Rexorcist's Forum Replies

I'll go with you on both accounts.  I mean, there are plenty of albums that I think need the speed metal tag after RYM went through some weirdass cleansing of supposedly mistagged albums, but they made some mistakes, like taking the tag off Rust in Peace while keeping it on its live counterpart.  This is one of those albums I think should be re-evaluated in the tagging department.  Honestly, if we're going into other primaries, the closest we'd have would likely be either power metal or US power metal, and I don't really think it fully fits those bills.

Marty Friedman - Dragon's Kiss (1988)

Fun fact: This is the album that convinced Megadeth to hire him.  And it worked out.

Other fun fact: At the day of writing this review, the album turns 35.

So it should be noted that, first and foremost, this is a “riffs” album, one where that's the primary focus, much like Yngwie Malmsteen's debut, Rising Force.  Malmsteen made a smart decision to make his songs more radio friendly so that the heavy metal can compliment the classical riffs and vise-versa.  And as a result, we have a lot of “riff” albums with no other purpose in life, which is reflected in that music.  But with Friedman's debut, the rest of the band is there to compliment his riffs.  The drums are heavy and they carry the various vibes of Friedman's riffs perfectly.  I mean, just listen to the work done on Anvils.  Half of that track is the drum job and not Friedman's finger duties.

I mean, sure, there are some weaker songs that are mostly there for some cool solos, like Dragon's Kiss, or Namida's Kiss which didn't live up to its full potential as a magical folksy midtro, but there are also some interesting unpredictable compositions here.  There's a weird mysticism that goes into the intro of Evil Thrill before we're kicked off into a ferocious speed metal tune.  Even though the production needs some improvement, you hear what's going on just fine, and lemme tell you: the flawed production gives us enough of that atmos and reverb to make out everything just fine.  The drums are loud and hard, the guitar and bass work together well, and the riffs are monstrous.

Unfortunately, he needs some work on softer tracks.  The first half of Jewel, for example, is kinda boring.  But the proggy magic happens once the tone picks up.  And I love soft music as much as metal, being a huge Paul Simon fan.  So it's very clear that not every song will be a five-star.  Thankfully, the softer intro of the eight-minute prog epic Forbidden City has a good intro that builds up to the neoclassical parts.  And I was flat-out blown away by this epic.  Thunder March is a weird case.  It has both guitars making fine rhythms, but they're not molded well due to the production.  Also, the drums aren't quite as heavy as they should be for this marching example of "epica."

I have a little of a personal touch with this album, but I;m not gonna let that alter my rating.  Basically, what I want to say is simple: it's obvious that this album's guitar tone and melodies had a major say in the soundtrack to F-Zero GX, and its Guitar Arrange version.  Of course, that also makes it easy to compare this album, despite being a different type of metal.  This is a fine example of the genre-bending balance that a great metal album needs, and handles that aspect perfectly.  Unfortunately, a few songs need some re-evaluations in the compositions department, but there are a few 9's and 10's on this album and I'd easily recommend it for the effort and the historical relevancy.

91/100

Today's GATEWAY album:

Primus - Suck On This (1989)

Genres: Funk Metal, Alt-Rock, Alt-Metal

Votes: 2

Reason: Primus is a pretty big name band.  So for their cult-classic debut to only have 2 votes on what may one day become one of the world's most relevant metal databases feels just wrong.  These guys practically reinvented funk.

Review: Funk metal isn't a genre I take that seriously.  Most of it is just a bunch of dorks mindlessly ambling on either "cool" or "experimental" music without really taking the time to appreciate the music.  Thankfully, Primus keeps their weirdness more palatable without diving too far into either side of the funk metal spectrum.  They're just cool and experimental enough for their personalities to do the rest of the work, and that was clear from their live debut album.

Now I've heard this album once before, and at the time I gave it a 94/100.  So it was damn close to a five-stars.  Will it hold up?

The first thing I noticed was that the production is WAY better than a live debut album by a bunch of experimental dorks had any right to be.  It wasn't "perfect," as the sound quality is just slightly fuzzy.  But you can hear everything clearly.  So when we get into the really wild stuff, like the funk and riff-heavy Groundhog's Day, we're pretty much getting more than what we paid for.  They made it perfectly clear that, even though they're a bunch of comedians, they know how to jam and groove.  That bass of Claypool's is perfect for the weird rock and metal being played.  You can feel the Bootsy love.  But the best thing about it is how well the crazy but controlled drums carry the funky  and noisyriffs.  Never let it be said that Herb can't drum.

