Shadowdoom9 (Andi)'s Reviews

Jane Doe is considered to be Converge's greatest achievement, and that sounds just about right! Everything is in a seamless flow as each band member pours out all their emotion to be able to fuse together this math-metalcore classic album. They have their signature intense screaming vocals, crushing guitar riffs, insane drumming, beautiful undecipherable lyrics, and strongly present killer bass, all put in this perfect cauldron of hardcore metal madness!

If you're not a fan of music this brutal and don't dare to go past that opening paragraph, or in other words, you're like my mother who thinks this is nothing but noise, disagree with me if you want. Converge would still be a jolly good underground metalcore fellow which nobody can deny. What's brilliant about Jane Doe is not only the great tracks but also how they flow into a superb concept album. Is this a concept album? Probably... The lyrics focus on heartbreak and separation, whereas the music pins you to the wall and starts punching you in the head and kicking you in the b*lls until you're bleeding and begging for mercy.

"Concubine" opens the album starts beating you senseless right away. This perfect opener almost counts as an intro due to its one-minute length. It has everything crammed into that minute including memorable brutal riffs, insane drumming, and intense screams by vocalist Jacob Bannon. That's what extreme hardcore is all about! "Fault and Fracture" segues in without skipping a beat, continuing the earth-quaking brutality. If you're unfamiliar with this awesome heavy sh*t, you're gonna get floored hard. While not reaching the extreme level of the "intro", the memorable technical guitars and drums can still cause mass destruction. The drum fills are so fast it's crazy, and the guitars are practically torn apart. Bannon's furious shrieks are still fantastic as h*ll, causing brilliance in the lyrical intricacy. "Distance and Meaning" has an opening dissonant guitar riff before becoming calmer but still ultra-extreme. What I like the best is when the instruments calm down with eerie whispers from Bannon before exploding into feedback fury that can really obliterate your eardrums. "Hell To Pay" is really slow, with the thick bass to help give it a sludgy vibe and a great suiting tone.

Then "Homewrecker" cranks the chaos back to full throttle. It is a definitely a killer standout in everything from the lyrics to the vocals and instruments with higher versatility than bands like Botch. There's some more brilliant guitar work and drumming. The brilliant chorus kick a** with drums, riffs, and vocal howls that can really wreck your home if you play it at full blast. "The Broken Vow" has remarkable lyrics from not just Bannon but also from other hardcore vocalists like Kevin Baker (The Hope Conspiracy), Tre McCarthy (Deathwish Inc.), and Caleb Scofield (Cave In) (RIP), especially during the final screaming line, "I'll take my love to the grave!!" Another short track "Bitter and Then Some" continues the chaotic vocal/riff assault. "Heaven In Her Arms" is another showcase of dangerous high-voltage brutality.

"Phoenix in Flight" continues shaping the album into an absolute classic. The song's "outro", "Phoenix in Flames" is just drums and vocals, allowing Bannon's awesomely demented vocals to really shine. Then it flows to another wonderful gem, "Thaw". You can feel the intense vocal emotion overpower you as he screams over the brutal instrumentation. Saving the absolute best for last, the 11 and a half minute title epic is probably the longest track by Converge. This is Converge's "Shogun"! It is the final piece of this metalcore puzzle that high-school hardcore fans would be blasting through their speakers. This is a brilliant incredible work of emotion! Bannon softly sings "I want out" in the chorus (much softer than Helloween's "I Want Out") to escape this nightmarish chaos. There's even a soloing section! At the 9-minute mark, Bannon screams the final lyrics, "RUN ON, GIRL, RUN ON!!!", as a riff makes an epic layering buildup going on until the fade-out. A terrific ending to a true metalcore closing epic!

So that's it! That's Converge's ultimate masterpiece Jane Doe. I would recommend this to fans of music that is intelligent, emotional, and brutal. You have to make a full listening experience to put it in the best part of your metalcore collection. Jane Doe ain't anonymous no more!

Favorites: Concubine, Fault and Fracture, Homewrecker, Heaven in Her Arms, Thaw, Jane Doe

Converge is known as one of the pioneers of the metal/hardcore mix that is metalcore, and a developer of its mathematical subgenre mathcore. They're highly popular in the metalcore community despite the lack of mainstream attention. Its extreme taste might take a while to get used to but it has gotten better as time went on and the band would reach bigger labels for a bigger audience...

I'm definitely sure you won't get straight into Converge right away. Listening to a band that extreme takes time for its full pleasure. I thought When Forever Comes Crashing only deserved a lower rating at first, but now I realize how incredibly extraordinary it is! I think another math/metalcore band this good is The Dillinger Escape Plan.

"My Unsaid Everything" starts as the ultimate standout for this album representing everything to come in this album. They didn't even need an easy intro, it's just crazy since the beginning. The screams are good though hard to understand. It never goes slow or soft, it's all fast heavy metalcore all over. Though in the middle of the song, it calms down slightly with a creepy whiny chant. Other than that, absolutely no major changes! It is a never-failing highlight helped by the fast pounding drumming. However, the guitar tone isn't as great as the rest, but I still love that song. "The High Cost of Playing God" continues the berserk metalcore until it ends with strange melodic chords with vocalist Jacob Bannon's whining cries. Next song "In Harm's Way" has weirdly amazing lyrics with Bannon in the perspective of a murderer getting ready to strike ("Goodnight dear angel, I won't be back here in burden, I don't think we'll ever meet again"). A jangle-ish guitar riff drifts as we hear the cries of a man dying from the previous slaughter. Then the heavy mathcore action kicks in during the horror scene of the murderer killing the man's girlfriend. The song ends with strange sounds of electronic drum buzzing.

"Conduit" is a crushing metalcore tune that starts with fast chaos, and I swear, the brief riff fiddling that appears a few times sounds exactly like that of the last part of My Dying Bride's "Vast Choirs". I think I'm the only one who has noticed that because of my interest in both metalcore and death-doom. Anyway, that song has slow breakdowns as well, due to the band's mind-blowing ability to change the tempo and time signature. "The Lowest Common Denominator" is a d*mn weird highlight. It starts with loose clean guitar that sounds a bit downtuned, then Bannon starts screaming in dark gloom that never speeds up, giving it a sludge metal vibe My only complaint is the strange feedback effect in the middle of the song and the ending sounding too long. Besides that, a great song, if that's what it is! "Towing Jehovah" is a short sweet jam (with vocals of course) with pummeling riff dissonance. The title track is filled with headbanging speed before slowing down to a dirge of despair with more of Bannon's whining cries.

"Ten Cents" is a strange unfitting song, sounding too much like a Smiths ballad. The guitar is soft and soothing, same with Bannon's vocals sounding gentle, singing about a past failed relationship of his and the inadequate heartbreak he felt. Next song "Year of The Swine" continues the fast pace with dissonant riffs that sound Slayer on an epic sugar rush. "Letterbomb" is a possible inspiration for the metalcore riffs heard in Between the Buried and Me's first two albums, and that's most likely intentional. The fast craziness continues for the ending track "Love as Arson", filled with bullet-speed math-metalcore. Again no intro, just straight to the fast madness. The drums are amazing, and so is the guitar tone that's better than earlier. I can hear the bass follow the guitar except during the higher guitar riff. The strangely catchy heaviness appeals to me!

So here are some things I like about the album itself: First off, no metalcore fan can ever complain about the strong outstanding vocals, though it's astonishing how Jacob Bannon's vocal chords can survive his screaming sounding so intensely harsh. Second, the songs are all strong for the most part with almost nothing being bad or week. Third, I think both the original album artwork created by Bannon and the reissue artwork by Aaron Turner (Isis) are amazing. However, the album and the band might not appeal to everyone, so don't expect them to reach worldwide classic status. Either way, When Forever Comes Crashing is another fine metalcore album worth your money!

Favorites: "My Unsaid Everything", "Conduit", "The Lowest Common Denominator", "When Forever Comes Crashing", "Love as Arson"

After the overly hardcore punk-ish Halo in a Haystack, the second Converge album Petitioning the Empty Sky marks a great contributor to the birth of the metalcore we know, love, and hate. Who knows what metalcore would've been like if Converge didn't step out of their hardcore comfort zone? I'm glad they did! This album has been praised and put in top-10 hardcore/metalcore album lists, along with other later Converge albums. Petitioning the Empty Sky has caused a new flow in the history of hardcore and heavy metal. If anyone who can't stand metalcore hears this and screams, "What is THIS!?!", the correct answer would be "A revolutionary piece of heavy history!"

Converge wasn't the only band with the idea of inventing metalcore. There seems to be a school of bands experimenting with mixing metal with hardcore, but I'm sure the top student of that metal-hardcore experimentation class is, you guessed it, Converge! And it looks like a couple other bands in 1996/1997 (Cave In and The Dillinger Escape Plan) were already following Converge's steps with their own demos/EPs, though they couldn't go the same height as Petitioning the Empty Sky...except maybe Dillinger's Calculating Infinity. Anyway, unlike Halo in a Haystack and the earlier Converge demo EPs that lean more towards traditional hardcore, their second album unleashed the rhythm vs. melody instrumentation and dissonant vocals of metalcore. It is a raw dynamic brute force to dig out of the underground and change two genres' destinies!

"The Saddest Day" is the first track and the best example of the genre that would develop to be metalcore. It opens with flaming alarm-like guitar cacophony joined by the throbbing rhythm of drums and bass (NOT the genre, the instruments) with a caustic vocal force as vocalist Jacob Bannon screams his lungs out. Before you have the chance to adjust, there's more of the drums and bass in a fast breakdown to remind you that's there's more purpose for metalcore than just moshing. Throughout these chaotic 7 minutes, the song keeps violently twisting and turning, yet maintains their motivation to stay cohesive and consistent. There are many brilliant moments fit into that one song, but you absolutely can't forget the pure ending breakdown of guitar/bass divergence staying insane until it stops, nor the haunting moment in the middle with just clean guitar, cymbals, and an eerie attempt at clean singing. Any of the earliest hardcore metalheads would surely keep those memories in a metalcore scrapbook.

While never being able to reach the brilliance of the first track, the second one "Forsaken" is shorter and focuses on pure metalcore assault. Notably it has a quick melodic section before descending into a sick dark breakdown as Jacob keeps screaming "CARRY ON!!!" Next one "Albatross" has more of the horrendous emo-punk side that killed the mood in their debut album, while turning through fast yet melancholic melody and ending with an uplifting major-chord verse. "Dead" has bright melody before jumping slowly into another breakdown spiraling into high-pitched guitar dissonance. Then it all crashes into mind-blowing chaos to end the song.

The second side with new tracks to turn this EP into a semi-studio album starts with "Shingles", marked by blazing tempo variations. The one-minute "Buried But Breathing" once again recalls the earlier years of Converge with dark old-sounding rhythm and vocals to scream/sing along to. "Farewell Note to the City" is the most emotional song of the album with minimalist jazzy instrumentation and vocals ranging from singing to emo wailing and, in the accelerated end, screaming similar to hardcore bands like Shai Hulud and Stretch Arm Strong. The last studio song "Color Me Blood Red" is one of my favorites here and delights me with tight metal melody over an incredible breakdown. Then it goes on with killer metalcore until the end. The album was re-released two years later with live tracks that are great but not as much as the studio part of the album.

I can't believe how much technical variety and artistry can be found in this album. UNBELIEVABLE!! While I'm sure there are more experimental metalcore albums out there by bands like Cave In, The Dillinger Escape Plan, and even Converge themselves in their ambient-ish masterpiece Jane Doe, Petitioning the Empty Sky is revolutionary in the hardcore and metal fields, ranging from violent chaos to tranquil melody. Generally, it's a #1 metalcore kick-starter pack!

Favorites: "The Saddest Day", "Dead", "Farewell Note to the City", "Color Me Blood Red"

Converge is one of the most famous and infamous metalcore bands around. They've pioneered the genre, each member has phenomenal talent, their vocalist is chaotic, and they can f*** up song structures while still sounding listenable. However like other bands, there's this dull debut that's f***ed up in a bad way...

Their debut Halo in a Haystack released in 1994 to finally start writing and playing "relevant" music 4 years after their formation. Sadly, this isn't an entirely relevant album. Of the 10 songs in this album, two are good, three are average, and five are outright stinkers that should've never existed. I'm sure those guys were young(er than I am) and just staring out, but their lack of talent is what makes this album mostly dull. The track pacing is the main problem, especially in the first 4 tracks too awful to talk about here.

The average songs start with track #5 "Divinity", which sounds nice but a bit weak. The otherwise dull drumming really leaps out startlingly to kick off "Fact Leaves Its Ghost", but other than that, that song is a mess of chords that does no good. "Antithesis" does not have any good usage in its long length of 5 minutes.

And now for the two good tracks, starting with "Down" the best song in the album. It's another 5-minute track, but it comes out much better with its constant change of sound and styles, dark mood, excellent vocals, and good guitars. While not as good and heavy as in Jane Doe, the guitars still sound decent. That song is really where the riffs stand out and add more feel to the music than the other songs in the album. "Undo" is shorter at just two minutes but another clean highlight that never loses quality. But why didn't I mention the in-between track "Exhale"? It's a very sh*tty stinker, that's f***ing why!! "Exhale" is probably the worst track Converge has ever done!

Halo in a Haystack is another one of those disappointing metalcore debuts. Wait, is this album even metalcore!? It's more of a hardcore punk album! The shorter and longer songs are either average or good, while the intro and radio-length songs are horrible. Converge would level up in later albums to make up for this punk-ish train wreck....

Favorites (only songs I like in this album): "Down", "Undo"

I love August Burns Red for like one and a half years now. I'll probably love them for a long time depending on if I'll still like metalcore in the future. They are one of my current favorite metalcore bands and I wish I could see them live. I think it's been 6 months since I reviewed their previous album Phantom Anthem, and although I said how much I love this album, as much as most of their previous albums, I've just realized how slightly disappointing that album is, having watered down what made them grow. And also the album before that, Found in Far Away Places has some great adventurous instrumentation, but I realized that those elements weren't that needed. Basically, since their great third album Constellations, they've been taking that album's sound and just adding minor additions. So it was about time for August Burns Red to try something new to improve their formula, and August Burns Red fans were wondering if a new decade would mean a new era...

Don't worry, there's no wild sound overhaul, because their new album Guardians (not to be confused with a different Metal Academy clan) is a refreshing change of pace while staying in their usual metalcore sound. There are many new elements to be found, a few of which bring back ideas from their second album Messengers to please the older fans. Of course it's not a sequel to Messengers, but a few songs sound like they could've been in that album.

"The Narrative" wastes no time returning to the heaviness older fans have missed for so long with memorable riffs, plus immense vocals from Jake Luhrs. This is probably the strongest opening track made by August Burns Red, more powerful than the one that opens Leveler. The excellent drop-tuned guitar warfare shows how complementary the guitars are in the guitarist's dynamic talents. Luhrs' vocals explore new dark territories to take over the spotlight. So heavily pummeling! "Bones" is a soaring anthem with a memorable chorus in great pace. Concluding this wonderful opening trio, "Paramount" have great sections that showcase immense riffs and crashing cymbals. This song is probably the closest to the band's original drop C tuning at...drop B. The song has the lyrical theme of need honest help in hard times.

A song with a similar theme is "Defender" which has fantastic drumming charisma. When that song was released as the first single of the album, people found different stuff that might end up in the album, such as a couple brutal breakdowns in the second half of the song. Besides the heavier parts, "Lighthouse" has a few of the most melodic sections made by August Burns Red, making a potential classic. Luhrs' vocals continue exploring new territories. "Dismembered Memory" is a break from the melodic nature with technical drumming and punishing breakdowns. Then "Ties That Bind" brings back the melody from Rescue & Restore with sonic guitar beauty, plus a huge breakdown.

One song the heavier fans can't ignore is the massive "Bloodletter" filled with perfect aggression and over the top breakdowns. It follows the lyrical theme of greedy needs taking over society. The measures are a bit repetitive, but that's just a small flesh-wound of a flaw. "Extinct by Instinct" has higher tempo while letting bassist Dustin Davidson flow with his bass, shining in a brilliant bass solo as a nice break before returning to the harsh heaviness. A song that should be a live staple in the band's Guardians tour and beyond is "Empty Heaven", filled with sing-along choruses and mosh-worthy breakdowns. There are also some thrashy grooves. The album closer "Three Fountains" is, at 6 and a half minutes in length, the longest track on the album. It is a perfect recap of everything the previous songs have, make this one a well-composed album closer. Dustin Davidson really takes the spotlight with his bass grooves that keep the track all the way up to the emotional ending.

Guardians is an album that is written for many longtime August Burns Red fans. It has everything for everyone, mixing influences from every single part of the band's 15-year album streak. This album is definitely not a cynical sellout, rather an album where August Burns Red really enjoys writing their music. Each and every song shows the band's true driving passion, and on top their metalcore cake is the icing layer of energetic vocals by Jake Luhrs. This is an album that's absolutely worth every August Burns Red fan's two and a half year wait. As someone who joined the ABR fan club (not really but you get the idea) almost a year after their previous album, I'm reminded by Guardians about how popular this band is in the metalcore community and how much I love most of their previous material. The August Burns Red we know and love is back!

Favorites: "The Narrative", "Bones", "Defender", "Lighthouse", "Bloodletter", "Three Fountains"

I've never listened to Converge before, which was another thing that's surprising because they're one of the pioneers of metalcore and they helped develop mathcore. But after listening to this album You Fail Me, Converge instantly became one of my favorite bands now. And I owe it all to ONE MAN who has recommended me this album to show how spectacular mathcore can be. So let's get right on it!

Some think of You Fail Me as a superb success while other think it's a failing letdown. I can see that the band has really evolved since the beginning and it's a matter of good and bad opinions about the change. In my opinion, Converge still has their immense sound in this album.

