MartinDavey87's Reviews
It's been eight years since Crimson Glory's last release, 1991's 'Strange and Beautiful'. The band had made quite a name for themselves at the start of their career, but all their momentum was cut off by "the 90's". Music trends shifted and Crimson Glory, like so many others, failed to remain relevant. However, the band never faltered and eventually returned with 1999's 'Astronomica'.
While 'Strange and Beautiful' wasn't a terrible album, it didn't quite achieve the success of its predecessors, mostly due to the dying metal scene at the time, and the fact that the band tried being more experimental with their approach to songwriting. Thankfully, the boys are back on top form here, with 'Astronomica' going back to a full-on metal assault. Stylistically similar to 'Transcendence', the only major difference here, besides having a different vocalist, is a more beefed up production, which makes the Glory sound heavier than they ever had before.
The album has been scrutinized for its faults however. Most notable is that the drumming is all machine-programmed, a 20-minute police radio broadcast which closes the album off, but wastes a hell of a lot of time in doing so, and then there's vocalist Wade Black! Former vocalist Midnight left some impossible shoes to fill, and it's understandable why most fans weren't keen on Black's efforts, but for what it's worth, I think he does a good job and his voice suits the heavier sound of the band.
If you haven't completely given up with Crimson Glory by now, then you'll find some nice little gems on this album. Songs such as 'War of the Worlds', 'New World Machine', 'Cyber Christ', 'Cydonia' and the title track itself, can all hold their own with the bands previous material, and while it's fair to say this will never be their best release, it's still a worthy addition to any metal collection.
Genres: Heavy Metal
Format: Album
Year: 1999
‘Far Beyond Driven’ is the seventh studio album by groove metal band Pantera, and the third since their unofficial rebirth, having shed their 80’s glam days. It’s weird to me, however, that while the band were one of the most influential metal groups of the 90’s, and this release reached the number one spot on the Billboard charts, it’s really a fairly average release, and is brimming with subpar material.
The most notable difference with ‘Far Beyond Driven’ over its predecessors is the absolute brutality of the record. It’s by far heavier than anything the Texans had put out prior. But sadly this comes at a great cost, as most of the songs are incredibly lacklustre. While the album starts off promisingly enough, it very quickly becomes a rather repetitive affair, with most songs sounding like a bunch of riffs incoherently thrown together.
The production itself leaves much to be desired, with particular mention going to the drums, which at times sound programmed in. Phil Anselmo’s choice of screaming and shouting over singing has certainly upped the aggression of the album, but does nothing for me. The only real highlight is guitarist Dimebag Darrell, whos influential guitar playing has garnered endless acclaim, however, even here, it feels slightly by the numbers.
‘Strength Beyond Strength’, ‘Five Minutes Alone’ and ‘I’m Broken’ are all decent enough tracks, and a cover of Black Sabbath’s ‘Planet Caravan’ actually works really well for the band (I’m not a fan of the original, but this one is pretty good). But overall however, none of these songs are all that memorable to me, and certainly don’t hold up well to the bands previous two releases.
It’s not the worst album I own, but for all the praise it received, it certainly doesn’t live up to the hype. Oh, and the song ‘Good Friends and a Bottle of Pills’ is an absolute abomination.
Genres: Groove Metal
Format: Album
Year: 1994
Despite a number of albums prior to this that have gained legendary status, 'Powerslave', Iron Maiden's fifth studio recording, is where I feel the band really hit their stride as one of metals most iconic bands.
With a previous four releases over which to bond and mature as a band, 'Powerslave' is a complete bombardment of Iron Maiden having perfected their sound. The dual-guitar harmonies are spot-on and utilized to their fullest, and vocalist Bruce Dickinson's singing hits its peak here, with every line complimenting the music perfectly.
While I didn't dislike any of the bands previous releases, I never held them in such high regard as the rest of the metal community does, feeling that each album was just a steady improvement upon the one that came before it. However, here is where the songwriting really takes a solid step up, as every song is well executed and well played. The riffs and harmonies are very catchy and easy-to-listen to, and the guitar solos all seem to suit their respective songs much better.
Tracks like 'Aces High', '2 Minutes to Midnight', 'Rime of the Ancient Mariner' and even instrumental 'Losfer Words (Big 'Orra)' are more than just Iron Maiden staples, they're essential listening for all metal fans. On top of all that, the artwork is pretty damn awesome as well!
A key album in any rock or metal collection, THIS is Iron Maiden.
Genres: Heavy Metal
Format: Album
Year: 1984
"If I can be serious for a moment..."
After two albums consisting mostly of covers, Fozzy masterminds Rich Ward and Chris Jericho decided that for the band to continue and prosper, it was time to drop the comedy gimmicks and become a real band. Gone were the stage names, the wacky costumes, pig mascots (Arthur was actually a human being suffering from Swinus) and the "we were stuck in Japan for 20 years" shenanigans, and with 'All That Remains', a fresh and invigorated band arose.
Featuring ten original compositions (two of which are re-recorded tracks from Rich Wards Sick Speed project), Fozzy's sound is simple, hard rocking anthems. Nothing overly ambitious or challenging, but catchy radio rock that get heads banging. Sadly, having WWE superstar Chris Jericho as frontman meant that Fozzy were still a novelty act (though it's likely they'd never have had the success they've had without such novelty in the first place) which, coupled with the bands unusual choice of name, meant that they were a band people still refused to take seriously.
Their loss.
With tracks such as 'Nameless Faceless', 'The Test', 'It's a Lie' and one of the groups most memorable hits, 'Enemy', this album showed that, despite everything they have going against them, Fozzy is a band not to be taken lightly. Guest appearances by heavy hitters such as Marty Friedman and Zakk Wylde give 'All That Remains' some much-needed credibility, and with an energetic live show and a relentless touring schedule that saw them hit the Download Festival the year of this records release, it's a sure sign that while 'All That Remains' will never be Fozzy's best album, it's definitely an early sign of greatness that firmly establishes them as the real deal.
Genres: Heavy Metal
Format: Album
Year: 2005
'Between the Walls' is the fourth album by German hard rock guitarist/band Axel Rudi Pell. Not only is it the first release to feature the same vocalist as its predecessor (I guess third time really is the charm) but it's a turning point in the groups discography, in which the standard of their music vastly improves upon their earlier days, and a string of high quality releases followed.
It's 1994 and the music world, in particular on the rock side of things, is a bit of a mess. Metal is "dead", although all these 90's groove bands like Pantera, Machine Head and Biohazard are slowly making headway, grunge has already peaked, and hard rock is, well... still living in the 80's. But that's not going to stop Mr. Pell and his motley crew! Having ditched the sleazy sex, women and nightly thrills 80's vibes of their earlier albums, the band have taken a more fantasy-themed style, incorporating more melodic elements similar to bands like Deep Purple and Rainbow.