Even though they're a wacko band, they also have some deep, surreal and psychedelic vibes, like the middle section of Pressman.  Who would've thought comedic experimental funk metal could get so hypnotic and aural?  And this is right before that Sabbathy doom solo on the same song.  Pressman might be my favorite song on the album just for that.  After that, the album gets easier to let yourself just go with the flow.  I came to realize that the band is kind of mocking the weirdness of funk, likely with the band's whiteness.  But it works.

Anyway, I gotta say, even though I don't know if I can take the music seriously enough to give it five stars, I think that 94/100 rating I gave it before was pretty accurate.  Maybe my biggest concern is that they didn't really change their pace or sound as often as I would've liked, but they kept it fun.  I mean, seriously.  This is a VERY fun album.  You just kick back and let the weirdness do all the talking, jamming out like you're listening to a Ramones album.  Although it's not QUITE as original as I remember, I still recommend it.

92/100

Of course, if you need me to, I'll get through them all and review them.  I've already completed one Guardians list challenge so 'm not suggesting this because need to do another Guardians list to get my fourth clan, but I would like to be the first to complete this list if we do this.

Given I haven't heard a single release on the list, I'm not sure I'm qualified to judge whether or not it would make a good clan challenge.

I took them from the RYM too charts.  I also made sure I had the more popular albums by each act not already present in a list challenge.  Personally, I prefer Marching Out to Rising Force, but the latter is more historical.  Cacophony is a Mart Friedman band and Michael Romeo is from Symphony X.  But since it's such a niche genre, we don't need three or four era-based challenges.  Although, lists for more specific brands could be cool for Metal Academy.  Imagine dissonant death metal, war metal and djent lists.

Marty Friedman's debut, Dragon's Kiss, turns 35 tomorrow.  Gonna play that.

Solid list, Rex! This might be great for a possible neoclassical metal Guardians clan challenge. What do you think, Ben?

Thanks a bunch!  Although I don't know if it's the kind of list we need here; too many obscurities.  Of course, it IS a pretty niche genre.  I mostly made it for fun, but if by some chance it gets uploaded, awesome.

I made a couple adjustments to this.  I wasn't all that proud of my last neoclassical challenge list, but I think this one feels more appropriate since it has a couple more popular albums than the last two of the previous edition, and it includes Michael Romeo's solo career debut.

1. Symphony X – Twilight in Olympus

2. Yngwie Malmsteen's Rising Force – Rising Force

3. Marty Friedman – Dragon's Kiss

4. Royal Hunt - Paradox

5. Galneryus – Under the Force of Courage

6. Vinnie Moore – Mind's Eye

7. Iron Mask – Hordes of the Brave

8. Magic Kingdom – Symphony of War

9. Space Odyssey – Embrace the Galaxy

10. Tony MacAlpine – Maximum Security

11. Concerto Moon – Rain Forest

12. Jason Becker – Perpetual Burn

13. Michael Romeo - The Dark Chapter

13. Narnia - Awakening

14. Cacaphony – Speed Metal Symphony

15. Ring of Fire – The Oracle

16. Evil Masquerade – Welcome to the Show

17. Exmortus – Ride Forth

18. Impellitteeri – Stand in Line

19. Time Requiem – Time Requiem

20. Apocrypha – The Forgotten Scroll

21. Warmen – Beyond Abilities

22. Joey Trafolla – Out of the Sun

23. Majestic – Trinity Overture

24. Wolf Hoffman – Classical

25. Patrick Rondat - Amphibia

My favorite last time I listened to it is Hell - Curse and Chapter, while something that reflects more of what I listen to is Doom - Human Noise. Well-crafted technical, often veering into controlled chaos is more my forte than something that's just a perfectly crafted album of metal.

Different Hell than the one I've heard.  Classic heavy metal from the modern day is always welcome.

George Clanton - Ooh I Rap Ya

It's supposed to be the internet's hottest album for the time being.  But even though that Animal Collective-esque vibe is as pretty as a jewelry shop, I can't fully get past the decision to give all these songs very similar tempos.  It has a plethora of atmospheric strengths, cleverly using its various sound effects and melodies to maximum effect, but on the 0-10 scale, this one flaw keeps it from being perfect.  We'll see how it goes once I finish it.

