Shadowdoom9 (Andi)'s Reviews

If there is something that is hard for me to admit, but I still feel the need, it is this: Until now, I couldn't really get what's appealing about one of the most famous metal bands in the world, Metallica. Their debut has made me realize the band's earlier strength! Kill 'Em All (originally titled Metal Up Your A** until their record label manager suggested changing the album title and cover art) combines the more speedy and punky elements of Motorhead, Iron Maiden, and Judas Priest into the ultimate start of thrash!

Kill 'Em All sounds as if they covered the heaviest tracks from different early heavy metal bands and increased the tempo and added more heaviness to the riffs, solos, and vocals, thereby updating the classic formula. Of course, these are all original songs, and very unique ones too.

Already putting the thrash sound in place is the fun opener "Hit the Lights". However, "The Four Horsemen" is a better standout, sounding tighter than Megadeth. Apparently, that band Megadeth has their own version called "Mechanix", for their own debut album two years later. Megadeth's founding frontman Dave Mustaine was originally the lead guitarist for Metallica before he was fired for his abusive behavior and replaced by Kirk Hammett. The band took the "Mechanix" composition Mustaine wrote and rewrote it into the 7-minute riff monster that it became. So Megadeth's version is a re-recording of the original written by Mustaine. "Motorbreath" has more of the potential for the band to kick-start thrash metal, though the phrase "thrash metal" wasn't coined until next year when the late Kerrang! journalist Malcolm Dome was describing an Anthrax song.

Another highlight is worth partying to, "Jump in the Fire", having more of a hard rock groove. The chorus is so unforgettable, you'll be singing it in the shower out loud for the neighbors to hear. The instrumental "(Anesthesia) – Pulling Teeth" has the best performance here from bassist Cliff Burton (who sadly lost his life 3 years later when, while touring for Master of Puppets, he fell from the band's bus that tipped over and crushed him. RIP). He performs impressive bass soloing for that track. "Whiplash" has more powerful riffing. The excellent verses have clear contrast with the catchy choruses. As a result, that song is quite memorable, and nothing's a waste of time.

"Phantom Lord" bursts through greatness, especially in the innovative drumming. Same with "No Remorse" which, as the title implies, is remorseless. Things get more mid-paced in "Seek & Destroy" while staying destructive. "Metal Militia" can surely bring joy to both longtime and new fans, and the bass can heard quite clearly, compared to what people keep mentioning about the band's 4th album ...And Justice for All.

With all that said, I don't think there's much I can say to criticize, except maybe the bass-driven instrumental can be more of a bonus track, no disrespect to Burton. Kill 'Em All is perhaps the first full-on thrash metal album, so listen before you judge, and...well, have fun!

Favorites: "The Four Horsemen", "Jump in the Fire", "Whiplash", "Phantom Lord", "Metal Militia"

Mnemic has touched the hearts of many modern metalheads, even after their split. The remaining founding member, guitarist Mircea Gabriel Eftemie was a master of polyrhythms, and his clear riffing and melodies that stay together with the mechanical bass and drums are what kept the band in place until things changed. He caused progressiveness from the guitar to switch out of what you hear from Opeth into a hint at a new djenty chapter...

Their debut Mechanical Spin Phenomena is a solid start of the band's futuristic industrial/groove metal journey, though it wouldn't be perfected until The Audio Injected Soul. This storm of modern sounds is something that has changed part of the course of metal in the early 2000s.

"Liquid" represents their melodic side in the chorus after a verse of guitar aggression. "Blood Stained" is a heavy tight mind-blower, often changing tempo. However, the band loses some focus in "Ghost", sounding a bit dull after that opening duo peak. "Db'xx'd" is the band's longest song at exactly 8 minutes, and has mechanical Meshuggah riff power and keyboards, all leading up to a cool ambient outro.

"Tattoos" has a bit of a Mushroomhead vibe while staying industrial. "The Naked And The Dead" is another golden highlight to make even the most serious metalhead smile. "Closed Eyes" takes a distorted drift into melody.

The title track is another highlight of progressive-ish industrial groove metal that would help bands like Sybreed and Divine Heresy find their direction and let bands of other genres like Animals as Leaders borrow their progressiveness. The chaotic electro-metal talent of Strapping Young Lad can definitely be heard. Another one of my favorites is "Zero Gravity", one more spacey 8-minute track with a slow blend of metal riffs and keyboard blasts. There's also a bonus remix of "Blood Stained" by Rhys Fulber.

After his time with Mnemic, vocalist Michael Bøgballe would keep exploring the band's sound in a more djenty level with Scamp. But this album from Mnemic has an almost entirely good metallic mix of brutal industrial attacks and melodic synth depths. If you're up for that, then crank up the volume....

Favorites: "Liquid", "Db'xx'd", "The Naked And The Dead", "Mechanical Spin Phenomenon", "Zero Gravity"

A few people might think Vektor is a Voivod ripoff, but...BOY WERE THEY WRONG!! They just don't see how much of a difference this band makes! First off, the instruments really work well together with precise drumming, tight riffing, and bass with more than one note per bar. The instrumentation is really cool, but what's really amazing is the vocals by David DiSanto. Forget about his domestic violence present for a while and check out his vocal range that's beyond belief. His vocals are in the same kind of level as Destruction's Schmier, but his high soaring screams are near-impossible! I bet he does what Michael Jackson used to do, grabs his own b*lls hard.

The guitars are so unique and really stick out in this album. One unique thing that marks a different approach is the F-tuning (a half-step higher than standard E tuning). I think more bands should start tuning their guitars up to F or F# 6-string, or even C or C# 7-string. When they play a riff that sounds familiar (other than the higher tuning), suddenly a different never-before-heard riff smashes into your face, while keeping constantly high quality. What's also pleasant is, the solos are magically placed in fields where you would never expect. But in the parts where you do expect a solo, they are short and end up coming out anti-climatic. However, the guitarists are really skilled, and despite those solo setbacks, they can master them as super well as DragonForce.

The title opener is probably the best track of the album. They really balance the thrash and progressive styles perfectly without having to copy anything. "This song won't write itself," rushy people say, but it's as if that song did! "Oblivion" is another great song, but it gets a little dull. It's late-Emperor-esque intro is actually the "Spiral Galaxy" intro from their demo Demolition. After that, it's on to the actual old-school speed metal intro before the Destruction-like shrieking comes in. Also, the end is a bit rushy, another good reason why I prefer its Demolition version. "Destroying the Cosmos" is another song that was re-recorded from the Demolition demo, and while I like this one better than the demo version, it doesn't quite reach the standards of the other songs besides "Oblivion". However, that solo-riff combo throughout literally the last minute is one of the most epic song endings I've ever heard! Great strength in an otherwise "meh" song!

"Forests of Legend" is an absolute highlight and the first of three 10+ minute epics. It begins with an eerie acoustic intro that sounds like the progressive thrash "Bard's Song (In the Forest)", before the heaviness begins building up before crashing safely into early-Megadeth-style speedy thrash. After that, it's back to the eerie acoustic section before another glorious outro! "Hunger for Violence" is a Voivod-like composition, opening with strange symmetric chords before heading into Theory in Practice-like violent heaviness. "Deoxyribonucleic Acid" which is what "DNA" stands for, opens with a speedy version of an Iron Maiden riff before its scientific thrash ascension.

"Asteroid" is less technical and more rock-ish in the first few minutes, and while not quite reaching the climax, an incredible charge thunders in with solid bass, sounding like when Lemmy's bands Hawkwind and Motorhead collide and travel into the future. The second 10+ minute epic "Dark Nebula" is probably the least superior of the epic trio, but it's still great. It shows a bit more of a Pink Floyd influence than Voivod while keeping the technical thrash virtuosos. "Accelerating Universe" is the 13 minute true diverse crowning highlight, initially starting with Metallica hammering thrash, it gets more epic and heavier throughout, even developing an amazing psychedelic atmosphere in the halfway point, before building back up into a heavy speedy ending.

Black Future is an almost flawless work of progressive thrash metal art, despite a couple weak points. But those weak points are really tiny flaws and they don't bring down this 5-star rating. With this album, Vektor has reached for the progressive thrash metal stars!

Favorites: Black Future, Forests of Legend, Hunger for Violence, Accelerating Universe

Well, after a marathon of reviewing Guardians classics, it's time to balance out my palate with something a lot darker and heavier. I encountered this Killwhitneydead album in a video the other day and decided to give it a shot. And compared to the other release I've reviewed, the debut Inhaling the Breath of a Bullet... WHAT THE F*** HAPPENED?!?

Killwhitneydead really went downhill in their second release Never Good Enough for You. The album cover of blood and nudity is bad enough, but for the music itself... There are still many samples used just like Inhaling the Breath of a Bullet. What made that EP acceptable was that release's length, which made the amount of samples still the same yet acceptable. When this music/sample alternation goes on for a half-hour, it gets boring and makes you wonder why the band has never been sued for the samples. The growls and riffing don't sound all that great, particularly when there could've been blasts where there are barely any. A few breakdowns are quite good though...

"You Will Get Exactly What You Deserve (and Not One Bullet Less)" gives me something special, a brutal breakdown similar to early Job for a Cowboy. "She Didn't Look Like She Had a Disease" is only one more track I like, and what a surprise! Several other tracks have melodeath leads, but here they go full-on power metal/grind/deathcore, with some clean falsetto singing! Who knew that was even a thing?! As for the rest, it sounds too flat. This sh*t is never good enough for me or anyone....

Favorites (only tracks I even slightly like): "You Will Get Exactly What You Deserve (and Not One Bullet Less)", "She Didn't Look Like She Had a Disease"

If anyone has tried to convince me a few years ago to give some power metal albums like this another shot, I probably would've said "I'll think about it" and left that request in the dust. But now that I'm back in The Guardians, with the playlists making me feel more confident about the clan than during my break from it, it's time for another spin.

Dark Moor's 3rd album The Gates of Oblivion is still one of the best albums of power metal that isn't DragonForce or Kamelot. Ever since my first time listening to it over a decade away, I've been mind-blown by all those riffs, melodies, choruses, and solos, all sounding so catchy and technical. And with those fantasy lyrics, it's the kind of cheese that I can have in my system. From start to finish, it's an incredible journey to love and appreciate!

Beginning the album is a true kick-A example of power metal, "In the Heart of Stone". Lots of speedy riffing, plus great vocal melody from Elisa C. Martin. She can go from tough to serene and back again in the blink of an eye. The verses sound epic, as does the chorus with its fantastic leads. "A New World" doesn't lose any power from the previous track. It opens with incredible riffing followed by mystical keys that leads to more of the furious verses. The mood stays strong as Martin belts out her highs in the chorus. The soloing by founding guitarist Enrik Garcia is one of the best here. It's an unforgettable journey to remember, just like Christopher Columbus' discovery of America that's detailed in the lyrics. The band's neoclassical influence shines in the title interlude, a f***ing beautiful keyboard instrumental. "Nevermore" is based on the works of Edgar Allan Poe. "Starsmaker (Elbereth)" is a heavier gem, though it starts with a lovely acoustic intro and maintains the melodic beauty for another adventure. It's like a mighty battle between vocals, guitars, and keys. Then we have another epic memorable chorus. You can consider the whole song a story of sorts!

"Mist in the Twilight" is another keyboard interlude. It leads to another one of my favorite tracks here, "By the Strange Paths of Destiny". Incredible guitars and keys here! The riffing power is in perfect balance with the keyboard magic. The soloing is filled with versatile energy. And we have beautiful vocal power from Martin in the chorus which has a glimpse of upfliting light in the midst of the dark sorrow. A true hard-hitter! Next, "The Night of the Age" has more atmosphere for Martin to shine in the spotlight. The solos and riffs are quite excellent and don't mess with the brilliance of Martin's vocals. Everything's well-paced! Well, her vocals are a little restrained in the verses but it's made up for by her impressive highs in the chorus. Wonderful speed before the next track that is a ballad... "Your Symphony" is a beautiful ballad. Nothing sappy. Just keys, acoustics, and singing, all that stir up the vibe of a forest fairy's tale. It's a ballad that's meant to be in the album, unlike those other ballads that disrupt the flow of the albums they're in.

The last leg of this album starts with "The Citadel of the Light", one more interlude that sounds like something from the Old School RuneScape soundtrack. It segues to "A Truth for Me" with some of the most anthemic verses of the album. Then at last, we reach the epic climax of this offering, "Dies Irae (Amadeus)", paying tribute to Mozart's works. The most incredible guitar technicality by Garcia is one of the many things that make this Dark Moor's most fascinating epic. As incredible as this is, I feel like there could've been slight trimming to tone down some of the repetition. Still I wouldn't change a thing, and it's all worth it in the end. One tiny miniscule flaw won't weigh anything down. The Russian edition comes with the bonus track "The Shadow of the Nile" which is great but could've been put before the epic instead of after.

All in all, The Gates of Oblivion is Dark Moor's finest hour of power metal reflection. Sadly, they would never replicate the magic, with all members except Garcia leaving the band the following year before the recording their self-titled 4th album, though bassist Anan Kaddouri would stick around for that then leave too. Martin would move on to other bands such as Dreamaker and Fairyland. Her replacement, Alfred Romero is great at singing as well, but just not as magnificent as Martin. The Gates of Oblivion is one of the most essential albums of power metal. If you're a power metal fan who hasn't heard this album, you should. See you at the gates!