Vocalist Jeff Scott Soto has proven himself a perfect fit with the band, with his incredible voice being a perfect match for the more serious (albeit, still pretty cheesy) lyrics. And Pell's guitar playing, usually impressive though excessively indulgent with the solos, has really started to become more coherent as well. The solo's are still a vast flurry of notes, but there's just more substance there now, as opposed to endless scales up and down the neck. And as expected, there's riffs aplenty here. With tight rhythm work and brimming with massive power chords, this is definitely something for the old school rocker in us all.
While this album is still very much a typical hard rock record, and probably would have fared better had it been released in 1984, it's still got some good, quality music that holds up well today. Songs like 'Talk of the Guns', 'Casbah', 'Cry of the Gypsy', 'Warrior', 'Outlaw', 'Innocent Child' and the title track itself all go to make 'Between the Walls' an essential hard rock album, and one of Axel Rudi Pell's finest.
Genres: Heavy Metal
Format: Album
Year: 1994
I'm not going to deny, I'd never heard of Coldseed before seeing this in a secondhand shop for £1. The name of the band, plus the image on the front cover, did make it look like some European symphonic metal band (you know the type), which seemed even more evident when I saw that their drummer was Thomen Stauch, formerly of Blind Guardian.
But I was wrong. Very wrong.
(I was right about them being European, however).
Instead, Coldseed is actually more akin to groove metal or hardcore music. There are keyboards, but used sparingly and more as an addition to the guitar riffs than as a central songwriting tool. And the vocals (provided by Soilwork main man Björn Strid), are more aggressive than I expected. It's hard and heavy, with plenty of fat riffs, but overall a lot of the songs just tend to plod along uneventfully.
Songs such as 'My Affliction', 'Reflection', and 'Strike the Nerve' are alright, and though none of them are going to change the world, they're still worth a listen. And then there's 'Nothing But a Loser', a groove-laden beast of a tune, which is easily the best and catchiest song this album has to offer.
Along with the aforementioned musicians, Coldseed features Oliver Holtzwarth, formerly of Rhapsody of Fire, and also other members who have been former live musicians for Blind Guardian. All things considered, the name of the band, the front cover of the album, the promo pictures, and definitely the players involved, it really is quite surprising that this isn't a power metal project.
Overall, 'Completion Makes the Tragedy' is an okay album, though. It's not anything amazing that I'll go back to very often, but a few of the songs are strong enough to warrant giving this "supergroup" a chance, and if you stumble across it as cheap as I did, you certainly won't feel ripped off.
Genres: Groove Metal
Format: Album
Year: 2006
Nobuo Uematsu and his dastardly clan of Black Mages are back with 'The Skies Above', a sequel to their self-titled debut which features progressive metal versions of music composed for the Final Fantasy video games (composed, I should add, by Uematsu himself).
Random nugget for you, but I've never played any of the Final Fantasy games.
Now, I'm not usually a big fan of instrumental albums. While I do enjoy the music, I find it tedious sitting through so much of it in one go, so it's surprising to me that 'The Black Mages', the bands first outing, is a personal favourite of mine, and was awarded as such, with five stars.
'The Black Mages' was heavily keyboard-driven, full of energy and overall a lot of fun. 'The Skies Above' just seems the complete opposite. The songs seem more guitar-oriented, and the fun and enthusiasm of the first seems to have been replaced by super seriousness. It's not bad, but this album just lacks that joyful energy.
There's two songs with vocals this time around. 'Otherworld' and 'The Skies Above'. Both are good songs, and the vocals do break up the monotony a little. On the instrumental side of things, tracks like 'Hunter's Chance', 'The Man With the Machine Gun' and 'Battle With the Four Fiends' are notable tracks that make this album a worthy purchase, but sadly none of them live up to what's come before.
'The Skies Above' is a bit of a mixed bag. There's some good songs and some bad ones. There's a lot of styles covered which keeps things somewhat interesting, and the musicianship is of a high standard, though sometimes wasted on uninteresting arrangements. Overall, it's a good album, but if it's your introduction to the band then you're better off going with their self-titled debut.
Genres: Progressive Metal
Format: Album
Year: 2004
It's 1998, and with nu metal slowly getting its footing and revitalizing what was, at that point, a dying metal scene, there's no denying that amongst the rap metal hybrid acts such as Limp Bizkit and Rage Against the Machine, and the teenage angst ridden beats of Papa Roach and Korn, there was one band who had a unique sound of their own, and that band was Spineshank.
Just kidding.
System of a Down's self-titled debut album is literally all over the place, from calm to erratic in a heartbeat. It's raw and aggressive, yet at times can be soothing and melodic, whilst maintaining a take-no-prisoners "fuck the world" attitude. It's dirty, gritty, and full of rage and spite. Certainly not a record for the weak-hearted.
Vocalist Serj Tankian has expertly managed to blend all kinds of singing, from melodic clean vocals to shouting, a wide range of eccentric falsetto, something considerably theatrical, and what can only be described as "vocal effects", it could be seen as an acquired taste, but it's certainly unique! And his vocals are perfectly backed by Daron Malakian's guitars. Punchy, heavy and relentless. Frantically shifting from crunchy riffs to odd, out-of-tune bends and licks. It's a recognizable style that very few have been able to replicate.
Highlights to look out for include 'Suite-Pee', 'Know', 'Ddevil' (nope, that wasn't a typo!), 'Peephole' and of course the classic, 'Sugar'.
As a whole, this is a cracking debut. It shows a band with incredible chemistry and potential (which they would certainly live up to), and the only real problem with it today is that it seems a bit dated and overshadowed by what the band would go on to release later in their careers.
Genres: Alternative Metal
Format: Album
Year: 1998
‘Streets: A Rock Opera’, released in 1991, is the sixth studio album by American metal band Savatage. It sees the band further develop their unique style which incorporates huge influences from musicals and classical music, and features a concept based on the rise and fall of fictional musician D.T. Jesus. Coming at a time when metal was becoming stale to mainstream fans, it was no doubt a risky move by the band to continue this route, but the end result is one of their most highly revered and well-received albums.
Riding a wave of momentum from their previous albums, ‘Hall of the Mountain King’ and its successor, ‘Gutter Ballet’, and once again continuing their working relationship with producer Paul O’Neill (who wrote the original story for the album), the band have hit their stride here, finding their niche and sounding more confident than ever before.
Wonderfully produced, the sound of the album evokes many moods throughout its diverse track list. From heavy rockers, to melodic tearjerkers, the production perfectly captures the essence and mood of each song. At times haunting and eerie, melancholic and depressing, or uplifting, head banging metal anthems, O’Neill has done a tremendous job of capturing the right vibe which suits the style of the band, and gives each member ample space to shine.