Accidentally deleted this when I tried to edit it, so posting it again :P

Here's a hint for the next Gateway album.

What I wanted to say in editing it was, even if you guess right, I won't reveal the correct guess until Tuesday.

I've been on an industrial kick today.  I went back and reevaluated a couple of industrial metal albums just to check my views, and even heard Mutter for the first time.  Currently listing to a pretty heavy and atmospheric cyber metal / EDM album that's kind of replicating my feelings towards variety, but the genre listing looks both consistent and outlandish at the same time:

Internet Protocol by Master Boot Record

Primaries: Synthwave, Cyber Metal, Darksynth

Secondaries: Chiptune, Industrial Metal, Neoclassical Metal

I also notice hints of thrash and djent, and there's definitely a Malmsteen vibe.  Synthwave is kinda iffy for me, and so is cyber metal, so I'm hoping the rest lives up to the hype (and stays diversified).

Slayer's "Reign In Blood" is my favourite metal album of all time but the release that best reflects my taste & preferences is Suffocation's "Pierced From Within" as I've always been most inclined towards the more brutal end of death metal & it simply doesn't come more professionally executed than that record. I'm generally more inclined towards death metal vocals where you can actually understand what they're saying & Frank Mullen makes the adjustment towards greater intelligibility on that particular release too.

I actually feel that the better record is Pierced from Within.  It stays create and heavy through a longer runtime while a couple songs from Reign in Blood, while perfectly played, feel the same.  That's why my favorite Slayer is South of Heaven, and excellent bridge between the heavier and slightly less creative Reign in Blood to the more creative but slightly less heavy Seasons in the Abyss.  Of course, I feel that South of Heaven has greater creative prowess than Pierced from Within, which is also about on par with Seasons in the Abyss. 

I kinda hated David Wayne's singing on Masterpeace.  On the subject of USPM, how come Mark Shelton decided to let his softer side handle most of Crystal Logic?  It really didn't fit.

Good.  I need this.

EDIT: Are you sure it's possible?  I can't seem to.

I just took an inventory of my djent ratings by composing a private list of top djent.  It's kinda shitty.  I only finished albums by a handful of bands and many of the albums by the same bands came up.  There's only 20 that ended up being at least 3.5 stars. So if anyone has any djent recommendation, please PM me.

I like very diverse albums.  No Meshuggah or Sithu Aye, though.  I'm familiar enough with them,.

Well, it worked perfectly for my Meshuggah review.

https://metal.academy/reviews/26159/2600

If that doesn't work, can you try cutting the text and pasting it into Notepad and then copying and pasting it back into the review, then pressing Save? I know that's an unwieldy solution, but it will just help me understand what's happening.

I've done that before and it works. You think that will work for you, Rex?

Read the above post.

I've done it a few times over the years and seems to work for me. So to be clear, you've tried highlighting all text in the review, clicking Remove Font Style, and then pressing Save?

If that doesn't work, can you try cutting the text and pasting it into Notepad and then copying and pasting it back into the review, then pressing Save? I know that's an unwieldy solution, but it will just help me understand what's happening.

From what I can tell, this problem occurs sometimes when people copy and paste reviews from somewhere else (such as from RYM), not when the review is written directly into the review box. Whenever I paste anything into Metal Academy, I make sure to use Paste as plain text.

It's amazing you suggested that second method, because both of those a while ago.  And the scary thing is that I didn't post it from anywhere else, I wrote it right there.  It's probably some weird glitch.

I'm about to write a review for reevaluating Destroy Erase Improve, so I'll let you know if it does the same thing.

It's not working.

OK, then I'll rephrase it: Anthrax, the band that wishes they were as drunk as Metallica.

But yeah, Anthrax might be good, but they're kinda posers just capitalizing on the cooler side of the California rock scene without fully grasping what made thrash cool.

I'm gonna see what the buzz about Pentatonix is about.  Anthony Vincent uses them in his Ten Second Songs a lot.  I started with the first hristmas album, and was completely taken by surprise by the appearance of that Fleet Foxes cover.

Anyway, so far it's just a cheesy a capella album.

Mustaine would traditionally already have been smashed before he even arrived.

And the rest of the band? :P

Really interesting list. My top 100 would be way less diverse than this one, that's for sure! I can see a number that would likely make mine though, including Metallica, Arcturus, Suffocation, Opeth, Death, Blut Aus Nord, Emperor, Iron Maiden and My Dying Bride.