Before the deranged mayhem, "First Light" is a gentle atmospheric intro. Then the mayhem begins with "Last Light", probably the most impressively unique song in the album. The screaming vocal attack of Jacob Bannon ranges from manic to emotional through the lyrics. The song is indeed emotional and you already know what's going on just by listening to it. "Black Cloud" is a standout with the band's earlier aggression. The drumming by Ben Koller ranges from brutal to technical. The heavy guitars are incredible while Bannon continues his hard intense vocals shrieking incomprehensible lyrics. The lyrics are clearer during the structurally messy chorus ("Black cloud til' the end!!"). Continuing the hardcore metal insanity in "Drop Out", guitarist Kurt Ballou shows his versatile talent with an incredible ending riff.

"Hope Street" is short swift set of relentless punches into your face, then after a minute, the song is over before it can knock you out. "Heartless" is definitely an adjective that I would describe song #6. It's as great as the other songs so far. The song is more melodic than the previous two while still containing heavy amounts of heaviness. The ability to combine melody and brutality is what makes Converge so great. The next two songs take a different longer turn, starting with the title track. Any fan of shorter-length hardcore might find the length and mood boring, but it fits perfectly here. The song is a wall of sludge metal sound. Bass, guitars, and drums combine into a pounding mix while Bannon unleashes his shrieking vocal assault. Now this is a sludgy metalcore epic! "In Her Shadow" is the other longer song, but this is calm yet soon experimental acoustic break going on for...6 MINUTES?! Not quite my cup of tea, but I'll go with it. This will help me relax before the big highlight...

"Eagles Become Vultures" is totally the best song here. The intro drum fill sends you into the great hellfire of energetic riffs, insane drums, and vocals screaming scathing lyrics. There's a fantastic breakdown with dissonant chords with Bannon with shrieking, "Our eagles become our vultures!!" There's some more intensity in the bonus track "Wolves at My Door" that can never match the previous one. "Death King" is not as good as the previous songs but still amazing with great banshee-like screaming vocals. "In Her Blood" is a purely brutal track with great tempo changes. "Hanging Moon" is good yet lacks brutality. Great drums, but the vocals sound like a tantrum-prone child.

You Fail Me is no ordinary album. It takes a while for your brain to fully grasp it, and it would help by listening to the previous albums. The short album length (35 minutes without bonus track) is the right length for this album and other hardcore/metalcore albums like this. This album is 99% perfect without any major flaws! The songwriting and production is so intense and brilliant. Sure there are some songs that are weaker than others, but this album works best when listened to entirely. Call it the band's low point if you want, but this shows Converge unleashing their evolving genius. Any heavy intense fan should listen to this band and this album. Converge will never fail you!

Favorites: Last Light, Black Cloud, Drop Out, You Fail Me, Eagles Become Vultures, In Her Blood

Has any other band tried distributing a few singles via an online music subscription-like platform, each one complete with artwork, lyrics, liner notes, and instrumental versions, and then later released them altogether in an EP? No one else besides Protest the Hero! That's how unique that band is.

Those Canadian progressive metallers continue pleasing listeners with smart fun fast music. With their 2016 release Pacific Myth, the outcome isn't different but their production technique definitely is. Each of the 6 songs were originally released one by one via music subscription service Bandcamp with its own special features. Afterwards, they released all 6 songs in an via Razor & Tie Records in November.

Kicking off the EP is "Ragged Tooth" with starts off quickly in fast motion, before stopping the prog-metal action for a small verse. Then the action gets picked up again for its chorus as the band fights through their standards to make that song interesting. Next one "Tidal" is a solid example of what Protest the Hero does best. While sounding like much of their previous material, there are fresh elements to keep it new. The band jumps in with a punch in the listener's face. Soon it slows down a bit for a message to convey, "Why do we work until we’re unable? Why do we work until we die?" To make money and keep the company alive, duh!

Then we move on to "Cold Water", blasting through charging guitar leads. Turning through different time signatures, the guitars soon take a break for an awesome combo of drums, bass, and vocals. When the guitars return, the band continues navigating through more of the unusual time signatures. The heaviest song "Cataract" starts with an insane combo of drums, bass, and guitars. Walker sings with Iron Maiden-like powerful falsetto. There's also some special vocals by Michael Ciccia of Mandroid Echostar.

Starting with a piano intro, "Harbringer" gets wild with loud guitars, progressive bass, and Walker's voice going through screaming and growling more than in the rest of the EP. In fact, this song probably has the most unclean vocals since the earlier days of Kezia and Fortress. The grace is still there to enhance the urgency. Ending the EP is "Caravan" an 8 and a half minute epic odyssey and the longest song recorded by Protest the Hero. They really master the shredding in the first 5 minutes with occasional pausing. Then the tone changes with calm vocals over bass, guitar, and strings. Those strings help add a grand sense that ends the EP in a very epic tone. Unbelievable!

This 35-minute EP Pacific Myth is full of cool surprises and memorable moments, showing off incredible music from each and every band member. The big downside, of course, is this album being an EP shorter than the other albums. Will there be more awesome music the listeners really want? We'll find out when I review the next album....

Favorites: "Tidal", "Cataract", "Caravan"

With The Mars Volta gone, Protest the Hero now reign as the kings of prog-core. PTH are instrumentally as mind-blowing as The Mars Volta along with other prog-core bands like The Fall of Troy and Chiodos. Their fourth album Volition contains everything including spiraling notes, wired tempos, restless interchanges, and pounding virtuosity. Vocalist Rody Walker does tremendous cleans with the same strangely good effect as TMV vocalist Cedric Bixler-Zavala. For this album, the great drummer of Lamb of God, Chris Adler steps in as a replacement for Moe Carlson. No offense, but if Carlson was still around, this album wouldn't be as great as it already is.

With everything incredible about Volition, the aggravating screams and death growls make a few brief comebacks. Rody Walker is such a gifted singer, Tim Millar and Luke Hoskin continue being the spectacular guitar duo they are, and bassist Afir Mirabdolbaghi channels the stellar abilities to TMV's Juan Alderete. The golden hammer equipped by Juan Alderete strikes through for the constant speed of Volition with more to come from the arsenal. Pretty much every song here has a different vocal turn that can be hard-hitting, harmonic, or energetic. This album was made possible by Protest the Hero taking the Indiegogo route of raising $125,000, and they got almost 3 times their goal. So amazing! As for the artwork, I definitely prefer the cyborg-vulture artwork instead of the "nude woman attacked by vultures" one.

"Clarity" opens the album sounding similar to a more progressive take on Lamb of God's "Redneck" which gives me a feeling that there are some LOG tricks snuck in by Chris Adler. He does some amazing grooves there. "Drumhead Trial" has some of the fastest beats to blast through your eardrums that rarely gets any slower, and it contains well-timed guitar shredding. The moshing bridge is a great setup for a blazing guitar solo by Watchtower guitarist Ron Jarzombek. Alongside the swelling melody, there are a couple vocal exchanges, first one between growls and gang shouts, the other being a clean duet between Rody Walker and guest Kayla Howran. The relentless speed goes on in "Tilting Against Windmills". Same with "Without Prejudice" which has a blistering bass solo. Finishing that relentless trilogy is "Yellow Teeth", another composition to thrust around. A quick Led Zeppelin-like acoustic interlude is perfectly placed before a crushingly sweet outro.

"Plato’s Tripartite" pound your ears through oblivion with screaming hooks, speedy choruses, and soaring bridges, before the sweet acoustic outro lets you breathe. The neoclassical scales in "A Life Embossed" continue their bad-a** methodical velocity. The growls are good, but unfortunately they can p*ss off anyone who doesn't want the melody interrupted by accelerating aggression. After that, we speed through "Mist", where Rody Walker raises his voice to the climatic sensation, Chris Adler zooms through the driving power of the song, and the guitar duo add great detail to the song before a perfect tempo-changing breakdown and bridge. I've had such a fun blast listening to that song! Then it has an exquisite outro of strings, acoustic guitar, and piano.

Then the dreamy illusion is obliterated by "Underbite" blasting through thrashy verses and progressive choruses as Walker sings about how pretentious pop/rock stars can be. Guest growls by Todd Kowalski (Propagandhi) brings the song to a brutal ending home-run. The pace doesn't calm down for the hardcore "Animal Bones" as it pulverizes the choruses maniacally, finishing with muscular riffing. "Skies" is the album's 6-minute epic with clean soft guitar like never before for this band. This is probably the first actual ending epic for Protest the Hero, unless counting "The Divine Suicide of K." (from Kezia) which ends up being surpassed by that album's epilogue track.

For later albums, the unclean vocals would once again be lowered down. Loyal fans might not approve of that change, but there are other strengths Protest the Hero has that fit their style more. Some might find harsh vocals distracting, others might find them electrifying. Either way, Volition is an awesome complex journey through sonic air flying through different tracks. Chris Adler is such a talented beast, and hiring someone from another great band was an excellent choice. Two of the greatest metal bands united!

Favorites: "Drumhead Trial", "Plato’s Tripartite", "Mist", "Underbite", "Skies"

Protest the Hero is never your friendly neighborhood extreme prog-metalcore band. They're one of the freshest, most interesting bands in modern metal times. Their ability to go from extreme to experimental to melodic has gained them massive success in their previous albums Kezia and Fortress, with this record Scurrilous having quite some hype. However, even with the expectations being unable to reach, this album never disappoints, and it's one of their most realized albums yet!

Scurrilous sees Protest the Hero focusing less on aggression and beginning to evolve towards a more powerful melodic progressive metal sound. With that, the songs feel more realized without having to grab a hold of you with technical riffs and complex arrangements. Of course, with or without melody, Protest the Hero is always known for its technicality, so they never ignore their full abilities. That's why the technicality is still around, and they won't stop having their musical tricks such as sudden tempo changes in every section. The technical parts in this album fit better than in their previous album Fortress. These technical elements make the album have more polished production that still needs some good listening. However, the weakest link of the band for this album is drummer Moe Carlson. He did great in previous albums, but here he's feeling burned out to the point where his drumming is getting stale. That's why he had to leave the band before the next album. Luckily, the band still has their top-notch skills.

The melodic progressive metal feel is already hinted in the standout opener "C'est La Vie", one of only a few songs in this album written by bassist Arif Mirabdolbaghi. The track takes every awesome advantage of Protest the Hero and blends them together in an epic 3 and a half minute song. A h*ll of an entrance after a 3-year gap! The band made the right choice of releasing that song as the album's first single. Of course, there are other strong tracks here, but this one is so perfectly put together with vocalist Rody Walker's screams and cleans weaving through Arif's lyrics of optimism. Next song "Hair-Trigger" is about a man and his girlfriend, a "sweet little redhead". The man expects a strictly casual partnership but then he has enough and wants out. The song takes a look at smoking addiction as part of the man's struggle out of his modern relationship. What really stands out is the vocals performed by Jadea Kelly (as the redhead girlfriend), her comeback since their debut Kezia! Then it segues to the chaotic anthem "Tandem" filled with touching emotion as Rody sings about the man losing his redhead girlfriend to cancer. Death before decision, that's sad, man...

"Moonlight" doesn't have any special lyrics but the music is still powerful with beautiful intertwining guitars. Those kinds of guitars continue in its successor "Tapestry". Cranking the sarcastic lyrical roasts a full 360, "Dunsel" takes on the manipulative music industry in a scurrilous manner, criticizing musicians going down the sellout path that make it hard to "swallow all this s**t that we keep feeding" and learning that "some a****les' hands ain't worth shaking". Those guys are f***ing geniuses! Their frantic pace keeps going, and the band doesn't give a s**t if they hurt any feelings. "The Reign of Unending Terror" has precise drumming to make up for its weakness in other songs along with solid jarring bass to help create the epic full sound Protest the Hero wanted. The raw edginess and methodical concept of their first two albums reign to create!

The great "Termites" has the band's mystic combination of Coheed and Cambria and Iron Maiden. The apologetic yet aggressive "Tongue-Splitter" takes some shots away from the usual self-loathing ("I'm not asking for your pity 'Oh woe is me' sarcastically"). That song really pumps up me with its adrenaline. Well done guys! On "Sex Tapes", the band takes a clever view at celebrity sex tape scandals and how little accidents like that cause those celebrities fame for the wrong reasons. Interesting reference to the Jonas Brothers getting "rings wrapped 'round their d*cks". The bonus track "To Porter, With Love" is just a progressive instrumental. Nothing interesting happens there...

In conclusion, Scurrilous is a progressive metal rollercoaster ride through melodic power metal-ish variation, personal lyrics, and fantastic arrangements that would make you want more. With all that said, this album continues Protest the Hero's quest of progressive greatness. An interesting thrill-ride with more to come in the next!

Favorites: "C'est La Vie", "Hair-Trigger", "Dunsel", "The Reign of Unending Terror", "Tongue-Splitter"

After the marvelous Kezia, Protest the Hero made another album with the hopes of recreating those wild wonders. Would the frantic guitar, fast drumming, hammering bass, and soundwave-defying vocal range continue the awesomeness? Yes and no! Though not as perfect as Kezia, it's heavier, faster, and more technical.

Vocalist Rody Walker continues his melodic singing, screaming, and growling, now in greater balance and more powerful maturity. Guitar duo Luke Hoskin and Tim Mullar pull their hammers out of the stone and swing them through different time signatures literally second after second. Drummer Moe Carlson pedals through interesting fills and rhythms. And bassist Arif Mirabdobaghi taps through his overshadow skills.

The first section "On Conquest and Capture" begins with a pre-gap hidden piano intro that could easily work as an intro for a symphonic power metal album. But then the first track "Bloodmeat" crashes in with its Dillinger Escape Plan-like modern math-metalcore. The main riff appears surrounded by many of its chaotic moments to make me jump in joy. The inventive riffs go along with the catchy hooks that sing/scream about worshiping mythology in violent metaphors ("HEADS WILL ROLL!!!"). The fast pace often slows down for little epic moments of greatness. Too bad the bass is a little too turned down, I was looking forward to more awesome bass tapping. "The Dissentience" is a minor filler that doesn't stand out as much as other songs. It just takes what they had from the first song at a bit slower pace. The interesting lyrics seem to indirectly refer to smoking weed, so this song might be good for anyone who likes weird cryptic lyrics. The chorus is good too, so is the last minute of varying riffs to end the song. A strange sample segues over to "Bone Marrow" which really stands out as my favorite song here that shows how much the band keeps progressing. It packs a punch that varies into many punches. The strong vocals sing and scream lyrics about a powerful king. Those vocals really go overdrive there with so much effort, taking the spotlight more than the guitars. I would very strongly recommend this to any fan of progressive metal and metalcore. Please, just listen to it! Then it ends with a piano outro similar to the ones that transition between sections in Kezia. So you know there's gonna be a track to start a new section...

The second section "Fortress" (actually untitled but for this review, I named it after this album) starts with "Sequoia Throne", which is awesome but follows kind of a formula that doesn't seem unique. Still an exciting highlight! "Palms Read" is where the guitars return in full form with the opening similar to a song from a classic metal guitarist like Steve Vai before a mind-blowing heavy verse along with decent vocals. The chorus just explodes into guitar mastery. The part halfway through where the music pauses except the bass for a moment might remind some of Rust in Peace-era Megadeth. Then just when you think this song has a happy ending, a little progressive metal jam section plays that transitions to the next track. "Limb From Limb", another album favorite. Rody's awesome vocal range varies rapidly, perfectly playing together with the guitar work without overshadowing it. The lower death growls are a bit unnecessary but I guess that's part of the experimentation in the music. The common tapping is still there, but then we find something unique, groovy keyboard soloing by Vadim Pruzhanov from DragonForce. Wicked but I wanna hear from that band's guitarists too. "Spoils" opens with mid-paced guitar, then the slowness gets destroyed by fast power. The breakdown that also works as a slow guitar solo nicely finishes the song. Brilliant! Then we rest on another calm piano outro as another intermission before the last section...

The third section "Isosceles" starts with "Wretch", which honestly seems like another minor filler that's isn't too bad. Rody's vocal range goes even higher than before at some points, but there are times when I feel like this song is just a collage of different pieces. After a quick sample from Starship Troopers ("You wanna see the galaxy?"), then comes "Goddess Bound" which I have no comment about except for the song being a nice warm-up for this album's finale. "Goddess Gagged" is a simply different feeling during its powerful intro, a feeling that is slightly happy. Then it keeps alternating between old and new elements in a great balance. However, the last 20 seconds are a bit disappointing because they could've added more there for an epic final minute, but no, "THE MUSIC HAS STOPPED!!" Another great highlight with a poor ending.

All the small flaws aside, Fortress is a breath-taking progressive mathcore album and one of the best of 2008. Though it still isn't better than Kezia because of a few naturally different elements that might not work. Anyone should try this, PTH fan or not. With all those skillful changes, you'll be shocked at how what seems impossible is possible!

Favorites: "Bloodmeat", "Bone Marrow", "Sequoia Throne", "Limb From Limb", "Goddess Gagged"

This is my second encounter with the vocals of Jesse Leach in the Melodic Metalcore Clan Challenge, first encounter being when I reviewed Killswitch Engage's Alive or Just Breathing. Take the styles from that album and Leach's other band The Empire Shall Fall, and you have Times of Grace, a side project with Killswitch Engage guitarist Adam Dutkiewicz! Jesse L. and Adam D. reunited to make an album almost entirely by themselves, an exciting thing for Killswitch Engage fans to hear.

The influences are filled with curiosity. The Hymn of a Broken Man is a modern metalcore album similar to Killswitch Engage but with more experimentation. So are they gonna sound like Killswitch Engage or sound different enough for comparison? Let's listen...

"Strength in Numbers" is a strong start to the album, almost picking up where Alive or Just Breathing left off. One of my favorite "experimental" songs in the album is "Fight for Life" which has a great ethereal tremolo riff that reminds me Define the Great Line-era Underoath while giving stirring up nostalgia for the earlier Killswitch Engage fans. Next track "Willing" begins with good melodic riffs but sinks into melodic choruses that lack atmosphere or expression with inconsistent arpeggios. "Where the Spirit Leads Me" begins with interesting guitar lines and brilliant metalcore riff-wrath inspired by thrash and melodeath but once again gets lost in faceless melodic choruses that have typical Killswitch Engage arpeggios still sounding inconsistent.