With songs such as ‘Jesus Saves’, ‘Somewhere in Time/Believe’, ‘Tonight He Grins Again/Strange Reality’, ‘Ghost in the Ruins’, ‘You’re Alive/Sammy and Tex’ and ‘Agony and Ecstasy/Heal My Soul’, there’s no shortage of Savatage highlights here. Along with Jon Oliva’s hauntingly passionate vocals and Criss Olivas classically-inspired guitar acrobatics, this is a pivotal album for the band, which would see them continue to ignore musical trends in favour of their own musical and artistic integrity, making ‘Streets: A Rock Opera’, a worthwhile addition to the collection of all rock and metal fans.
Genres: Heavy Metal
Format: Album
Year: 1991
The follow-up to the highly successful 'Parallels', 'Inside Out' is almost identical in sound and style to its predecessor, so much so that it is often regarded as "Parallels Part 2", though I find it is an unfair assumption as this album does contain material of some merit, even going as far as to say it's some of the bands tightest and most consistent songwriting.
Musically, this album follows on where 'Parallels' left off, which a strong emphasis on duel-guitar melodies that allow both players to shine, Mark Zonder's incredible drumming that adds so much flavor to the music, without dominating or taking too much spotlight, and Ray Alder's vocals which truly peaked here, especially in terms of range and capability.
The production is neat and tidy, with no musician being given preference. It does a good job of being a metal album, while also emphasizing the melody of the band.
With songs like 'Outside Looking In', 'Monument', 'Pale Fire', 'The Strand' and 'Face the Fear', it's clear that 'Inside Out' is an underrated classic, which is often overshadowed by the strengths of what came before. It's got some of the bands strongest material and is definitely a worthy addition to the collections of metal and prog fans.
Genres: Progressive Metal
Format: Album
Year: 1994
'The Game' was my introduction to Austrian symphonic/progressive metal band Dreams of Sanity, having snapped it up quickly after hearing some of their music online and loving it. Sadly, this, their third studio album, was also their last, as the group split up shortly after its 2000 release. Especially unfortunate as this is undoubtedly their strongest outing.
Falling under the subgenre of progressive, power, gothic or symphonic metal (pick one), Dreams of Sanity have that perfect blend of heavy, grooving guitar riffs with plenty of melodic keyboards and string sounds. The songs have complex structures with plenty of excellent interplay between all involved, but without the mindless shredding and endless soloing that the genre is sometimes (in)famous for.
The production is absolutely spot on here. While the band's debut 'Kömödia' was fairly average, it's follow-up, 'Masquerade' was a massive leap forward, and so building upon that, with 'The Game' the Austrian's have really nailed the rich, vibrant and clear sound that gives every instrument clarity and warmth.
With songs such as 'The Beginning That Lies', 'The Creature That You Came to See', 'And So (I Walk On)', 'We.II.Sea', 'The Empress', and... ah, you know what? Bugger it, they're all brilliant! Dreams of Sanity really hit their stride with this release, and it's an absolute travesty that the band fell apart shortly after. Still, I'm glad I stumbled across these guys, because this is an incredible album by a hugely underrated band.
Genres: Symphonic Metal
Format: Album
Year: 2000
Here is a band who has a ton of potential but somehow just can't quite manage to channel it properly to create anything truly memorable. Whilst there are some good tunes coming from the German group Ivory Tower, most of the time this, their self-titled debut album, seems to just fall flat on its face.
I'm trying not to be too critical as there are some good tracks here, but sadly most of the time you just feel that you've already heard the same songs played a thousand times better by another band. On a positive note though, 'Alive' is a pretty awesome, upbeat song, and 'She' has a nice steady beat to inspire some serious headbanging, and to compliment the heavier tracks we have the beautiful piano ballad 'Spring'.
But apart from these three songs, the others all have hit-or-miss moments, and instead of finding something new with each listen, you just feel more frustration at having to listen through a whole heap of uninspired boredom to get to the good stuff.
Overall this isn't a terrible album, but it's not something I can see myself coming back to very often. The musicianship is fine and the vocals aren't bad, although sometimes the lyrics can be pretty lame, but ultimately the problem with this album is that it just tends to be boring most of the time.
Genres: Progressive Metal
Format: Album
Year: 1998
I've never been too keen on these guitar instrumental types. You know the ones... Joe Satriani... Steve Vai... yeah, those types. While I "like" them, and appreciate and respect their talent, I've always found "shred" albums tend to get fairly mundane fairly quickly. But this isn't just another guitarist, no sir, this is John freakin' Petrucci of Dream Theater dammit! And this is an album I just had to have!
As a die-hard Dream Theater fan and a guitarist myself (my aspirations to be this good withered away a long time ago), I was super excited to hear this. John Petrucci has long been one of my all-time heroes, and it was about time we got to see him strike out on his own.
However, while there are some fantastic tracks here, 'Suspended Animation', like all the others, quickly becomes just another one of those guitar albums.
I mean, the positives are that the songs are well-written and performed perfectly. We all knew Petrucci's technique was impeccable and this album does nothing but prove what everyone already knew. 'Jaws of Life' and 'Glasgow Kiss' are probably the two tracks most people are familiar with, and damn right, they are good songs! But the absolute star of the show is 'Tunnel Vision', which is an incredibly underrated song and easily the best off the album.
Sadly, after that, the rest of the songs are fairly average. Good exercises in technique and everything you'd come to expect, just not overly memorable. This is why 'Suspended Animation' is nothing more than a good album. Other than the first three tracks, the rest mostly serve as material for guitar nerds to study and learn, or for Petrucci to show off how Godlike he is.
Mostly the latter.
And I'm jealous.
Genres: Progressive Metal
Format: Album
Year: 2005
After 1982's 'The Number of the Beast' cemented Iron Maiden's prominence in the metal world, the band were quickly back in the studio to build upon their momentum with 'Piece of Mind', an album that many fans hold in high regard, but one that I merely consider the final step in the transitional period that would see Iron Maiden truly reach their prime years.
Continuing Iron Maiden's run of what many consider their "golden era" of albums (the inclusion of new drummer Nicko McBrain would cement what would be viewed as the classic lineup), 'Piece of Mind' is revered by fans as one of the bands finest releases. Though, much like its predecessor, I feel there's too much filler material for me to share that opinion.
As with previous outings, there are a few instantly recognizable classics, such as 'Where Eagles Dare', 'Flight of Icarus', 'To Tame a Land', and one of the groups most memorable hits 'The Trooper' (which I often find to be fairly overrated, to be honest), but other than these songs, I feel the rest are fairly bland and uninspiring. Not that they're terrible, but tracks like 'Quest for Fire' and 'Sun and Steel' just don't really do anything for me.