You know, now that you mention it, I really do want to see what your top 100's look like.  A top 100 says a lot about a person, and they're a lot of fun to look through.  Now you've got that 80's death metal list and that early black metal list.

I'm in the process of trying to figure this out. I've listened to around 80 of the biggest death, thrash, black and doom releases in recent months, and have them all rated and ranked. I'll continue with those genres for a while before adding others that I enjoy, such as progressive, industrial, gothic and heavy. I'm afraid it's going to be a while before I have something to show for it, but I'm enjoying the process.

I actually keep a log of every album I've ever heard ranked from best to worst.  I don't expect you to do THAT, but a couple notes every now and then about things you're absolutely certain about will help a lot.  Because the more thought you put into a big project earlier on, the quicker you can think about it and make decisions later.  Or so I keep hearing.

Really interesting list. My top 100 would be way less diverse than this one, that's for sure! I can see a number that would likely make mine though, including Metallica, Arcturus, Suffocation, Opeth, Death, Blut Aus Nord, Emperor, Iron Maiden and My Dying Bride.

You know, now that you mention it, I really do want to see what your top 100's look like.  A top 100 says a lot about a person, and they're a lot of fun to look through.  Now you've got that 80's death metal list and that early black metal list.

Here's a new one: my top 100 power metal albums.  I wanted that to be the first genre chart I put up here for my first clan choice: the Guardians.

Can you please add the Czech power metal band Steelfaith, Japanese band Marchen Station, Spanish band Third Dimension and (you're gonna hate me for this one) Ron Wasserman, a member of Fisher who does his own original works as well as... a certain TV soundtrack.

Thanks, guys!  It's got a few updates from when I last posted it anywhere, notably the switch from Seasons in the Abyss to South of Heaven being my favorite Slayer album.  Still, the variety here is nothing compared to my top 100 albums ever.

I'm gonna be working on some genre charts.  I might even work on a bottom 100 metal albums list :P.

Can you please add the following:

Scorpions: Tokyo Tapes

Scorpions: World Wide Live

Sweet updates.  The clan cover ratings chart must look very different.

Rex, you can make that address into a link by using the LINK button when posting (hint: it looks like a chain link). Interesting list by the way. Nice variety.

Fixed.  Thanks for the comment and the info.

I took the liberty of composing a list of choices for each week for the whole year, categorized by clan, obviously.  Suffice it to say, I have next week's Gateway album already planned out.

My top 100 metal albums

I think Anthrax is more worried about being a "metal" band than a "thrash" band.  Thrash was the "cool" thing, but they took to it from a pretty radio-oriented perspective more often than the others in the Big 3 did.  As a result, they sometimes miss the point of what made thrash metal so special.  It wasn't just the extremities, it was the steps forward.  While Anthrax have done cool stuff, they haven't usually reached the introspective behavior of songs like "Holy Wars" or "For Whom the Bell Tolls."  Basically, Anthrax is the most likely of the four to get drunk first if they were all at a bar.  They may have before, but nowhere near as much as the other big names in the scene.  Of course, it was wiser for them to choose thrash metal instead of speed, which might've been more appropriate for their personality.

Thanks a million for adding those Killing Joke albums!  At somepoint I'll add the ones I tagged for Halls, but we have too many now so I'll use what I can for lists.  This helps more that you know.

This week's FALLEN album:

Hell - Hell (a.k.a. Hell IV) (2017)

Genres: Sludge, Doom

Votes: 1

https://metal.academy/releases/9984

Reason: This was a pretty difficult choice.  But I came to this conclusion when I saw some great ratings for MSW's Oblivion.  Before operating under that name, he was "Hell."  He made a series of concept albums pertaining to being trapped in hell.  This is the fourth of the series, as I had already rated the first three, but I also hear that this album is a good and less challenging album for those uninitiated in his combination of sludge, drone and doom (aka, perfect Fallen material).

Review: When I listen to a Hell album, I expect something soul-crushing.  I will not settle for anything less, not after thejobs Hell II and III did to me.  I gave both of those albums five stars for the way they improved on the imaginative but flawed debut.  I've been meaning to finish up the Hell / MSW catalogue for a while now, and reviewing is the best way I can think of to spread the word about this brilliant act.  I had full faith in Hell IV to deliver the atmospheric goods, and it didn't let me down.