Favorites: "In the Heart of Stone", "A New World", "Starsmaker (Elbereth)", "By the Strange Paths of Destiny", "The Night of the Age", "Dies Irae (Amadeus)"

Paradise Lost is known as an epic poem written by 17 century poet John Milton, centered around the fall of man and the fallen angel Lucifer. The dark romanticism of that tale would lyrically influence several metal bands. The British gothic metal band Paradise Lost was named after that epic, and then we have an entire concept album based on the story, Symphony X's epic masterpiece Paradise Lost!

This was another very important album for me over a decade before this review. It was at this point when the band distanced from most of their neoclassical power metal roots and became progressive. The increase in odd time signatures and heavy riffing gives it away while still keeping you hooked with melodic choruses.

The bombastic orchestral overture "Oculus Ex Inferni" starts the album, painting the skies with the flames of a beginning war. Then the first actual song "Set the World on Fire" gets the action rolling in this battle of angels and demons. Attacking hard is "Domination" with top-notch vocals by vocalist Russell Allen, sounding vicious while staying clean. "Serpent's Kiss" has some killer groove, though it's a little more an average song, while not deducting the album's perfect 5-star rating.

The title track is a beautiful ballad. A little subdued, but still great. There's more the catchy fury in "Eve of Seduction". I can practically memorize those lyrics and maybe try to sing them, despite them having some cheesy romance. That's brushed aside by the blend of the album's progressive metal with their earlier speedy power metal. It's also a solid break from their groove-ish tone in the songs before the title track. "The Walls of Babylon" takes their roots even further as some parts into the neoclassical and choral dynamics from The Divine Wings of Tragedy that were last greatly utilized in The Odyssey.

"Seven" is aptly titled in so many ways. It's the 7-minute 7th full song of the band's 7th album with the occasional 7/4 time signature. How symbolic can you get?! Another kick-A track! "The Sacrifice" is another ballad. It's not bad, just a little tame. But that's just the speedy side of me talking. The memorable 9-minute epic "Revelation (Divus Pennae Ex Tragoedia)" has so many cohesive ideas. If you can get hooked by the neoclassical leads and melodic chorus, you'll definitely wanna stick around for the rest.

For those new to the band's material, Paradise Lost is the best place to start, with its blend of complexity and accessibility. Longtime fans can also get a glimpse of many of their past works. 10 years before this review, this would've been my personal best album of 2007. The heavier albums are still fighting for the throne!

Favorites: "Set the World on Fire", "Domination", "Eve of Seduction", "Seven", "Revelation (Divus Pennae Ex Tragoedia)"

In all honesty, I'm glad we have star ratings in this site instead of percentage ratings. I wouldn't have to decide whether a 5-star album deserves a perfect 100% or not. The two other Symphony X albums I've given 5-star ratings to have one slight problem that would knock each one down to say 97% or 98%. But this album, The Odyssey is absolutely perfect, 100%! And although it's not a concept album like their 5th album V was, it captures different themes in each song to get you hooked.

Symphony X is known as a progressive metal band, though not in the same way as a band like Dream Theater. There's more technicality and orchestra, and the band can sound extreme while staying melodic. All this makes a perfect mix that I regret taking a long-a** break from.

We already get a full-on standout in "Inferno (Unleash the Fire)". Both the music and vocals sound so aggressive, heavier than their previous albums and hinting at their later ones. The riffing in the intro and verses really attack and mark the start of a more kick-A path for the band. "Wicked" loses some aggression but it's still quite wicked, with great soloing from both the guitar and keys. "Incantations of the Apprentice" is more eerie, containing some Lovecraft-infused lyrics. The vocals by Russell Allen can remind some of 70s Rainbow, particularly in the verses. Michael Romeo's guitarwork continues to shine, but Michael Pinnella's keys, not so much. But that's OK, because the guitars really help give the track some meat to beat.

Bringing back the keys right away after that previous track is "Accolade II", a soft while still heavy sequel to a track from The Divine Wings of Tragedy. Lots of piano beauty and audible bass in this one! My favorite part is a brief piano section with Allen's singing midway through the song, before the bridge. A couple minutes later, there's excellent soloing by Romeo. Absolutely breathtaking! Up next, "King of Terrors" flips the stylistic palate as the heaviest song by the band at that time. The riffing is simple yet heavier than most of the more melodic metal bands. While the vocals including the verses stay heavy, the piano lets out a slight calm moment then levels up the bass, drums, and vocals in the chorus. The song is based on Edgar Allan Poe's works, and it includes a spoken section from one of his poems. Add some keyboard/guitar complexity and you have what's basically early Queensryche gone Nightwish! "The Turning" is a short fast heavy track, and the riffs and leads throw back to their earlier neoclassical style.

"Awakenings" stands out with its synths and piano that sounds practically like a video game OST, plus beautiful singing by Allen. There's still some speed that DragonForce would later have. It's both the second-longest track of the album and my second favorite here. And only one track would surpass that one on both accounts... The title epic is the longest track the band has ever done, at over 24 minutes. You know how much I love long epics, especially when there's lots of fresh variation. I love those kinds of tracks as much as the less progressive listeners love tracks that are up to 6 minutes long. A true epic should never be so draggy throughout its length (looking at you, funeral doom "epics"!). In these 7 parts of this epic, things can switch from orchestral to acoustic to metal, often going from slow to fast back and forth. And the lyrics do the journey of Odysseus justice! All I have more to say is, it's one of the greatest epics in the metal part of my existence! The limited edition has two bonus tracks, starting with a 1998 re-recording of "Masquerade" from their 1998 debut. As great as the original! The other bonus track "Frontiers" is a standout with intricate soloing from the guitars and bass.

OK, let's look back at my earlier situation. I've considered The Odyssey one of the best albums both now and over a decade ago. If I focused on only this band and album and others in power/progressive metal, I probably would never have switched to modern heavy genres like metalcore/industrial metal. But if I stayed in those latter two genres today without looking back, I would've completely forgotten about masterpieces like this. With that said, I'm grateful for how everything turned out, and I'm grateful to still remember the perfection of this offering. Fans of metal and all music should give it a go. It's an odyssey that shall be remembered for eternity!

Favorites: "Inferno (Unleash the Fire)", "Accolade II", "Awakenings", "The Odyssey", "Frontiers" (bonus track)

The 5th Symphony X album and the second part of their quintessential quadrology isn't as perfect the other 3 albums, but it certainly marks a well-done entryway into their later progressive metal. The neoclassical madness last used prominently in Twilight in Olympus is fading out a bit, while the progressiveness starts to really build up, finalized in The Odyssey. V: The New Mythology Suite stands greatly on that fine line!

V is a concept album that covers different mystical locations such as Atlantis, Egypt, and space. The music and lyrics are quite beautiful, making this solid album almost as much of a masterpiece as the two albums surrounding it for the most part.

The "Prelude" gets you hooked for what this album has to offer. Then it segues to the first full song and highlight "Evolution (The Grand Design)". There's some more beauty within the melodies in "Fallen", fresh from the Egyptian side of the story. That song loses some energy towards the end, but at least we have a moment to relax in the next interlude... "Transcendence" is the second interlude that's strictly just orchestral keys, similar to the interludes in Dark Moor's The Gates of Oblivion.

Seguing from there is the amazing 8-minute "Communion and the Oracle". Then we have the short yet strong "The Bird-Serpent War/Cataclysm" that can be considered the "In the Dragon's Den" of this album. Unfortunately, in the interlude "On the Breath of Poseidon", their attempt at alternating between metal and orchestra just falls apart. While it's the worst part of the album, I wouldn't consider it a stinker and the 4.5-star album rating isn't affected. Similarly with "Egypt", I feel like it could've been better if some parts didn't sound so familar. Still great though. "The Death of Balance/Lacrymosa" is a strange yet awesome insturmental, enough to make a highlight.

"Absence of Light" has some slight weakness while still bearable not making the album rating any lower. "A Fool's Paradise" brings back the awesomeness of the album's first half. The "Rediscovery" segue is a nice build-up to the grand epic... "Rediscovery (Part II) - The New Mythology" is an awesome 12-minute grand finale. It's epics like this that put them in the progressive metal club of Opeth and Dream Theater, and it reminds me that the glory is left unbroken.

I think this album would've been 1000% perfect if they've improved a few songs and segues, and indexed both "Rediscovery" parts as one track. Nonetheless, V: The New Mythology Suite is another excellent album that is practically a long progressive symphony!

Favorites: "Evolution (The Grand Design)", "Communion and the Oracle", "The Bird-Serpent War/Cataclysm", "The Death of Balance/Lacrymosa", "A Fool's Paradise", "Rediscovery (Part II) - The New Mythology"

My grand experience with Symphony X's 7th album Paradise Lost has made me up to revisiting more to this band's albums. One incredible place to start is Twilight in Olympus, which is yet another classic that I've listened to since over a decade ago and still remember its glory. And considering how much I was into the modern classical works of Two Steps From Hell before switching to metal, no wonder I loved bands and albums like this masterpiece back then!

This can be considered the "Thomas" album since it's the last one with former bassist Thomas Miller, and drummer Jason Rullo was temporarily replaced by Thomas Walling (RIP). I say this is the transition album between the neoclassical era of their first 3 albums and the power-ish progressive era of the 3 albums after this one.

Some of the best progressive metal to surpass Dream Theater occurs in the opener "Smoke and Mirrors", one of my favorite tracks by this band. All we have in the structure is the mundane verse-chorus that ends up getting a grand enhancement, displaying the band's skills without having to make a half-hour epic. The neoclassical madness of this band Symphony X may be hard for simple guitar listeners to understand. But there are great guitar solos to learn such as the one around the 4-minute mark, performed by the impressive Michael Romeo. He often duets with keyboardist Michael Pinella, creating a sea of melodies. The riffing is not what you often hear in melodic progressive metal. Also I love the melodic singing by Russell Allen. He never goes as ridiculously high as other power metal vocalists, and sometimes he sounds nicely rough for the thrashy sections. And oh yeah, the awesome bass by Thomas Miller is audible. I'm not sure why "Church of the Machine" started with an industrial noise-ridden intro, but that doesn't matter. The heavy verses are in perfect balance with the chorus that almost turns the song into the band's own "Bohemian Rhapsody". The ending is quite abrupt, but again it doesn't matter. It just leads straight to "Sonata", a short instrumental take on Beethoven's Piano Sonata No. 8.

"In the Dragon’s Den" shows that the band can kick a** with the progressive neoclassical metal sound. Sometimes, melody doesn't have to be as deathly as Dark Tranquillity and In Flames. You can get it from bands that are meant to sound like Symphony X, Stratovarius, and Nightwish. Short songs balance out against longer epics like this next track... "Through the Looking Glass" is a long melodic track, following the band's trend of having at least one long epic since their debut and carrying on to subsequent albums. It lasts for 13 minutes and follows the "FantasMic" idea of 3 parts with the last being the heaviest. It ends up getting a bit repetitive towards the end, but still great.

Next up is another short fast track "The Relic", complete with a perfect chorus. The riffing aggression carries on into "Orion - The Hunter" alongside amazing vocals in the verses. I'm not too fond of the soloing, but once again, the 5-star album rating stays intact. Similarly to the previous album, this one ends with a haunting ballad, "Lady of the Snow". Nice singing by Russell Allen and guitarwork by Michael Romeo. That's how metal ballads should be. Melancholic, not happy-sappy.

Twilight in Olympus has been quite a progressive journey through fantasy and mythology ala power metal lyrics, all poetic with only a small tasy dash of cheese. Romeo and Miller are two main songwriters in this album, but with Miller gone, Allen would take his place in the songwriting department. That early era ends as a new one begins!

Favorites: "Smoke and Mirrors", "Church of the Machine", "In the Dragon’s Den", "The Relic"

I really need to thank my brother for getting into this band and giving me the spark of massive interest that didn't ignite until just recently. Volbeat was formed by frontman Michael Poulsen in 2001 after disbanding his previous band Dominus, having enough of his former band's death metal sound and wanting to start anew. Volbeat's name comes from Dominus' 3rd album title. When checking out or revisiting some bands/albums, it's good to follow your heart, and you might just find a gem of sheer greatness!

I really love Volbeat's first two albums. But if there's one album that I think would surpass the other by a few percentage points, it's this one, Rock the Rebel/Metal the Devil. It really seals the rock/metal gone rockabilly deal and would be an awesome recommendation for one of my rock/metal-loving pals.

We roll right into "The Human Instrument", a favorite of mine and my brother's, proving that Elvis metal works like a dream. The kick-A power is still kept up in "Mr. & Mrs. Ness", continuing the story that started in the debut album's "Danny & Lucy". The song hints at the band's heavier side in their next album Guitar Gangsters and Cadillac Blood, in which the story continues again. The next track is the popular half-ballad half-rocker "The Garden’s Tale". I actually love this song! It's probably because I was never in Denmark nor the United States in 2007 when the song was played to f***ing death. It's quite catchy as f***, pretty much breaking down the wall between slow-dancing and moshing. Vocal hooks cover the devilishly fast "Devil or the Blue Cat's Song".

Now if you're looking for a punchy banger, look no further to "Sad Man’s Tongue". It starts with acoustic country that would have Johnny Cash fans swooning, then f***ing speeds up into metal including a kick-A breakdown that you can't resist headbanging to. "River Queen" tops it off as another groove-ish banger. If I wasn't into this kind of metal 10 years ago, I would be listening to that song and the opener a sh*t-ton of times! Up next is "Radio Girl". I don't love it as much as many people do, but it still rules. "A Moment Forever" is fast as a motherf***er!