The stylistic mix of dissonance and beauty in "Until the End of Days" really makes up for the poor quality of those last two songs. It starts with a nice soft intro before Leach switches his vocals nicely clean to tortured growling alongside heavier riffs kicking in. Those two guys really do a well-done job creating a song that flows so well soft to heavy to soft and so on. Whether it sounds beautiful and clean or ugly and harsh, you get to hear both sides in the best way possible. "Live in Love" has the aggressive chaos and calm melody both from the first two Killswitch Engage albums. The interlude "In the Arms of Mercy" sounds more familiar to anyone who has listened the instrumentals in Killswitch Engage, and acts as a nice tribute to fallen loved ones. After a suggestively gloomy intro, the title track has fantastic thrash riffs and an awesome tremolo melody, but those inconsistent arpeggios return again.

The acoustic ballad "The Forgotten One" showcases a sweet duet between Jesse and Adam, better than Between the Buried of Me's "Desert of Song". Once again, a nice tribute to the ones we lost! Next up is "Hope Remains", another killer flashback to Alive or Just Breathing, now with solid blast beats. "The End of Eternity" is another song that follows the pattern of a soft intro before switching to heaviness and softness back and forth in a great way. "Worlds Apart" is once again driven by blast beats but it never really gets lifted off by the Killswitch Engage-style riff technicality. "Fall from Grace" has a greater rawer emotional feeling in guitars than ever before in metalcore.

The Hymn of A Broken Man is an album of wonderful hymns by two Killswitch Engage members. It has the stunning ability to please metalheads as they headbang. Adam did all the instruments and some vocals, proving his talented music skills. This is a nice standout point in his and Jesse's careers, all in chaos and grace!

Favorites: "Strength in Numbers", "Fight for Life", "Until the End of Days", "Live in Love", "The Forgotten One", "Hope Remains", "The End of Eternity"

I listened to a few The Human Abstract songs before but didn't feel interested enough to really enjoy the band. They're a band that combines metalcore elements with classical influences, mostly in the beautiful chords and acoustic passages. Yeah, that was when I was moving away from the classical-influenced metal I lost passion for...

Nocturne is kind of a metalcore album with primarily Northern European-driven components. The dueling guitar harmonies and rhythms both have active skills combined with sweet melodies, all in a style that reaches out of Between the Buried and Me at the time while exploring the neo-classical grandeur of Symphony X. The band prefers to be more adventurous than safe, which is attempted by a very minimal amount of the bands, thereby emphasizing pivotal directions through roads less traveled.

Already when the first track "Harbringer" plays, the classical acoustic guitar really shines in the intro, sounding like a medieval bard's lute. Then the neo-classical heaviness carries on, featuring a great infectious clean chorus. "Self Portraits of the Instincts" continues the cool neo-classical metalcore mix while having clean choruses with catchy melodies and emo-ish clean vocals in contrast with the strong hardcore growls. The breakdowns are definitely worth headbanging! The title track is filled with impressively perplexing time changes. However, there's painfully clean singing in the middle that don't fit the heaviness ("No wonder here, just an echo resounding") He channels his inner Greg Puciato or Rody Walker better in the solid screams. "Crossing the Rubicon" continues the complex time changes while getting caught in guitar tornadoes.

Then there's the classic acoustic interlude "Sotto Voce". Choral keyboard textures enchant the fast "Mea Culpa", where the group really nails the blend of technical grace. The neo-classical soloing in celestial instrumentation is some of the most epic in this album. The "I failed and I don’t know why!!" breakdown is so d*mn emotional in the vocals. Epic song! Next one "Movement from Discord" once again has catchy clean choruses with unleashed clarity. "Channel Detritus" once again has shining classical guitar in the acoustic passages. Good mix of epic and extreme!

"Polaris" continues those soft acoustic passages and infectious clean choruses. However, the clean chorus starts to get a little hackneyed at this point. In "Echelons and Molotovs", the otherwise ridiculous drum fills are more appropriately placed where there's more speed and bass. "Desiderata" is another pleasant acoustic instrumental with classical guitar. Ending track "Vela, Together We Await the Storm" is an aggressive headbanger with the best guitars you would hear here, both flamenco and electric.

Though Nocturne is really impressive, its style isn't really as mind-blowing as it would've been in 2006. Still there's some fresh air of classical distinction. It's worth checking out if you're up for something a little more artful!

Favorites: Harbringer, Self Portraits of the Instincts, Crossing the Rubicon, Mea Culpa, Channel Detritus, Vela Together We Await the Storm

Was there ever a time when someone says something that is a line from the song unaware that a few years later you would hear that exact same thing in a song? "What would it take for things to be quiet?!" (from "Louder Than Thunder") yelled my mom who can't stand loud metal music, when I was watching the music video for The Devil Wears Prada song "First Sight" on TV, 5 years before this review. I wasn't interested in metalcore back then even though that was a good song/video. And during my great transition to metalcore a couple years later, I wasn't into this band enough to fully listen to them. Now, reviewing one of their albums, these guys are certainly never quiet!

I'm sure other metalcore fans have heard of The Devil Wears Prada (named after the novel, NOT the movie, which was released a year after the band's formation) as well. They stormed through a couple albums before this one and extensive live performances such as the 2008 Warped Tour. Then they reached the third chapter of their tenure, With Roots Above and Branches Below!

The opening track "Sassafras" already tells you what they're going for in this album. The vocals range from metalcore screams to death growls. Guitar breakdowns are often accompanied by synthesized piano/violins. The drums keep changing from slow grinding to furious rolls, as the bass runs. And it has a melodic clean chorus, a first for the band! But that of course means more of that mundane verse/chorus structure they've never had before. For a witty song title like "I Hate Buffering", that song has killer guitar melodies for everyone (except my metal-hating mom) to enjoy. Another nonsensical title, "Assistant to the Regional Manager" (reference to The Office) is still a great metalcore mix of epic and extreme. "Dez Moines" is filled with moments singing and screaming alternating between each other every minute.

"Big Wiggly Style" might look like a rap song title, but thank the Lord it isn't. It's just your friendly neighborhood metalcore! The riffs in "Danger Wildman" are just wild, inspired by A Life Once Lost. "Ben Has a Kid" continues the singing/screaming alternation. "Wapakalypse" is another witty song title with the song mixing melody and brutality.

"Gimme Half" is once again half epic, half extreme. "Louder Than Thunder" is a rather ironic name for the song, not just because it's a melodic mellow ballad, but also I don't think even metal performances can be louder than thunder, and that's why (don't laugh) I'm scared of thunder. Still an interesting album highlight! After that soft ballad, "Lord Xenu" closes the album in epic heaviness.

With Roots Above and Branches Below is excellent and worth its place in any heavy fan's library. It's many Christian metalcore fans' love at first sight! (Note; My mom can tolerate metal much more now)

Favorites: "Sassafras", "Assistant to the Regional Manager", "Dez Moines", "Ben Has a Kid", "Louder Than Thunder", "Lord Xenu"

Still Remains is still remaining one of the few proper metalcore beasts of bands. The metalcore scene has been trapped in the repetitive invasion of emo bands that soil the genre. Of Love And Lunacy is one of those few incomparable metalcore releases, despite a few small similarities. This ain't the whiny sh*t-core scene, so Design the Skyline fans should leave this territory and design their own skyline!

Of Love and Lunacy contains a metal frenzy of intelligence with doses of hardcore added in an amount that people can respect, plus some interesting atmospheric sounds, all in a greater metalcore work of art than Converge. The vocals and instrumentation are always interesting, often brilliant, and sometimes progressive.

Starting off the album is "To Live and Die by Fire", beginning with drumming and bad-a** guitar riffing, complemented by interesting background keyboards. The lyrics are simplistic yet offer complexity in the vocals, which are in a frenzy of hardcore death growling. With all that, I thought to myself, "Wow... Now that's metalcore!" Next song "The Worst Is Yet To Come" is another one of the best yet to come with epic clean choruses that make the song storm across heaven. The typical verse-chorus structure is mixed around into something more exciting. "In Place of Hope" starts with drumming and riffing followed by a long "FAREWELL!!!!" scream with a cool pulsating effect. "White Walls" isn't as epic as Between the Buried and Me's "White Walls", but it has special leads and a great chorus that still makes this song an album highlight.

Another notable song is "Bliss", written in a careful progressive mix of Shadows Fall and Nightrage. The breakdowns never annoy or bore you, equally blending with the rest of the content. "Cherished" is a catchy song about "being only human" and "waiting for something more". It's like a cry for God for human perfection. "With Everything You Have" is just a piano interlude. "Kelsey" is I assume to be about a girl named Kelsey trying to break free from addiction and learn from mistakes. The lyrics treat the Bible like a gun, ordering to point the gun and pull the trigger so that "I'll soak it all in".

"Recovery" once again has the killer Shadows Fall/Nightrage blend and epic clean chorus in a more over the top fashion, complete with corny lyrics and dramatic keyboards. "I Can Revive Him with My Own Hands" is personally the absolute album highlight with all the album's flavor. It has a serious guitar riff and sick metaphorical growled lyrics. The lyrics are far more interesting than in that Killswitch Engage album I listened to, Alive or Just Breathing, making that album sound kid-friendly in comparison. The guitars keep your attention running. Brilliant drumming and mature metalcore vocals continue on as lyrics continue shivering down my spine with serious emotion. Hardcore growls really end the song in a killer band ("I can revive him with my own two hands!!"). "Stare and Wonder" is another song worth good listening. "Blossom, the Witch" starts with techno effects before unleashing more heaviness. It has everything; drums, bass, singing, screaming, growling, squealing, guitars, and time changes. Amazing!

Of Love and Lunacy is an album that has intense emotion, caustically great metal, and brilliant musicianship. The songs flow from one another and are never isolated. They all have the album's original flavor, but it's the uniqueness that makes each song different while still related, emphasizing the album's artistic luminosity. The riff-craft is all set in perfectly timed drumming and great keyboard synth moments. The clean vocals are as memorable and mesmerizing as the growls. I would certainly recommend Of Love and Lunacy for anyone looking for interesting metalcore brilliance. This band still remains!

Favorites: "To Live and Die by Fire", "The Worst Is Yet To Come", "White Walls", "Bliss", "I Can Revive Him with My Own Hands", "Blossom, the Witch"

When making a debut studio album, there are some things you need to think about deciding; the feel for the album, the central themes, and each song's style. Give them all some time so you can let the album grow and glow without forcing the beauty. That's exactly what Protest the Hero did! After playing some Happy Go Lucky punk rock, they decided to brainstorm an album and story to compose that's far different, and that took them 2 years. 2 YEARS!! A long time for a 10-song album! However, that's what makes some albums the best, by taking the longest time. With that and their more progressive sound, Kezia just made part of my top 10 of 2005!! And apparently, many metalcore fans and critics rate it the #1 album of 2005. Well sure, but there are other bands who also made awesome in 2005. Either way, what an accomplishment!

Kezia is not just an album but also a story, which is what concept albums are, right? It has everything you need for a story; interesting characters, plot twists, and poetic language. There are 3 parts of the story, and each part is in the perspective of a different character with their view in the story. You'll see what those characters are as the review moves along. We barely know anything about those characters when we start the story, but as the twisted tale goes on, we learn much more about them song after song. I'll describe the song structures, how good they are, and the story analysis, all in this review. (SPOILERS COMING!!)

Act I: The Prison Priest - "No Stars Over Bethlehem" starts with a piano intro, the background noises begin to rise louder. Then the song starts right away! You get launched into an insane song filled with religious views from the priest. The main story has barely even started yet so you don't know what's even going on. Not the best song, but definitely not bad at all. The guitars are pretty epic, and you might very well feel like you're in Bethlehem. Nice tranquility! In "Heretics and Killers", the guitar playing sounds both different and similar to the previous song, and that's kinda a small problem. Despite the differences, the guitars have a similar sound, and as a result, the songs ends up being repetitive. Despite this, the song's still good. Rody Walker really nails the over-the-top singing over the acoustic section with background tranquility. The priest believes that after God has fortified life, God has forsaken him. The priest now feels like an impersonating beggar, leading to the central conflict. Again not the best, but still so good. "Divinity Within" shows the band finally thinking more about the story, and it's already the last song for this act. Once again, it sounds too similar to the other two songs in the act, but it gets made up by the incoming awesomeness. Some earlier said lyrics were repeated more dramatically ("I watch my temple fall to pieces"). Then the song gets slower and more melodic that makes me want to break into emotional tears. So now we know the priest's connection to the main character, Kezia, a young girl who has committed a crime so terrible that she was sentenced to death. The priest has to ask the "Any last words?" question and condemn her to death. He regains his religious plight but he's hesitant against what he has to do. He doesn't feel like has the right to keep or take people's lives. The "final words" question hangs in the balance when the song and act ends. What happens next? We'll have to find out in the next act. Anyway, that's a great fitting closure to the first act!

Act II: The Prison Guard - "Bury The Hatchet" starts the act fast and heavy, and you have a different feeling about this act. Based on the toughness of the guard, the guitars are more aggressive and the lyrics are gruesome. The guard is also the executioner who's responsible for killing prisoners. He's been trained to do his duty without remorse. Simple yet cruel. The heaviest song to attract metalheads! "Nautical" is the shortest and least important song here. It's just a tribute to the band's earlier political punk style. I suppose this was used as more of the angry guard's rants. The guitar work is too average. The worst song but not terrible enough to detract the 5-star rating. "Blindfolds Aside" is a catchy song. The guitar work isn't super impressive but it gets put aside for the amazing vocals soaring into an emotional climax. The solo and the bridge that follows are beautiful. You already know how profound Protest the Hero were thinking when composing. Similar to the first act, it's the third and last song in the act that's has filled with an emotional climax of power. There's even a beautiful acoustic ending with female singing by Jadea Kelly. The song is set in the same place as "Divinity Within"; the execution. After all that unnecessary ranting from the previous track, the guard actually feels some sympathy towards Kezia. So now we're seeing quite a guilt trip. Kezia gives the guard a choice of fates; kill her and feel guilt for the rest of his life or abort the execution and let himself control his life. The execution's about to start, and what does the guard to choose? Again we don't know, so this is it. We're down to one more act, and maybe then the story would be complete. Best track of the second act!

Act III: Kezia - "She Who Mars The Skin Of Gods" begins the story of Kezia herself, and boy is it a sad one! The melancholy is reflected in the usage of the slightly sad but still furious guitar. By the end of this song you would really feel it. The combo of both male and female vocals plus the slow guitar represents the feeling of sympathy for Kezia. It's not a pretty history for her. When she was younger, her mother was killed by possibly Kezia's father. That really sets off the actions later on in the act. Great emotional song! Next track, "Turn Soonest To The Sea" is filled with obscure sexist references, including a reference to Vesta, the Greek Goddess of empowerment. This is my second favorite song here and the longest of the album at over 6 minutes. Everything you ever hope for is thrown all over the place. The great sing-along ending is very catchy and my favorite part of the song. In the story, Kezia has grown up in a world where sexist men dominate. Every women has to live up to ridiculously sexist standards from social obligations to labels. The reason Kezia is in jail and about to be executed is more likely to be because she tried to empower females therefore causing treason against the male reign. The concept is so wrong yet interesting. It's an amazing track worth listening to so many times, but it leads to the last and best of this act. That song is "The Divine Suicide Of K.", the absolute best track here! This song is at the brink of making me cry and wet my pants. It continues the whole "best for last" technique for each act, and this is no exception! The song is so emotional and mind-blowing. Many different parts and placed around in amazing order. The male vocals are teary and the female singing is at its strongest. In the middle of the song, the guitars really float in clouds of emotion. The climatic perfection returns! The overlapping singing/screaming combo is more glorious than you can ever believe. And the female vocals really end the song slow and steady. So now it's really time for the execution. Maybe the ending would finally be clear. Will the priest neglect God? Will the guard free Kezia? Will Kezia accept her fate? The answer is... PSYCH!!! There was no proper ending! You took a journey that just stopped in a bang and a cliffhanger. The finale track, "A Plateful Of Our Dead" is just a separate message that clarifies the point of this album. Good satisfying finale!

Kezia is indeed one of the best albums in the Melodic Metalcore clan challenge and one of the greatest progressive metalcore albums in general. Protest The Hero are some of both the most talented musicians and the most amazing storytellers, greater than most other albums I've heard and stories I've read. I would recommend this album to any music listener and story reader out there. Thank you, Protest the Hero, for this grand-masterpiece. Not to sound like I'm in love with someone, but... I love you, Kezia!

Favorites: "Divinity Within", "Blindfolds Aside", "She Who Mars the Skin of Gods", "Turn Soonest to the Sea", "The Divine Suicide of K."

One exciting thing about this band is its challenging inaccessibility, which is practically unknown and now seems underrated. You would have to be as good as you can for people to remember your band and their name. HORSE the Band is never taken down by that problem, with Desperate Living being memorable enough to hit the mainstream. The music really rules! It sounds like a decent mix of Enter Shikari and Machinae Supremacy.

The album starts with peace and fury switching back and forth in "Cloudwalker", featuring SNES synth-pads and aggressive screams. The title track is a greater display of HORSE's 8-bit metalcore power. They have more of their potential in "The Failure Of All Things", sounding like a Game Boy battle soundtrack. The rhythm at the end grabs your throat while the guitar punches your face that's already melting from those intense 8-bit synths. "HORSE the Song" crashes in with maniacal vocals and drums, before accelerating into thunder-crashing guitars and spiraling 8-bit melodies beyond control.

"Science Police" is full of Spandau Ballet-infused metalcore. That's an interesting example of HORSE taking a turn around the broader music spectrum. "Shapeshift" is indeed a shape-shifting song, not just in the instrumentation, but also the usual harsh vocals switching to the softer ones by Jamie Stewart from Xiu Xiu. "Between the Trees" shows a more psychotic side of intrinsic ambiance, keyboards, riffs, and versatile vocals. Then the instrumentation becomes surreal in "Golden Mummy Golden Bird".