Now the digital bandcamp release takes the outro, "Seelenlos," and makes it the intro by putting it at the start of the album.  So depending on which version you'd like, be careful. the spoken word post-rock is a pretty standard but nice intro / outro track that either puts the listener at a calm at the end of the album, or one that's that's obviously going to build up into that soul crushing power, playing to a weird avant-garde poem with some odd and intriguing imagery to it.   I listened to the album with the song at the start, and then decided to play it again at the end so that I could absorb both effects.

The album rarely takes part in the same drone metal that was the major focus of the first two hell albums.  The soul is crushed very quickly by the brutal heaviness of "Helmzmen," which seems to incorporate the slightest hint of Sabbath in the melodies while MSW uses weird effects to make either him or his guitar (I can't even tell sometimes) sound like a literal fucking demon.  I gotta get myself that voice box :P.  We get slight variations of this pattern throughout the whole album.  I found myself patiently waiting for the next demonic growl, squeal, screech or whisper to echo through the canyons, and thought it was just the COOLEST thing when they vocal effects morphed into powerful wind-style effects at the end of SubOdin.  Beautiful combination of tech and imagery there.  But the raw power of the album really emerges with the brutal and loud "Machitikos", which takes the percussions up a heavier notch while multiple guitars chug to an excessively eerie and heavy chugging riff before we get a freaky black metal guitar solo turning the album from a standard doom album into a METAL album for a short time.  Next we have a kind of stoner track building up atmosphere through weird voice samples being overpowered by Sabbath and Saint Vitus style riffs: WanderingSoul.  Basically, this is the track for the metal fan rather than the atmos fan, although it still has a decent atmos to it.  Then we have something more on the drone side with "Inscriptus," which is all about the dark atmosphere.  The rhythm is a little more complex that most of what we've had before, and the fear factor on this track is pretty high.  I'd say this is the track with the most creativity thus far.  The album ends with the twelve-minute epic, "Victus."  This is where everything comes together for a complete breakdown of all the types of styles that the album wrought upon the ears of the listener, especially when the black metal riffs merge with the windy storm effects and the death metal growls, the very combo that proves that this is a Hell album.  Afterwards it gives the listener a very slow and symphonic midtro that calms us down with depression after such a heavy wave of evil had been beaten upon the listener's head for the last 40 minutes, before bring us back to the despair of doom basses and black guitars.

Most of the crush factor is performed by the guitars and bass.  MSW made a point of bragging about the bass on his Bandcamp, talking about how "disgustingly awesome" they are.  I'd say MSW earned his bragging rights, because the filth level here would make some of the dirtiest sludge bands on earth jealous.  This is filthier than Melvins ever got, and I expect nothing less from Hell.  I wish the percussions were a bit harder-hitting, and they felt a bit like the weakest point of the album.  On top of that, I didn't get the full sense of variety that made numbers II and III so good.  But at the same time, while the album was soul-crushing, it was never too much or too challenging, because the two main focal points of the album were atmospheres and riffs.  This was less about drawing out the fear factor and the concept and more about using the music as a more accessible way to get into the concept of the series.  I can get behind that.  As such, I can also get behind the notion that this is the more accessible of the four albums, and is also a good intro for the four-album series.  I honestly recommend this as the starting point for Hell, as I and II might be a little more challenging due to their usage of length as an atmospheric tool.  I can also appreciate the lessened usage of post-rock, which made Hell III feel like a sadness album as often as a fear album, but also seemed like the very thing Hell III needed to separate itself from the first two albums and wasn't necessarily needed here.

The whole Hell catalogue can be found on MSW's bandcamp page, and I recommend you get through all of them.  I don't care if you decide to go through them chronologially or not, because you really don't need to, even though that's what I did.  But I still recommend you get through the least challenging album first, and to me that's Hell IV.  This lived up to the atmospheric factor as well as I could've hoped for, and because of that alone it will stand with the other Hell albums as modern classics, even if its stronger sludge and doom sounds might not attrack the gothic, black and death fans that II and III could.  The writing might not be as clever, but the power is still there in full force.  I'd even go as far as to say that, as an album, it's better than the debut.

83/100.

Alright, then I'll start the thread in the general chat.  One album a week.  And I'll switch between clans to keep it nice and even.  But the only problem I have is people misinterpreting things and twisting my words without even realizing it.  That was the only problem I've had.  It caused a lot of problems for me before.