Next up, "Soulweeper #2" is another sequel to a song from the debut. This one still holds the romantic vibe of the first "Soulsweeper" song. If you thought the first track was the most Elvis-like metal song, it's nothing compared to "You or Them". Something that may seem a little goofy ends up turning godly! Ending track "Boa (JDM)" crushes everything in its path, leaving behind nothing but debris by the time it's over.

All in all, Rock the Rebel/Metal the Devil has added the cherry on top to Volbeat's beginning one-two punch of albums. The grooves, riffs, bass, drums, vocals, and lyrics are all a f***ing blast to listen to. I highly suggest showing them to your friends for a taste of what real music is like!

Favorites: "The Human Instrument", "The Garden’s Tale", "Sad Man’s Tongue", "River Queen", "A Moment Forever", "You or Them"

If I remember right, I've heard of Volbeat over a decade ago via a few music videos and this band being one of the bands my brother still listens to today. As great as they sounded, their sound that mixes rock, metal, and rockabilly hadn't really stood out for me, since I prefered power/symphonic metal at the time. And wow, I... I've never realized how essential their first two albums were for me. They're so incredible, and I can certainly raise my horns and bang my head to this music.

The Strength/The Sound/The Songs is one of the aptly titled albums I've ever comes across. The sound and the songs all have their strength with this diverse blend of genres. It's practically like late 90s Metallica but way better!

We already get to a h*lla catchy start with "Caroline Leaving". Then "Another Day, Another Way" has a similar pace to Hatebreed's mid-tempo songs in the instrumentation. "Something Else or..." is a softer track similar to Queensryche's ballads. "Rebel Monster" has greater heaviness and speed, perfect for the mosh pit. Then we have "Pool of Booze, Booze, Booza" with its catchy sing-along chorus to make a party rock anthem (none of that LMFAO bullsh*t).

One of the best songs here is "Always Wu". The riffing and vocals really have that metalized rockabilly vibe alongside another chorus worth singing along to. The riffing slows down without sacrificing any heaviness in "Say Your Number". Then "Soulweeper" is a ballad-ish track that you can sing to your romantic partner and have them singing along too. The speed goes back up in "Fire Song", which is filled with heavy fire. Then we have another fast catchy track, "Danny and Lucy (11 PM)", which cranks up the rockabilly side of the band for some rock-on fun.

"Caroline #1" builds up some great momentum as we enter the album's final third. "Alienized" keeps up that pace. The mood changes with their cover of Dusty Springfield's "I Only Wanna Be with You". What makes it so unique is, it can make your raise your horns to the riffing while also singing it to your love. The eerie riff that starts "Everything's Still Fine" is so strong and crushing. "Healing Subconsciously" ends the album with one of the most climatic closing tracks in standard heavy metal.

All in all, Volbeat's debut is an album for all open-minded listeners. Whether you like classic rock n roll, modern rock, metal, and hardcore, you're bound to find something you like, from rifftastic bangers that kick a** to love ballads that don't suck a**. I'm glad to finally get the strength from those songs after all these years!

Favorites: "Caroline Leaving", "Rebel Monster", "Pool of Booze, Booze, Booza", "Always Wu", "Fire Song", "Caroline #1", "I Only Wanna Be with You", "Healing Subconsciously"

Epica is one of the most epic bands around, a symphonic metal band that touches on other genres including gothic, progressive, death, thrash, power, and folk metal. Members have come from other bands such as After Forever and Trail of Tears. You might even think of this band as a more extreme Nightwish, particularly in the growls and deathly riffing. The band has reached their epic height in their 4th album Design Your Universe.

This album follows The Divine Conspiracy with a couple new members. guitarist Isaac Delahaye and drummer Ariën van Weesenbeek (as an official member). The lyrics deal with culture, physics, and the freedom to protect your world and, y'know, design your own universe!

It starts with "Samadhi", a wonderful intro to hint at the epicness to come. "Resign to Surrender" continues the "A New Age Dawns" saga that started in Consign to Oblivion. It's a brilliant way to open up the world of Epica for anyone new. The vocals alternate between the growls of Mark Jansen, the operatic cleans of Simone Simons, and occasional choir. Also the instrumentation is more extreme-sounding than their earlier works, easily blending deathly heaviness with symphonics without going just all-out Fleshgod Apocalypse. Next song "Unleashed" is the first single, a beautiful heavy banger. Then we have another catchy heavy single with a great chorus in "Martyr of the Free Word". Another highlight is "Our Destiny", which is a solid mid-paced track, similarly to Within Temptation. Honestly it's quite underrated.

And then comes the true highlight, "Kingdom of Heaven", a 5-part 13-minute epic that serves as the literal centerpiece of the "A New Age Dawns" saga and would itself spawn a couple sequels in subsequent albums. It has practically everything, all extreme, symphonic, and even some acoustic. It's their own attempt at an Opeth-like progressive epic that ends up paying off well! There's nothing in this masterpiece album that would make it lose its perfection, but one things that comes REALLY close is the interlude "The Price of Freedom". I feel like this one could've been removed or at least attached to the next track. "Burn to a Cinder" burns away that mistake as another one of my favorites here. And it's followed up by ANOTHER one of the best songs here, "Tides of Time", one of the few ballads I truly love. It sounds so beautiful, expecially with the heart-touching vocals of Simone Simons. This is the kind of beauty I prefer to hear instead of this Disney Frozen sh*t.

"Deconstruct" puts an end to the relaxation with its melodeath-ish riffing. Would've been nice to hear some soloing too, but I won't mess with it. "Semblance of Liberty" is the heaviest track here, like really hitting hard and fast. Then we have one more ballad "White Waters", a soft duet between Simone Simons and Sonata Arctica's Tony Kakko, working out almost as well as Nightwish's live duet with Kakko in From Wishes to Eternity. The title finale is another long epic with vocal perfection, all the way up to its glorious ending climax. The "A New Age Dawns" saga would continue in their new album Aspiral.

Design Your Universe is the best you're gonna get from Epica, maybe even the year of 2009. Not too epic for the heavy fans, not too heavy for the epic fans, JUST RIGHT. It's a legendary experience that would surely spawn some universal inspiration!

Favorites: "Resign to Surrender", "Our Destiny", "Kingdom of Heaven", "Burn to a Cinder", "Tides of Time", "Semblance of Liberty", "Design Your Universe"

What makes an album perfect is the amount of creativity, talent, and passion the band has. In my attempt at wanting to focus on more modern and heavier metal genres, I ended up forgetting about the symphonic power metal masterpieces that have all that for a great dose of magic. Power of the Dragonflame, the 5th album by Italian band Rhapsody (of Fire), is one of them. This is an hour-long prime example of the genre and has pleased me as much as many fans and critics.

Power of the Dragonflame is the final part of the band's first conceptual storyline, the Emerald Sword Saga. And what a way to end it! The symphonics of their first two albums and the aggression of the two albums after are in perfect balance. There's more of the shredding guitarwork of Luca Turilli and the orchestral keyboards of Alex Staropoli, sounding excellent as ever. Pretty much all the metal songs have strong talent from each of the members. Not just the guitars and keys but also the drums by Alex Holzwarth, the audible bass by session member Sascha Paeth, and of course, the vocal power of the versatile Fabio Lione.

One of the best symphonic/power metal intros in the apocalyptic "In Tenebris" that strikes you down to the ground like a gigantic fist. Then "Knightrider of Doom" explodes with some of the best aspects of the band. The title track punches with its speedy riffing. "The March of the Swordmaster" is a anthemic march to get you pumped with a mighty chorus and melodic soloing. RISE! DIE!! SACRIFICE!!!

"When Demons Awake" is a total chiller. The horrendous battle is described via more blackened instrumentation and vocals. Who knew Fabio Lione could go blackened growls so well? "Agony is My Name" is a great highlight that continues unleashing the most fantasy-filled power metal without ever sounding cheesy or sh*tty. "Lamento Eroico" (Heroic Cry) marks the band's first fully Italian song. It's a heart-touching ballad that I've been coming across a lot of lately. My return to The Guardians has made me realize that not everything has to be heavy to delight me.

"Steelgods of the Last Apocalypse" has more of the band's usual aspects, this time with some progressive turns to break the conventionality of power metal. "The Pride of the Tyrant" continues displaying the amazing skills of Turilli. Yet another wonderful composition! And it all comes down to the final epic... The greatest conclusion to this 5-album saga is the 19-minute "Gargoyles, Angels of Darkness". It's one of the best songs ever by the band and the epic to end all epics! The complex variation is perfect all the way. It starts with an acoustic intro that's almost like Opeth's softer moments then blasts off into some of the most emotional vocals, most cinematic keys and choir, and the most searing soloing. Then it all ends with a reprise of the intro that then literally explodes and collapses into windy ambience. The perfect ending for this saga!

Power of the Dragonflame is another one of the most impressive symphonic power metal albums that I'm glad to revisit. Believe me, this is for anyone into power metal and any other kind of music. You'll definitely want to get your hands on this emerald gem!

Favorites: "Knightrider of Doom", "The March of the Swordmaster", "Agony is My Name", "The Pride of the Tyrant", "Gargoyles, Angels of Darkness"

The first 3 Nightwish albums are a trio of symphonic power metal classics that I enjoyed to death over a decade before this review. I still love them, but I don't find them as perfect as I thought they were back in those times when my love for power/symphonic metal was in an all-time high. I decided to revisit many of the tracks from those via their first live album, From Wishes to Eternity. And let me tell you, I was blown away by this incredible release!

The concert was recorded in Tampere on December 29, 2000, just a few days away from the technical start of the new millennium. Being part of the Wishmaster tour, the setlist mostly consisted of songs from that album and a few from their first two. I love the serene voice of Tarja along with the masterful work of the instrumentalists.

"The Kinslayer" is a rifftastic way to start the show. The lyrics are based on the Columbine school shooting. The bridge is interesting as Tarja's singing alternates with spoken vocals by Ike Vil to practically recreate a talk between the killer and the victim. "She is My Sin" opens the original Wishmaster album before the previous track. The drumming is some of the heaviest I've heard in that album. Tarja's magical vocals continue to shine, especially in the chorus. I also love the soloing here. "Deep Silent Complete" is nice and catchy, calming things down while staying heavy. Wonderful atmosphere and vocals! Then we come to the song with the darkest heaviness in this earlier era, "The Pharaoh Sails to Orion". It features the deep growls of Tapio Wilska (Sethian, ex-Finntroll), speedy keys, and Egyptian lyrical themes. That's Oceanborn's epic!

"Come Cover Me" starts off calm and mystical then carries on with the usual heaviness. Tarja's vocals can be d*mn heart-touching in this amazing track. "Wanderlust" is a great song, but not the total best. There's nothing bad or skippable about it, but it's outshined by the other songs. Many parts of that track I still enjoy including the chorus and the keyboard soloing. It segues to the exclusive instrumental medley "Crimson Tide/Deep Blue Sea", taking some melody from the soundtrack of those two films and practically making it their own. Awesome! Then it segues to "Swanheart", a perfect ballad for me (a personal rarity). Such slow beauty after all that heavy might.

And now we get one of the tracks from the debut Angels Fall First, that album's opener "Elvenpath". It is a fast heavy power metal song from their most folk-ish beginning album. It segues to the 3rd part of Wishmaster's epic "FantasMic", and the heaviest part of that epic. I kinda wish they would perform the entire song though. "Dead Boy's Poem" is another ballad, and one you can't criticize easily. There a great chorus and superb soloing, the latter after a spoken bridge by a young boy named Sam Hardwick.

"Sacrament of Wilderness" has greatly heavy riffing, slightly different from the melody you'd expect from this band. The 3-track encore starts with "Walking in the Air", a cover of a song from the animated special The Snowman. Another slow ballad, though it gets heavier as the song progresses. "Beauty and the Beast" has nice vocal variation. The original has keyboardist Tuomas Holopainen singing the male vocals, but here they're done by Tony Kakko of Sonata Arctica. Then at last, we come to the true finale, the title track of Wishmaster. Epic chorus, beastly guitars... This still reigns as one of my favorite Nightwish songs today. I can hear Dragonlance/Lord of the Rings lyrical influences.

The DVD comes with some bonus content. Not just the video recording of the performance, but also some hilarious off-stage footage, two music videos, two separate live videos, a couple interviews, and a 50-photo gallery. However, the music itself is worth the price of admission. If you're into symphonic power metal and/or Nightwish, I would highly recommend this perfect live offering. The best glimpse of their early discography in their best form. Don't miss out!

Favorites (two per album, plus one new track and one half-track): "She is My Sin", "The Pharaoh Sails to Orion", "Crimson Tide/Deep Blue Sea", "Swanheart", "Elvenpath", "FantasMic (Part 3)", "Beauty and the Beast", "Wishmaster"

After an incredible experience with Nightwish's first live album From Wishes to Eternity, I immediately felt up to making a full revisit of the album the band was touring for, Wishmaster. Seeing how much I enjoy the songs in this album in live form, I thought maybe I would get the same glory in this album that I considered a classic over a decade before this review. And I still enjoy them all! Well, the songs that were performed live. The remaining few, ehh...

