums theme; military history.
Musically, this is classic Iced Earth and very typical power metal; lots of fast guitars and harmonies, galloping bass lines and rich orchestrations. But the song-writing is solid and very inspired, and Tim Owens’ vocals are absolutely perfect for this band, replacing Barlow with ease and really giving this album an identity of its own.
With highlights including ‘Declaration Day’, ‘The Reckoning (Don’t Tread On Me)’, ‘Greenface’, ‘Attila’ and the epic three-part ‘Gettysburg (1863)’, this is a banger of an album that furthers Iced Earth’s erratic discography, but shows that when the right pieces fall into place, this band rocks seriously hard.
Genres: Heavy Metal Power Metal
Format: Album
Year: 2004
I never considered myself much of a fan of this whole "experimental/post metal/tech metal" thing (I don't really understand what any genre of music with the word "post" in it means). I bought this album because it was cheap. I knew of Devin Townsend by reputation, but have never thought of myself as a fan. He did produce Stuck Mojo's 'Pigwalk' though, and that album is bloody brilliant!
But 'Terria'... one great big ball of "meh" from me. I find most of the songs too slow paced for my liking. Not that I mind slower songs, but these ones just plod along uninterestingly. Other than two songs, 'Earth Day' and 'Nobody's Here' (admittedly, two very good songs), I find most of the album boring. There's nothing catchy or memorable that incites anything from me other than dreariness.
The record does have a very "big" sound, and the vocals blend in with the music very well to create an almost dreamlike ambience. Sadly it just doesn't do anything to make the album any more appealing to me.
Devin Townsend's 'Terria' is not awful by any stretch, but it's just really not my thing. Simple as that.
I'd rather listen to Stuck Mojo!
Genres: Progressive Metal
Format: Album
Year: 2001
Dream Theater’s Official Bootlegs series has always been a nice touch for collectors, whether it’s demos, live recordings, compilations, or reissues of previous fan club CD’s (which is actually what this one is), they’re usually pretty cool little nuggets of joy for die-hard fans of the band.
And occasionally, there’s utter nonsense like this.
‘The Making of Falling Into Infinity’ is completely and utterly pointless. Not containing any full tracks, the entire album is nothing more than snippets of songs. Guitar riffs, the odd vocal harmony, someone working out a part or someone saying something. It might be interesting for some tech nerd who wants to look into the process of writing and recording an album, but without any commentary or narrative, this CD really is unlistenable.
I can understand with demos that at least it’s interesting to listen to how songs were originally intended to sound and how they’ve evolved to become the finished product, but this is completely useless and doesn’t even show us that. Die-hard fans who must own everything will probably resent having to purchase this, and I’d know, because I’m one of them.
Genres: Progressive Metal
Format: Compilation
Year: 2009
What we have here is the perfect example of why the official bootlegs line was created in the first place. Average demos of an amazing album. Mike Portnoy's OCD of recording and documenting everything and hey, people will pay money for it, why not release it?!
It's easy to tell that drummer Mike Portnoy and guitarist John Petrucci were producing this, as they're most certainly louder than everything else. In particular, poor Jordan Rudess' keyboards are barely audible. Still, I guess I'd be clutching at straws if I said it's an interesting look at the development of a Dream Theater album.
Different arrangements, sloppy guitar solos (blasphemy!), a few mistakes from Jordan Rudess (impossible!)... It's not that this is a bad release, it's just that you really shouldn't own something like this unless you're a die-hard Dream Theater fan. Otherwise, just get the actual 'Train of Thought' release... duh!
And 'Train of Thought' is a damn brilliant album! So yeah... get that instead!
Genres: Progressive Metal
Format: Compilation
Year: 2009
Well, it’s official. If 2001’s ‘Rude Awakening’ didn’t prove it, then ‘That One Night: Live in Buenos Aires’, released in 2007, does. Megadeth are a pretty naff live band.
Don’t get me wrong, this isn’t a terrible release, and more than makes up for the aforementioned ‘Rude Awakening’, but Megadeth have just never really been able to get a decent live sound. Dave Mustaines vocals are pretty hard to listen to here, and the songs don’t have the same grit and punch of their studio counterparts. There’s nothing overly noteworthy or special about the production here, either. It’s literally one song after another. No hassle. No fuss. Damn it, no fun!