"Lord Gold Wand of Unyielding" has a short yet big deck of power chords and melodic vocals sung by two of the other band members. "Big Business" makes me think of that Bette Midler film from the 80s my mom likes to watch. Speaking of the 80s, that song's bluesy section is more furious and twisted than any song you would ever hear from Eighties Matchbox B-line Disaster. The astonishing but dubiously titled "Rape Escape" is an expansive 7-minute epic ranging from mathcore to keyboard breakdowns to Mike Patton-esque emotional vocals. After all that madness, it ends with haunting reflective piano by professional pianist Valentina Lisitsa, playing the complex Prokofiev's Piano Concerto No. 2. However, the album doesn't end there. We still got "Arrive", a pounding anthem with life-force coursing into your body.

Desperate Living is better than that Enter Shikari album and electronic metalcore album, having more technical imagination with exciting timbres and complex structures to keep your attention running. With this, HORSE has been given enough distinction to be a special HORSE in the horse field. It's something not easy to achieve for a band that adds fury into good conventional music. Still I think this album would have a more complete effect if it had some use in its excessive weight. Desperate Living is a refined album with barely any spoken-word clichés or flat moments. It's satisfyingly powerful, thanks to my synth-metalcore interests at full spark!

Favorites: "Desperate Living", "The Failure of All Things", "HORSE the Song", "Shapeshift", "Golden Mummy Golden Bird", "Rape Escape"

Reviewing albums from bands you've never listened to is always the craziest part of any clan challenge because you never know how well they'll turn out for you. Well seeing how much I like Brock Lindow's contribution in the Demon Hunter song "Beauty Through the Eyes of a Predator", I got a slightly good feeling about this band...

36 Crazyfists had already released a couple albums before this, 2002's Bitterness The Star and 2004's A Snow Capped Romance, which I heard that the latter is a huge leap forward from the former with catchy melodic choruses mixed with sonic aggression. 2006 saw the release of this album Rest Inside the Flames! 36 Crazyfists managed to stabilize the band and expand it larger than the overrated "bigger" bands.

The album opens with a crazy killer song, "I'll Go Until My Heart Stops" which has the band's typical fast aggression and terrific melodies. The vocal skills of vocalist Brock Lindow give the song great vibes, and he goes until the song stops. I've just started the hard part of the Melodic Metalcore Clan Challenge, and already I'm hearing the best song in that part so far! "Felt Through a Phone Line" shows the band improving on maturity, both musically and lyrically. There's more melody and clean vocals added to the screaming aggression. It really grows on even the heavy fans. I would listen to "On Any Given Night" on any given night! "Elysium", featuring Howard Jones from Killswitch Engage, is the most aggressive song here. It has some of the more familiar elements of 36 Crazyfists, but with heavier guitar riffs.

"The Great Descent" is not really an epic, but it has an epic vibe and it's longer than all the other songs in the album. A strong highlight! "Midnight Swim" reveals Lindow's gentler vocal side while maintaining the intensity. "Aurora" perfectly captures all of the band's catchiness in one song, thereby being the catchiest song on the album. Another one of my personal favorite songs here is "Will Pull This in by Hand", having a great riff in the middle that would be one of the greatest riffs in 2006. I bet this song would kick a** when they play it live.

We Cannot Deny the impeccable "We Cannot Deny" having cool vocals from Lindow and Milligram/Only Living Witness vocalist JONAAAAAH JENKINS!! (sorry, cannot resist that meme) "Between the Anchor and the Air" has dense rhythms that help the band really knock Linkin out of the Park (get it??). The album closes with the acoustic ballad "The City Ignites", which is pretty surprising. Why did they give the most metalcore-ish song title to the softest ballad?! Still a fitting ending!

People say that this is a big step from A Snow Capped Romance, and they're probably right. Those people who listen to 36 Crazyfists would recognize the old sound they've fallen in love while hearing the band's more diverse development. There are much softer and much heavier moments. Brock Lindow really handled the vocals well and did his part in giving the album its deserving brilliance. While Rest Inside the Flames is mainly a metalcore album, it might be a more suitable album to be purchased by alt-metal fans. The softness doesn't open well for the heavier metalheads like myself, but if you're a fan of metal that is a tad softer, this will blow your mind away....

Favorites: "I'll Go Until My Heart Stops", "Elysium", "The Great Descent", "Will Pull This in by Hand", "We Cannot Deny"

To h*ll with my split from melodic progressive metal! This album is absolutely brilliant!! Why did I leave my more melodic epic metal taste behind for so long, despite my love for progressive metal?! Seventh Wonder is a true wonder! *tears of joy*

Let's start with the fact that the vocalist Tommy Karevik is also the current vocalist for Kamelot, and some Kamelot songs are touching and emotional, as much as gothic metal bands like Sentenced and Elis. Seventh Wonder, however, released a groundbreaking progressive metal album worth shedding a lot of tears. (SPOILERS COMING!!) Mercy Falls is a concept album about a man who was in a car crash and ends up in a comatose world called Mercy Falls. Inspired by The Human Equation, huh?

Almost similar to The Human Equation intro "Vigil", the intro "A New Beginning" begins with a car crash. Then it kicks off an epic orchestral tune that builds up to metal, along with noises and voices related to the incident. After that, the doctor and the man's wife dialogue really start the story. Doctors are still trying to wake the man, while the wife visits him and, before leaving, turns her radio on to comfort him. "There and Back" is another instrumental, and an awesome overture to set the tone for the story and the album. Welcome to the first real song, "Welcome to Mercy Falls", and enjoy the awesome melodies! Another song that makes me jump for joy is "Unbreakable". It has a happy chorus, plus a soft part with a very good bass solo. "Tears for a Father" is a soft 2-minute interlude/ballad with more of Tommy's emotional vocals.

"A Day Away" is a kick-A uplifting song with an awesome chorus. "Tears for a Son" is another small emotional "Tears" interlude/ballad. Then we kick the prog metal back to high gear again with "Paradise", another well-written song. In "Fall in Line", the lyrics combined with melodies can be challenging, but I got used to them faster than other owners of this album. Nothing in that album can get better...except for this next song, "Break the Silence"! They put some of the most awesome melodies in that song along with a brilliant lineup. The layered vocals sometime before the chorus sound as they instruct you on what to do for this song, "Let the music play! Let it go all the way!!"

"Hide and Seek" is as awesome as that previous song, but a close second. There's a long intro before Tommy's vocals return. I absolutely love the awesome melodies! The build-up to the chorus and the chorus itself is so perfect. More prog calls in "Destiny Calls"! Then things get emotional again with "One Last Goodbye". It is an absolutely stunning performance by Tommy and his sister Jenny. There's a beautiful background melody with more spoken dialogue from the doctor and the man's wife, which is a little out of place but still part of the story. After hearing a heart monitor flat-lining (my third album review to have that), the important interlude, "Back in Time" has a surprising twist; a few years ago, the wife told the man that her son was not his, which shocked him into crashing the car. That flashback was the last thing the man remembered before dying. "The Black Parade" starts aggressively before adding happy melodies. The chorus and keyboards are just epic! Perfect ending to a perfect album!!

Despite this 5-star rating, this album deserves more stars! A+++!!! This albums is so amazing and emotional. Until now, I've never realized how much emotion a concept album can have. I do not regret letting my earlier epic metal taste infect my current extreme era just by listening to this album. Why wouldn't I love it? I'm not guilty of losing my epic metal virginity again, nor embarrassed for shedding a few tears. It's my new favorite progressive metal album and a must-have for passionate music lovers. You won't be disappointed one bit. The epic progressive metal side of me is back, baby!

Favorites: "Welcome to Mercy Falls", "Unbreakable", "A Day Away", "Fall in Line", "Break the Silence", "Hide and Seek", "The Black Parade"

Riverside is another band I was never really interested in, even after listening to a few songs. But I don't think I have to worry about that as much as not listening to Opeth, at least I don't have to worry in this website, because this band has been more progressive rock than metal in most albums with this album Anno Domini High Definition and the previous one Rapid Eye Movement being the only Riverside albums metal enough to be here. So all worries aside, let's get into this review!

Riverside has the amazing ability to create a wide music range from melodic progressive rock to dark heavy metal, similar to Opeth but without the extreme metal. I heard that after the progressive rock sound of their first two albums, they went to a different direction in their third album Rapid Eye Movement, having a darker atmosphere and heavier sound. The softer fans dislike it while the metalheads love it. This album is supposedly the first Riverside album outside the Reality Dream trilogy and entirely heavy. And yes, this is gonna be something different...

The opening track, "Hyperactive" can start a little confusing. After beginning with a calm atmospheric piano intro, the piano fades out into excellent heavy riffing, followed by great vocals, all in constant hyperactive movement. One of the best 6-minute songs in progressive metal! Beginning with addictive bass, "Driven to Destruction" drives you through heavy riffs and light piano, played together with melodic vocals. The second half of the song gets heavier with more prominent keyboards.

The most unusually experimental song of this song is 3-part 9-minute "Egoist Hedonist". The first part, "Different?" starts in calm slight melancholy before evolving into a heavy riff. The second part, "Hedonist Party" is the most original moment in the album, inviting a party-sound guitar and brass section for a more fun and relaxing time. Is that the true meaning of "Party Rock"? The third part "Straw Man Dance" shows that no party can be complete without a dance, inviting a harp and more guitar for something suitable for a belly-dance, leading to an epic impressive ending. However, "Left Out" is the only song here that needs to be left out, being melancholic and calm in a much different approach with a new vocal style. The technical melodic sections are in contrast with the atmosphere and lyrics. Still a good song but could be better.

Finally, the 12-minute epic, "Hybrid Times" makes sure that you've heard everything from the band and this album, unleashing some of the most intensity they've ever had. Beginning with thrilling piano, this song is original enough to leave out the overused verse-chorus structure, a similar strategy in the other songs. The band keeps moving forward with their technical skills, pushing them to their heaviest and most complex ever. The song is half-instrumental, but the vocals really show their more memorable, aggressive side ("OBSESSION!!!"). The theremin really adds to the complex sound. Then things start calming down with the best guitar solo here. Soon it rises to the climax, when theremin and blast-beats collide!! The 3-minute ending is softer but more impressive than anything the band has done before, with atmospheric electronic effects and chill-inducing vocals, and finally the album ends, with everything they had out of their system. One of the greatest progressive metal epics yet!

There's almost nothing bad about of this album, with the bad stuff being very little. The songwriting is flawless, causing the songs to be much different than each other with unusual structure. Their instrumental skills can be clearly heard, proving once again their incredible talents. The album style overall is much different than the band's earlier ones and almost every other progressive metal album there is. They've created nearly 45 minutes of progressive metal that keeps the listener in attention throughout without losing it, ending with one of the most impressive epics ever. To sum it up, Anno Domini High Definition is a great example of technical, complex, progressive metal. It's nearly completely flawless with no sign of ideas running low. You want original high definition progressive metal? This is for you.....

Favorites: "Hyperactive", "Egoist Hedonist", "Hybrid Times"

Ihsahn is known as the main founder of symphonic black metal band Emperor, but I only know his guest contributions, similar to Devin Townsend; guest vocals on the songs "Thorn" and "Contaminate Me" by Leprous and string composition on the songs "Chronic" by Leprous and "Snøfall" by Trivium. And while his solo material still has (gasp!) the forbidden black metal, I heard it's more Opeth-like with acoustic moments, soothing bass, and a bit of clean singing. This album After has a few of those softer moments alongside the usual extreme metal with jazzy saxophone and bluesy guitar work.

Another good thing about this album is the production, heavy and beefy especially in the drumming. The guitar has a good heavy lead tone to go with the fantastic rhythm and solos. However, the bass is a little too pushed away; it still appears but in low toned-down frequency. The saxophone perfectly fits the album sound with its rough rawness but it can't keep up with the speed of faster tracks and ends up out of place.

"The Barren Lands" is an awesome opening track, starting tender before getting crispy. But it just had to end so suddenly! "A Grave Inversed" is a stream of blasting black metal, but sadly it's one of the weakest tracks here and the whining sax not catching up does not help. The title track is more in the intermediate level of quality.

"Frozen Lakes on Mars" has a great chorus, the best of the album! "Undercurrent" is one of two great 10-minute epics. It starts with a 30-second monstrous riff intro, then calms down to acoustic for the next 3 minutes and after that, it's back to the heavy chaos.

I have nothing to say about "Austere", except it's the weakest track of the album. "Heaven's Black Sea" is another intermediate-level track. The other great 10-minute epic is the slower "On the Shores", which is more of a jazzy black-doom piece with the raging sax fitting perfectly well, creating a film-noir atmosphere. A mysteriously massive way to close this album!

After is overall a good solid album by Ihsahn, NOT the best one I've listened to, but the black metal sound is at a more tolerable level for me. Mixing experimental saxophone with jazzy guitars and extreme drums is an interesting move. A sweet recommendation of dark jazzy avant-garde metal!

Favorites: "The Barren Lands", "Frozen Lakes on Mars", "Undercurrent", "On the Shores"

Ghost Brigade is another band that I never listened to...until now. But I heard some people think Ghost Brigade is a group of Katatonia wannabes with their first two albums Guided by Fire and Isolation songs, but that comparison is getting old. Ghost Brigade has their own hybrid harmony of styles such as progressive and melodeath with small sludge influences. But this style still sounds a little like Burst meets Before the Dawn. Too bad the combative harsh vocals lack distinct aggression.

Isolation Songs is meant to compound the listener into persisting isolating misery in a good way, but ultimately some things are a little disappointing here. Like I said, there are some people who think this band is a melodeath rip-off of Katatonia, due to each band's similarities, but Ghost Brigade have their own sound to touch upon. However, that attempt in originality isn't at its strongest light and got them stuck too close to their Katatonia influences, along with the aforementioned Burst and Before the Dawn. While that affects the instrumentation, the guitars are still a good driving element that helps level some songs up.

The opener "Suffocated" is too dull and empty in the grooves, so that's a miss. "My Heart is a Tomb" is far more superior, starting with a flowing acoustic intro then driving into powerful chords and a clean chorus. That's a nice blend of influences from the last few Sentenced albums and Amorphis at the time. "Into the Black Light" continues the band's Amorphis influences with a nice groove intro that still sounds a little radio-friendly.

Things get torturous in a great way with "Lost in a Loop", striking your head with sludgy riffs, big hooks, and harsh vocals harder than a sledgehammer. One of the album's strongest songs! "22:22 - Nihil" takes you on a nice swim through instrumental ethereal beauty. "Architect of New Beginnings" is another great example of harsh vocals conveying fitting images. The well-conveyed images continues in the 9-minute "Birth". The images conveyed are some of the most interesting, but the music is not really engaging for a 9-minute epic.

"Concealed Revulsions" has a cool acoustic intro, enough said. Reaching its dynamic peak is "Secrets of the Earth", with emotive melodies alongside bitter screams, keeping up the band's Amorphis-like folk metal influences. The powerful storming 6-minute closer, "A Storm Inside" begins humble and mellow before the powerful storm escalates. Excellent ending for this album!

Despite the vocals being a bit inconsistent and having an obsolete lack of depth, this album shows that they can work around bringing their better influences to light and making up for the overused ones. Isolation Songs is another album to keep yourself isolated in the progressive melodeath realm....

Favorites: "My Heart is a Tomb", "Lost in a Loop", "Architect of New Beginnings", "Secrets of the Earth", "A Storm Inside"

Now this band, Dir En Grey, would've been a band I would listen to full-time, except... I DON'T KNOW JAPANESE!! Well maybe not most Japanese, but I've learned some when talking to a younger Japanese friend of mine, and the word "Nani" (What?!) is all over the internet. But if I have to review a mostly Japanese album to progress through a clan challenge, then consider it done! Dir En Grey's hard, eclectic, hard to label experimental metal sound would make them Japan's Into Eternity, if not for their visual-kei roots and appearance. Their eighth album Dum Spiro Spero (“While I breathe, I hope”) shall be delivered as an impressive Japanese extreme metal collection.

If there's one thing Japanese musicians (pop, rock, or metal) always have, it's the iconic clean singing. That's what Japanese anime shows usually have. The band's vocalist Kyo has that great singing gift. He can really show off his soaring vocal hooks while still doing harsh vocals, all at artistic ease. Call him the "Japanese Devin Townsend" if you'd like, but there aren't really many Western metal vocalists who can try every trick in that guys' book.

The opening "Kyōkotsu no Nari (Cry From a Lunatic Bone)", begins with soft melodic piano before things become experimental with wordless screams from Kyo, sparse guitar work, and strange percussion. The first actual track, "The Blossoming Beelzebub" kicks off the downtuned distortion of guitars and bass and rolling drums. Don't expect any shrieking yet! Kyo starts singing in high falsetto that almost sounds like a female opera singer with tension building. The progressive interval might explode into action but it still doesn't. Great song but it just doesn't have what the heavier fans wanted... Until the furious "Different Sense", complete with powerful riffs, vocals ranging from growling to shrieking, and blast-beats. There's still some clean singing and melody though. "Amon" is an awesome song that sounds like Amon Amarth in some parts.

"'Yokusō ni Dreambox' Aruiwa Seijuku no Rinen to Tsumetai Ame ('Nesting Within the Dreambox', or Cold Rain and The Philosophy of the Mature)" (one of the lengthiest song titles I've ever read) has beautifully surreal clean singing one moment, then Deathspell Omega-like chaos with omniscient heavy bass and frantic shrieking the next. "Jūyoku (Carnal Desire)" once again has the band going berserk with sonic extreme metal while having gorgeous melodies, broken apart by sledgehammering death metal riffs, giving way to longer harmonic lyrical passages. Man, there are some times when Kyo sounds like one of Jim Carrey's meltdowns in Liar Liar! "Shitataru Mourou (Tricking Ambiguity)" continues that pattern, with transitions from J-rock to tech-death and vice versa while the lyrics transcend. In "Lotus", Kyo continues to shine with his beautiful clean singing over extreme instrumentation. A potential anime theme! The clean singing keeps going in "Diabolos", the album's long theatrical 10-minute epic. It's filled with melancholic atmospheric alt-rock that later builds up into rapid-fire death/thrash metal, before the storm strips back to the calm.