The verdict has long been out that this is a classic Maiden album however, and in fairness, if you're a fan of the band then it's got enough "classic" material and status going for it that it warrants being in your collection, but overall I just find this to be the final album before the band really hit their stride and go through a string of excellent releases.
It's decent enough, but from here on out is where things really start to get good.
Genres: Heavy Metal
Format: Album
Year: 1983
Seven years since their last studio album, Stuck Mojo are back! But fans who were excited to have their beloved rap metal pioneers return were met with something different than what they'd come to love in the 90's. And we all know that in the world of metal, this could be a huge problem...
Having parted ways with original vocalist, the much-loved hardcore-influenced Bonz, Stuck Mojo were now fronted by the man known as Lord Nelson. The major impact this had on the groups sound is unmistakeable. Whereas Bonz was versatile in his ability to rap, growl and shout, whilst emitting boundless energy and emotion in his performance, Nelson was, by-and-large, a legit rapper. Not one to shout, or jump around stage like a lunatic, Lord Nelson comes from a hip hop background where most of his vocals are spoken word. I like it. Sure, it's nowhere near as exciting to listen to as Bonz, but it still works well with the bands new style.
Speaking of which...
Seven years is a long time to pass when you're a musician, and no doubt influenced by the sound he'd developed with his band Fozzy, as well as his solo Duke project, it's no surprise that band leader and songwriter, guitarist Rich Ward has evolved his own playing style from the endless barrage of brutal metal riffs fans were use to, to a more varied style of hard rock which had a wider pallet of influences to draw inspiration from.
As a result, 'Southern Born Killers' is a more modern, more "complete" sounding band. With a proper rapper on board and more emphasis on song-writing techniques. Tracks like 'I'm American', 'Metal is Dead' and 'Open Season' are all classic Mojo, while songs like 'Yoko' and 'The Sky is Falling' take the band into almost progressive territory, with longer song durations, complex arrangements and the use of keyboards and samples. Not all fans liked it, but I find it interesting to see artists experiment with new ideas.
Looking at the big picture of Stuck Mojo's discography, nothing can really top those classic years with Bonz in the 90's, but Lord Nelson does a good job on this incredible album. It's different than anything they'd done previously, but that doesn't make it bad. In fact, this is probably closer to the definition of "rap metal" than anything they'd done before.
"Welcome to the south, bitches".
Genres: Alternative Metal
Format: Album
Year: 2007
‘Still, Alive... And Well?’ is a “compilation” released by Megadeth in 2002. It features a selection of six live tracks and six studio recordings, and is a completely pointless and irrelevant album to own. There’s no reason at all for this to exist save but one... in 2002 Dave Mustaine suffered an injury that forced him to retire and disband Megadeth (don’t worry... they’d be back a couple of years later). However, contractual obligations meant he still owed Sanctuary Records one more release.
Which brings us to this little nugget of joy...
‘Still, Alive...’ starts off with six live cuts from Megadeth’s final two shows (pre-retirement, anyway). The choice of songs is a bit odd, and none of them flow. The sound is also pretty bad, especially with regards to the fact that Dave’s guitar seems louder than anything else. The liner notes sees MegaDave claiming to be honoured to share these songs with us... but we can all read through his lies. This album is a quick fix to a legal problem. Aw well...
The second half of the album contains six songs from the bands previous studio release, ‘The World Needs a Hero’. The likes of ‘Moto Psycho’, ‘The World Needs a Hero’ and ‘Dread and the Fugitive Mind’ are all good songs, but aren’t enough to save this supposed compilation. And the fact it’s six tracks all from the same album is a bit of a slap in the face. Whatever...
Not worth the price for the live songs, and the addition of the studio recordings makes this a bit of a mockery to fans that paid for it. Overall, ‘Still, Alive... And Well’ is barely passable as something for die-hard fans, and otherwise is something to completely ignore and forget it ever existed.
Genres: Heavy Metal Thrash Metal
Format: Compilation
Year: 2002
2009’s ‘Liebe ist Fur Alle Da’ is the sixth studio album by German industrial rockers Rammstein. It comes four years after the fairly disappointing and disjointed ‘Rosenrot’, and not only does it completely make up for that last blunder, but it firmly establishes the band, not only as the absolute kings of industrial metal, but as one of the more prominent bands of the entire metal genre.
The most notable difference between ‘Liebe...’ and the previous two releases, ‘Rosenrot’ and 2004’s ‘Reise Reise’, is the production, in which here, Rammstein are a lot heavier, with a more clear and precise sound. The last two albums seemed a bit “muddy” in places, whereas in ‘Liebe...’ there is a better clarity and focus, taking the band right back to the sound of their 2001 masterpiece, ‘Mutter’.
As always, there’re some monstrously crushing guitar riffs which are interspersed brilliantly with keyboards, giving the music plenty of variety, at times either heavy or soft, with dance and electronic influences. Vocalist Till Lindemann pushes his voice harder than ever, from gentle singing to booming roars. But it all works to give the group their own distinctive sound.
With some of Rammstein’s heaviest, most intense or most interesting tracks, such as ‘Ich Tu Dir Weh’, ‘Rammlied’, ‘Pussy’, ‘Haifisch’, ‘Waidmann’s Heil’ and the title track, it’s clear that the German’s are still at the top of their game, and with the usual controversial lyrics, imagery, music videos and live theatrics, ‘Liebe ist Fur Alle Da’ is a sure stamp that Rammstein belong in the upper echelon of metal bands.
Genres: Industrial Metal
Format: Album
Year: 2009
Three albums into their career and Blind Guardian have still yet to find that certain something that would make them unique amongst all the other power metal bands. Although there are certain hints of it creeping in, it isn't enough to make 'Tales from the Twilight World' truly stand out.
The use of acoustic guitars, more intricate vocal melodies and Tolkien-inspired lyrical themes are all signs of where the band are going musically, but sadly it fails to distinguish anything of this album from its predecessors. Songs such as 'Lord of the Rings', 'Welcome to Dying' and 'Tommyknockers' are some of the more memorable moments, but they're lost amidst an album of mediocre speed metal tracks ('Lord of the Rings' is damn catchy, though).
Much like their previous albums, 'Tales from the Twilight World' may be held in higher regard by enthusiasts of the genre, and whilst I absolutely love Blind Guardian's later material, to me, this is just another generic power metal affair.
Genres: Power Metal
Format: Album
Year: 1990
Fresh off of an outstanding album, 1998’s ‘Something Wicked This Way Comes’, which sees Iced Earth fight back from a string of disappointing releases, the band give us this short EP, which was originally intended as a promotional tool for radios, but ended up getting an official release for fans to get their mitts on.