I'm third.

And just as easy as that we get to you attacking the site.  Your lack of self-reflection is astonishing.  The site does need more people but I am convinced it doesn't need you Rex.

That was adorable.  Sorry if I'm willing to help the site.  I'm sure you have your own to worry about 

Not everyone has the same skills and abilities, Rex and I must admit, you seem extraordinarily fortunate in your ability to produce a review after one listen. But, speaking only for myself, I personally have an inordinate difficulty producing reviews and really have to concentrate in order to do so. In fact, weird though it sounds, I actually find producing reviews incredibly stressful. Like Daniel, it takes me several listens to firm up my impressions of a record and more often than not, by later listens I find my initial impressions are modified, if not completely changed. Of course if I really hate something on first listen then I am unlikely to follow with further listens. 

Also why do you assume that we only listen to music in order to review it? Isn't it more important to listen for personal enjoyment? Why would I only want to listen to an album I enjoy one time? I understand your enthusiasm, but the nine chosen features (along with three or four 2-hour playlists) are more than enough for me as far as other people determining my listening habits for the month goes and I will pass on this initiative thanks.

A: Where do I ever say "people only listen to music to write reviews?" or "I don't enjoy an album where writing a review?" OR "You're ONLY SUPPOSED to listen to any album once in your life?" The whole purpose of that shpeel was to help give Daniel a little extra time.

In my experience, needlessly burning through album after album without taking the time to enjoy them and grow to understand them for me defeats the point of listening to music in the first place.  Don't assume everyone is as "skilled" as yourself either because although you stipulate you are not bragging, it most certainly comes across that way in this post.  How's about "sharing" your personal beliefs instead of "telling everyone"?  Otherwise the above just looks incredibly preachy.

As the other established members of the site have stipulated above, we don't have need for any other challenges as there is more than enough already in place and these have been developed by Ben and Daniel who have put significant amounts of time into the site to get it to where it is today, supported by the members of course - which as Daniel says, you are free to contribute to also.  Your "fifth wheel" seems to be one of your own making.

Again, I never said I didn't enjoy the music.  And if you read any of my reviews you'd know that I AM sharing my thoughts.  No one else's fault but yours if your feelings take over and misinterpret things.  And no offense to Ben and Daniel, but the charts section hasn't been changing for months, and I'm the only one actually voting and rating those albums on a consistent basis.  You say "supported by the members," well are you actually helping with the site or are you just hanging around the forums?  In case you didn't notice, I'm trying to put some active help into making the website look good too.  Not my fault if you don't appreciate it, but if the feature releases aren't doing much for other areas of the site, then the truth is obvious: Metal Academy needs more than two people.  Sorry if you're convincing yourself to be offended by me balancing my music enjoyment with trying to improve this place thanks to your seemingly second nature of believing any skill you believe you can't do is apparently pretentiousness because you gave up on it.

The charts section is an important part of the site, too.  But I'm not gonna just "wait for others" to show up.

I have to concur with the others that my planned listening time is already maxed out by the monthly feature releases, particularly given my refusal to rate or review a release without giving it at least 3-4 active listens over a couple of days. I work 50+ hours a week & have three young kids who command all of my free time so I'd be reluctant to reduce my free listening time any further at this point when it only really amounts to the time before anyone else wakes up.

Rex, regardless of whether other members would like to participate in your suggested initiative, can I suggest that you join the feature release rosters for your chosen clans? That way you can choose releases that you'd like to have your fellow clan members attention drawn to &, in doing so, can potentially contribute to the cause listed above. It's not a bad way to see Hall of Judgement nominations coming to fruition too & I know you've been keen to contribute there too.

Whether or not you still agree with the actual purpose of this thread, I'm pretty much telling everyone this due to personal beliefs: if time is ever a problem for you, then this skill is for you, and I choose willingly not to "brag" about it because I firmly believe, again, that anyone can catch a whole album even while doing other stuff.  Even now I feel educated enough to write about the effect on my body and soul that those noisy shouts on Elite do and how well they blend with the sound effects, leaving the lyrical content to gleefully remain a mystery and let the emotion of the instruments and presence do all the talking.  I might even like Elite more than Digital Bath for its incredible and unique artistry, while still remaining somewhat consistent with the calmer and more introspective Digital Bath.  And I could go on about how much I adore the shift in style and weird behavior of Rx Queen's percussions, but I have a point to prove: I admit, I struggled a bit with the multitasking at first, but after years of practice, I came to one conclusion: I doubt I'm the only one who can do this.  And while I have this ability, I won't brag about it, but I WILL own it.