With that said, props to the band for the killer set list. Every album is represented here by at least one track, including 1999’s ‘Risk’, which is an album I consider highly underrated and I’m glad it got some love here, even if it is with ‘I’ll Be There’, quite possibly the most un-Megadeth song the band ever put out (and it’s cool to hear the audience give it a warm reception).
Still, overall, despite an abundance of hits that span their entire career, including ‘Hanger 18’, ‘Holy Wars’, ‘Trust’, ‘Symphony of Destruction’, ‘Wake Up Dead’ and ‘Kick the Chair’, ‘That One Night’ is a pretty average live release. If you’re a fan of the band it won’t cause any harm by owning, but otherwise I’d be more than happy to listen to any studio album over this.
Genres: Heavy Metal Thrash Metal
Format: Live
Year: 2007
With an all-star lineup featuring some stellar musicians, this album almost feels like a bit of a letdown. Main man Derek Sherinian takes a backseat to endless guitar acrobatics by some of the world's most renowned players, yet it all seems rather dull and uninspired.
Now, I love heavy music, I have a bit of a taste for what's called "fusion", though I could never totally come to grasps with what that really means, and enjoy a bit of guitar shredding. But none of it seems coherent on this album. You have guys like Yngwie Malmsteen, Steve Lukather, Al Di Meola and Zakk Wylde all on one record, and yet, with the exception of a few passages, it feels like they're all just going through the motions.
There's an abundance of great riffs though, which is evident in massive headbangers like 'The Sons of Anu' and the title track, 'Black Utopia', while songs like 'Starcycle' and 'Gypsy Moth' have some nice, exotic flavours to them. But overall, while none of the tracks are bad, I struggle to really listen to any of them all the way through without becoming bored.
And then of course, there's Mr. Sherinian himself. The fact I've discussed the guitar playing more than the keyboards pretty much goes to show how low-key Sherinian's performance seems to be. Or perhaps I'm just struggling to pay attention. As a whole, I do feel kind of bad giving this album such a low score, but I struggle to justify to myself rating it any higher.
Genres: Progressive Metal
Format: Album
Year: 2003
'Black Clouds & Silver Linings', Dream Theater's tenth studio album, sees the band take a more darker direction than before. With some of their heaviest and most consistent performances, the band show that they still have plenty of ideas left in the tank, and with only six tracks, they demonstrate how they still are, and will always be, the kings of progressive metal.
With four songs going over ten minutes, there's certainly no shortage of epics on this release. Newcomers to the band wouldn't be blamed for being intimidated by this, but repeated listens will reveal some expertly crafted compositions. From the dark and brooding 'A Nightmare to Remember', which is one of the heaviest and most relentless songs the band have ever written, to the uplifting and emotional 'The Best of Times', there's plenty of variety in the moods and themes of each track.
Then there's "the big one". It's almost a common trait for every Dream Theater record to have that one, big epic that trumps all the other tracks, and in this case, we have 'The Count of Tuscany'. At 19-minutes in length, this is right up there with 'A Change of Seasons', 'Octavarium', 'Six Degrees of Inner Turbulence' and 'Metropolis' as a potential candidate for one of the bands greatest pieces. Full of many twists and turns, shifting dynamics, intense and melancholic moments, incredibly tight guitar riffing and a highly memorable chorus, 'Black Clouds...' is probably worth the price for this song alone.
Included in the deluxe edition box set is two bonus discs. The first features six cover versions of songs by the likes of Queen, King Crimson and Zebra... (who?). I wasn't familiar with all the songs originally, but overall it's a decent enough disc and certainly isn't a detriment to the album. The second disc consists of an instrumental version of the entire 'Black Clouds...' record. Why? Because they're Dream Theater. Why not?
In conclusion, 'Black Clouds & Silver Linings' is another fantastic album by the pioneers of progressive metal, showing that there's still plenty of life left in the prog legends.