"Akatsuki (Dawn)" is the best song here. I love it! That song reminds of Gojira in the instrumentation, not the vocals. But what's also close to being the best is "Decayed Crow" which is the most death metal song of the album that sounds like if Mike Patton joined Suicide Silence. "Hageshisa to, Kono Mune no Naka de Karamitsuita Shakunetsu no Yami (The Violence And the Darkness Of the Burning Heat Entwines In My Heart)" (another one of the lengthiest song titles ever) is once again ultra-heavy with a blend of clean singing with a frantic mix of growling and shrieking. That song was in the Saw 3D soundtrack, a year before the rest of the album. After all that wild heaviness, the power ballad "Vanitas (Emptiness)" starts with an acoustic melody before getting slightly heavier dynamics. More balladry is hinted in the closing track, "Ruten no Tō (Tower of Vicissitudes)" with a poppy power metal section before unleashing the last of the brutal chaos for this album.

Dir En Grey's Dum Spiro Spero is one of the most intense albums I've ever heard with sonic diversity and avant-garde heaviness. I wish I could come back for more, but the Japanese lyrics are absolutely difficult to understand and lowered down a potential masterpiece for me. I so need to learn more Japanese in the future....

Favorites: "The Blossoming Beelzebub", "Different Sense", "Amon", "Lotus", "Diabolos", "Akatsuki", "Decayed Crow"

I listened to Dream Theater, then Symphony X, and then... Circus Maximus? Once again I listened to a few songs from this group, but NAH. Too bad I never got fully interested in this group in my earlier epic metal taste because they would've fit between the progressive Dream Theater and the progressive/power metal hybrid Symphony X. Circus Maximus is mostly progressive metal with a bit of power metal, and this album Isolate is their second chapter, first being (you guessed it) The 1st Chapter!

I heard that with Isolate, the band stepped away from some of their progressive territory with the album being half prog, half more straightforward. Many of the songs range from 4 to 5 minutes in length, but there's still an acrobatic 4-minute instrumental and two lengthy songs. Even the power metal aspect has been reduced, so this is pretty much just melodic progressive metal with less emphasis on progressive. The lyrical themes are more emotional and psychological, and there's nothing harmful about that, it's just that the grand themes are removed. This is Circus Maximus' Human Equation!

We get to a grand start with "A Darkened Mind", filled with heavy sparkling grandeur. "Abyss" has a poppy chorus but it works really well, being delightful and catchy while putting crushingly sonic pressure. "Wither" is more upbeat than Dream Theater's "Wither" but their progressive heights are still withering a little.

"Sane No More" is an insane instrumental feast that gives the band's progressive side more of the spotlight. "Arrival of Love" has cheesy lyrics and simplistic music that makes the band sound like Charlie Dominici-era Dream Theater, but still comes out pretty well. "Zero" is a ballad that starts with just soft dramatic piano and vocals before heading into slow and steady prog rock.

"Mouth of Madness" is the 6-part 12-minute epic of this album and it really builds up into a big substantial difference. However in my opinion, Caligula's Horse's "Graves" suite (from my previous review) is slightly better, but they're both sweet epics. And if you thought that was the end of the album, WAIT!! There's still a couple songs left, starting with "From Childhood's Hour" a pleasant synth-prog rock tune. And finally, "Ultimate Sacrifice" is still differently substantial but a great recap of much of the sound each previous song had. The ultimate progressive metal closer, besides the aforementioned "Graves" suite and Between the Buried and Me's "White Walls"!

Progressive metal fans might be more up for an album like Isolate, while power metal fans who have already listened to The 1st Chapter would be disappointed, even though most songs only have small bites of prog. This is far more of a small step than a giant leap for prog kind, but it's still a good quality melodic progressive metal release by Circus Maximus. While not as awesome as the previous albums in The Infinite Modern Challenge, the level is still acceptable....

Favorites: "A Darkened Mind", "Sane No More", "Mouth of Madness", "Ultimate Sacrifice"

Relapse Records, one of the more unique metal record labels out there, is pretty much responsible for helping Burst boost their tiny popularity into higher fame. Very few metal fans have ever heard of that band until they were signed by Relapse to make their previous two albums Prey on Gold and Origo, which caused a strike of sonic gold! Seems like both albums showed a post-progressive metalcore combo that left Burst fans wanting more metal innovation. And they got it after the band's 3 years of extensive touring from Europe to America with the metal gem, Lazarus Bird, a great way to close their career!

The opening track "I Hold Vertigo" begins with some steady chugging rhythm that would soon lead to a roller-coaster of unexpected twists with no time to prepare. After that typical metalcore riff, monstrous melodies and electronic sound-waves start building up. My own complaint about the song is the 30-second outro riff that keeps starting and stopping after the rest of the instrumentation stopped. That's just piercingly repetitive and annoying, but doesn't affect the rest of the album's perfection. The artistic guitar skill development in "I Exterminate the I" is proven by the clever spacey guitar leads. "We Are Dust" starts soft for the first 3 minutes, than becomes harder, better, faster, stronger (NOT the Daft Punk song) than those other two songs, especially the well-constructed "6 Million Dollar Man" guitar approach a little after the 4-minute mark.

"Momentum" does the same thing of starting with a soft psychedelic 3-minute intro before a volcanic eruption of metal shatters the mood harder than glass, but that heavy part goes on for only a couple minutes. "Cripple God" is another album favorite, charging in with intense riffing and raw vocals that resemble Mastodon. Now that I think of it, this album is like a more ambient hardcore Mastodon. Then there's a beautiful softer verse before exploding into a furious attack of classic Metallica. "Nineteenhundred" has plenty of good moments where they explore more Mastodon and Opeth dynamics while still forging their own sound.

The next track, "(We Watched) The Silver Rain" starts by building up a rhythmic fill from calm to storming in the first two minutes, then calms down and, near the 3-minute mark, starts a bass transition. Then clean vocals enter and go on in extensive amounts with beautiful melancholic riffing for the rest of the song. There's still plenty of heaviness and yelling, just not as much as the clean parts. The intro of the final track, "City Cloaked" is a clean guitar passage with powerful emotion for the first two minutes, before being overpowered by the last band's progressive heaviness. And finally, the last 4 minutes is an ambient clean guitar outro that soon fades into oblivion. The best, least abrupt way to close a band's final album, other than The Dillinger Escape Plan's "Dissociation"!

It's hard to hear a band like Burst whose music doesn't catch on with the world and is almost forgotten. But at least they got their own sections in metal music magazines and have received critical success with this album and Origo. And the fact that they're signed to the titanic Relapse Records helped with a little more buzz. I'm sure not a lot of you have heard of, let alone heard, this band but consider yourself lucky to find something this complete. After a 3-year gap, the band found their potential of masterful composition. Even though Burst is dead (NOT literally dead, just split up), this great work of art they have created shall remain immortal!

Favorites: "I Hold Vertigo", "We Are Dust", "Cripple God", "City Cloaked"

Think about this album in this scenario... One night, you're just lying down on your bed trying to sleep, when a brilliant bright light shines through the window. You look out the window and see a giant spaceship! You run outside and enter the spaceship, and it's a special spaceship that can give you an actual tour from Earth to the edge of the Solar System. Cool scenario, right? But that's NOT what Terminal Redux is about! This concept album is about something different but a cool sci-fi theme...

Almost 5 years after Outer Isolation, Vektor shows a new piece of sky-high expectations. Terminal Redux is their first ever concept album, telling the story about an astronaut using immortality to gain vast power and ends up in existential crisis, and a great metaphor about the space-thrash band themselves.

"Charging the Void" is a great epic to prepare for the incoming elements of this album. New elements are mixed with older ones from previous albums. Another thing new is clean singing, here being sung by what sounds like a soul choir, bringing to mind Disney film soundtracks such as Frozen and Moana. Fortunately, that does NOT cause harm to the band's music and instead adds more atmosphere. Of course, the other new element is the superb concept, but we'll use the scenario I made up throughout this review. The spaceship you are in blasts off from Earth and begins the tour to the edge of the Solar System. "Cygnus Terminal" is the first example of calmness mixed brutality in this album. In the original concept, this song lets you know more about the all-controlling Cygnus Regime with the astronaut's power rising within. Meanwhile in my scenario, the spaceship passes Mars during the Solar System tour. "LCD (Liquid Crystal Disease)" is one of my personal favorite tracks in the album and the most aggressive one too. It is the fastest track here and has some of Vektor's sickest riffs yet. There's a stellar breakdown after the first 3 minutes, like what?! Wicked! That song has lyrical commentary about how the world is dependent on technology nowadays.

"Mountains Above the Sun" is a well-placed melodic instrumental break for anyone who wants to take a breather. The only heavy part is the last 15 seconds, though it sounds a little too bluesy. Meanwhile, the spaceship makes a quick pit-stop near Jupiter to get gas. Get it?? It's a gas giant, LOL!! "Ultimate Artificer" is NOT the ultimate Vektor song, but it definitely makes up for that boring interlude. In the original concept, this song is about the astronaut's ultimate goal to restore order for the galaxy in a matter of life and death. Meanwhile in my scenario, heavy gravity of Jupiter begins to pull the spaceship down and everyone on-board has to flip switches to activate hyperspeed. "Pteropticon" is another aggressive song and a better contender for the ultimate Vektor song. The spaceship breaks free from Jupiter and hyper-speeds through the rest of the Solar System, continuing the tour. "Psychotropia" is another psychotic highlight. "Pillars of Sand" is another song that starts calm before the chaotic storm. After the spaceship passes Saturn, Uranus, and Neptune, a shocking discovery has been found; Pluto is destroyed and reduced to numerous asteroids (a good theory about Pluto no longer becoming a planet). Then some missiles appear out of nowhere and begin hitting the spaceship. You put on an astronaut suit and helmet with tons of air supply and shoot yourself out of the airlock. You manage to escape just in time for the spaceship to be hit enough to collapse and explode.

"Collapse" is, in my opinion, probably the weakest track of the album, maybe even by the band, while still standing strong. The first half is a cheesy power ballad with David DiSanto's attempt in clean singing that isn't so great but doesn't affect it too much. In my scenario, after watching the spaceship explode with everyone in it perishing, you float in the remains of Pluto and lose hope in returning home. As jazzy clean guitar strumming plays and the growling coincides with the clean singing, you begin wondering what those missiles were about and why they destroyed the spaceship. When the heaviness returns, which greatly makes up for that unstable first half, you notice another spaceship run by an alien army from another galaxy who are planning on destroying the Solar System from Pluto to the Sun. You don't know what to do about it, but luckily there's an asteroid heading your direction, so you land safely on it and begin riding the asteroid.

The epic finale "Recharging the Void" is what you're all here for. This is my #1 favorite of this album, maybe even by the band! Every single element of Vektor are compiled smoothly here. What's even more interesting is the small samples of many of the previous songs in this album to remind of your amazing adventure so far. Well currently, you're riding the asteroid and you find another giant missile following you, and riding that missile is the alien army leader. You find a Lightsaber-like weapon in your astronaut suit pocket, and the alien leader also has a Lightsaber-like weapon. You and the alien leader engage in epic Lightsaber battle until you manage to cut off a fin of the missile, causing the missile to turn the other way and hit his spaceship, destroying it and killing himself and his alien army, accidentally. As the soul-like singers and David's clean singing return in a softer ambient part, you feel relaxed and confident, glad to be on your way back to Planet Earth. As the song builds back up to heaviness, you realize that considering the speed and size of the asteroid, it might actually end up destroying Earth. You start to panic, again not knowing what to do. As the guitar riffing comes in at 3 minutes left, you find a keytar in another pocket on your astronaut suit and start playing the sh*t out of the keytar to over-energize the asteroid in an attempt to destroy it. That climax is BEYOND epic, almost reminiscent of some of the greatest Wintersun epics ("Starchild", "Sons of Winter and Stars", etc.). When the asteroid is about to break, you jump off as it explodes into small chunks floating in other directions. You saved the Earth!! However, you're still in the same speed as the asteroid and heading toward Earth, so you have no choice but to accept your impending doom as you enter the Earth's atmosphere and burn into dust and ashes as you fall fast. Right at the final "YOU!!!" ending, your ashes hit the ocean and sink into nothing. And then you wake up from that epic dream, lying on your bed, all fine and everything. End of scenario!

Following the perfect streak of the first two Vektor albums, Terminal Redux might actually be one of my favorite metal albums of 2016. This is a true tech-thrash masterpiece with as much sci-fi as Star Wars. Metal and Sci-fi shall NEVER DIE!

Favorites: "Charging the Void", "LCD (Liquid Crystal Disease)", "Pteropticon", "Psychotropia", "Recharging the Void"

One super easy and interesting technique in looking for new bands is to find them on websites such as Google, YouTube, Wikipedia, and of course, this website Metal Academy. And let me just say that Vektor is one of the greatest bands I've ever found in 2020. They manage to unleash progressive riffs and thrashy blast beats, alongside lyrics bringing to mind one of the greatest sci-fi movie franchises of all time, Star Wars! And this album is the second part of the band's own trilogy!

Outer Isolation helps listeners visualize the story of ONE MAN, floating in space, thinking about life and the surrounding cosmos. You might think a story like that would be boring, NOT helped by generic thrash and lengthy progressive solos you might be tired of. No way! Vektor has recreated all of that into something new and fresh through eight thrash tracks with sci-fi themes. After the awesome fast Black Future, Outer Isolation features a few slow passages that are almost symphonic to keep the listener interested and let them know that there's more than just chaotic speed.

The 10-minute (a length more common in progressive than thrash) opening track "Cosmic Cortex" begins with one of said slow passages, welcoming the listener to the future sci-fi imagery the album creates. That atmospheric spacey intro really lets the clean guitar chords fly until they're fractured by tech-thrash riffing you can find in bands Voivod and Coroner. After that retro-thrash instrumental third of the song, it speeds up as David DiSanto screams his way into the song beginning his shrieking vocals. There are a few sections in the song where the guitars and bass interlock before heading into separate sections, then return for the furious blasting chorus. "Echoless Chamber" shows some tension building as tempos rise and fall. At over the 3-minute mark, we end up in a valley of solos similar to classic Megadeth, and the brilliant drumming helps bring excellence to the song. "Dying World" is another bone-breaking progressive thrash track.

"Tetrastructural Minds" is one of 3 tracks in the album re-recorded from their demo Demolition, and man is it chaotic! The song starts sounding decently like Slayer, even including a Tom Araya-esque b*lls-grabbed scream before beginning the vocals. Then we take a break from the speedy riff action with a counter-balancing beautiful instrumental passage, before the chaos continues again. "Venus Project" is the second song here originally in Demolition. It starts with another beautiful soft intro before unleashing the usual heaviness. Once again, there's a strangely superb sci-fi-ish guitar solo before a jazzy chill out, then after that, more killer chaos! "Dark Creations, Dead Creators" is shorter (at only over 3 minutes) and more direct, but it still has some violent speed similar to Death Angel.

"Fast Paced Society" is the third and probably the least superior of the 3 Demolition tracks and a good way to describe the modern fast thrash scene. Vektor has proven to be in that society with their fast blast-beats between flashing dexterity and frantic procession. The rare dissonant chanting vocals are a little weird, though. The title track is the other epic for this album (this time, over 8 minutes) and a great description of what the band is, deep and considerate while going over the edge of head-exploding pace of madness. It's a shame they've never re-recorded the remaining song in Demolition, "Moonbase", because that's a longer epic that would've made this album more complete.

I wish I could rate this album more than 5 stars because of the album being so abstract and standard-surpassing. What an album Outer Isolation is! I can't wait to review the next and last (for now) part of the Vektor saga, Terminal Redux, and see how that goes. The band's career may seem short-lived, but let's hope Vektor can live longer!

Favorites: "Cosmic Cortex", "Tetrastructural Minds", "Venus Project", "Outer Isolation"

The metalcore scene is a bit strange, only being as relevant as nu metal from 20 years ago. It becomes much harder to be taken seriously by people outside the scene, and it's rarer to any metalcore classics released in the 2010s than in the 2000s. Experimentation with other genres is a route used by many current metalcore bands to try to gain more attention, and unfortunately, that causes some initially metalcore bands like Bring Me the Horizon to switch to mainstream pop rock, replacing diminished breakdowns with massive powerful chorus. Parkway Drive is one of the bands who have done that but they still have their metal!

Parkway Drive released Ire in 2015, and that album began their mainstream direction, just by adding classic heavy metal elements without losing heaviness. That resulted in Ire being an impressive metalcore classic, but for the heavier metalheads, not as awesome as their albums before it. The band thought perhaps their new album Reverence would strike up more revered success. Sadly, it marks their transition from most of their metalcore into classic heavy/alt-metal.

But that doesn't mean there can't be an incredible opening track of promise, "Wishing Wells"! It starts with an acoustic intro that soon transforms into classic-sounding metal with the metalcore elements of furious riffs and brutal vocals, along with more poetic lyrics than other metalcore bands have attempted. Like I said before, that's the song my alt-rock-loving brother suggested I listen to despite being part of their least metalcore album that made me interested in this band. Thanks bro! "Prey" continues that classic melodic sound with a shuffling beat and riff with epic harmonic guitars in the bridge. That song, along with the more powerful mixed up "Absolute Power" deals with the theme of political fame and fortune. "Absolute Power" is similar to the earlier Slipknot in the riffing.

"Cemetery Bloom" is a somewhat cheesy progressive ambient ballad/interlude with ominous strings and chanting. That track is a tribute to Winston McCall's wife and her selflessness. Seguing from that intro is "The Void", an Avenged Sevenfold-like modern metal track with a melodic chorus too similar to Five Finger Death Punch. That guitar solo is a sweet touch, though. "I Hope You Rot" sounds more like epic power metal in the guitar melodies and melodic chants, while the lyrics describing a case of child abuse in a Catholic church. Sadly, the song fades out at the point when the guitar gets really good.

"Shadow Boxing" introduces something different to the band; clean vocals and piano! It's a dark epic song, despite the strange rapping vocals throwing me off. "In Blood" is another strong track, though not as remarkable or expanded in the sound. "Chronos", at 6 minutes and 20 seconds in length, is both the longest track of the album and the longest one ever made by the band. The first half of the song is the typical metalcore fare before that half is wrapped up by a killer guitar solo. Then there's an ominous soft break before the second half really begins with a strong guitar melody building up to a climatic guitar solo followed by symphonic strings. Now that's epic! Sadly it all fades out when it's at the point of greatness, but it might as well because we don't want it to run for so long. That's what fade-outs are for, right? Closing the album is the outro ballad, "The Colour of Leaving", leaving behind clean guitar and orchestral strings, alongside Winston McCall clean singing and talking before walking off into the unknown.