I think the slight issue is, this is around the time the band started becoming more pop-ish in their songs. However, most of these are balanced out by the heaviness and bombast. The catchy choruses hold many of them up and lessen the needlessness of repetition.

"She is My Sin" opens the album quite strongly. The drumming is some of the heaviest I've heard in that album. Tarja Turunen's magical vocals really shine, especially in the chorus. I also love the soloing here. It is followed by the rifftastic "The Kinslayer". The lyrics are based on the Columbine school shooting. The bridge is interesting as Tarja's singing alternates with spoken vocals by Ike Vil to practically recreate a talk between the killer and the victim. "Come Cover Me" starts off calm and mystical then carries on with the usual heaviness. Tarja's vocals can be d*mn heart-touching in this amazing track. "Wanderlust" is a great song, but not the total best. Nothing bad or skippable about it, but it's outshined by the better highlights. Many parts of that track I still enjoy including the chorus and the keyboard soloing.

"Two for Tragedy" is a ballad. The fact that it's a ballad is not the problem. I like the nice flute and keys, leading up to when the guitar, bass, and drums enter. The thing is, the lyrics sound a bit forced and it's a little too slow. Those could've been improved so that it's doesn't just sound like a pop ballad with guitars. Luckily it leads to the anthemic title track. Epic chorus, beastly guitars... This still reigns as one of my favorite Nightwish songs today. I can hear Dragonlance/Lord of the Rings lyrical influences. What's preventing from giving this album a rating beyond 4 stars is the next two tracks, starting with "Bare Grace Misery". It tries to bring back the energy of the heavier side of Angels Falls First but doesn't please me enough. "Crownless" is, I hate to say, the worst track here. While having more of the power metal part of the sound seems cool in theory, it sounds too cheesy for me now, especially those 8-bit-ish synths. Pretty much the DragonForce "Ring of Fire" cover of this album, I used to love it, but now, f*** that.

"Deep Silent Complete" is nice and catchy, calming things down while staying heavy. Wonderful atmosphere and vocals! "Dead Boy's Poem" is another ballad, but this one you can't criticize easily. There a great chorus and superb soloing, the latter after a spoken bridge by a young boy named Sam Hardwick. "FantasMic" is a fantastic epic paying tribute to the animated works of Disney. It really packs a powerful punch, especially in the final 3 minutes. Absolutely perfect! The 2007 reissue comes a few bonus tracks including one studio track "Sleepwalker" that's worth that extra mile. The other two bonus tracks are different live renditions of "Wanderlust" and "Deep Silent Complete".

If it was up to me, I would give "Wanderlust" and "Two for Tragedy" some heavier power, replace "Bare Grace Misery" and "Crownless" with "Sleepwalker", and remove those unnecessary bonus live tracks. Still I shouldn't change too much. The rest of Wishmaster has some of the best symphonic power metal hits you could ever wish for....

Favorites: "She is My Sin", "The Kinslayer", "Come Cover Me", "Wishmaster", "Dead Boy's Poem", "FantasMic", "Sleepwalker" (bonus track)

When I was listening to Within Temptation and other symphonic/power metal bands over a decade ago, I thought Mother Earth was their best album. But ever since I've moved out of those metal genres into the more modern/heavy ones, my earlier revisit of that album made me not find the glory it once had. However, with my return to The Guardians, I've once again found my best Within Temptation album, but it's not Mother Earth. It's this one, The Unforgiving!

In my earlier melodic past, I didn't think The Unforgiving was super awesome. A couple tracks were too pop-ish for me back then. Now that I've experienced some time with more alternative bands before moving back to The Guardians, I enjoy them a lot more now! The album makes a perfect balance between epic and mainstream.

The intro "Why Not Me?" consists of just Two Steps From Hell-esque orchestration and narration by Dawn Mastin. That intro sounds like something out of Agatha Christie's Marple, Downton Abbey, or any other British drama series. Already heading into the band's different direction is "Shot in the Dark", including a new aspect that had barely done before by the band; guitar soloing. "In the Middle of the Night" is a catchy banger to get you pumped and jumping. The intro riffing almost made me think of "115" from the Call of Duty: Black Ops - Zombies soundtrack. Absolutely great vocals to enjoy there! Interesting how "Faster" is the name of a more mid-tempo song. When that track was released as a single before the album, it was the first sign of their new direction; the usual symphonic metal but heavier and more poppy than their previous albums like The Heart of Everything. That motive is similar to what Lacuna Coil were doing at that time, but in a better, more focused light. That song has really grown on me more than the other tracks, with its tasteful strength and less of the orchestral bombast bands like Nightwish seem to have relied on.

The exciting energy cools down for the first of a few ballads in the album, "Fire and Ice". Then comes what I still consider one of the best standouts in Within Temptation's career, "Iron". It's so heavy and epic, right from the intro riffing onwards. The song itself reminds me of DragonForce's "Cry Thunder" and it's better at that than those poor rip-offs like Warkings' cover of that song and Sabaton's "Union". Next track "Where is the Edge?" doesn't strike me as much as the highlights, but it's still a nice throwback to what the band had in The Silent Force. "Sinead" brings back the Nightwish level of orchestra while continuing the mainstream direction.

"Lost" is one of the few ballads I would ever truly love, filled with beauty, melancholy, and tearjerking acoustic/electric soloing. "Murder" cranks up the orchestration again, making something eerie and cinematic. "A Demon's Fate" is really fast and complex, making another memorable song. It's like the previous album's "Hand of Sorrow" gone The Phantom of the Opera! "Stairway to the Skies" is the ending ballad like in most of their albums. However, instead of just orchestra and vocals, the whole band is here!

There are many risks Within Temptation have gone through stylistically such as going the concept album route, going more mainstream, and adding in guitar solos. But the changes paid off! The Unforgiving is perhaps truly the most well-written album they've ever done. An unforgivingly fantastic blend of accessibility, epicness, and heaviness!

Favorites: "In the Middle of the Night", "Faster", "Iron", "Lost", "A Demon's Fate", "Stairway to the Skies"

So I've just moved out of The Gateway back into The Guardians, and there's no better time than now to revisit one of the greatest albums in power metal, Blind Guardian's Imaginations From the Other Side. This was one of the most important albums for me when my power metal interest was at its height 10 years before this review. If you enjoy 90s power metal, you've come to the right place!

Power metal allows your imagination to run wild through these themes of fantasy, sci-fi, and sometimes reality. And classics like this one (following the fantasy theme) are no exception. Imaginations From the Other Side marks the beginning of the complex structures from subsequent albums while having some of their earlier speed.

The opening title track is one of the best album openers and power metal songs I've heard in my life. It picks up where things left off from the end of their previous album Somewhere Far Beyond, this time with more atmospheric structure. The vocal density would be further displayed in the next album Nightfall in Middle-Earth, as well as those harmonic guitar leads. EPIC!!!! "I'm Alive" takes the band's earlier sound further alongside occasional acoustics, a strong upgrade from the speed of Follow the Blind. I'm not as much of a ballad lover as I used to be, but another one of the greatest highlights is the short and soft yet epic "A Past and Future Secret". Unlike "The Bard's Song", this sounds like a true bard's song in the acoustics, orchestration, percussion, and Hansi Kürsch's clean singing, with the lyrics based on the legend of King Arthur.

"The Script for My Requiem" is the closest we have to the melodic speed metal of Battalions of Fear. "Mordred’s Song" has a blend of acoustic and electric guitar. The folk-ish vibe maintains the similarities to "The Bard's Song". If "A Past and Future Secret" is this album's "In the Forest", then "Mordred’s Song" is this album's "The Hobbit". Then we have another fast song in "Born in a Mourning Hall". The monstrous riffing gives that track more in common with Tales from the Twilight World while having some melodic leads later used in Nightfall in Middle-Earth and lyrics against televangelism. The music might remind some of a blend of Black Sabbath and 80s Metallica.

"Bright Eyes" has more anthemic triumph within the lurking darkness. There's even some twisted keys appearing in the verses to add to the eerieness. "Another Holy War" is filled with pure riff-wrath, while making way for the usual melodic chorus. The precise drumming by Thomas Stauch is what gave power metal a more speedy light. "And the Story Ends" has a truly epic chorus hinting at the grandeur of their later symphonic era. The guitars and vocals are the stars of this simple yet spectacular show.

I think we can all agree that Imaginations From the Other Side is Blind Guardian at their very best. Such a shame that I broke away from this album and this band when I had that long on-off hiatus from power metal and other Guardians genres. But now I can remember the glory of this masterpiece that is the transition album between the speed era that ended with Somewhere Far Beyond and the symphonic era that started with Nightfall in Middle-Earth. The risks the band face when making this album has paid off. It's an essential recommendation for both longtime power metal fans and the newcomers wanting to explore more of the genre. See you on the other side!

Favorites: "Imaginations From the Other Side", "A Past and Future Secret", "Born in a Mourning Hall", "Bright Eyes", "And the Story Ends"

Today I decided to check out more release by Spitfire. The Slideshow Whiplash is an EP the band made two years after their debut album Dead Next Door and just one year before their first hiatus. I wasn't expecting a short EP to be slightly better than that debut, but that's certainly the case here! Most of the tracks in this album are in the same quality as the better half of the debut...

Well, there are only 4 tracks, and one of them is an instrumental. Still this is for any metalcore/mathcore listener and you may enjoy it once you try it. And if you haven't heard that debut yet, this EP shall make you up for that.

"This Ain't Vegas and You Ain't Elvis" (sounds like what a casino owner outside of Vegas would say to an Elvis impersonator) has awesome strength in the lyrics. "Bulletproof and Tall as Jesus" is the best highlight of this release, and it's too perfect for me to put into words. It segues to the title interlude with is an odd mix of techno and jazz. Then the EP ends with the brutal "Heroin". Vocalist Jon Spencer sounds a little drunk in his attempt at cleans, but the rest of the track is nice and heavy.

I love most of what this band has in this EP. Nothing disappoints me, and this has better pointage than their debut Dead Next Door. The only things I would remove or improve are the title interlude and the weird clean section in the last track. If this was their way of saying farewell before their first hiatus, they've done it well....

Favorites: "This Ain't Vegas and You Ain't Elvis", "Bulletproof and Tall as Jesus"

Exploring different releases in your favorite metal genres is like a box of chocolates, you never know what you're gonna get. Some might be bad, some might be OK, some might be so awesome that you're kicking yourself for not discovering them sooner. That 3rd outcome is certainly the case for me with this early metalcore/hardcore gem!

In the 90s, hardcore and early metalcore weren't always "that emo-fueled genre with breakdowns". Snapcase was formed in 1989 and released their debut Lookinglasself (what's that, an elf character in one of those Alice stories?) in 1993. Their hardcore sound would eventually make its true form in one of the best albums of the genre, Progression Through Unlearning. Straight-on hardcore/metalcore before their switch to post-hardcore/alt-metal in subsequent albums.

"Caboose" is the perfect anthem to start the album. Vocalist Darryl Taberski unleashes his screaming power with full intensity. I appreciate the work the band has put in their songs. The lyrics are clear and empowering, without any incohesive rambling. That's what makes this album the energetic masterpiece it is! That along with the furious "Guilt By Ignorance". It is followed by another great track, "Harrison Bergeron". Then we have another priceless classic in "Priceless". That's what metalcore sounds like before the dance-trancecore of Enter Shikari, the pop-ish melody of A Day to Remember, the heaviness of Fit for a King, and the djent of Periphery.

"Zombie Prescription" is amazing in the vocals, guitars, and drums, along with a well-placed uncommon breakdown. "Killing Yourself To Live" really kicks a**! It greatly exemplifies this early metalcore era. "She Suffocates" punches through frantic riffing and time signature changes, accomplishing a lot in under 3 minutes.

"Weak Tyrant" isn't the strongest track of the album but it still rules and maintains the perfect 5-star rating. The more hardcore listeners would know "Vent" quite well, which can easily get the live crowd rolling. "Breaking and Reaching" is a grand 4-minute standout, with some of the most superb music and lyrics in the album. The "Outro" seems like a nice way out. Apparently, the audio sample is from Pee-Wee Herman. RIP Paul Reubens...

I would probably ask for a little more diversity, but there's practically nothing to change about Progression Through Unlearning. Hardcore's energetic spirit is something that has rarely been replicated in today's scene. Snapcase would drop their earlier roots for subsequent albums. Still if you want true energy entering your mind, listen and learn!

Favorites: "Caboose", "Priceless", "Killing Yourself To Live", "She Suffocates", "Breaking and Reaching"

Madness is what you can expect in any noise-ridden math/metalcore release. Songs can range from short to radio-sized and have at least one long-ish epic. Spitfire's debut Dead Next Door may be at the same quality level as Nora's Loser's Intuition, but the mathcore part of the sound is slightly more...

It's not just pure math/metalcore that I often hear in this album. Occasionally, there's a slight touch of alt-rock/grunge. One might call this band a more hardcore Nirvana. But why should that be what we would know them as? Clearly, noise-fueled metalcore is their goal. Oh, and I just realized that this band isn't related to one of the earliest (and worst) mathcore bands out there, Nineironspitfire. Spitfire's debut is by far better than Nineironspitfire's sole release, so let's check it out.