Genres: Progressive Metal
Format: Album
Year: 2009
'Return to Wacken' is a very confusing and misleading compilation album that was released to coincide with Savatage's joint appearance with the Trans-Siberian Orchestra at the 2015 Wacken Festival in Germany.
The problem is that everything about this release made it seem like a live album, perhaps of one of the bands earlier Wacken appearances, which would have made the most sense. It even has "celebrating a return to the stage..." on the bloody cover! But instead, we get a compilation which is supposedly based upon and inspired by the set lists of Savatage's two previous performances at the prestigious event.
With that said, Savatage are one of my favourite bands, and the music here is still damn good. But as a compilation release, it's very underwhelming. With a wealth of material to choose from, reducing the bands best material down to a meagre eleven songs is near-impossible. Sure, we get 'Edge of Thorns', 'Chance', 'Hall of the Mountain King', 'Gutter Ballet' and 'The Wake of Magellan', not too shabby really, but there's still just so much missing, that it's pretty impossible to really care about this release at all.
Overall, 'Return to Wacken' is just a shameless cash-in on Savatage's return to the stage after a 14-year hiatus. It could make a good starting point for newcomers, but realistically there's better compilations or studio albums to choose from. The truly sad thing is that I knew all of this yet I bought it anyway because I'm such a huge fan and needed it in my collection.
Genres: Heavy Metal
Format: Compilation
Year: 2015
I don’t really like live albums. The few that I do, I very rarely listen to. I’ve just always been a studio albums kind of guy. And that’s for the bands I like. So what does that leave for a band like Pantera? Their live album, 1997’s oddly-titled ‘Official Live: 101 Proof’ doesn’t stand a chance.
Pantera are one of those bands that I just don’t get. Highly revered and beloved amongst metal fans, their albums hold up as some of the greatest of all time... but they’re really not. I find each album has a couple of excellent tracks, such as ‘Cowboys from Hell’, ‘Cemetery Gates’, ‘Walk’ and ‘Revolution is My Name’, and then a whole load of filler tracks. But it’s those singles that manage to keep the bands reputation intact.
This album mostly mixes the two. There’re a handful of tracks I enjoy, and then a load that I don’t. But I’d just much rather listen to the studio version. For what it’s worth, the production is good, with the band sounding incredibly energetic, raw and aggressive, and Phil Anselmo is a crazy frontman who’s between-tracks waffling can be fairly entertaining.
But overall... no. This just doesn’t work for me.
While I have all of Pantera’s studio albums, the truth is, their 2003 greatest hits compilation, ‘Reinventing Hell’, is pretty much the only one I need.
Genres: Groove Metal
Format: Live
Year: 1997
Iron Maiden's first major compilation album, released in 1996, may seem dated today, but it contains some of the bands strongest and most memorable material up until that point, and seeing as this was released after Bruce Dickinson initially left the band (he'd rejoin them in 2000), this perfectly summarizes what many consider to be the groups "golden era".
As is always the case with compilations, there's the argument for which songs should have been included and excluded, and in this regard 'The Best of the Beast' pretty much covers all the essentials. There's maybe one or two things I'd have preferred, perhaps at least one Paul Di'Anno-era song to be featured (there is one, but it's a live version sang by Dickinson), but that isn't too much of a detriment to the overall product.
Featuring all the classics such as 'Aces High', 'Run to the Hills', 'Can I Play With Madness', 'Be Quick or Be Dead', 'Fear of the Dark', 'The Number of the Beast' and 'The Trooper', this is a great starting point for newcomers to the band (and I say this from experience, as this was my first Maiden album).
There's some fantastic artwork used for the covers and inlays, with plenty of photos, lyrics and liner notes in the booklet, and seeing as it featured most of Maiden's early hits, this makes for a nice overall package for fans of the band. However dated it may seem today, it's still a worthy addition to the collections of die-hard fans.
Genres: Heavy Metal
Format: Compilation
Year: 1996
Covers albums. Love them or hate them, there’s just always something about them that sticks out like a sore thumb in a bands discography, whether they’re good or bad, they just “stand out”. Y’know? Some bands are great at covers, though. Metallica comes to mind. Maybe it’s because most of the songs they cover are obscure bands that nobody would have heard of otherwise, but they have a knack for basically taking a song and completely making it their own.