While its chillingly emotional verses and catchy chorus makes ‘Melancholy’ an understandable choice for a single, in my opinion there’s much better songs on the ‘Something Wicked...’ album that could have been used. It’s a good song, don’t get me wrong, and it nicely shows the new direction Iced Earth were headed in with their sound. But it just pales in comparison to some of the other potential tracks.
Still, along with ‘Watching Over You’ (another strong number from the same album), there’s three covers, all of which I find pretty disappointing. I’m either not a fan of the band being covered, vocalist Matt Barlow’s voice doesn’t quite suit the song, or I just flat-out don’t really care.
Overall, as is always the case with EP’s, I find them pretty hit-or-miss, and serve more as little collectable items for fans than as serious releases. ‘The Melancholy EP’ is no different. It’s alright for what it is, but not anything worth checking out unless you’re a huge fan of the band.
Genres: Heavy Metal
Format: EP
Year: 1999
After the all-out metal assault that was 2003's 'Train of Thought', Dream Theater continue to develop their "metal" sound, while at the same time paying homage to their progressive roots. And so it is, that 'Octavarium' is seen from two perspectives. There’re the fans who see it as Dream Theater's 70's-era prog rock album, and there's the ones who think it's just a smorgasbord of stolen ideas.
Admittedly, there are songs that sound similar to artists such as Muse, Linkin Park, U2 and the very Pink Floyd-sounding title track. But does that really make them bad? Does a band consisting of some of the finest musicians in the world really need to resort to plagiarism? And when did it become such a sin to wear your influences on your sleeve? Stolen ideas or not, I like the songs, and that's all that truly matters to me.
The main focal point of the record is the 24-minute title track, 'Octavarium'. A song that builds from a hauntingly ambient intro to one of the most climatic finishes in a Dream Theater track, it perfectly appeals to fans of both old progressive rock and modern metal alike, and will easily go down as one of the bands most memorable pieces.
The rest of the album features a mixture of heavy, rocking songs and soft, radio-friendly ballads. 'These Walls' and 'Never Enough' take the group into more alternative rock-inspired territory, whilst others such as 'The Root of All Evil' and 'Panic Attack' continue in the same vein Dream Theater have been on since 'Six Degrees of Inner Turbulence'. And while the musicianship is incredible, as expected with Dream Theater, it's keyboard player Jordan Rudess who really gets to shine on this album, with many of the songs being heavily synth-driven.
Riddled with Easter eggs and hidden references to the number eight, Dream Theater's 'Octavarium' sees the band continue to challenge themselves by trying new things and taking inspiration from different sources. It's a throwback to 70's and 80's progressive rock, whilst maintaining the bands own signature take on the metal subgenre they helped pioneer, thus making it a worthy addition to fans of both genres.
Genres: Progressive Metal
Format: Album
Year: 2005
‘Alive in Athens’, released in 1999, is the first live album by American power metal band Iced Earth, and is an absolute marathon of a release, with a staggering duration of three hours split over three discs. Highly regarded by fans, ‘Alive...’ sees the band draw as much material as possible from their five previous studio albums and cram it into two nights of live music at the Greek capital. But is it really as good as people make it out to be?
Don’t get me wrong, this is a good album. The quality of the audio is fantastic, with some songs sounding nearly identical to their studio counterparts, and there’s a lot of incredibly strong material, from earlier hits such as ‘Iced Earth’, ‘Angels Holocaust’, ‘Cast in Stone’ and ‘Stormrider’ to later numbers such as ‘Burning Times’, ‘Watching Over Me’ and the ‘Something Wicked’ trilogy.
So what’s the problem, you ask?
It’s just so bloody long!
Simply put, that’s it. Iced Earth are a great band, but three hours in one go is a hell of a mouthful, with most songs sounding similar to the one before. The musicianship is fantastic, with every track performed to perfection, but there’s not really anything that stands out in particular. There’s nothing overly interesting in terms of crowd interaction, or adding anything new to the compositions. It literally is three hours of repetitive Iced Earth tracks, one after another, with crowd noises thrown in between.
For what it’s worth, this isn’t a terrible album, but the overwhelming duration is a huge detriment, and seeing as I’ve always preferred studio albums anyway, I can’t see myself choosing this over any of their studio releases.
Genres: Heavy Metal Power Metal
Format: Live
Year: 1999
Now, don't get me wrong, I love Metallica. I didn't mind them going alternative rock. I didn't mind them playing with an orchestra. I didn't mind them using trash cans for snares. But the only thing I've considered a detriment to all their albums since the mid-90's is that they're all so bloody long! And that has never been more evident than with 'Hardwired... To Self Destruct'.
The thing is, eight-minute songs (and longer) worked for the band back in the day, but since the rise of Dream Theater and progressive metal during the early 90's, it really feels like a field in which Metallica can't compete anymore. And in fact, maybe they were better suited to the stadium anthem vibe of 1991's self-titled album, because every song having a ridiculously and unnecessarily long intro, or intricate musical passages that feel like the band are just going through the motions, is getting a bit tedious now.
Criticisms aside, 'Hardwired...' follows on from 2008's 'Death Magnetic', in which Metallica have readily accepted a return to being a (thrash?) metal band. The music is heavy and fast, with lots of tasty riffs and each member really trying to get the most out of their somewhat limited musical prowess. Highlights include 'Moth Into Flame', which is one kickass tune, 'Now That We're Dead', 'Atlas, Rise', 'Spit Out the Bone' and 'Halo On Fire'. All of which are decent tracks that have the makings of great songs, but suffer from the aforementioned duration issues.
Special editions of this album came with a third disc, but there isn't much to write home about here. A bonus track (which goes on for too long), a few covers from various tribute albums, none of them are overly inspirational, and nine live tracks of songs we've already heard countless live versions of, make this hardly worth the investment.
After all that, however, 'Hardwired...' isn't a terrible album. It does show a lot of promise at times, but it really gives off an impression that Metallica aren't fully engaged with what they're doing unless they're trying something new or challenging themselves. Going alternative rock, playing with orchestras, theatrical movies, collaborations... seems like anything that takes them out of their comfort zone is really where they're most comfortable. While 'Hardwired...', to Metallica anyway, is just another metal album.
Genres: Heavy Metal
Format: Album
Year: 2016
Well, it's the 90's (1991 to be exact), and the mainstream music trends are shifting dramatically. The majority of metal bands are going through an identity crisis while trying to adapt to the rising grunge scene, or, at the very least, avoid being killed off by it. And progressive/power metal band Crimson Glory are no exception.
Sadly, Crimson Glory's attempt at remaining relevant didn't go over too well, with the band's sound taking a bit of a hybrid hair metal/grunge turn. It reeks of early 90's rock, reminiscent of bands like Extreme or Ugly Kid Joe, but still maintaining their own distinctive style of riffing. But there's so many things here that just didn't stick well with fans.