And before anyone can say it, yes I heard White Pony once years ago, and completely forgot everything about it later because alt-metal isn't my style.  So memory has nothing to do with it.

Deftones - Around the Fur

I just got a new coworker today, and I overheard that she likes k-pop and Deftones.  Obviously I decided to recount the latter.  I'm mostly gonna focus on Around the Fur and White Pony, though.  As far as nu metal goes, my favorite is Korn's Issues.  I gave this a 93 the first time I heard it.  Let's see if it holds up.

Wouldn't this kind of just be a weirder feature of the month thing?  I don't know if I'd be much into this since I don't seem to be able to do much beyond about an album review a week anyway and certain clans are only very rarely interesting to me.

I chose one album a week because anybody can spare time for that, even among the stuff to do on Metal Academy.  Besides, if we need to draw attention, we can start with albums that belong to two different clans, even for pretty weird ones like how Thorns is part of the Horde and the Sphere.

Daft Punk - Alive 2007

I was in the middle of composing my Top 100 Albums Topster chart, and noticed near the end that Discovery was still there.  I had heard all the others recently enough to remember well, but how well did I remember that one?  After playing some of it, I immediately came to a not-so-exact but similar conclusion I eventually came to with Def Leppard's Hysteria in my earlier album-ventures: Why should I consider the album perfect if it has such a weak finale like Love and Affection?  Why shouldn't the same be said for an intro song as repetitive, simple and over-emulated like One More Time?  The quality shift between that and Aerodynamics was so high that it hurt.  So I got through some more of it and remembered enough to lower my rating down to a 9.5.  But then I went back to the live album, and I have very different feelings.  It's much better than last time.  This album doesn't feel like a pop-version of a house album; it feels like a real party with lots of mashup creativity.  Alive 2007 basically cranked up all of Discovery's 10/10 elements to 11, even when being lengthy.  Thankfully, it didn't overuse the rhythm of One More Time because it was mashed with Aerodynamics in what was still a weaker track but still very funky.  And the fun of it is that Daft Punk build themselves on experimenting with catchy melodies through funk, pop, techno, disco, industrial and trance.  These guys KNOW how to make people dance.  Too bad I'm a little too tired for that right now.

Also, if you're a real EDM fan and you're on Youtube, you'll listen to that bonus disc and end the experience with that ten minute mashup.  So if you're a serious house fan, I know for a fact that this album is for you.  There's a lot to love about it, even for people who don't want their songs repetitive, which Daft Punk seems to rock better than most due to sheer club charisma.

Not the most educated in house just yet, but based on what I've experienced, I'm gonna give this a 100.

More on the subject of slam, people on RYM don't seem to like Disfiguring the Goddess that much.  But I am head over heels with Deprive.  I adore that Lovecraftian vibe.

Devourment - Obscene Majesty

Here we are, the album that many consider the heaviest album of all time, and it just might be.  A lot of Devourment fans, including myself, got what we wanted: a new direction.  Devourment were focusing on atmosphere more than anything on this album, and created a massive blast of heaviness that remains somewhat pleasing to the ears of the extreme fan throughout the entire run.  On the first track, even though it was a bit long, I knew the album was gonna end up better.  Unfortunately, in its greatest strength is also its greatest flaw.  The heaviness is so much that for the 47-minute runtime that's been absurd for a lot of death albums, this armosphere album drowns out many of its melodies in place of vibes, so Devourment haven't really learned much.  I'm still missing a good deal of that unpredictable craziness from the Butcher the Weak rerecording.  I'll say that this album is definitely an improvement over the last two, but I was practically BEGGING the positive reviews to be lived up to.

71 / 100

There are a couple Attila albums I enjoy: Closure, Villain and Rage.

I actually really liked this one.  It was pretty consistent, and kept its multiple sides balanced.  The classical side of the album never becomes too much, as the symphonic ends are very carefully utilized.  Because of this diversity, the bridge between thrash and death flows naturally with that of symphonic and neoclassical, risky genres to pair with thrash at all.  But since there is such a thing as symphonic death metal, Firebound proves it can be done.  The imagery induced by Hell's Sofa without any lyrics is the most impressive part.  The only problem I have is that the last third doesn't even have one thrash song, but at the same time they were also focusing pretty heavily on theme.  This also toned down some of the Coroner worship, so it's not totally unjustifiable.