Overall, Reverence has both great strengths and not-so-great weaknesses, but when it comes to experimentation, they really managed to avoid the direction their metalcore peers took which was betraying their own sound by changing to pop rock. Instead, Parkway Drive continues their metalcore heaviness of their previous works while having this new melodic classic sound that continues their quest to find a better experiment. For now, this album would surely get mixed reactions, both from the mainstream and classic listeners who would recommend it to their peers and the heavier metalcore listeners who would avoid it at all costs. Reverence is pretty much of a step down from Ire and other previous albums, but if you're more open-minded, lots of good things can be found here....

Favorites: "Wishing Wells", "Prey", "I Hope You Rot", "Shadow Boxing", "Chronos"

Since their 2003 formation, Parkway Drive have garnered international fame from large tours and festivals. Each album showed a change of sound while sticking to their main metalcore style. However, this next sound change is gonna be quite different...

Ire shows a great progression for the band into a straighter heavy metal sound overpowering their previously defined metalcore, emphasizing the metal in metalcore. But they haven't completely moved away from hardcore elements such as breakdowns and harsh vocals. Still the band has what it takes to make a decent 11-track album giving you 48 minutes of refreshing heavy metal/core!

"Destroyer" gives the album an epic start with marching drumming, riffing, and a repeated chant of the word "destroy", rising from soft to powerful. The song is so original and interesting, and it sets the stage for the rest of the album. "Dying to Believe" is much rawer, bursting through the great gates of aggressive metalcore similar to Trivium. "Vice Grip" is a much stronger metalcore song than most of the album, and it's an excellent choice for the album's lead single; a catchy anthem about perseverance rebelling against opposition. "Crushed" is the album's second single, starting with a monk-chanting intro before turning a groove track with heavy guitars and drums. The lyrics are political but used in a powerful way, especially in the first verse.

"Fractures" is another good track with the band's earlier metalcore sound, but it's not personally interesting for me. "Writings on the Wall" is different from the rest with a soft symphonic marching sound and whispering vocals, all similar to some Mushroomhead ballads. I love that piano outro! The heaviness returns with a "GO!!" in the mid-paced "Bottom Feeder", starting with an interesting 30-second riff intro. The guitars, drums, and vocals are all in interesting interplay, especially in the gang chorus that makes that song a phenomenal track. "The Sound of Violence" has violent fury that sounds exciting for the band to play live.

"Vicious" starts with Eastern Asian-like melodies before entering the portal into the mid-paced metal realm. There's an interesting relaxing solo before a vicious breakdown. "Dedicated" shows the band's last bit of dedication to the earlier brutal metalcore. Winston McCall screams, "YOU CAN'T BREAK ME!" a few times throughout the heavy groove among other angry lyrics. "A Deathless Song" is a killer 6-minute finale, opening with an uplifting acoustic intro before the melody transcends into heavy overdrive. The lyrics are as epic as the song while having a few hilariously cheesy lines like "Let me be your drum of war and love." I still like it! The deluxe edition has a shortened version of "A Deathless Song" with guest vocals by Jenna McDougall of Tonight Alive, along with a couple other bonus tracks.

I kinda like the new direction in Parkway Drive's sound; keeping their metalcore roots while sounding less restrained due to the straighter addition of heavy metal elements. It's works nicely on most cases, but falls flat on its face in a few moments, like those funny cheesy lyrics in that last song. Well hey, you win some, you lose some....

Favorites: "Destroyer", "Vice Grip", "Crushed", "Writings on the Wall", "Bottom Feeder", "Dedicated"

G'day mate! Welcome to Australia, the "land down under"! I have a few friends who live there, in this website and in the outside world, but I hope they can survive the HUGE bugs and creatures that can eat you up and swallow you whole. Anyway, one of the best things in Australia for me are the bands, and one of those bands is Parkway Drive! I'm sure metalcore fans would think of this band whenever they think of even Australia itself. They've been dominating the metalcore scene in both Australia and America.

Atlas is Parkway Drive's 4th full-length album and once again might be an honorable mention for the top half of Parkway Drive's discography, possibly one of my favorite metal albums in 2012. I've been a Parkway Drive fan for a few months now and I can see their improving progression throughout their tenure which is kinda hard for a genre that hasn't been progressing. Their previous album Deep Blue is something different; a concept album with different production. Many fans love it while others hate it and prefer their first two albums. I'm in both of those fan categories! Either way, you're gonna love Atlas as much as their previous albums.

The intro track "Sparks" opens the album with a classical vibe; acoustic guitar over an orchestral march. Soon it starts building up in heaviness before crashing into the next track, "Old Ghost/New Regrets" begins the metalcore action with a killer 30-second riff/verse. That song's lyrics are about past war creating present atrocities in our world ("Bleed the earth, bleed her 'til her heart no longer beats"). "Dream Run" sounds really cool in the beginning rising from lo-fi to high-quality originality. "Wild Eyes" has epic background chants and a cool bridge. The lyrics continue the theme of was from the past causing atrocities in the world today, this time in an anthem that you can sing and shout along to. VIVA THE UNDERDOGS!!

Then it segues to "Dark Days" with lyrics about the sustainability on the Earth. Sounds cheesy but convincing! Next song, "The River" can be considered the long middle epic of this album, a bit like the previous album's "Alone", except there's a longer song later in this album. The intro sounds similar to that song's intro, this time with clean female background vocals. After that intro, the next couple minutes with the riff, verse, and chorus are a great blend of epic and extreme. More clean female vocals come later in this song. "Swing" really swings through the heaviness of their previous albums, continuing the theme of world issues, here about politicians corrupting the world. Make it turn or burn! "The Slow Surrender" opens like a song from the Don't Close Your Eyes EP, but it's much slower like as slow as a power ballad. The bridge has Winston McCall's vocals record-scratched up like a DJ, like WHAT?! I didn't think Parkway Drive would ever add anything the band can't replicate live!

The title track is more progressive, once again having the classical vibe of acoustic guitar over orchestral background. "Sleight of Hand" starts with a slow intro similar to a couple songs in the previous album, then we get into another killer verse riff. Once again we return to the lyrical theme of world atrocities in the past and present. In "Snake Oil And Holy Water", the verse riff is a more diverse flashback to the band's first two albums. "Blue and the Grey" is the true album epic, once again opening in slow dramatic orchestration behind the heaviness. Sometime after the 2-minute mark is a great chord progression of notes. It also has my favorite lyrics in the album, combining all of its present themes in a very poetic manner.

Atlas is an extraordinary album filled with great riffs, drums, and vocals. They really took the time to write note after note and lyric after lyrics, and even though they might sound similar to some songs in earlier albums, they still sound great when you really listen to them well. Both fans from the very beginning of the band and new fans will love this album. There's almost nothing that needs to be changed, and that's how much I enjoy this album. Parkway Drive is truly a metalcore powerhouse and with this album, they still managed to stay on top. This album is worth every single cent! However, we got a much different future for the band in our hands....

Favorites: "Old Ghost/New Regrets", "Wild Eyes", "Dark Days", "The River", "Sleight of Hand", "Blue and the Grey"

I would never exaggerate when I say that Parkway Drive is one of the most popular metalcore bands outside America. They have a highly original stylistic mix of catchy melodic riffs and aggressive brutal breakdowns perfect for moshing. After gaining global success throughout an EP and two albums, the band knew they had to continue doing what they do best; creating original music, going on relentless tours, and building a worldwide fanbase. Continuing the ante, they crafted a follow-up to the excellent Horizons, though that album can never be surpassed. Out of the deep blue rises the album Deep Blue, also known by vocalist Winston McCall as "The search for truth in a world that seems to be devoid of that." An honorable mention for the top half of Parkway Drive's discography, but the guitars and vocals wouldn't be totally same...

Like many bands wanting to improve their greatness, Parkway Drive continue improving their formula and while Deep Blue is not as supremely groundbreaking as Horizons, it's still a well-written album that can please both longtime and new fans. Deep Blue continues the band's superiority of phenomenal battling harmonies and almost perfect melody. Deep Blue has higher accessibility than previous Parkway Drive albums, maybe because they down cleverly written glorious yet gruesome (NOT in a death metal way) lyrics and instead sound distinctly unique with each song having an average 3-minute length.

The album opens with "Samsara", a smooth intro track setting up the tone. It starts quietly before a crescendo into heavy guitars and drums and the first of Winston McCall's vocals. Then it snaps into "Unrest" a short brutal song. Winston's growling vocals of angst for crowds to sing- sorry, SHOUT along as the chaotic instrumentation stomps through. Up next is the album single "Sleepwalker", which is nothing like the previous album's "Boneyards" while still having excellent riffing and amazing ending soloing. "Wreckage" is more calm and melodic than the previous songs so far, while still wrecking harder than a wrecking ball. The tapping after the midway point is so mesmerizing! "Deadweight" really packs a punch with its driving tone with soaring guitars and vocals.

"Alone" has similar elements than that other "Alone" song from the Bullet for My Valentine album; they're both the 6th and longest track in their 2010 third album considered metalcore. Coincidence?? Probably... Anyway, it blends riffing and vocals worth singing along to with a meaningful yet strange slow chorus. "Pressures" continues the catchy songwriting that comes to mind more than anything else in that song. "Deliver Me" is a brutal yet simple fan favorite to keep the live crowd energized. The next track, "Karma" is another album highlight with excellent riffing and a superb solo that would suffocate you with its technical aura before a monumentally memorable moshing breakdown.

The powerful anthem "Home is for the Heartless" can really drain some emotion. It's almost similar to the previous album's "Carrion" with a crowing sing-along chorus too nice to ignore. The third-to-last song "Hollow" is a recording of an old pre-EP song "Hollow Man", now with new and improved production and the chorus much angrier than in the original. That memorable song is so underrated! And now for the best song of the album, "Leviathan I"! It's a supreme anthem!! Why is this song never in live shows?! The music is absolutely superb, storming through a winning chorus with better vocals and percussion than anything else in this album. Finishing the album in a great bang while not being long enough is "Set to Destroy". Not bad, but what makes this song less powerful is the short length. The riffing is songwriting is interesting but, at a measly length of one and a half minutes, seems like a meaningless anti-climax.

It's interesting to see that with all this critical acclaim Parkway Drive has been receiving, the reception is kinda mixed in many of their albums. However in this album, the songwriting and sound is much more mature than previous albums. Deep Blue is a metalcore album that has proven how much good potential this album has its ideas can be leveled up. This is certainly not as super awesome as Horizons, but for anyone who likes heavy music and vocals, you got yourself a metalcore winner!

Favorites: "Sleepwalker", "Alone", "Deliver Me", "Karma", "Hollow", "Leviathan I"

Once again, it was my alt-rock loving brother who discovered Parkway Drive that made me interested in this band. He suggested that I listen to the song "Wishing Wells" from their new album Reverence. But that album was when they were heading into a classic heavy/alt-metal direction. So I listened to that song along with "Boneyards" from one of their metalcore albums, Horizons (this one!), and while they're both great songs, I definitely love "Boneyards", which I'll talk about later in this review.

It is actually almost the entire Horizons album I love. Horizons is one of my recent favorite metalcore albums! Those Aussie metalcore guys have reached global fame with this album, beginning their tradition of anthems that would never be abandoned.

The album begins with the intro prologue "Begin", featuring nice ambient guitar over drum shuffling. A nice one-minute intro to set the mood! Then it's on to the first actual song, "The Sirens’ Song" featuring a shredding intro to take you through a hyperspeed metalcore rollercoaster ride. The greatest rollercoaster ride of 2007 besides the first Phineas and Ferb episode! The audible bass prepares for a brutal harmonic breakdown at the end. "Feed Them To The Pigs" is a song worth moshing, starting fast-paced before a fun groove slowdown. Then the fast tempo comes back to continue assaulting the listener. It makes you want to move with the drums, bass, guitars while fearlessly avoiding losing the heavy path. The massive impact of "Carrion" makes thousands of metalheads in the audience shout along from beginning to end. It has heavy fury together with incredible melody, combining into an emotional mix. The growls of angst from Winston McCall and beautiful guitar melodies from Jeff Ling will keep you headbanging even at the album age of over a decade.

"Five Months" sounds like a mix of two other metalcore bands, Misery Signals and Unearth, in a great way of course. The guitarist leads the band through high notes and progressive tremolos. Breakdowns are more evident, while the varying hooks are something to love. The screaming vocals are haunting yet catchy ("The hours have become irritations!!") After all that heaviness, there a nice soft clean part with no need for singing melody. Then the whirlwind of powerful melody comes back. The aforementioned "Boneyards" is indeed a brutal bruiser with urgent uptempo bursts! A killer flashback to the heaviness of their debut! The finger tapping in "Idols & Anchors" is a great reason why that song is a fan favorite. "Moments in Oblivion" is a great moment to feel like you're on a pirate ship in Arctic oceans. The time changes and grooves range from fast to slow, from relentless to soothing. But don't worry, there's most brutality to come.

The more technically advanced "Breaking Point" has more shredding and finger tapping action as the pirates end up in an Arctic ocean battle with the vikings. However, the song itself is has a little more repetitive feel while keeping the hostile environment and heroic guitars. "Dead Man's Chest" starts as a slower sludgy song with deep riffs and monstrous vocals before picking up speed. The pirates manage breaking into and take back what the vikings stole, the Dead Man's Chest! "Frostbite" is still as great as the rest of the album, but I can't really get into it. The melodies and fast parts are too distant for me. Most of the pirates suffer from the Arctic frostbite. However, the title track finale has everything including hardcore grooves, uplifting melodies and gang shouts, making it one of the most epic metalcore songs ever heard. Bring me those Horizons!

There are only a few albums that can really push the boundaries of metalcore in both the metal and hardcore sides, all in fun and heavy value while in mesmerizing technical power that's difficult to match, and one of those albums in Horizons. There are many other metalcore bands I enjoy, but the one I think is the closest in value and power is August Burns Red. Besides this album and the August Burns Red album Constellations, there's no other metalcore album that can blend beauty and chaos so flawlessly. Horizons is indeed a perfect metalcore album. More horizons await!

Favorites: "The Siren's Song", "Carrion", "Five Months", "Boneyards", "Dead Man's Chest", "Horizons"

Formed in Byron Bay, Parkway Drive began their metalcore journey with two EPs, a split CD with I Killed the Prom Queen and their own EP, Don't Close Your Eyes. After those two EPs, they were all set to record their first full-length and, thanks to Adam Dutkiewicz (Killswitch Engage) in production, it really started their path to fame. Killing With a Smile gave them a huge ongoing fanbase and established the band to be one of the greatest metalcore acts outside America. But why is it so good?

Killing With a Smile was released in 2005, right before deathcore exploded into the face of metalcore shortly afterwards. Surprisingly, most of the members were never really influenced by metal at that time. For a band like that, they can remarkably understand metalcore and do their best to match it.

The opening track "Gimme A D" hits you hard with their prevalent attitude of wrath. It has all that listeners can be ready for; fast riffing, solid drumming, fantastic screaming, and heavy breakdowns. They have it all! "Anasasis (Xenophontis)" merges inventive riffing with brutal vocals. In the breakdowns, crushing guitars and vicious vocals make sure to maintain the melody in front, a common trait. "Pandora" is another high-quality metalcore song, but they wouldn't hit their stride until the next track. "Romance is Dead" is a 5-minute fan-favorite and a fine Parkway Drive moment. It's a true metalcore gem in every quality a metalcore song can possibly have plus the band's unique furious sound and attitude.

Momentum is gathered to attack the listener with "Guns for Show, Knives for a Pro", referencing a quote from the film Lock, Stock and Two Smoking Barrels, and sneaking in a quote in the first 10 seconds from another film Die Hard 2, "Yippee-ki-yay, motherf***er." That song is short but a heavy hitter. And when the song stops abruptly, you think it's over, but BOOM!! One more brutal breakdown hits you in the face! Taking things further than in their EPs, "Blackout" sounds closer to deathcore. "Picture Perfect, Pathetic" sounds a bit pathetic at first when reusing riffs from other metalcore bands, but the extreme heavy breakdown is wicked! "It’s Hard To Speak Without A Tongue" is a standout track beginning with a simple clean guitar riff before drilling drums and thunderous bass come in followed and impressive solo-like melody. The melody fades into a quieter riff to fit it with the growling. That melody is used again the chorus section. An unusually well-balanced song for Parkway Drive!

"Mutiny" begins with another film quote sample, this time from Pirates of the Caribbean: The Curse of the Black Pearl, "The deepest circle of Hell is reserved for betrayers and mutineers." It's a good song with great songwriting and riffing. Another fan favorite "Smoke 'Em If Ya Got 'Em" was re-recorded from the Don't Close Your Eyes EP, now with better production and more intense sound. Once again, it sums up everything the band has; crushing riffs, heavy breakdowns, melodic leads, technical drums, and emotional intensity, the latter especially in the ending lead and riff. "A Cold Day In Hell" (not to be confused with the Winds of Plague demo EP) has a catchy lead/riff.

The technical drumming and solid vocals fully showcased are what Parkway Drive is known for, whereas the breakdowns and rough lyrics might not be at its best for most people. But with the album's overall hard energy, every metalhead should give it a listen. A killer metalcore starter pack!

Favorites: "Gimme A D", "Romance is Dead", "Guns for Show, Knives for a Pro", "It’s Hard To Speak Without A Tongue", "Mutiny", "Smoke 'Em If Ya Got 'Em"

Australian metalcore band Parkway Drive started their career with two split EPs; one with I Killed the Prom Queen, and the other with bands Think Straight and Shoot to Kill. After reviewing the latter release, I've realized that I still haven't done the same with their first non-split EP, Don't Close Your Eyes. Considering what a heavy brutal EP this is, having paved the band's way to their first two full albums, I knew I had to share my thoughts about like I had with every other release by the band...