There's more "chants" and big chorus's with female backing vocals, there's organs, tribal drums, even a bloody saxophone solo! Then there's a brief musical passage in the song 'Starchamber' that sounds almost identical to the chorus of 'Kid Ego' by the aforementioned Extreme. It's always great to see a band experiment with their music, but sometimes it just doesn't work out for the better, and in 1991, this could just have easily been considered desperation to adapt, as opposed to a genuine desire to try new things.
It's all a moot point either way, because unless you were Metallica or Guns 'n' Roses at that time, you were pretty much screwed.
It's not all bad though, songs like 'The Chant' (which is actually an awesome tune), 'In the Mood', 'Strange and Beautiful', 'Promise Land' and 'Love and Dreams' are all fairly good and catchy pieces that makes this album worth looking out for if you're a fan of the band, but certainly nothing of any real importance is on offer here.
Overall, 'Strange and Beautiful' was never going to win over any new fans, but it's certainly an interesting release. Some of the songs can tend to drag at times, but for the most part, it's a decent effort. Sadly, it signalled the end of Crimson Glory's run as a legit band, as, other than a brief comeback album in 1999, the band have done nothing of relevance since.
Genres: Heavy Metal
Format: Album
Year: 1991
'Liquid Tension Experiment 2' picks up exactly where its predecessor left off, reuniting John Petrucci and Mike Portnoy of Dream Theater, with Tony Levin of King Crimson and Jordan Rudess, who would join Dream Theater shortly after the release of this album. Noticeable immediately is how much more complete and richer this record sounds when compared to the bands first outing. Not as self-indulgent, nor full of improvised jams, the songs sound a lot more structured, organized and consistent.
As you would expect, the musicianship between the four members is astounding, with everyone being given ample opportunities to show off their skills. "Often imitated, rarely duplicated". Few artists have this kind of connection with one another. These guys are all masters of their respective instruments.
While this album is overall a stronger release than their debut, there are still a few weak tracks. In fact, it's the last three songs that slow things down a lot, as the first half, in particular, 'Biaxident', 'Another Dimension', 'When the Water Breaks' and in my opinion the groups finest work, 'Acid Rain', are all instrumental classics that are rife with incredible technical playing.
Of the two Liquid Tension Experiment albums, this is definitely the better one. Less pretentious than the first, 'Liquid Tension Experiment 2' is a fine slab of instrumental progressive metal. Fans of Dream Theater will no doubt need this in their collection, but it's diverse enough that even casual prog fans will enjoy it.
Genres: Progressive Metal
Format: Album
Year: 1999
Forget Slade, forget Mariah Carey and forget Cliff Richards. When it comes to Christmas music you can’t get any better than Trans-Siberian Orchestra.
Lead by producer Paul O'Neill, the Trans-Siberian Orchestra brings together musicians from all different genres, and namely members of the metal band Savatage, to bring us Christmas-themed rock operas. Brilliantly arranged, with fantastic musicianship and some emotionally powerful vocals, if you're a Scrooge like me, at least this will give you something to look forward to around the holiday season.
The great thing about this group is the diversity of styles utilized in the music. Most notable are the metal and rock influences, but there's elements of blues, jazz and classical music too, with singers coming from all kinds of musical backgrounds. With such a wide pallet of dynamics and styles at their disposal, the music constantly sounds fresh and exciting throughout.
Songs such as 'The Lost Christmas Eve', 'Wizards in Winter', 'Christmas Nights in Blue', 'What Child is This?' and 'Christmas Canon Rock' make this album a joy to listen to, and it's only bought down a notch by one or two fillers.
In fact, the only major detriment with this release is that you can only really listen to it during the Christmas period, without feeling like a complete knob, that is. But when December 25th comes around, light some candles, pour some wine, and put on some Trans-Siberian Orchestra as you open presents with your loved ones. It's a truly wonderful experience.
Genres: Non-Metal
Format: Album
Year: 2004
While there’s always been subtle classical and theatrical elements to Savatage’s music, it wasn’t until 1989’s ‘Gutter Ballet’ that the band really started to take their sound in a more ambitious direction. Inspired by musicals such as ‘Phantom of the Opera’, there’s a much more grandiose feel to this album than anything they’d done before, and would only lead to the band transitioning from power metal to more progressive territory.
One notable change in the band’s sound is the more prominent use of pianos and keyboards. While there were always some keys lingering in the background, ‘Gutter Ballet’ sees them become a more integral part of the music. It works amazingly well, and really distinguishes Savatage’s unique identity.
Of course, the musicianship itself is fantastic. With each member, building upon the momentum they’d garnered with previous album, ‘Hall of the Mountain King’, being on top form. Jon Oliva’s vocals really suit the more theatrical approach well, and his guitarist brother Criss Oliva’s blistering guitars are as incredible as ever. Working with producer/songwriter Paul O’Neill, this was a time of growth for the band, and each member really plays their part to help the band mature.
With highlights that include ‘Gutter Ballet’, ‘When the Crowds Are Gone’, ‘Of Rage and War’, ‘She’s in Love’, ‘Hounds’, ‘Thorazine Shuffle’ and ‘Mentally Yours’, there’s an abundance of killer material here that constantly shifts from heavy to melodic, but never lets up in quality.
1987’s ‘Hall of the Mountain King’ may have been the album where Savatage hit their stride and started a run of successful (critically, if not commercially) albums, but for me, ‘Gutter Ballet’ is where they truly defined their sound and began a creative run that would see them continually release albums of high standards.
Genres: Heavy Metal
Format: Album
Year: 1989
2001’s ‘Mutter’ solidified German industrial rockers Rammstein as global megastars, and while it’d be an impossible task to top, 2004’s ‘Reise Reise’ was a more than worthy follow-up which maintained the bands high standards. So what went wrong here?
‘Rosenrot’, released just one year later, is essentially a “leftovers album”. Despite containing a number of singles which were given music videos, the album, mostly consisting of tracks that didn’t make it onto its predecessor, came out to minimal promotion and advertising. But understandably, when the quality of the material doesn’t live up to what the group had released prior, perhaps that’s why.
The thing is, while ‘Rosenrot’ isn’t a terrible release, it’s just not very memorable. Most of the tracks are pretty generic and bland, and they all tend to sound pretty similar. The monstrous anthems of ‘Mutter’ or the electronic dance grooves of ‘Sehnsucht’ are nowhere to be seen, and there just generally seems to be a huge lack of keyboards here, compared to earlier albums, anyway. Most of the songs tend to plod along with the same monotonous guitar riffs and baritone vocals. Still, the music itself is heavy and pounding, and when the band is on top form there’s a couple of decent numbers here.