"Please Don't Go Out Tonight", especially not in my country when it will soon be Hungry Ghost Month as of this review! But seriously, that song is a great start that shouldn't be overlooked. Not as great as the interesting highlight "The Two Forty Eight Lie" with its different tempo changes from fast hardcore to slow sludge. There's plenty of chaos in "Render Quench Create". Unfortunately, it doesn't have much focus and tears apart the album's greatness. "Marasmus" is around to make up for that with some of the more hardcore riffing to occur in this album.

"A Glance at Quintenessence" I consider one of the most quintessential songs in early math/metalcore, with Rosetta-esque sludgy tempo. "Good Cop, Bad Cop" is another one of my favorites, long with fast riffs especially at the end. "All Indentured Lovables" is a beautiful interlude while keeping listeners on their seats with heaviness at the end.

"The Burgundy Room" ends up marking the album's descent back into the sh*tty quality of the 3rd track. The bass and drums ruin the band's intention of bringing together hardcore and metal. "What Ever Happened to the Indie Queen" has some nice mathcore, but that kind of sound is better executed by Ion Dissonance. "DJ Jazzy Steve" is a strange closing track, even for me. Jazzy Steve, whoever you are, cut that sh*t out please.

Dead Next Door isn't your typical hardcore album. It has the noise and chaos of any math-metalcore album. I would enjoy and appreciate this more if not for a couple poor tracks including that d*mn remix-ish track at the end. As much as I like all this beauty and brutality, it would take a little more improvement to make this grab my attention....

Favorites: "The Two Forty Eight Lie", "Marasmus", "A Glance at Quintenessence", "Good Cop, Bad Cop", "All Indentured Lovables"

F***ing h*ll, how did this masterpiece hide under my metalcore radar!? The Opposite of December is the debut album by Poison the Well and has greatly defined the genre! It's a heavy emotional offering of glory that fans of hardcore and metal shouldn't miss out in their lives.

Not often can you find something that can sound so fresh even after over 25 years following its release. As awesome as many other metalcore releases, they would be bowing down to the true groundbreaking developing albums of the genre. The title and release date fit well together, considering it was released in December 1999, one month before the new millennium (unless you wanna be technical). Already there was hope for a promising future for metal and hardcore in this millennium.

Already hitting things hard is the opening track "12-23-93" (I wonder what that date means). After the beginning drum roll by Chris Hornbrook, there's a lot of fury from the guitar and vocals. Jeffrey Moreira has wonderful vocals as he screams well-written lyrics at the top of his lungs. Not a lot of metalcore vocalists have the same rage as Jeffrey, and that's probably good health-wise. That, along with active smoking and when he used his screaming offstage after finding out the band's equipment was stolen, would lead to him suffering a collapsed lung, but he recovered. Anyway, he also does some clean singing that helps the band standout among other early metalcore bands. His vocals also shine greatly in "A Wish for Wings That Work", with a spoken bridge. Closing the next track "Artist's Rendering of Me" is some emotional guitar and bass.

Then the bass becomes audible in the bridge of "Slice Paper Wrists", a melodic standout for many metalcore listeners, and I truly agree. "Nerdy" has more special relatable lyrics about wanting to take a friendship to the next level. Jeffrey's lyrics are truly beyond the kind of scenario I would ever write. "To Mandate Heaven" takes on a more experimental side of things that would increase in later albums. The metallic riffing is covered in raw filth compared to other tracks. The experimentation pays off and naturally, they've made another powerful anthem.

"Not Within Arms Length" marks another dynamic highlight. The bass and drums are more relentless and take the spotlight above the riffing. It sounds quite fresh and never loses any steam. "Mid Air Love Message" plays around with rock riffing for a lighter vibe. The heaviness is still there as a counterweight for the slower emotion. After a hidden section between tracks, "My Mirror No Longer Reflects" closes the album with some of the most emotional guitarwork in late 90s metalcore.

All in all, The Opposite of December is just what every metalcore fan really needs. Something so beautiful and brutal was made by this young talented group that would stand the test of time. This impactful gem is essential for all metal/hardcore fans, one that you can't go your entire life without!

Favorites: "12/23/93", "Slice Paper Wrists", "To Mandate Heaven", "Not Within Arms Length", "My Mirror No Longer Reflects"

Nora, named after Samantha Mathis' character in Pump Up the Volume, was formed in 1996 and released a few EPs including a split EP with The Dillinger Escape Plan. I checked out one of those EPs Theneverendingyouline a couple years ago in which the strained vocals by Carl Severson made it unbearable. On the debut full-length album Loser's Intuition, while the style hasn't changed too much, the members' talent and writing has improved, and luckily that includes Severson. No more of that strained sh*t...

This album can still be considered math-metalcore, but the mathcore side has been toned down some in favor of the metallic hardcore of Hatebreed and Earth Crisis. It's all about performing loud and heavy, nothing dramatic. The powerful groove of metal/hardcore is unleashed!

The album starts off greatly with "Wave Goodbye". The band fires away with riffs and breakdowns without ever sounding as repetitive as that EP. "My Bloody Clownsuit" follows as another killer track. "Warthog" has heavy rhythms to please my ears, especially at the end. Then we have another highlight in "Bring It". The band continue to bring their math-metalcore sound with a dash of melody from Undying.

"Nobody Takes Pictures of the Drummer" is another pummeling track, starting off with mid-paced dissonance before some vicious hardcore speed. You gotta appreciate the drumwork Chris Ross, despite nobody taking pictures of him. Then we have "For the Travelers" which is one of the heaviest anthems I've heard from this band. The riffs and tempo practically shapeshift into different forms, even slowing down for the dark effects of Godflesh. Indeed for the metalcore travelers! Now "what about standing up" for "Leadpipe Moment" with its really powerful bellows from Severson!

The title track is where the band starts to lose some steam, but it proves that good metalcore doesn't have to be from later modern bands like Northlane and Like Moths to Flames. "Mudmonster" is another d*mn killer highlight, as drilling as that cover art by Derek Hess. "Kill You for a Dollar" I'm guessing is a re-recording from one of their EPs. The more mathy side there might've been the spark for Iwrestledabearonce later on. However, I feel like it could've been better if it was longer than just under two minutes.

Loser's Intuition is a lot more worth your money than Theneverendingyouline, with better improved talent from the band members. With that said, I should warn newcomers about the chaos that would occur. This offering is good for the experienced....

Favorites: "Wave Goodbye", "Bring It", "Nobody Takes Pictures of the Drummer", "For the Travelers", "Mudmonster"

Metalcore fans who listen to bands like Killswitch Engage and Shadows Fall probably don't know about the bands those members were originally in before those fans (including myself) were born. The members of Overcast include Killswitch Engage bassist Mike D'Antonio and Shadows Fall vocalist "male metalcore Rapunzel" Brian Fair. After an 8-year breakup due to lack of the success their peers had, they've reformed and started recording a new album...

Reborn to Kill Again is actually mostly a re-recording album of many of the songs in their first two albums Expectational Dilusion and Fight Ambition to Kill. And of those 13 tracks (14 if including the European bonus track), only one song is brand-new, and one other song is from a different band. A look back into the past, I'd say!

The first track is a two-parter, "Diluting Inertia / Grifter". Now that's how you time-travel into 90s hardcore/metalcore! Thundering riffs and rhythms continue in "Root Bound Apollo". And yes, it's that song that was meant to be for Overcast's then-shelved 3rd album and ended up in Shadows Fall's album Of One Blood. It still remains one of my favorite early-ish metalcore songs with a fast searing Metallica-like solo, alongside the thrashy riffing and vocals. Things slow down in "Seven Ft. Grin" (that's a h*ll of a long grin), as the vocals sound tough and the guitars have heavier layers added. "Filter of Syntax" is kind of a filler track, but it might remind some of Snapcase. The brand-new title track is a strange one, sounding more alternative. If they had a chance to make a 4th album, I hope they go their earlier direction, not like that new track.

Another two-part track, "As a Whole / Two Degrees Below", is a 7 and a half minute epic with a long intro, just like Aftershock's "Prelude to Forever". As a whole, that Overcast epic makes another solid highlight, but it doesn't have the glory of the Aftershock one. "Spun" spins into gang vocals, guitar soloing, and Pantera-esque breakdowns. The destructive "Your (Destructive) Self" has some vocals to remind some of Merauder, and they help with hardcore's lyrical commentary. "For Indifference" is another one of my favorites here. I can't believe how indifferent some people are nostalgia-inducing tracks like that!

We then get an instrumental, "Styrofoam Kill Machine". It probably would've been better with vocals, but it's still quite killer. It's followed by another favorite of mine, "Fates Design". Then "Apocalypse Upon Us" goes dark and lurking without ever reaching the deathcore depths of Winds of Plague. Finally, "Bleed Into One" is one of the earliest songs by the band, the title track of their first demo released in 1992. The gang vocals alongside Fair's yells have a similar vibe the Rollins Band album The End of Silence.

Reborn to Kill Again is for both new fans of metalcore (including myself) looking for older treasures and earlier fans wanting to relive their hardcore memories. If you're wondering where the bridge is between Integrity and Shadows Fall, here it is. A great break from today's heavily modernized metalcore market....

Favorites: "Diluting Inertia / Grifter", "Root Bound Apollo", "As a Whole / Two Degrees Below", "Your (Destructive) Self", "For Indifference", "Fates Design", "Bleed Into One"

So as we all know, Killswitch Engage and Shadows Fall are the two Massachusetts leading conquerors of the melodic metalcore scene. However, there were two other bands formed earlier by those two bands' members; Aftershock and Overcast. I don't wanna waste time listing every single associated member, but I will list the ones in this album as the review goes on. Boston, the city the Dropkick Murphys are shipping up to, was already shaping up its hardcore scene at this point before receiving a metal injection right before the new millennium dropped. The band that included future Killswitch Engage guitarists Adam Dutkiewicz and Joel Stroetzel recorded and released their second album Through the Looking Glass in 1999, around the same time as another one of the best releases in early melodic metalcore, Prayer for Cleansing's Rain in Endless Fall. While this Aftershock album isn't perfect, it's amazing and essential for metalcore fans to listen to and dropkick some a**!

Through the Looking Glass is a solid offering with all you really need in metalcore within the riffs, leads, drums, breakdowns, and vocals. Everything's so dissonant and diverse, and while there isn't the technical heaviness later metalcore bands would have, it's a strong album to remember. The lyrics and titles seem to center around the adventures of a young girl in Wonderland named Alice (if you know, you know), setting aside the wonderful fantasy for the dark reality hidden beneath.

It's not often a metalcore album starts with a 7 and a half minute epic, but here we are in "Prelude to Forever". Ambient feedback rises before a couple minutes of heavy sludgy riffing and drumming. So basically, the first third of the song is an instrumental. As the vocals come in, the tempo in the riffing slowly increases from mid-tempo to finally reaching a punky thrash pace. Incredible! This is early groove-ish metalcore at its finest, sounding quite heavy without ever having to resort low djent tunings. Fast riffing, catchy hooks, and deathly breakdowns, all in the moderately heavy drop C tuning. What more can you ask for in metalcore? The ambient title interlude is simple yet dark, with some angelic choir. There's more of that atmosphere to end "Jabberwocky" after the song itself progresses through heaviness.

"Traversing the Gap" takes on some deathly tremolos. As with many metalcore/melodic metalcore bands in the late 90s and 2000s, Aftershock leans into melodeath territory and takes the genre's powerful riffing without making it super melodic. "Living Backwards" is more phenomenal, as the bass and drums have a stomping groove aligned with grim leads and chords. Notice I said this album isn't totally perfect in the first paragraph because of the slightly flawed "Impenetrability". It's a mid-paced heavy track, but the drumming sounds oddly timed and the leads sound too screechy. I prefer hearing those kinds of leads from Meshuggah. There's also some clean singing which isn't too bad.

We also have some thunderous riff rampage in "My Own Invention". Some of the more deathly drum blasts occur though a little heavy on the cymbals. Kicking off "Infinite Conclusion" is some start-stop riffing that is a little choppy, but the enjoyable chords made me forget about that. However, that doesn't stop the vocals falling behind the music. I understand if some steam is lost. The outro "Awaking the Dream" is a nice light way to end.

Aftershock was an early developing band of metalcore with not as much recognition as their still enjoyable peers in Killswitch Engage and Shadows Fall. Nonetheless, I can enjoy this band's focus on pummeling heaviness as much as those other two bands' catchy melody. Aftershock and Overcast both provided the spark needed for one of metal's most popular genres in the modern era. Remember, Aftershock was Adam Dutkiewicz and Joel Stroetzel's band that would lead them to their more famous one, and you already know what it is. Small reduction of technical heaviness aside, Through the Looking Glass is a truly cohesive experience. One that metalcore fans should own!

Favorites: "Prelude to Forever", "Jabberwocky", "Traversing the Gap", "Living Backwards", "My Own Invention"

Some of you might've heard this band from their industrialized cover of Celtic Frost's "Morbid Tales" for a tribute album. While the idea of industrial death metal with drum programming has been done before to less than desirable results at the time, Inner Thought has done it right in Perspectives...

Formed by guitarist Bobby Sadzak, Inner Thought takes some thrashy death metal from his previous work in Canadian band Slaughter and mixes it together with industrial metal for an interesting combo. The programmed drumming sounds so inhuman and works side-by-side with the electronic keyboards. The end result is what Fear Factory would sound like at that time, if that band didn't drop most of their death metal elements in Demanufacture. All in haunting steel!