Parkway Drive was formed in Byron Bay and named after the street they lived in, aspiring to connect hardcore and metal together like any other metalcore band. I guess you can say the rest is history, but again I promised myself to talk about this piece of history and what I think of it.

The intro track "..." is certainly a frightening intro in the atmosphere. Asuka from The End of Evangelion repeatedly whispers "I don't wanna die, I don't wanna die..." with voices creeping up behind her, leading up to a final scream, "I DON'T WANNA DIE!!!" Then enters "Smoke 'Em If Ya Got 'Em", in which vocalist Winston McCall yells "DIE! DIE!! DIE!!!" almost like he segued flawlessly from that intro. This fan favorite was re-recorded for their debut album Killing with a Smile. It sums up everything the band has; crushing riffs, heavy breakdowns, melodic leads, technical drums, and emotional intensity, the latter especially in the ending lead and riff. Next track "Dead Dreams" starts with the message tone beep of an old Nokia phone then launches into relentless heaviness, though it can't beat the previous track. The usual catchy breakdown comes in with Winston's vocals, though the lyrics of drugs and loathing seem to be unfocused. "Flesh, Bone and Weakness" can very be my favorite song in the EP. Haunting bass kicks in followed by the drums. The growls and harmonic singing (the latter by then-bassist Brett "Lagg" Versteeg) work well for a melodic spice-up that might remind some of Evergreen Terrace. Awesomeness continues to be found in the catchy yet heavy breakdown, along with more of the audible bass riffing.

After all that chaos, the relaxing guitar interlude "The Cruise" can be played at the beach. "You're Over" is another one of the best songs of the EP and the band's early career. The sound is filled with different layers that end with another deep pulverizing breakdown. Now, "Looks Like Yoda"... The metalcore Force is strong in this one. Played live, it can be. So heavy, breakdowns are, but melodic, guitars are. Hmmm... Fast, the drums pound, and brutal, the vocals sound. OK, enough with the Yoda talk! I must admit, the song is a bit repetitive, but it's still great. The title track ends with another metal track memorable until the end of time. Lots of fast extreme bass and drums to fill things up.

The 2006 reissue comes with some bonus tracks, the first two of which are from the band's split EP with IKtPQ, starting with "I Watched" that is a must-listen. Though not as much as "Swallowing Razorblades". With some of the most brutal riffing from the band and more of Winston and Lagg's vocal contrast, it would be hard for Parkway Drive to make an awesome song like that again. You already know what I think of the What We've Built songs, so I'll say no more there. One more track, "Hopeless" is also very solid.

So yeah, "Don't Close Your Eyes" is pretty great for a true start of the band's catalog. With its powerful energy, it's no wonder the release has reached the Aussie album charts. If you enjoy heavy metalcore, you should definitely check out Parkway Drive, starting from this killer EP and working your way through the rest....

Favorites: "Smoke 'Em If Ya Got 'Em", "Flesh, Bone and Weakness", "You're Over", "Don't Close Your Eyes", "Swallowing Razorblades", "Hollow Man", "Hopeless"

When you switch your music taste out one part of a style to another part, some of you might completely forget about that part and focus entirely on the new one. That's a little sad because you would no longer think about the one thing that started your entire interest and shouldn't be taken for granted. Well even though I'm already into the modern progressive/melodeath/metalcore taste, I feel like I shouldn't completely leave behind the one power metal band that started my entire metal interest, and that band is...DragonForce! Formed in the same year I was born and the same year my current favorite band Trivium was formed, 1999, out of the ashes of Demoniac, who are from New Zealand rivaling to the melodeath/black/power metal sound of Children of Bodom at that time, DragonForce has their own extreme signature sound. NOT the kind of extreme usually heard in a Finnish-like melodeath/black metal style (though a few of those elements would be more prominent in a couple songs from their previous album Reaching Into Infinity), but a more extreme expression of the power metal likes of Helloween, along with a few other of my favorite power metal bands at the time; Gamma Ray, Stratovarius, and HammerFall, and even late 80s heavy/power metal band Nitro. DragonForce did it faster and fancier, complete with a cartoonish stratosphere.

For years, DragonForce has been given an equal balance of criticism and praise, and the guitarists have probably overthrown Kai Hansen as the Guitar Heroes, especially when their songs ended up in Guitar Hero with thousands of players of that game pushing their skills to the limit trying to play those songs. However, there are some metal purists who dismiss the band thinking they're a parody of power metal whose guitar shredding is fake. But it's NOT fake, it's real!! That controversy caused the end of the earlier ZP Theart era. ZP Theart was the South African former vocalist of DragonForce, and when he was with the band, the sound was right at a less accessible but more successful level. Of course, we have the lengthy guitar battles between the two founding guitarists Herman Li and Sam Totman and the synth sound made by keyboardist Vadim Pruzhanov (who recently left the band and that's why he's not in this album), bridging together metal and 8-bit video game soundtrack similar to Machinae Supremacy, but most of the songs from those earlier albums go over the 6-minute mark. With the exit of Theart and the entry of Marc Hudson, the sound became more restrained with accessible songwriting and more songs under the 6-minute mark than over, while being equally balanced with the usual wild technical tempos and shredding. This album, the band's eighth album and the fourth in this new era, is where they really find themselves, hence their style and this album's name, Extreme Power Metal!

The album kicks off in a glorious start with "Highway to Oblivion". After a beautiful one-minute synth intro with Hudson's vocals, the guitars come in, and then BOOM!! We go right into the song itself reminiscent of the band's mid-2000s sound; an almost 7-minute cruiser blending melodic greatness with speed metal riff-rage, bringing back some Inhuman Rampage nostalgia. I personally think that's the band's best song since "Through the Fire and Flames"! The next song "Cosmic Power of the Infinite Shred Machine", despite the long title, also has said mid-2000s sound but cooler musicianship and measured songwriting along with symphonic synths similar to Rhapsody of Fire and Epica. Oh wait, it IS Epica! ...Kind of. Epica keyboardist Coen Janssen steps in as a temporary member for this album, giving many songs here a more epic touch. Then after a small orchestral verse, then it's one and a half minutes of blazing video game synths and a bit of guitar shredding, mixing metal with Darren Porter-like trance. Right after that, the solo crashes in, activating the Shred Machine! More of the musicianship and songwriting come in with "The Last Dragonborn", an epic ballad which, as you can probably guess, is directly about Skyrim. Janssen continues to shine his keyboard skills with Japanese-inspired orchestration over crushing groove riffing that might as well turn this into a Kamelot song. But the intro riff sounds a lot like the one from "Rise of Evil" by Sabaton.

"Heart Demolition" is a more mid-paced structured song with an 80s rock sound mixed with their usually power metal. I'm guessing they're a little inspired by their spin-off band Power Quest. I use to also like Power Quest as much as DragonForce, so I'm all in for that. "Troopers of the Stars" starts with a brutal blast-beat thrash intro, then the vocals come in a verse a little similar to Japanese anime rock theme music (for example, Asian Kung-Fu Generation), and the rest is a nice typical DragonForce song. "Razorblade Meltdown" is another song that looks back at the past, but with more energy and strangely different lyrics, including a bit of Finnish swearing in the verses. Does that count as the first DragonForce song with swearing? Maybe, but I heard once that the band never usually add swear words to their lyrics and "swearing isn't epic" or something like that. "Strangers" is a mid-tempo song that once again comes out as an 80s-inspired power metal song similar to Power Quest and Galneryus. The robotic choral vocals are a little odd and probably not the best for longtime DragonForce fans.

"In a Skyforged Dream" really packs a high-octane melodic thrash punch. I guess you can consider this song a sequel to "Land of Shattered Dreams" (from Reaching Into Infinity) because of its similar song title and vibe. "Remembrance Day" is another tear-jerking ballad, once again reminiscent of Sabaton, this time lyrically. The lyrics are a tribute to soldiers who have fallen in wars, and an epic uplifting chorus that is a little like adding "Fury of the Storm" vocals to the last 30 seconds of "Ants of the Sky" by Between the Buried and Me. The bagpipe intro made me think of that Alestorm cover of the Scottish song "Flowers of Scotland". Also, that verse right after the solo is far more epic than anything DragonForce has ever done. What's really amazing is the band's cover of the Celine Dion hit song "My Heart Will Go On". After a 30-second 8-bit intro, the chaos booms in as the band plays the cover, sounding nearly twice as fast as the original Celine Dion song! That's way better than their cover of "Ring of Fire" by Johnny Cash from Maximum Overload. The Japanese edition bonus track "Behind the Mirror of Death" features the last contributions from bassist Frederic Leclercq before parting ways from DragonForce; his lyrics and songwriting, his own guitar solo, and awesome bass work. Also, that chorus sounds a bit like the one from "The Tower" by Avantasia.

Throughout the band's 20-year existence, they have made a unique run through their similar yet signature sound of speedy power metal. But I have a feeling that sometime after this album, this second 4-album era would come to an end and a third era would start. The band is on a search for a new bassist and keyboardist or someone who can play both instruments, since the band still has no permanent keyboardist and Leclercq is out of the band. Now that I think about it, Leclercq has quite an over 25-year metal history. Before DragonForce, he was in another power metal band Heavenly. Recently, he formed blackened death metal side-project Sinsaenum. And now he's with Euro-thrash legends Kreator! INCREDIBLE!!! Yeah, he left DragonForce to join Kreator. It's been an extreme joyride so far, but soon will be a whole new decade, and the band will eventually find a couple new members. Will a new third era commence? I don't know, but we will have to wait for the fate of the heroes of EXTREME POWER METAL!

Favorites: "Highway to Oblivion", "Cosmic Power of the Infinite Shred Machine", "The Last Dragonborn", "Troopers of the Stars", "In a Skyforged Dream", "Remembrance Day", "My Heart Will Go On"

If you've already read my earlier Make Them Suffer reviews, you know what I think of Neverbloom, their kick-A debut despite some slight repetition that is probably my favorite album to be considered deathcore. But in Worlds Apart, they ditched their symphonic blackened deathcore for a more dominating progressive metalcore sound.

One notable part of the sound that sets this album apart from the previous Make Them Suffer albums is the style of riffing. Their Emperor-influenced aggression is barely even present anymore, having been mostly replaced with Architects-esque riffs that are never bad at all. Those new riffs ranging from melodic to heavy to djenty can successfully dominate. They do their job well and never repetitively. Take that, other metalcore/deathcore bands!

"The First Movement" is not an intro movement at all, unlike in other albums. It's...well, the chorus sung by new keyboardist/vocalist Booka Nile explains what the song is, "It was a beautiful song, the first of many to come , but meant the start of a bond, precious only to one". Indeed, that heavy yet beautiful song is a great hint to the progressive metalcore sound coming up in this album. "Uncharted" has hyper-melodic energy. "Grinding Teeth" is full of grinding riffs, stellar keyboard atmosphere, and crystal-shining female singing. Booka's vocals are much more commonly used than Louisa Burton's vocals in the previous two albums.

If you pay close attention to "Vortex (Interdimensional Spiral Hindering Inexplicable Euphoria)", the part where vocalist Sean Harmanis screams "A-A A-A-A A-A-A-A A-A A", that's actually Morse code for the subtitle's acronym "ISHIE". Cool, right?! The slight Deftones-ish shoegaze influence can be heard in "Fireworks". CAN YOU BRING THEM?!? The soft ambient symphonic intermission tradition continues with the interlude "Contact". Then it segues to "Power Overwhelming" with overwhelming djent power.

After that is the groove-ish "Midnight Run". Next song "Dead Plains" starts soft with mysterious ambiance to open a fresh atmospheric dimension, then the dynamic instrumentation and screaming kick in to help with the variation. "Save Yourself" is the album's epic closer. It is another great way to recap an album with djent-core instrumentation, exquisite growls and screams, and rising female cleans, the latter making that song a more complete closing recap than the one for Neverbloom. Ending that song is an amazing preacher-like spoken word section over more of those female cleans. A massive ending!! SO D*MN AWESOME!!!

You never expect a lot of bands to have greatness excelling in every album, but Make Them Suffer is definitely like that. Every member has great musical talent proven by the album's sparkling production. If you love symphonic/progressive metalcore, I absolutely recommend this album for you!

Favorites: "The First Movement", "Vortex (Interdimensional Spiral Hindering Inexplicable Euphoria)", "Fireworks", "Dead Plains", "Save Yourself"

SOULS. Whenever people see the title of an album or anything that ends with the word "Souls", they immediately of the Dark Souls video game series and its prequel Demon's Souls. Those games are great and the best and all but...f*** it, people! Can't we focus on something else that's great?! The second Make Them Suffer album Old Souls!! Though their music would make a good soundtrack for that game series...

Old Souls is as f***ing amazing as what video gamers think of the Dark Souls games, but it can't beat its predecessor Neverbloom. Their debut album still reigns with heart-felt emotion, brutalized epicness, and glorious intensity. Sadly, many Make Them Suffer listeners only cared about a few great songs enough for the band to continue playing those songs live today. Neverbloom is such as underrated album and I hope they play it entirely for its 10th anniversary tour a couple years now. Anyway, Old Souls is full of songs you can never forget, despite having less of the epic nature from Neverbloom.

The slow melancholic instrumental "Foreword" combines piano and strings, once again having the same epic vibe as Audiomachine/TSFH, except for the deep screams of Sean Harmanis. Then it blasts off into "Requiem" initially sounding like symphonic black metal with its blast beats before gnawing down into killer symphonic deathcore to die for. Then there's "Fake", which is never fake. It's a real punishing song with sharp riffs and menacing views towards hypocrisy and indoctrination that basically say "To h*ll with religion!" A great standout! Next song "Let Me In" has more melodic vocals and emotive lyrics in an effective tale of the throes of redemption. The lyrics are similar to their debut, but their music ain't! Keyboardist Louisa Burton continues her clean singing in more common usage than in Neverbloom.

"Threads" has some more of their earlier brutal delivery. "Through The Looking Glass" is a good break from relentless aggression as a calm electronic-orchestral interlude. You have a bit of time to catch your breath before you get hurled back into the glorious modern metal. "Blood Moon" is a mysterious track with more of Burton's clean vocals.

"Scraping the Barrel" has solid vocals in a mentally stable range from low growls to high screams, making that song another standout. Same with "Marionette" where Harmanis' unclean vocals fit well with Burton's cleans. Burton takes full stage in "Timeless", both in the keyboards and vocals, making this an interesting dynamic song. Finally, the title track has Harmanis and Burton growling and singing together over epic extreme instrumentation, sounding like a heavier brutal Nightwish.

Make Them Suffer have done another great album! Old Souls continues the poetic lyrical nature, driving blast beats, and symphonic/orchestral elements, now towering over the earlier growls and breakdowns for a more interesting soundscape. Many of the songs maintain the fast neck-twisting pace. The emotional intensity is mixed well with the top-notch production. The album might even have more layers and textures than many other metal albums out there. There's so much to love with these 40 minutes. Stop living under a f***ing rock, you can't miss this!

Favorites: "Fake", "Let Me In", "Scraping the Barrel", "Marionette", "Old Souls"

If people are gonna hate deathcore for its unoriginal blend of death metal and metalcore, they should at least try a hybrid between that genre and other influences. One of those hybrids is symphonic deathcore, with bands such as Winds of Plague and...oh yeah, Make Them Suffer!

With the deathcore scene rising and the metal community protesting over that scene because of lack of variation and talent, it can be hard for a deathcore band to actually get people to enjoy the genre. Australian band Make Them Suffer knows just what to do try to get some metal purists to give deathcore a try. The symphonic deathcore idea has already been created by Winds of Plague, but Make Them Suffer really unleash it to the world with a mind-f***ing gem, their debut Neverbloom!

The album starts with a calm symphonic "Prologue" complete with grand piano. It is the Audiomachine/TSFH-esque symphonic calm before the brutal storm. Then it fades away... and explodes into the massive title track! It starts with actual riffing instead of just the overused breakdown. The song is so epic and brutal, and even though it still has the breakdown, the one used in this song is the best in the entire album. There's a lot to progress in this 6 and a half minute monster (a couple more of those long epics would appear later in the album). I love how the bass doesn't cause the rest of the music to be heavily distorted. The piano is also great! It sounds so real, even though it's probably just the electronic keyboard. Keyboardist/pianist Louisa Burton is really talented, offering great soft piano contrast to the deathcore breakdowns and riffing, playing actual piano melody instead of just a few keys. She also provided background vocals in this song, similar to Skillet drummer/vocalist Jen Ledger in their album Awake. Both her piano and vocals add the melodic beauty of their sound. That epic has the essence of perfection! Next song "Morrow (Weaver of Dreams)" has a formula that would be followed later on the album. It has perfect groove-influenced. Once again, piano blends well with the riffing. The bass is really great as well. Excellent song! "Elegies" follows that formula, this time adding poetic songwriting never before heard in deathcore, a genre plagued by sh*tty generic lyrics. The vocabulary is quite large, not just swearing but also a great deal of fantasy terms usually heard in symphonic/power metal.

"Maelstrom" is an absolute f***ing storm of epic and extreme, and I'm not saying it like a brown-nosing fanboy. This is more true epic deathcore power! A breakdown here might seem simple but it's another one of the most powerful in the album. It is the second of the three 6 and a half minute epics. Once again, the lyrics are so poetic that they can be published as poetry without the music. Those beautiful poetic lyrics are brutalized by the powerful screams of lead vocalist Sean Harmanis with a mighty voice ranging from black metal shrieks to death metal growls. The guitar work here is incredible too. The drumming is great, but it drowns out the bass. "Oceans of Emptiness" is another little calm symphonic interlude that serves as a great break from the brutality. Louisa Burton once again sings a bit of soft clean vocals. "The Well" continues the same formula; groove-ish riff-wrath, powerful breakdowns, blast beats, and well-played piano.