‘Benzin’, ‘Rosenrot’, ‘Mann Gegen Mann’ and ‘Te Quiero Puta!’ are all respectable highlights, and fit well in the bands discography, but none of these hold up all that well to the likes of ‘Sonne’, ‘Du Hast’ or ‘Mein Herz Brennt’. Arguably the weakest album the band have put out at this point, ‘Rosenrot’ is still worth a listen or two if you’re a fan of Rammstein, but if you’re a newbie then you’re better off going with anything the band released prior to this.
Genres: Industrial Metal
Format: Album
Year: 2005
Eternity X are back for round two, with 'Mind Games', the follow-up to their debut release, 'Zodiac'. It's a bit of an odd one really, because while certainly a step up from its mediocre and boring predecessor, which took itself way too seriously, 'Mind Games' itself, is also mediocre, boring, and takes itself way too seriously.
Musically and sonically, everything's pretty much the same here as before, though at least they didn't do another concept album based on the zodiac star signs (what the hell was any of that about anyway?). But sadly, 'Mind Games' itself, despite one or two brief moments of goodness, is a mostly lacklustre affair, with boring, introspective lyrics, and rather static guitar riffs, that just sound like they're trying to be complex for the sake of it.
Onto the positives... if they can be considered as such... 'Faith' is an alright track, though it has a God-awful intro, and bonus track 'Switchblade' isn't half-bad... though the fact that a "bonus track" is considered one of the better songs speaks volumes about this album.
It's a shame, because vocalist, band leader and songwriter Keith Sudano is clearly very passionate about what he's writing, evident especially in his vocal performances, but the music itself just isn't very interesting. And with lyrical nuggets of joy such as "Mr. Suicide - grab his hand he'll take you on the ultimate ride", it's clear that this is nothing more than a self-indulgent cheese-fest.
Genres: Progressive Metal
Format: Album
Year: 1995
Oh boy... this is a funny one... Eternity X's 1994 debut is a concept(?) album, based upon... you guessed it, the zodiac star signs!!!
And it is utter nonsense.
The music is boring and uninteresting. The technical ability is there, but everything seems so bland and formulaic. The lyrics are complete balderdash which don't really make any sense. Or maybe they do but the music is so devoid of excitement that it's impossible to follow.
A lot of the songs are too short for anything to really shine through, and on top of that, they all sound the same. You can clearly hear how passionate vocalist and main songwriter Keith Sudano is by his performance, but that just serves to make me somewhat pity the guy for how dedicated he seems to this album. I mean, it's laughable how serious this record is.
To add to the unintentional comedic value of 'Zodiac'... the most memorable song is probably bonus track 'Fast Forward'. It's a six-minute bass solo that is about four minutes too long, and while it does have some nice melodies in it, it gets repetitive fast. Sadly, there is probably an Eternity X fan out there somewhere that is desperately trying to seek out this rare bonus track (funnily enough, an edited, shorter version of this song will appear on the bands follow-up release. Yay!).
It's so hard to figure out what the hell this album is really about. I can only assume that it's meant to be some super inspiring introspective journey of self-discovery... but ultimately it just takes itself way too seriously.
Genres: Progressive Metal
Format: Album
Year: 1994
Welcome back boys! After the disaster that was 'Fight for the Rock', Savatage's brief foray into adult-oriented rock (forced upon them by their label), the band rebound with an album that puts them back on track, and has gone on to be regarded as one of their most beloved releases, and certainly one that would maintain their upward momentum as a string of successful records would follow.
With the group going back to their heavier roots, there's a strong emphasis on fast, energetic guitar riffs, with early hints of the more classical-inspired sound that the band would adopt on later, more ambitious releases. Criss Oliva's blistering guitar work is second-to-none, and his brother, vocalist Jon Oliva's voice is as harsh and brutal as it's ever been. Each note really screaming out with pure passion and energy.
Highlights from this album include '24 Hours Ago', 'Beyond the Doors of the Dark', 'The Price You Pay', 'Strange Wings', 'Devastation' and of course, the title track itself. While I didn't mind 'Fight for the Rock', this is certainly a return to form for Savatage, and although it may be somewhat surpassed by the groups later material, it definitely still holds up well as a solid heavy metal album.
"Madness reigns..."
Genres: Heavy Metal
Format: Album
Year: 1987
I knew immediately upon their formation that I would love this band! Formed by three of my all-time musical heroes, Rich Ward of Stuck Mojo and Fozzy, Mike Portnoy, one year removed from his tenure with Dream Theater, and Russell Allen, powerhouse vocalist of Symphony X. Some of my favourite bands right there. This was amazing!
Except, their debut self-titled EP was a bit of a disappointment to me. Not only was it the most expensive single CD I’ve ever bought (being sold directly by the band themselves and having to be imported from America), I was gutted to find out that Rich Ward (my hetero man-crush) didn’t actually play on the recordings, but merely posed for the pictures. Unfortunately he’d already left the band by this point, leaving sole guitar duties to virtuoso Mike Orlando.
And with that, the band recruited Disturbed bassist John Moyer and released their debut album, 2012’s ‘Omertá’, a hard-hitting, pull-no-punches and take-no-prisoners affair, which offers traditional heavy metal with a huge dose of groove and energy. Brimming with driving guitar riffs and a pounding rhythm section, the music is unapologetic in its raw aggression and attitude. And vocalist Russell Allen, renowned for his incredible range and passion, really nails the anger and emotion needed to bring the music to life.
The production on this album is fantastic as well, giving the music an incredibly heavy and thick sound, and helping the band live up to their name. Tracks like ‘Undaunted’, ‘Indifferent’, ‘Psychosane’, ‘Feelin’ Me’, ‘Hit the Wall’, ‘All on the Line’, ‘Believe Me’ and ‘Down to the Floor’ are all massive metal anthems that can make you feel unbeatable, and not only do they make up for the rather shoddy EP the group had released the year prior, but establishes Adrenaline Mob as more than just another supergroup side-project, but a legit band with a bright future ahead of them.
Genres: Groove Metal
Format: Album
Year: 2012
2001 was the year nu metal fully conquered the world, pushing heavier music to the mainstream and reaching all new heights of popularity. Sadly though, it was a fad that wouldn't last, and any band looking to make an impact had to strike while the iron was hot. For every Disturbed, there was a dozen Spineshank's, for every Korn, there were multiple Adema's. With a cult following building since their 1999 debut, it was now-or-never for Static-X. Go hard or go home.
Which brings us to 'Machine'.
A huge step up from its predecessor, Wayne Static and his ragtag misfits are back with this crushingly brutal yet innocently simplistic assault on the senses. 14 year-old me had never heard anything so aggressive, and to this day, it still amazes me how an album so stripped bare can be so heavy. Sure, it's overproduced to hell and back, with various electronic tracks and effects giving the album such a massive and fat sound, but the compositions themselves are all very laid back, with basic arrangements, no overly complex passages, and barely more than three or four chords in any one song.