Then there’s Iced Earth. Theirs are not so good.
‘Tribute to the Gods’ is Iced Earth’s attempt at paying homage to the bands that inspired them. It was originally released in 2001 as part of the ‘Dark Genesis’ box set, but has since been released a number of times by itself. Not that that makes it any better or anything... just saying...
The thing is, Iced Earth just don’t really have the right sound that lends itself well to covers. I mean, they’ve kept their own guitar tones, Matt Barlow can sing really well, but none of it works well when comparing thrash-inspired power metal to hard rock like AC/DC or Blue Oyster Cult. Also, in all honesty, I find the choices of songs mostly lacklustre.
At best however, their cover of KISS’s ‘Creatures of the Night’ is pretty damn good, as is their Iron Maiden covers ‘The Number of the Beast’ and ‘Hallowed Be Thy Name’, but honestly, they’re not really good enough to make me choose to listen to them of my own free will, and if anything it’s a simple case of the originals being better.
Never mind though, it’s a covers album, never really something to take too seriously in the first place. I originally got this with the aforementioned ‘Dark Genesis’ box set, so it wasn’t like I splashed out particularly on this release, which is good, because if I had I’d probably feel slightly perturbed right about now.
Genres: Heavy Metal
Format: Album
Year: 2004
‘Ghost in the Ruins’ is the second official live album by American metal band Savatage. Released in 1995, it serves as a tribute to the late Criss Oliva who died in a car accident in 1993, however, it’s release comes just months after the band had released ‘Japan Live ‘94’, and two live albums, both with similar set lists in such a short span tends to lessen the impact.
To be brutally honest though, while I absolutely love Savatage, and they are one of my all-time favourite bands, I’ve always felt that their material doesn’t translate well into live albums. Sure, there’s no doubt the energy of hearing these songs live is off the hook, but hearing it “live”, in album form at least, seems to lack what makes the studio versions so powerful to begin with.
I mean, the band play exceptionally, and there’s a palpable chemistry between them all, and the set list is spot on, especially considering when this was recorded, but as I’ve touched upon, I just really can’t get into this. With the likes of ‘Gutter Ballet’, ‘When the Crowds Are Gone’, ‘Sirens’, ‘Hall of the Mountain King’ and ‘Of Rage and War’, this album isn’t a complete loss, but at the end of the day, I’d much rather listen to any of the studio albums and hear the music in all its fist-pumping studio glory.
Genres: Heavy Metal
Format: Live
Year: 1995
Following on from 2004’s triumphant return from hiatus (actually, retirement, to be precise), Megadeth’s 2007 album, ‘United Abominations’ sees the band continue along with a renewed vigour, as Dave Mustaine and a fresh line-up charges on with the thrash metal sound of old, proving that Megadeth can still maintain relevance in the new millennium.
Stylistically, this isn’t much different than its predecessor, ‘The System Has Failed’, however, while that album was mostly a Dave Mustaine solo effort with a bunch of guest musicians, ‘United Abominations’ comes from a band united (no pun intended). It’s clear that there’s a chemistry amongst everyone, and a high standard of musicianship. Brothers Glen and Shawn Drover (guitarist and drummer respectively) have already crafted a name for themselves with their band Eidolon, and bassist James LoMenzo has cut his teeth with an impressive résumé which includes the likes of Black Label Society, David Lee Roth and Tim “Ripper” Owens.
And the results are evident immediately, with some of the bands most furious guitar riffs, and an interplay not seen since the days of ‘Rust in Peace’ back in 1990. The music is incredibly tight, and Dave Mustaine’s vocals are as vicious and hate-filled as ever.
If there was any doubt that Megadeth’s comeback was a flash in the pan, then tracks like ‘Sleepwalker’, ‘Never Walk Alone... A Call to Arms’, ‘Washington is Next’, ‘Pray for Blood’, ‘Amerikhastan’ and a rather unnecessary but still pretty cool re-recording of their 1994 hit ‘A Tout le Monde’ are all proof that Megadeth are well and firmly back to their thrash metal roots, with ‘United Abominations’ being another high-quality album among an already impressive discography.