"Weeping Wastelands" was re-recorded from their brutal demo EP Lord of Woe, and is the band's longest song at nearly 7 minutes. It's not as special as those other two epics (the title track and "Maelstrom"), but it's still listenable by any means. Album highlight "Widower" has great use of metaphorical imagery in the lyrics combined with instrumental atmosphere. It truly is a descent into nightmarish chaos! In the distorted keyboard intro, you wake up in the weeping wasteland from the previous track having no clue what happened that caused the disaster. Then your memory comes back into your mind in clarity and terror as the music starts with Harmanis screaming "WILL YOU REMEMBER ME?!?!" beginning a vortex of desolated despair. The technical drum speed and ability is best presented in the epic closer "Chronicles". The song itself pretty much summarizes the entire album, taking pieces of everything from previous songs and putting them all into an epic extreme cauldron in just 6 minutes. 6 minutes of epic symphonic deathcore glory! Too bad the female vocals don't return until the next album. Then throughout the ending climax, it sounds pleasantly similar to the title track, and the outro matches the intro, stirring up the theme of everything ending where it began. What an epic ride this has been!

Overall, Neverbloom is a fantastic display of what the band has in store, and they helped deathcore continue going the right direction. The symphonic elements are excellent, never out of place, and they use actual riffing so they don't have to keep monotonously overusing breakdowns. The vocals are great, so are the guitars, the drums are good, and the bass is excellent though needed to take the spotlight more. Their band name is cool too, but they kept insisting that it didn't come from the similarly titled Cannibal Corpse song, much to some belief. Great album worth listening to for some of the most epic deathcore in the world!

Favorites: "Neverbloom", "Morrow (Weaver of Dreams)", "Maelstrom", "Widower", "Chronicles"

HA!! You didn't think I would forget which music video my alt-rock-loving brother recommended I watch and listen that made interested in this band, did you?! Well I'll tell you now before we go deep into this review. That video is "Stabbing in the Dark"! I care more about the music than the videos, so I skipped the video and went onto the song which is incredible! There's also a recent acoustic version featuring Matt Heafy from Trivium whom I think would fit better in the originally heavy version. Anyway, enough personal talk, let's get going with the review!

Ice Nine Kills' previous album Every Trick in the Book gave the band more success than they ever had in previous albums, taking classic dark literature and revamping into modern metalcore. Now the kings of theatrical metalcore are back, with The Silver Scream, an offering of songs based on horror films. This approach is more challenging and easier at the same time. Movies have a more clearly distinct tone than novels because the music can really fit well with the visuals, almost enough that it should've been those movies' soundtracks. This might be less of a challenge for Ice Nine Kills, but that's good because it's easier for people who are more familiar with films than novels to see the band's love for films. So with this delicately balance of talent and skill, did Ice Nine Kills achieve this? The Silver Scream! Coming...right now!!

"The American Nightmare", based on A Nightmare on Elm Street, opens the album with advise about sleep in a radio broadcast, waking you up in a hospital after a long coma following that encounter with Carrie at the end of the first part of this story (from my review for Every Trick in the Book). During the insistent drum beat with smooth vocals by Spencer Charnas, you notice a doctor looking over you. When the loud fast guitar riff and screaming vocals come in, the doctor reveals himself to be Freddy Krueger! The high-speed beat, hooks, and vocals alternating between Charnas and Justin DeBlieck create an otherworldly vibe as Krueger chases you through the hospital maze. Another strong solid album start! You outrun that deranged killer and escaped the hospital. Once your memory gets clearer, you realize it's FRIDAY THE 13TH!!! ("Thank God It's Friday") That's right, it's October 13, 2017! The song continues the tempo and execution in epic chaotic atmosphere, as you end up in a summer camp and get chased through there by Jason Voorhees, until you fall down a gorge and get knocked out. Then you get waken up by a clock ticking and bells in an insane asylum on Halloween ("Stabbing In The Dark"), where you learn that there's a violent villain out to kill patients in the asylum until he finds his target. After the music transits from soft and beautiful to a brutal onslaught of growling vocals, intricate guitars, and heavy drums, you realize...YOU'RE NEXT!! You get chased again by Michael Myers, but you outrun him and escape the asylum. After that, you find out that you're in Texas, but you don't know that someone's spying on you (hint: the camera shutter effect that starts "Savages"). This song, "Savages" is less obvious in the horror inspiration, but if you're a true horror film fan, you might get that this is based on The Texas Chain Saw Massacre. Once again in the loud intensity, you get chased around Texas by Leatherface, but then you trip on a rock and knock yourself out.

You wake up, all chained up in a large bathroom with another man (Randy Strohmeyer of Finch). Despite the chaos of the song "The Jig is Up", based on Saw, it's actually the weakest point of the album, with a lot of elements mixed together like a jigsaw puzzle without any focus on actual strength. At least they captured the atmosphere of Saw successfully. The Jigsaw Killer orders you and the other guy to battle to the death, and the winner gets to escape. Fortunately, the other guy is a master hacker and assassin, so he hacked into the system, takes Jigsaw's remote and shocks him with the remote, and escapes with you. "A Grave Mistake" is a tender emotional power ballad based on The Crow. In a plot twist, the guy tagging along with you reveals himself to be Eric Draven who is revived to find the murderer of his wife and avenge her. He offers you to help him, and you accept it on the condition that you protect from anymore attackers. You reach the Atlantic coast of Texas and sail away on a boat. "Rocking the Boat", based on Jaws, features original member Jeremy Schwartz, name-drops all of the band previous albums and The Burning EP, and has a killer metalcore breakdown. A murderous shark attacks the boat you're sailing on, but fortunately your assassin partner, who is a professional shark hunter, blows the shark up with an RPG. You both decide to return to the coast and travel to the Rocky Mountains where you find the remote Overlook Hotel. "Enjoy Your Slay", based on The Shining, was originally released a year before the rest of the album, featuring film director Stanley Kubrick's grandson Sam Kubrick. But then you both find out that one of the residents, Jack Torrance is trying to find his family to kill them and is killing other residents. Jack kills your assassin partner and chases you out of the hotel in an early December snowstorm. Fortunately, you have some snow clothes and put them on before heading out in the freezing cold, misleading Jack who didn't care about what he's wearing and ends up freezing solid. You climb down the Rocky Mountains and continue your journey.

You end up in a town of outcasts each waving high their "Freak Flag" which, based on the Rob Zombie-directed film The Devil's Rejects, is the simplest song here, but still a good Revolution anthem. The catchy powerful chorus empowers the audience to sing their lungs out. Love at first listen! The Devil's Rejects is more of a gothic horror film, causing this song to be a nice break from the slasher destruction. But then slaying the matriarchy is Edward Scissorhands (Tony Lovato of Mest) (the emotionally beautiful "The World in My Hands"). He decides to tag along to protect you. Then you both find out it's Christmas! "Merry Axe-Mas" is based on Silent Night, Deadly Night, and filled with jingling bells, hard fast music, growling vocals, and heavy guitar riffs, in contrast the upbeat melodic chorus, as Edward fights "Killer Santa" but ends up losing that fight. You run off before Killer Santa could have the chance to find you. You're stuck hiding in a dark alley alone until someone bites you, it's a werewolf girl (singer/actress Chelsea Talmadge)! "Love Bites" is the actual ballad of the album based on An American Werewolf In London, with a nice catchy chorus. Then the full moon appears and you turn into a werewolf, forming a werewolf duo, you and the wolverine girl. You are now ready for the final horror...

The final song is the chaotic crown of disturbing glory, "IT is the End", and I think you already know what it's based on. It has many elements but they're used much better and features a few final guest vocalists, Peter "JR" Wasilewski and Buddy Schaub of Less Than Jake and Will Salazar of Fenix TX. It is indeed the craziest and most horrific of the album, and I love it! You notice a boy named Georgie talking to a Pennywise the clown in the sewer drain. Pennywise bites Georgie's arm and drags him into the sewer, and you and the werewolf girl tag along with them. You find an underground sewer circus arena, where you are surrounded by all the villains from the scenario of this review and the previous one; the Animal Farm rebellion, Dracula, the cannibal zombies from the plane wreck, the angry mob of Romeo and Juliet's feuding families, the war soldiers, Carrie, Freddy Krueger, Jason Voorhees, Michael Myers, Leatherface, the Jigsaw Killer, Jack Torrance, Killer Santa, and Pennywise. Throughout the epic ska-metalcore chaos, you and the werewolf girl end in a brutal battle against all of those villains, and during the climatic post-chorus finale, the only villains that haven't been slain are Dracula, Carrie, Killer Santa, and Pennywise. Killer Santa stabs you and the werewolf girl each through the heart, reverting both of you back to normal. While the now normal girl bleeds to death, you're still alive but still bleeding. Pennywise bites your limbs off, Dracula drinks your running blood, and to finish you off, Carrie mentally stops your still beating heart. You lost your life and the villains prevail... Then you wake up in a movie theater. That two-review scenario was all just a nightmare, and you slept through a horror film. You start heading towards the theater exit, glad that the nightmare was over...OR WAS IT?!? (see front cover)

Well that was an epic scenario I've just made in this review and the previous one, but this album is epic as well! The Silver Scream has everything to define the sound of Ice Nine Kills, and it continues building up the elements from Every Trick in the Book into a monstrous feast. The Silver Scream is way more of a complete horror soundtrack than just an album. If you love Ice Nine Kills, heavy metal, and/or horror films, this album is definitely for you, though I'm not into the latter subject. Enjoy this slay!

Favorites: "Thank God It's Friday", "Stabbing in the Dark", "Rocking the Boat", "Freak Flag", "Merry Axe-Mas", "IT is the End"

It's gotta be an amazing feat to adequately adapt classic literature and revamp them for a modern metalcore album. The immense mystique to too difficult to compare. First you read the novel, then you watch its film adaptation once it comes out, and you're so tempted to see find out what other possible way to adapt a novel without having to write a full story or act it out. Thankfully, you don't have to make a film to retell a great novel. Music is an underrated capability to adapt great stories into greater modern works of art. Ice Nine Kills has done every trick in those books to make the haunting books-turned-into-songs album, Every Trick in the Book!

Back in the 2000s, Ice Nine Kills was originally a hybrid of ska, pop punk, and post-hardcore. In the 2010s, their sonic identity became fast theatrical metalcore. The hard work making this masterpiece really paid off, causing the band to headline a couple Warped Tours and currently sit in the main roster of Fearless Records after years in the self-released underground. With this album, you get to hear the best literature you had to read in middle school, composed into enjoyable new-generation metalcore.

The story begins in an Animal Farm, the inspiration for "The Nature of the Beast". A circus ringleader (lead vocalist Spencer Charnas) invites you to the act that opens the album. Spencer and co-frontman Justin DeBlieck sing the evocative chorus for the first time, as you begin to realize that the audience aren't people, they're animals! As Spencer begins his screaming, the ringleader reveals himself to be a wild boar, and you've been tricked into a trap by the animal rebellion. Throughout the twisting and turning epic chaos, the animals chase you all over the farm, determined to seize control and destroy any humans who get in their way. A compelling start to the album! You manage to outrun the animals and escape the farm, then you find a little girl who looks lost ("Communion of the Cursed"). Right when you're about to ask if she needs help, the heaviness begins when you find out that the girl is possessed by a demon! The devil is in the frightening details of this track. The unclean screams segue into a strong clean chorus and a punishing breakdown. During all that, while being chased by the demon girl, you find a couple priests in a church who offer to help exorcise the demon. You accept the offer and despite the demon-girl's (screaming) demand, "I CANNOT BE CRUCIFIED!!!", they crucify her and exorcise the demon out of her. You thank the priests and continue your journey with the girl who's now back to normal by your side. Next location: Transylvania ("Bloodbath & Beyond")! The band puts a unique twist into the story; Dracula is a young brooding vampire similar to Edward from Twilight though slightly younger and the girl's "boyfriend". You'll see why I added quotes to that last word in a second. The girl and young Dracula kiss each other, the girl being unaware that it's actually a "crimson kiss" to poison the girl to death. The superb drumming travels through the great choruses and ravaging near-end breakdown. During that breakdown, you get chased by Dracula but you outrun him and escape his castle.

Then you find a plane wreck with dead bodies...or ARE they dead?! ("The Plot Sickens") The vocals switch from unclean to clean, from low to high, in rapid pace. The "dead bodies" wake up and are actually cannibal zombies threatening to eat living humans, all repeated the line "We'll make it out alive", even though they're half-dead. You manage to outrun the zombies and make it out alive. Then you end up in a medieval kingdom and find one of two "Star-Crossed Enemies", Juliet, who tells you that she wants herself and Romeo to "make like shadows and disappear". Juliet asks you to find some crimson blood to add to a potion drink to hypnotize Romeo into falling in love with her. Fortunately, you have some crimson blood stained on your sleeve and let it drip on her drink. Unfortunately, you forgot that's the same blood from Dracula's poisonous "crimson kiss". So when Juliet gives Romeo the crimson potion drink, he dies. Heartbroken, Juliet takes his dagger and stabs herself to join him in death. Right then, their feuding families were watching the whole scene, and they blame you for their deaths and chase you out of town. After escaping that town, you meet a nice man Jekyll who suddenly has an evil personality, Hyde. "Me, Myself & Hyde" is one of the most entertaining and struggle-focused songs in this album. You ask Jekyll what's wrong, and he says "Go ask Alice," and Hyde shouts "AND GO AWAY!!" You easily find Alice in no time flat. "Alice" features some of the best clean singing from Spencer Charnas he has ever done, while still doing some screaming. Alice is a teenage drug addict who ran away from home to find Doctor Jekyll who knows her well who can help cure her drug addiction. However, Jekyll completed his transformation into Hyde, but he was still able to cure her. Alice and Hyde thank you for the help, and you continue your journey.

Now you're in a frightening war-zone with a girl hiding in a bunker. "The People in the Attic" is a dark melodeath composition based on The Diary of Anne Frank, with strong driving guitar groove and emotional clean/screaming vocals in the perspective of Anne Frank. The girl named Anne Frank is suffering from the typhus epidemic, and she asks you to take her diary writings and publish them. Then she succumbs to the typhus and dies, her last words being an inspirational line, "The path that God has lit grows ever darker though my faith goes further now." You run out of the war, narrowly dodging bullets. "Tess-Timony" is a ballad that initially starts with piano and strings, then before guitar soar in towards the end aside haunting passages that look back in your journey so far ("And for this, I was willing to die, it was all I could do to survive"). Sorry, no "Tess of the d'Urbervilles" action here, too sexual. You finally make it back to your home town, safe and sound...or so you thought! "Hell in the Hallways" closes the album with gore and chaos. As the band uses the last of their guitar energy, you find a bunch of dead bodies and a living girl named Carrie who uses her telekinetic powers to mentally stop your heart. The last thing you hear when you're at the brink of death is Carrie cackling, "WHO'S LAUGHING NOW?!?" To be continued...

This. Is. INCREDIBLE!! Ice Nine Kills has made a remarkable accomplishment. They traveled through time to dig up compelling written works of literature and composed songs based on them, creating a perfect adverse effect and a promising future for both literature and music. But the greatest Ice Nine Kills show of all would come in 2018, when they released the cinematic The Silver Scream. But besides that, Every Trick in the Book is a glorious masterpiece. Forget your middle school summer reading lists, listen to this monstrously well-written album instead!

Favorites: "The Nature of the Beast", "Bloodbath & Beyond", "Me, Myself & Hyde", "Alice", "Hell in the Hallways"

I forgot to mention in my last review that Ice Nine Kills in another one of those bands I started listening to because of my usually alt-rock-loving brother. He recommended one of the band's music videos for me to watch and listen (I'll tell you which one it is in a later review). Well I didn't watch the video but I listen to the song and made me interested in this band, and I shared the rest of their discography with my brother. Thanks bro!

So after a couple albums and a couple EPs, Ice Nine Kills released another EP The Predator, then it becomes the prey... The Predator Becomes the Prey features a couple songs from the Predator EP and shines through some of their strongest material yet, until their next two theatrical albums.

The album bursts into heaviness right away with "The Power in Belief", summing up everything from the first two Ice Nine Kills before what's coming next. It has everything including a catchy chorus, heavy tone, and the best screaming vocals. Plus, there's a killer guitar solo that really levels up the metal in metalcore and keeps the tight structure beyond interesting. The band continues emphasizing their heavy side with the vicious "Let’s Bury The Hatchet...In Your Head". The first track taken from the Predator EP, "The Coffin is Moving" fits nicely as if was meant for this album, but the cheesy zombie chorus ("We are, we are the walking dead") could use more work.

"The Fastest Way To A Girl’s Heart Is Through Her Ribcage" continues the metalcore cliche of long titles, while the song itself is dark and theatrical. The lyrics are once again cheesy, this time spoofing Twilight in a seductive manner ("You’d be just as sexy bleeding"). "The Product Of Hate" was originally a standalone single released the previous year for charity for the Boston Marathon bombing and it really fits greatly. It's the bomb (sorry if it's too soon)! "Connect The Cuts" is probably the heaviest song the band could ever do, sounding closer to dangerous deathcore. Chaotic heaviness before the softer side... "Jonathan" is not totally soft, but it's more touching with lyrics about a friend of the band who suffered a disease that made him almost completely blind.

"What I Never Learned In Study Hall" is the second track from the Predator EP, and the third and last part of the "What I Learned in Study Hall" series of songs that started in Last Chance to Make Amends and The Burning EP. Unlike those other "Study Hall" songs, this one is a heavy pop punk song instead of acoustic. It has guest vocals by Tyler Carter of Issues and one of Ice Nine Kills' best hooks. The next two songs before the finale are my least favorite parts of the album while not deducting the 4.5 star rating, starting with "So Long Steven Long" (shout-out to journalist/crime-novelist Steven Long). That song is a little boring despite the brutal parts, and it probably should've stayed in the album's demo sessions. "What Lies Beneath" has a brief addictive riff before the screams get a little irritating that the instrumentation can do without. "My Life In Two" is an uplifting song reminiscent of Chasing Safety-era Underoath with a redeemed message screamed and a beautiful chorus ("I only promise I’m not giving up today").

In the attack of the metalcore clones, Ice Nine Kills shines with a great example of uniqueness metal fans want and metal bands need nowadays. The band would continue in a greater more theatrical direction, that would make metalcore fans say "A Day to Remember WHO?". Ice Nine Kills shall remain a great recent part of metalcore history....

Favorites: "The Power in Belief", "Let’s Bury The Hatchet...In Your Head", "The Product Of Hate", "What I Never Learned In Study Hall", "My Life in Two"