"Words" is already the best start of the album, and I have no words to describe it. The next track "Sanctioned Situations" is filled with unpredictability in the riffing and the vocals. For the latter, there's some serene female singing by Mary Giordano, giving the heavy darkness some light. The main vocalist Dennis Balesdent has the ability to switch from deathly growls to blackened shrieks. With that and the melodeath leads, they've gotten a bit of that Gothenburg sound months before At the Gates' Slaughter of the Soul. "Bed of Nails" starts off with a gothic synth intro then makes its way into a deathly blend of Circle of Dust and Grin-era Coroner.

"Tortured" is an effective highlight, almost as much as the similarly titled Sonic Violence track. Except it's heavier, more upbeat, and instead of the opening sample being Mozart's "Dies Irae", it's a seductive movie sample. "Observe" has some riffing similar to Zao without ever going as hardcore as that band.

The most f***ed up sh*t in the album is in "Autodogmatic". Dennis attempts to do some rapping at one part, and it really ruins the song for me. Rapping doesn't belong in these extreme albums! Perspectives would've been perfect without it. Luckily that mistake is brushed aside in "Rack of Lethargy". Fast thrashy riffing comes on before some more samples and fun keys. That's what early extreme industrial metal should be! The spooky synth title outro fades away nicely into darkness.

Perspectives is a solid example of death metal gone sci-fi, similar to early Fear Factory. I think Inner Thought has really emphasized the fear in that factory. Any metalhead should get a hold of this and explore what this album has to offer. Of course, you have that d*mn rapping part to blame for lessening the essentiality....

Favorites: "Words", "Sanctioned Situations", "Tortured", "Rack of Lethargy"

I just can't stop thinking about the epic excellence of Hope for the Dying. I've mentioned that their album Legacy is their own Becoming the Archetype Terminate Damnation. This album, Aletheia, the one before that one, is actually what I would consider the symphonic missing link between that BTA album and the one from their early incarnation, The Remnant, even hinting at that band's early 2010s deathly era. Hope for the Dying can break the norms to make something wonderful. Similarly to Mechina's Siege, half the amount of songs each go over 8 minutes, and the last track is a 12-minute epic. And just because that's unusual doesn't mean there's anything wrong with it. Now let's pick up where Dissimulation left off and where Legacy would unfold...

With this album, Hope for the Dying has added more orchestral grandeur, enough for me to question why this isn't in The Guardians like Dissimulation. The lengthiness in many tracks comes from the different sections being quite long. It allows the instrumentation to really shine and help the band stand out in the metal and hardcore realms. Their move from the Strike First to Facedown was the right one, not just because it caused a boost in popularity but also Strike First's shutdown a year after this album's release. This diverse cauldron of influences has come from sounds heard in America and Europe, all in different eras. The epic orchestra might be a little too pompous in a few moments, but when they get it right, they get it WAY right! Also the stylistic associations with Becoming the Archetype are so clear that I'm surprised both of those bands have never shared members with each other. Although the name of this album is similar to former BTA guitarist Alex Kenis' main band Aletheian.

The opening track is the epic "Acceptance". You think starting an album with a nearly 10-minute epic is a rarity? Imagine also closing the album with two longer epics! But we'll get to those later on. Adding to this rarity is the high amount of instrumentation compared to the vocals, and this often-unsuccessful move actually ends up paying off, keeping me hooked through and through. A fantastic start to this journey! "Reformation" starts off heavy with the usual growls and screams letting out lyrics about uniting for war, "marching as one, the reformation has begun". The track overall sounds like War of Ages gone orchestral, especially when it's short and straight. "Iniquitous" kicks off with some European neoclassical shredding. Then the lyrics battle against false beliefs, "you almost believe the lies yourself". Lots of epic power despite being a short song!

"In Isolation" begins with what sounds like an Irish Jig, then the rest is their usual metal. The song was released as a single and has its own lyric video. Those lyrics and the music continue the spirit of Becoming the Archetype, leading up to a powerful climax towards the end, "I no longer wish to walk alone". Seriously, you should check that song out! Another example of depth comes in "Through a Nightmare Darkly", the title playing on the idea of seeing the face of God, yet twisting the image into a world of darkness and pain. Quite a poetic message to convey for a 5-minute instrumental track! It fits well conceptually when seguing to the next track "The Lost". The lyrics that maintain the message of the instrumental give passion and motivation to a lost generation, "this is a chance to rise". The great vocals of Josh Ditto ranging from screams to cleans gives him the vibe of Becoming the Archetype's two vocalists, Jason Wisdom and Seth Hecox.

We're heading to the final leg as we check out those longer epics, starting with "Visions". There's nothing new about this track, but it stays strong in the instrumentation and vocals that keep up the European-infused darkness. The cleans also sound similar to European metal vocalists to add diversity to the vocals covering American metalcore screams. A wonderful track for the patient and experienced! It segues to "Serenity", a serene interlude with lovely acoustic guitar. And finally, "Open Up the Sky", the closing epic that is the band's longest song at 12 and a half minutes. It's truly one of the most epic and innovative metal tracks I've heard in my life. Everything's so progressive with occasional hardcore bursts. You have to be really experienced musically and lyrics to understand it all. Then everything ends with distant piano. So legendary!

All in all, Aletheia is only for listeners who can handle metal, hardcore, epicness, and progressiveness all at once. And I am one of those listeners! If the orchestration wasn't too pompous though, I would've added that extra half-star needed for this album to be as perfect Dissimulation and Legacy. Still it is the kind of album you wouldn't typically expect in the modern era. If you can sit through an hour-long album with a few 10+ minute tracks with lots of heaviness and diversity, from beginning to end, you would certainly be one with the symphonic progressive metalcore world. And specifically, the world of Aletheia!

Favorites: "Acceptance", "Iniquitous", "In Isolation", "Visions", "Open Up the Sky"

As much as I enjoy symphonic deathcore, we really need more symphonic METALcore. Metalcore or melodic metalcore would really go well together with the epic orchestra of symphonic metal, and yet that almost never happens. It's always symphonic deathcore! DEATHcore!! DEATHCORE!!! Except for one of the most epic bands around...

Hope for the Dying's official full-length debut masterpiece Dissimulation is an album in which the "epic" label fits in quite appropriately. Before recording this album, the band made a self-titled release that was released as an EP then repackaged as a studio album released via Strike First Records. The band would then be signed to the label's more well-known older sibling Facedown Records. Just imagine Unearth and All That Remains with more progressive structures and Two Steps From Hell-esque orchestra.

The adventure begins with the intro "Exordium" which is the most Batman-sounding intro in a Revolution album besides Make Them Suffer's debut Neverbloom. Then to start the last third of the track, the metal guitars take the stage, rising from riffing to shredding. It makes the perfect transition to "Vacillation" with all its extreme technical speed. The screams and cleans are all in brilliant balance, already giving you all of this album's greatness to come. Then it all fades to orchestra and piano to get you ready for a heavy transition into the next track. "Orison" is another perfect flowing track. Note that all the tracks segue into one another similarly to BTBAM's Colors.

"Transcend" has that TSFH-sounding orchestra alongside some of the progressiveness of Queensryche gone heavier. The orchestra makes its bombastic flow through the heavy guitars, drums, and vocals. 4 and a half minutes in, a shredtastic solo is unleashed by slowing down in glistening melancholy. The sorrow bleeds into "Imminent War" starting with an acoustic intro before blasting into metal once again. "Perpetual Ruin" again has that "epic trailer music gone metalcore" motive.

And then we come to the glorious 15-minute 3-track suite, "The Awakening". Each one has different focus on an aspect, with the title track of the suite emphasizing the piano and strings, the title track of the album adding in some more shredding plus some female singing, and the third part "The Veil Lifted" closing the suite in both melancholy and progressiveness. The most vicious song of the album, "Vile Reflections" blasts away through metal yet again. Then it all ends with "Desirion", starting soft in the piano before the last bit of blasting metal gone orchestral and then wrapping things on a light symphonic note.

Dissimulation may not surpass Trivium's In Waves for the eternal reign of my personal best albums of 2011, but it's still one of the best that I wished I had discovered sooner. The older fans would get a kick of nostalgia while still sounding fresh the newer fans including myself. Orchestral metalcore is a sound that should've caught on a lot more. A must-have for anyone up for something both epic and extreme!

Favorites: "Vacillation", "Orison", "Transcend", "The Awakening" (full suite), "Vile Reflections"

Hope for the Dying has already made history with their self-titled debut EP/album being the first release for Facedown Records' imprint label Strike First since its relaunch. I enjoy this thrash-ish metalcore similar to Shogun-era Trivium and Facedown labelmates War of Ages, though not as much as their more symphonic subsequent albums...

I can understand the confusion of whether this would be considered an EP or a studio album, since it's just a 7-track 36-minute release. While the rhythms and vocals aren't as dynamic or aggressive as their later albums, there are killer shredtastic leads that would carry on into those albums. The riffing from the guitar duo James Houseman and Jack Daniels is also not totally emphasized which explains the reduction of heaviness in this particular release.

It starts with a killer standout in the 7-minute "City of Corpses". Then "A Beautiful Day for Vengeance" begins with one of the heaviest riffs in the release before more of that tasty shredding. It seems like the more slightly forgettable parts of this offering are the clean-sung sections like that of "Into Darkness We Ride".

Some of the best moments of "Our Fallen Comrades" occur in the second quarter of the track. You gotta hear it to believe it! "Where We Are Going We Don't Need Roads" (clearly a reference to the final line of the first Back to the Future movie) has some melodic instrumentation to remind me of We Came as Romans at that time. "Would the Angels Say" fiddles a little too much with the shredding. Then both the riffs and leads really shine as "In Loving Memory" opens.

Hope for the Dying's first release was a promising start to their career. However, the killer shredding would impress me more if the quality wasn't so on and off, though it's mostly on. At least it would pave the way to something more epic....

Favorites: "City of Corpses", "A Beautiful Day for Vengeance", "Our Fallen Comrades", "In Loving Memory"

It's quite a mystery how so many bands can pull off a genre well despite it losing the spark of interest it once had. Vildhjarta is one of the few ongoing bands that can still be considered a true pioneer of a genre nowadays. They started out in the djent scene of the early 2010s alongside Tesseract and Periphery, but stand out amongst them with their own djent subgenre thall. Their perfect legacy has spanned between their first two albums, staying loyal to their fans. And just under 4 years after their second album, their 3rd one Dar Skogen Sjunger Under Evighetens Granar (Swedish for "Where the Forest Sings Under the Eternal Spruce Trees") continues the gigantic brutal drama!

A few pre-release singles came out in the couple years before the album's release, and they continue to show their progressive stamina. Despite the remaining original member guitarist Daniel Bergstrom having left the band between songrwriting and recording, nothing has changed. In fact, this album has some of their heaviest work to date. Serene ambience gets crushed by a hailstorm of devastation.

"Byta Ut Alla Stjarnor Pa Himlen Mot Plustecken" (Replace All the Stars in the Sky with Plus Signs) plays around with some riffing in the intro, as the sun is darkened by an eclipse of downtuned guitar and bass, with the smog of brutality completely blocking out all light, similar to the Minecraft Betweenlands mod. The riffs and rhythms are both atmospheric and punishing. Melody only comes from the ambience. Everything else is an avalanche of heavy technical riffing. And there's more of that in "Tva Vackra Svanar" (Two Beautiful Swans), along with a brief moment of soft beauty in the middle. The end result is an experimental sludgy track like a more downtuned Will Haven. Then we get to a couple singles, starting with "Sargasso". The other single "Ylva" (Eleven) has some melodic ambience while focusing mainly on relentless guitars and drums.

"Dar Mossan Moter Havet" (Where the Moss Meets the Sea) has some progressiveness from Mechina and Protest the Hero without ever going as melodic as those bands. "Roda Lappar, Sota Applen" (Red Lips, Sweet Apples) barely has any sweetness, preferring to go all-out brutal similar to some of the more sludgy tracks by Every Time I Die and The Tony Danza Tapdance Extravaganza. "Kristallfagel" (Crystalbird) masters the brilliant dreamy djent, while Vilhelm Bladin's vocals stay intense. "? Regnet, the ?" (The Rain, the) has some of the metalcore from God Forbid and Knocked Loose made even heavier and more sludgy.

"Hosten Som Togs Ifran Mig" (The Autumn That Was Taken From Me) has some slight vibes from Bleed from Within. "Viktlos & Evig" builds up the mathy thall further, swinging through progressive intricacy and occasional cleans. "Stjarnblodning" has some Varials vibes bleeding out. The final track "Den Spanska Kanslan" has the last unforgiving riffing throughout this glorious 7-minute epic before letting light shine again, albeit not as bright as it once was.

This skull-crushing offering Dar Skogen Sjunger Under Evighetens Granar is another irresistible album to look out for. It probably would've been perfect if the song titles weren't all in Swedish and having plus signs surrounding each one. Still this is true thall hellfire!

Favorites: "Tva Vackra Svanar", "Ylva", "Dar Mossan Moter Havet", "Kristallfagel", "Viktlos & Evig", "Den Spanska Kanslan"

A decade had passed since the djenty debut album by Vildhjarta, Masstaden, the album that pushed the boundaries of djent just like when Meshuggah invented it in the mid-90s. The long wait for their second album is partially because of Calle Thomer (guitar) and Buster Odeholm (drums) being focused on fellow thall developer Humanity's Last Breath. They still have their perfect groove-ish progressive djent in this next album, the massive 80-minute Masstaden Under Vatten (Seagull Town Underwater)!