Genres: Heavy Metal
Format: Album
Year: 2007
How did one of the most influential metal bands of the 90’s (and of all time?) turn out to be so disappointing? I mean, like a lot of metalheads, I’ve always held Pantera in such high regard, but it wasn’t until I properly took the time to listen to their albums that I found myself not really enjoying a lot of it.
The groundbreaking ‘Cowboys From Hell’ and ‘Vulgar Display of Power’ feature some of metals most beloved songs, but I find are also brimming with filler material. ‘Far Beyond Driven’ even made it to the number one spot in the Billboard charts! How??? That album, in my eyes, saw a huge decline from its predessors! And how did they follow that up? With an even more lacklustre mess of an album; ‘The Great Southern Trendkill’.
There’s no denying that the band had been getting progressively heavier with each release, and ‘Trendkill’ is by far their heaviest album to date, but it’s just so chaotic and cluttered that I truly struggle with it. Phil Anselmo’s once-impressive vocals, blending screaming, shouting, singing and all sorts, is just one incomprehensible death metal growly shout after another. And the guitars, once groove-laden and full of pumping, memorable riffs, now sound like generic, throwaway leftovers. Messy and uninspired, the band was at odds when making this album, with the music and vocals being recorded in completely separate locations, and it shows.
The production sounds rather dated as well. While the music’s sheer intensity and brutality make it heavy, the sound itself is rather weak and tinny, struggling to live up to the standards of the bands previous releases.
If I was forced to pick out any highlights, ‘Living Through Me (Hell’s Wrath)’ and ‘Suicide Note Pt. 1’ are probably the best two songs. The title track is alright too. But to be honest though, I’m just really not into this album, and struggling to really see what all the hype was about regarding Pantera.
Genres: Groove Metal
Format: Album
Year: 1996
‘Dearly Departed’ is a 2015 compilation by groove metal band Adrenaline Mob. Released a year after the groups second studio album, it features a mixture of original, cover and acoustic tracks.
However, as much as I like this band (and I really like this band!), this compilation, much like their previous EP’s, just does nothing for me. The covers range from average to adventurous, though none of them are ones I’m particularly bothered about listening to, and the acoustic versions of previously released songs are alright, though I prefer the originals.
The only real saving grace is the title track. Originally taken from the 2014 ‘Men of Honor’ album, ‘Dearly Departed’ is a great track, which features some nice guitar work and Russell Allen’s powerfully heavy yet melodic vocals in full effect. But for what it’s worth, I’ll just listen to it on the studio album itself, which is actually a fantastic album.
In fairness to A-Mob, they seem pretty consistent with putting out high-quality albums, with some kind of EP, compilation or filler release in the interim, and for what it’s worth, it’s a nice little nugget for fans, and certainly a harmless addition to the collection, but that’s all this really is to me, an addition to the collection.
Genres: Heavy Metal
Format: Compilation
Year: 2015
Put your sad faces on, this is not going to be pretty. Evergrey's 2004 release, 'The Inner Circle', is a concept album that focuses on themes of religion and abuse. Sounds pleasant, right? It's a very dark and gritty record, that pulls no punches as it tackles some deeply disturbing subject matter.
One of the things I like about Evergrey is their ability to be insanely heavy and brutal, yet maintain a sense of melody in their music. A heavy focus on strings gives this album a gothic feel, which suits the dark nature of the lyrics. And the production packs one hell of a punch, giving the heavy songs the balls they need and the softer songs the essence of melancholy and dreariness.
I told you, this won't be pretty.
The musicianship is top notch here, disregarding the common misconception that every progressive metal album involves endless solos and self-indulgent musical passages, 'The Inner Circle' focuses on atmosphere, with all guitar and keyboard solos being suited to the music perfectly. This is evident in songs such as 'Ambassador', 'The Essence of Conviction', 'A Touch of Blessing' and 'Harmless Wishes'.
This is arguably one of the most depressive albums you'll ever hear, but for all that gloom and doom, there is also some compelling, well-written music, which makes 'The Inner Circle' a worthy addition to your metal collection.
Now, cheer up, mate!
Genres: Progressive Metal
Format: Album
Year: 2004