96/100.

Fanguine - The Crimson Veracity

Genres: Slam Death Metal, Tech Death Metal

Secondaries: Avant-Garde Metal, Deathcore, Black Metal

Taking slam into a more unique direction, Fanguine refuses to be the stereotypical slam band that makes itself look cool with gory paintings and lots of big words.  Instead they tell horror stories, focusing on a theme of maturing and getting used to the perils around you.  The album even has a simple cover with a werewolf wearing a baseball cap and grinning with a little blood dripping out of the one toothless spot.  Considering that track one starts this theme with accepting that life is more real than cartoons allow, this cover image is considered an allusion to the cartoon series Fangface.  The final track, Genocidal Genesis, compares siding with a popular agenda and the mental slavery of sidepicking to the first steps of desire to see the other side of the argument and its followers be persecuted in oftentimes horrible ways.  Including many references to times of persecution and slaughter throughout human history, there is even a controversial final lyrical verse on this track (and the album) making an illusion to Nazism by mentioning the same kind of ovens used to kill Jews.  This attracted nationwide attention, and led to their online popularity.  The album sold well in its first couple weeks, but largely due to some buying copies only to bury or break them.  Since then, the song has been a staple in their concerts.

The album's themes include commentary on censored violence (1, 2, 6), lacking morality (1, 7, 9, 10), hopelessness (2, 4, 8), death (2, 6), politics (3, 6), conspiracy theories (3, 8), hidden opinions (4, 7, 9), sexual lust (4, 5, 9), war (6, 10), persecution (1, 4, 7), agnosticism (8) and the desire for violence (4, 6, 7, 10).

1. The Pencil Lead Bites (4:05, Tech Death Metal, Slam Death Metal / Broken Transmission)

2. Sulfuric Penetration (2:57, Deathcore, Slam Death Metal / Sludge Metal)

3. Postulated Subterfuge (4:36, Tech Death Metal, Brutal Death Metal / Black Metal, Prog Metal)

4. Hidden Neutrality (5:44, Avant-Garde Metal, Tech Death Metal / Deathcore, Slam Death Metal)

5. Irresistable (instrumental) (2:40, Slam Death Metal / Groove Metal)

6. Pyro (6:23, Avant-Garde Metal, Slam Death Metal / Atmospheric Black Metal, Thrash Metal)

7. Those Who Dream of Gallows (3:32, Deathcore, Slam Death Metal / Tech Death Metal

8. The Other End (5:17, Tech Death Metal, Brutal Death Metal / Atmo-Black Metal, Post-Metal)

9. Let Me Explain (2:00, Broken Transmission, Deathcore)

10. Genocidal Genesis (6:10, Tech Death Metal, Prog Metal, Slam Death Metal / Avant-Garde Metal)

Devourment - Conceived in Sewage

Not posting the cover because it reminds me of a bad dream I had.

Devourment started relying on reputation once they were signed to a major label, and as a result they didn't try anymore, like Sonic Team.  So their immediate album after Butcher the Weak, Unleash the Carnivore, had none of the same wacky-ass behavior.  It was the standard slam they invented, but with better production values, and if you ask me that's not enough.  So Devourment became strictly "for the fans," as if that kind of death metal was gonna be a number one on the Billboard to begin with.  The same is unfortunately said for their next album, Conceived in Sewage.  The selling point is slam, and that's all they were gonna be.  Unfortunately, it also ended up as their least popular album, because it was just more of the same.  We have some incredible heaviness here, but something about it seems lighter than the last two albums.  Maybe it's because the production is noticeably less polished?  This makes many of the guitar rhythms drown themselves out in heaviness, despite the fact that it's still less heavy than before.  This problem is most apparent in "Today We Die, Tomorrow We Kill," which is so simple-minded that it might as well have been left off this repetitive filler album.  There are some decent rhythms here, though.  I honestly liked some of the rhythms more than the ones on Unleash the Carnivore.  The big problem here is that Devourment thought they could get away with delivering nothing new.  They can't.  So if you're already a fan who appreciates slam, you'll get a little enjoyment out of this.  But it's not an album I would recommend, even for Devourment fans.  At least Eric Park put up a pretty good fight for his last Devourment album.

63 / 100