While thall can mean anything, I would say it's as evil and strong as Thrall, the World of Warcraft character that inspired the genre's name. This is exemplified by the complexity, atmosphere, and downtuned heaviness that make the subgenre.

"Lavender Haze" makes its immediate entrance with staccato riffing. Enough to make up for Ion Dissonance disappearing after their 2016 album! Starting off a 3-part epic is "Nar De Du Alskar Kommer Tillbaka Fran De Doda" (When Those You Love Come Back From the Dead), sounding progressive and heavy as always. "Kaos2" attacks with its hammering riffing and monstrous vocals. "Toxin" continues on and once again follows the band's unconventional ways including no set structure, destructive riffing, and clean melody only used for haunting atmosphere, thereby maintaining the band's aggressive evolution. "Brannmarkt" (Branded) sounds dark and heavy while twisted through deathly heaviness. The single "Den Helige Anden" (The Holy Spirit) was released two years before the rest of the album, and blends melancholy with polyrhythms.

Taking things to another level is "Passage Noir" with catchiness to go with the atmospheric savagery. Then the 5 and a half minute instrumental "Masstadens Nationalsang (Under Vatten)" (Seagull Town's National Anthem (Underwater)) follows, a highly extended re-recording of a song from the previous album. The riffing can repeat without sounding repetitive, allowing you to let it flow. "Heartsmear" is more dynamic, as the riffing can go from slow and crushing to fast and blasting. The long 7-minute "Vagabond" sets the apocalyptic mood in downtuned chaos. "Mitt Trotta Hjarta" (My Tired Heart) reminds you not to give up on this 80-minute journey, not matter how tiring it is to some.

"Detta Drommars Skote en Sloja Till Ormars Naste" (This Womb of Dreams is a Veil to the Nest of Snakes) is another impressive deep thall labyrinth. "Phantom Assassin" is another short track yet so detailed. I consider the two "Sunset Sunrise" tracks as one. Those two tracks once again break down the walls of conventionality with the talent of each member. The vocals of Vilhelm Bladin, the drums of Buster Odeholm, the guitars of Calle Thomer and Daniel Bergstrom, and the bass of Johan Nyberg, all drifting through these dark djenty waters. The tempo is cranked up in "Penny Royal Poison", sounding so clean and filthy at the same time. The closing epic "Paaradiso" is the band's longest single track at 10 minutes, and there's nothing exhausting about at it all. Dexterous harmonies with hints of post-jazz make another sonic behemoth. And after a brief fade into the background, it all ends with a final atmospheric brutal touchdown, like a world-ending apocalypse.

Masstaden Under Vadden continues Vildhjarta's brutal glory after that decade-long gap between albums. It's like after djent faded from popularity, it was jolted back into memory by the fresh sound of thall. It has opened up dimensions of darkness and brutality that barely any other band could. This is true kaos!

Favorites: "Nar De Du Alskar Kommer Tillbaka Fran De Doda", "Toxin", "Den Helige Anden", "Passage Noir", "Vagabond", "Detta Drommars Skote en Sloja Till Ormars Naste", "Sunset Sunrise", "Sunset Sunrise Sunset Sunrise", "Paaradiso"

Djent has been known as the genre pioneered by Meshuggah, cutting through with its heavy downtuned guitars. It's so heavy and metallic that why Metal Archives doesn't accept that genre is beyond me. The late 2000s and early 2010s was when djent was really taking off beyond Meshuggah with bands like Animals as Leaders and Tesseract. Then in 2011, Vildhjarta (Swedish for "Wildheart") took a more brutal step further with their debut album Masstaden (Swedish for "The Seagull Town", and NO it's not a parody of Mastodon). Those other two djent bands are soft and light compared to this one. Barely any clean singing or riff melody, and no verse-chorus structures... Everything's more atonal, technical, and even sludgy. It's like Meshuggah but even heavier. And thus Vildhjarta have created... THALL!

Masstaden is a concept album that's part of a story that would continue in their second album 10 years later. The heavy intricate music would guide you through the story in all its deep detail. You might be able to get a better understanding if you're patient enough to stay the whole way through. And when everything's fully grasped, you'll be able to find all the beauty and brutality. Heavy rhythms from the guitars and growls often alternate with the soft ambience. There are many songs that stand out in a masterpiece album like this, and when you listen to it all at one go, you won't miss out on the glory it has to offer.

The moment I put the first track "Shadow" on play, I knew I was ready for this massive experience. The next track "Dagger" has a unique unbreakable flow. "Eternal Golden Monk" wastes no time with its seething grooves that prove the band as the f***ing masters of thall. "Benblast" (Bone Blown) is another example of this unique brutality. It really is a h*ll of a blast of thall!

"Ostpeppar" (East Pepper) is the first of a few interludes, this one being so pretty yet pretty eerie. "Traces" pleasantly surprises me with its intricate complexity and djenty variation. Not a single moment can be considered a waste of time. The atmospheric "Phobon Nika" (Fear Conquers) has strong guitar for a short interlude. I like the anticipation of waiting for which riff sounds clean and which sounds brutal as f***. "Masstadens Nationalsang" (Seagull Town National Anthem) is the shortest track, absolutely crushing with the djenty guitar leads. The world really needs more national anthems like that.

"When No One Walks With You" starts off a 3-part epic, going all-out brutal in the grooves. Then "All These Feelings" continues the awesome atonement all the way up to a sweet yet searing outro. "Nojja" is another interlude with epic thall riff-wrath. "Deceit" has more straight groove. "The Lone Deranger" is an incredible closing epic, with some swift tempo changes before the band make their exit.

Masstaden is far beyond what can be considered normal metal. This is thick brutal heaviness that requires full concentration. And in the end, you'll be rewarded with the excellence experienced through the journey. One of the most moving offerings I've encountered, for the patient and experienced!

Favorites: "Dagger", "Eternal Golden Monk", "Benblast", "Traces", "When No One Walks With You", "All These Feelings", "The Lone Deranger"

As I believe I've explained before, symphonic blackened deathcore began in the late 2000s with early Abigail Williams and Winds of Plague and would eventually reach its height of popularity with bands like Lorna Shore and Worm Shepherd. Now can we replace the symphonics with Meshuggah-ish djent and elements of atmospheric doom? Humanity’s Last Breath has answered that question with a big fat YES. The band has continued their exploration into deeper darker caverns that has started with their debut!

The 3rd album Valde (Swedish for "Empire") is another towering part of the band's discography. It's as towering as the spirit-filled tower in the cover artwork and as bleak yet stunning as the artwork itself, as are many other works by that cover artist, the late Mariusz Lewandowski. RIP...

"Dodsdans" (Dance of Death) is the intro that hints at different D-words this album can be described as; dark, deathly, depressive, dissonant, downtuned, dynamic... Then it's the atmospheric yet punishing "Glutton". That song and "Earthless" shall make the most emotionless listener become emotional from this brutality. Next track "Descent" is more percussive alongside technical shredding. The occasional orchestra and choir makes things even more apocalyptic, especially in the black-doom-esque sections.

At the end of "Spectre" is a bit of melody that makes it sound like a Gojira track. Adding to that melody is the sparsely used clean singing, balancing that part with the rest of the song's intensity. Still firing away hard is "Dehumanize". Then "Hadean" continues the band's top-notch talent. The monstrous vocals by Filip Danielsson are incredible as always, flowing with the rhythm. At the same time, riffs are fired through by the guitar duo Buster Odeholm and Calle Thomer. From djenty deathcore breakdowns to drummer Klas Blomgren's blast beats, the violent quest for heaviness rolls on! "Tide" continues the riff-wrath while having the band's own epic post-sludge moment at the end.

The instrumental title track, actually spelled "Valdet" with a T at the end, expands on the atmosphere that then rises to another doom march. Bring things up on front, "Sirens" has more of that heavy stank with uncommon melody here and there. The guitar duo can nicely surprise us with their variety. "Futility" has more of the band's blackened djenty deathcore sound. "Vittring" (Weathering) is an absolutely heavy ending track. You just gotta praise those hammering drums, dissonant guitars, and furious vocals.

Valde proves that Humanity's Last Breath can put all their crushing talents into one plate. Massive brutality all around with some touches of melody. This isn't just thall, this is atmospheric black-doom-infused djenty deathcore thall. Not even the most metal of metalheads would know what the heaviest of all is until they try this one for size!

Favorites: "Earthless", "Spectre", "Hadean", "Tide", "Sirens", "Vittring"

In extreme metal's ongoing reign, many fans are at war for the throne. Their goal is to make the heaviest music known to man, tearing down the walls of conventionality for their original attempts at giving heaviness a new meaning. Humanity's Last Breath might the closest band to the finish line, stunning fans with some of the heaviest and most pulverizing breakdowns and riffs possible. Having already released 3 EPs and one album before this one, the talent and fury the band has is impenetrable and would have all those other extreme metal bands bowing down before them. That's how abyssal this album Abyssal is!

The band's ultra-heavy thall (more brutalized djent/deathcore) sound is so unique. It also leans into downtempo deathcore, the subgenre that might as well be considered death-doomcore and was developed by The Last Ten Seconds of Life and Black Tongue. Whichever genre Humanity's Last Breath are referred to, they increase the limits and impress even the most serious metalheads with their chaotic attack.

"Bursting Bowel of Tellus" literally bursts in with the opening riff, showing that the brutality hasn't withered away since their 2013 debut. There's no doubt those blasts and riff technicality will leave you stunned all the way up to the end. Next track "Bone Dust" has more of the intense violence from vocalist Filip Danielsson's whispers and growls. Everything's so strong and ominous at the same time! "Fragda" slices through neck-twisting riffs and drums. "Abyssal Mouth" is another track released as a single but since revamped. The heaviness really bursts out alongside those haunting vocals by Filip. And we have more of those machine-gun blast beats.

Exploding into your ears like a xenomorph exploding from a person's chest is "Pulsating Black", heavy right from the opening bass pulse. "For Sorg" is an instrumental for who wanting a break from the vocals while staying heavy. "Like Flies" is filled with fast riff darkness and some more sinister vocals by Filip. "Sterile" is good but nothing special.

Another interlude "Being" is interesting, starting off with a demonically distorted audio sample from Jordan Peterson. The expansive "Vanda" displays more of the band's quest for the ultimate heaviness. Each moment is more brutal than the last, with some fast energy added in. The chains of heaviness tighten again in "Rampant" with more technicality in the riffing. The closing outro "Dodgud" wraps it up in total extremeness after a soft ambient start.

The Swedish brutal descendant of djent, thall is held in place by Vildhjarta and Humanity's Last Breath. The latter band's second album Abyssal has given them the right to own the throne of heaviness. They've earned it!

Favorites: "Bursting Bowel of Tellus", "Bone Dust", "Abyssal Mouth", "Like Flies", "Vanda", "Rampant"

Thall is one of the most destructive genres in metal and music in general. This djent subgenre with elements of deathcore/metalcore and even smaller fractions of doom, death, and black metal, is a clear definition of modern extreme metal, and the people in Metal Archives who decide which bands to add must've overlooked this subgenre simply because they hate djent. The founding trio of the subgenre includes Vildhjarta, Reflections, and of course, HUMANITY'S LAST BREATH.

Just the name of this band can induce fear of a catastrophic apocalypse tearing the world apart from the inside, and it fits greatly with the material too. Crushing destruction that you can never escape from, just like a black hole. Darkness and fear are common themes for many metal bands past and present, but they're tame compared to what Humanity's Last Breath can do. The darkness is a lot more massive. Supermassive! The powerful devastation is much more than any other band's attempt at that. It will erase you from existence and bring you back, making an unforgettable experience like none other.

The atmospheric darkness first appears in the "Intro", lasting for a minute. You might think it's boring, but it's just the start of the massive sound it would lead to. The two-track suite "Bellua" is better suited as a full 8-minute epic rather than two parts. Altogether they display the heaviness of the album to come. With "Human Swarm", you can't go wrong with brutality in deathcore and djent. They know how to bust sh*t hard. After a spoken line of "We stop the wind from blowing", then comes a f***ing massive breakdown near the 3-minute mark. A nice surprise for the more extreme 'core listeners. Practically heavier than all that's heavy! Quite hard and evil for the moshpit. Then comes the beastly "Animal", another one of the heaviest tracks here. It's a re-recorded version of an earlier single, and the monstrous fury is so unreal.

"Shoals" speeds things up, sounding closer to standard death metal, maybe even melodeath. Nothing but skull-smashing velocity! Then we lose some brutality in the riffing in "Tellus Aflame". It's not really the best track of the album, but it still rules, and the perfect score isn't affected. "Vultus" is another hard-hitting track. The mix of heavy brutality and subtle melody makes it similar to a less symphonic The Breathing Process. Then there's the short atmospheric interlude "Drone". It's almost like a continuation of the intro that then leads to perhaps the most doom-laden part of the album.

The next track "Void" was released as a single for the album, the first single to not be a re-recording. Although it's quite killer and still maintaining the 5-star album rating, it doesn't represent the slamming might the rest of the album has and make me question its usage as a single. The heaviness returns to full gear in "Anti". Then "Make Me Blind" unleashes the brutal fury one last time. The "Outro" ends it all like it's literally the end of the world. By the time the destructive drama fades out, nothing would remain.

Humanity’s Last Breath has followed in the footsteps of Vildhjarta and made things more moshable and destructive. Their debut marks a strong memorable start to their journey of creativity and apocalyptic heaviness. By the power of THALL!

Favorites: "Bellua" (both parts), "Human Swarm", "Shoals", "Vultus", "Anti", "Make Me Blind"

You ever wonder what System of a Down would sound like with Poppy doing all the vocals, plus some South American aspects thrown into the mix? Now you know. Calva Louise is one of the more stylistically diverse bands of this year, crossing over into elements of different genres.

The thing about diverse bands is, you don't know what would work until you try it. And it's quite exciting to give an album like this a spin. Will they add in classical piano? (YES) Will they add in a dash of brutal tech-death? (NO) The point is, Edge of the Abyss is all about unpredictability, the kind that would make you sit down and listen all the way through. It's also a concept album, so the different elements depends on the mood of the story. So let's smash that play button and unleash this fusion of fusions...

"Tunnel Vision" starts with a sweet pop intro, then the rest is an alt-metalcore blast often turning into pop and dubstep. Awesome start! "W.T.F." has frantic progressiveness with a punky pace. "Aimless" is another highlight, really proving the band's unpredictable talent, alternating between Latin flamenco, classical piano, and metal riffing. Seriously, this band needs to be discovered more. My brother and I can't be the only ones enjoying these fun experimental works! "Lo Que Vale" is my favorite track in the more alternative side, shining with Jess Allanic's vocals as she sings in her native language (she's from Venezuela).

"Impeccable" is a great song with more of Jess Allanic's impressive vocals. I gotta thank my brother for recommending this track to me along with "Feast is Over". Then "Barely a Response" continues the earlier progressive punky sound, taking some cues from Coheed and Cambria and later Katatonia. The semi-title track "The Abyss" can pack a punch despite its lack of metallic energy. More of the groove, folk, and vocal harmonies occur in "El Umbral" with some spoken vocals appearing here and there.

"La Corriente" comes out kinda awkward, attempting to add some electronics to stay in your mind but ending up somewhat obscure. "Hate in Me" brings back some of that Katatonia vibe from earlier while being more fun and energetic. "Under the Skin" seems to struggle with its groove, but it's not a total fail.

Nothing's totally bad at all in Edge of the Abyss! However, the first half has more impact than the second half which is still OK. But the album as a whole gives the band the potential of going big, experimenting with different genres to the point where the band is practically their own genre. Many unique bangers here! While not entirely perfect, listeners should give it a shot for some all-out fun....

Favorites: "Tunnel Vision", "Aimless", "Lo Que Vale", "Impeccable", "Hate in Me"

One of the best things about metal is its diversity and the ability to combine different genres both metal and non-metal. Born of Osiris are the masters of combining metalcore with elements of djent and deathcore, and in their new album Through Shadows, they've added an alt-metal cherry on top! And writing for the album started around the same time as their previous album Angel or Alien that was rewritten after failing to be a companion for their incomplete album The Simulation.

As with many of their albums, Through Shadows is an excellent one with many twists and turns. The djent-ish alt-metalcore sound is so diverse and interesting. All you can expect here is the unexpected.

A robotic female voice that starts "Seppuku" leads to an explosion of sharp riffing and digital electronics. Everything's so simple yet futuristic. "Elevate" has an accessible rave-ish groove, and the chorus mixes together electronics and riffs quite well. The 5-minute title track is another journey for Born of Osiris. Impressive vocals here, both the screams and cleans! "The War That You Are" has both heaviness and melody cranked up. And holy sh*t, the riffing and vocals are as deathcore as their earlier material.

We also have some Middle Eastern vibes in "Inverno" along with some pleasant melody. On the flip side, "A Mind Short Circuiting" is a dissonant riff frenzy only for those experienced with the band and sci-fi action video games. "Burning Light" is a melancholic synth interlude to act as the album's intermission. It segues to "In Desolation" which has a similar vibe to some melodic metalcore bands, and that I really enjoy. "Torchbearer" is the first single for the album, released nearly two years before the rest of the album. They never cease to amaze me, and I might try exercising with this song on play.

Then we have the perfect "Activated", in which everything experienced so far is put together in a trancey metalcore fiesta. I love the guest vocals by Underoath's Spencer Chamberlain and the saxophone solo that can surpass "Careless Whisper". Then "Dark Fable" has more of the electronic synths and metal beats, and the clean vocals in the chorus sound so tranquil. "Transcendence" borrows some electronic experimentation for early 2010s Linkin Park. "Blackwater" ends the album with epic crushing sorrow.

I'm glad that the new Born of Osiris album has come out and I got listen to it and review it once it got added to this site. Through Shadows is another amazing work of art from this unique band to appreciate. It's something diverse music listeners need in their lives, and let's hope they have another album in the writing works as we speak!

Favorites: "Seppuku", "Through Shadows", "The War That You Are", "In Desolation", "Torchbearer", "Activated", "Blackwater"

I'm quite used to this epic blackened deathcore sound now and can enjoy bands like The Breathing Process. The band made a new EP in 2023, their first since the demos, entitled Todeskrone (Death's Crown). Here the sometimes-fast sometimes-slow extreme sound of Labyrinthian continues and shows that the band are back in their earlier quick pace of making new material. OK, it's not a lot since their previous release two years prior, with this one being just a 4-track EP. Still it's another straight-on example of their symphonic blackened deathcore sound that would later be credited to the new more popular bands of that style. And it's also where it's just that, symphonic blackened deathcore! Barely any of their earlier melodeath has remained in this release.

The 4 tracks in this EP are all nicely-refined bangers that again continue what they had in Labyrinthian. However, it has more of the deathly direction they're usually known for with barely any of the melody in the more experimental tracks. That's where the lack of melodeath can be heard compared to earlier albums. I love this because it gives them more in common with the more popular bands of the epic blackened deathcore scene such as Lorna Shore, Mental Cruelty, Worm Shepherd, and later Carnifex. On the other hand, the reduction of experimentation makes the release have slightly less of the perfect glory of those previous 3 albums.

Striking with vicious vocal layers is the first song "Empty, Not Alone". Their current vocalist Chris Rabideau sounds so monstrous, and I mean that in a good way. "Hell is Almost Heaven" really lets it rip with vocals and instrumentation of total hellfire. "Clawed" is filled with noise and chaos, and includes guest vocals by the talented Devin Duarte of Worm Shepherd. The closing title track is an epic throwback to the blackened side of their past and it's packed with sounds of deathly destruction.

Though not as perfect as most of the band's discography, Todeskrone displays a promising direction of where The Breathing Process will go next. I hope to hear more of their strength and talent in their upcoming album later this year or the next!

Favorites: "Empty, Not Alone", "Todeskrone"

You know how much I love epic blackened deathcore, from the likes of Lorna Shore, Mental Cruelty, Worm Shepherd, etc., with songs containing a cauldron of epic melodies, downtuned riffs, and brutal breakdowns. Two genres that I once thought were too much for my taste have come together for something so intriguing. But does anyone know the band that really started it all?

The Breathing Process is the unsung pioneer of this style of deathcore, back in 2008 with their debut In Waking Divinity, alongside Winds of Plague. It was a somewhat rough start, though Odyssey (Un)Dead and Samsara are glorious examples of the sound. And maintaining that perfect streak is one of the best albums of 2021, Labyrinthian!

After the eerie first half-minute of the opening "Terminal", blast beats soar through the darkened skies. The speed has gotten me hooked, and it's not until the breakdown when everything slows down for an intense increase in tension. "Shadow Self" greatly blends the symphonic melodeath of Skyfire and early Starkill with the deathly metalcore of Bleeding Through. Another standout is "Wilt" with its heavy blackened riffing and guest vocals by David Simonich of Signs of the Swarm.

"A Savage Plea" has a beautiful intro and then rises into one of the more savage tracks here. The synth-filled blackened title track would certainly work well for a video game boss battle, and that boss is guest vocalist Jamie Graham (Viscera, ex-Sylosis). Even more blackened is "I Sleep, I Wake", their longest track at over 7 minutes, with the final two being one of the most blackened moments in the entire album. "Heir to None" is more atmospheric, but what's with the samples in the intro? They sound oddly placed and knock a few percentage points off what would've been a 100% rating. Still this song shows the band in divine form.

"Shroud" shrouds the blackened deathcore sound with some melodies borrowed from Still Remains. "Atlas" is also more melodic, almost in Parkway Drive territory, while staying in their usual sound. "We the Drowned" marks yet another epic deathcore album ending with the best climax. The melancholic finale where all the symphonics and heavy chords and melodies rise up once more before collapsing into just sorrowful piano is just beautiful.

All in all, Labyrinthian continues to seal The Breathing Process as the ultimate founder of the melodic symphonic blackened deathcore scene. Everything is mindful and perfect (except for the intro of "Heir to None"). Anyone still listening to those more popular bands of this style, take a break from them and check this band out. For real!

Favorites: "Shadow Self", "Wilt", "Labyrinthian", "I Sleep, I Wake", "We the Drowned"

The timing for me to review another Slipknot album couldn't have been better. A few days before this review, backstage at the final concert for Ozzy Osbourne and Black Sabbath, Slipknot turntablist Sid Wilson became engaged with Ozzy's daughter Kelly. Congrats to them! Although this engagement might confuse some people, since they've already been dating since 2022 and have a son together.

I think just found my new favorite nu metal album. There are so amazing songs that sound as fresh as they did 24 years prior. These 9 members perform in great synergy, especially in the rhythm section, not just from Wilson but also two percussionists, as well as drummer Joey Jordison and bassist Paul Gray. RIP the latter two...

Intro "(515)" is confusing, just shouting the word "death" over and over. Then "People = Sh*t" blasts off in brutal heaviness. "Disasterpiece" is also good, sounding more thrashy. Though not as extreme as "My Plague" which would end up in the soundtrack of the Resident Evil film. Then everything continues to get heavier in "Everything Ends", which again speeds up at thrash-esque levels.

"The Heretic Anthem" is also good, sounding quite deathly for a nu metal song. However, the lyrics take a dip in quality. The refrain where Corey Taylor yells "If you're 555, then I'm 666" is just silly and doesn't make much of a lyrical impact. "Gently" is another track that's good but isn't really a highlight. It was re-recorded from their 1996 demo album Mate Feed Kill Repeat. "Left Behind" is one of my favorites here. It's a prime example of nu metal with a more rock-ish tone while unleashing their usual rage in everything. "The Shape" is in good shape. So is "I Am Hated" which I would never hate.

"Skin Ticket" is another track that I can probably do without. However, "New Abortion" is another solid standout. "Metabolic" isn't bad but doesn't offer anything special. Unlike one of the longest and most experimental tracks in alt-/nu metal, the 15-minute closing title epic. It is the band's longest track to not have a title track, and an incredible journey for those who are patient and never restless. The Japanese edition bonus track is a live rendition of the 1999 debut's "Liberate" which is OK but doesn't add much.

All in all, Iowa is an excellent nu metal offering that shows Slipknot at their best. If you're one of those people who hate nu metal to the bone, a lot of what this album has to offer would convince you that there's still goodness in the genre. Just pure in-your-face extreme nu metal!

Favorites: "People = Sh*t", "My Plague", "Everything Ends", "Left Behind", "I Am Hated", "New Abortion", "Iowa"

The most popular era of KMFDM began with their album Nihil and would carry on to their next album Xtort. At this point, they were really rising as the industrial rock pioneers they've been known to be. They also introduced some aspects to industrial music that were barely used in industrial back then such as fast punk-ish tempos. They would pave the way for other popular German industrial rock/metal bands such as Rammstein.

The songs in Xtort are as great as the ones in Nihil. It's a nice variety with some songs I find superb and others I find OK. And that's interesting because I usually prefer my industrial metal to have more of the metal...

"Power" begins with what sounds like a phone call before the instrumentation slowly builds up. It's an excellent start to this album and would make a great show starter. I enjoy the chorus that sounds like if they collaborated with the Muses from Disney's Hercules. "Apathy" has too much mud in the sound, though it gets clearer when they slow down. "Rules" has enjoyable vocals. Male/female vocal combos are not common in industrial metal, and that's something I enjoy in one of The Sphere's later bands, Mechina.

"Craze" has good vocals, but the instrumentation falls into the same muddy trap. "Dogma" starts off with strange alien synths before Nicole Blackman provides spoken vocals. In all honesty, that song might remind some more of Devo. "Inane" is INSANE!!! Sascha Konietzko performs his usual vocal distortion alongside rising chords, singing about the band themselves and their greatness. The country-ish guitars are also quite fun. Fantastic highlight! Next up, "Blame" has a nice midtempo intro of hardcore guitar melodies. The instrumentation stands out as well, even going far as to using brass horns!

"Son of a Gun" has more of that male vocal distortion. It's also used in the chorus while harmonized by the female singing. They really explore a lot in the synth department. "Ikons" continues the vocal distortion with some machine FX. "Wrath" is a strong way out. Everything's in great balance including the vocals and production. I enjoy the lyrics and synth breaks. Then it all ends with the last bit of strange synth noises. Finally, "Fairy" is an unusual hidden track with just piano and an eerie voice reading a fairytale.

For any KMFDM listeners out there, you don't wanna miss out on this great example of this sound. You can listen to the album while taking a night drive in your car. Beats and heaviness can sound quite good together....

Favorites: "Power", "Rules", "Inane", "Blame", "Wrath"