It's a classic case of "less is more". And in a case of great timing, the album was released during nu metal's heyday, ensuring it would appeal to a new generation of young metal fans that were introduced to the genre by bands such as Linkin Park and Limp Bizkit.
Overall, 'Machine' is an incredibly polished release, with a great sound and some infectious tracks. In particular, 'Otsego Undead', 'Structural Defect', '...In a Bag', 'Machine', and the two hit singles 'Cold' and 'Black and White', are all standout moments that helped firmly establish Static-X as one of the bands that would outlast the nu metal fad, and more importantly, one of the heaviest bands from my childhood.
Genres: Alternative Metal Industrial Metal
Format: Album
Year: 2001
For most this probably won't be worth the money. If you want to check out Dream Theater, you'd buy ‘Images and Words’ or ‘Scenes from a Memory’. However, if you ever wondered what Master of Puppets might sound like with Keyboards (and who hasn't?) then this is the album for you.
Of course, that won't stop people from buying it and whining about what it is, but the thing is, this isn't an album to be taken seriously. Are Dream Theater superior musicians from a technical standpoint? Absolutely! Is James Hetfield a better singer than James LaBrie? It's debatable. Does Hetfield's vocals suit this album better than LaBrie's? Most likely.
Who cares? It's Dream Theater having some fun and covering a Metallica album live. Take it for what it is, although, avoid it completely unless you're an absolute die-hard fan of Dream Theater who needs everything in their collection. And who isn't?
Genres: Thrash Metal
Format: Live
Year: 2004
The second release of Dream Theater’s demo series of official bootlegs, ‘When Dream and Day Unite Demos 1987-1989’ is a look at the making of the bands seminal debut album. Obviously...
Split into four main sections, there’s instrumental demos, early-Charlie Dominici demos, pre-production demos, and probably the most nerdy aspect of the album is the ‘X-Mas Demo’, which features a super early version of ‘To Live Forever’, which has remained more-or-less unchanged since its creation, as well as an array of random tunes and “messing around” spots that might (but probably won’t) pique the interest of die-hard fans.
The sound is alright, for what it is. Most of these being demos and recorded by the band themselves, there’s nothing massively remarkable, but again, this is for die-hard fans, anyway. Dream Theater are no doubt highly adept at their instruments, and this CD shows that even at a young age, these guys were technical wizards.
But overall, this isn’t really worth even considering to purchase unless you’re the absolute, most highest level of elite Dream Theater fan. And let’s be honest, even if you are, you’ll probably never listen to this anyway.
Genres: Progressive Metal
Format: Compilation
Year: 2004
Slayer’s ‘Live Undead’... Another 80’s metal live release with poorly overdubbed crowd noises! While I like Slayer, I’ve never really been a fan of their first few albums. With each release only garnering one or two tracks that I enjoy, it’s no surprise that I’m not massively keen on this 1984 EP either.
Featuring seven tracks, five of these are from Slayer’s debut album, which I’m not really into. Sure, the “live” feel of this release gives you an idea of the energy Slayer exuberate at their shows, but ultimately the repetitive and lifeless crowd noises that seemingly refuse to stop shouting during the songs don’t do anything to further my listening experience.
It’s well-produced though (minus the plugged in crowd noises), with the band sounding clear, and the performances are pretty solid, but... that’s about it. Supposedly this was recorded in a studio in front of a small crowd, but there’s no doubt in my mind that there was some kind of tomfoolery going on here. And even if there wasn’t, and it turns out this is, in fact, 100% live, unedited and un-tampered, then well done to Slayer for being able to rile up such a raucous crowd so early in their careers. But ultimately I’m still just not into these songs, and therefore just not into this EP.
Genres: Thrash Metal
Format: EP
Year: 1984
2002’s ‘Rude Awakening’ is the first official live album by thrash metal pioneers Megadeth. Released 16 years after their formation (what took them so long?), it sadly comes during a somewhat weird time in the bands history. Having just gone pop rock with 1999’s ‘Risk’ and then attempting a return to their roots with the rather stoic and not-very-well-received ‘The World Needs a Hero’, the band were suffering greatly around the turn of the century, and just a year later would split up (thankfully they’d return eventually).
Somewhere amidst all the struggle and strife, they’d release this little nugget. However, with a rather weak sound, a mostly non-audible crowd, especially during the first half, and a line-up which just wasn’t resonating with fans (drummer Jimmy DeGrasso and guitarist Al Pitrelli both had the unfortunate job of being with the band during such troublesome times), ‘Rude Awakening’ is a pretty average release that leaves much to be desired.
All criticisms aside, there are a couple of things this album does right. The performances are all solid and tight (although Dave Mustaine’s vocals are a little grating at times), and the set list is pretty much spot on, covering every major track from the bands discography at that point in time. However, the aforementioned detriments far outweigh the strengths, and I’d much rather just listen to the original studio versions of any of these tracks.
A fairly disappointing live release, ‘Rude Awakening’ isn’t overly memorable and serves only as an addition to the Megadeth collection for die-hard fans. And hell, even the front cover is kind of goofy!
Genres: Heavy Metal Thrash Metal
Format: Live
Year: 2002
As if 2000’s ‘Scenes from New York’ wasn’t enough, here’s Dream Theater with another three-disc assault on the senses, with 2004’s live album from Japan’s world-renowned Budokan venue, aptly titled ‘Live at Budokan’.
Touring to promote 2003’s ‘Train of Thought’, ‘Live at Budokan’ sees the band storm through a set of highly energetic and crushingly heavy material. The format of the shows were simply “an evening with...” type affairs, which meant there were no support acts. Yet, despite the mind-boggling duration of the set, the band remains on top form throughout, and shows no signs of fatigue or letting up.
Focusing more on their later material, ‘Live at Budokan’ is three discs of some of the bands strongest material, played impeccably by some of the absolute finest musicians in the world. Millions upon millions of notes are hit flawlessly, with a number of noodles and jamming sections bungled in amongst the set, this is a highly entertaining live album, and shows an unparalleled chemistry between the highly-respected musicians.
There’s an abundance of highlights here. From newer tracks ‘As I Am’, ‘This Dying Soul’ and ‘In the Name of God’, to older classics such as ‘Pull Me Under’, ‘New Millennium’, ‘Only a Matter of Time’ and ‘Beyond This Life’, which features a near-ten minute jam section which is absolutely incredible and never gets boring. Then there’s the exclusive of this album, ‘Instrumedley’, a 12-minute instrumental medley of various parts of the bands discography. It’s genuinely mind-blowing and further demonstrates how these guys are the absolute best of the best at what they do.
‘Live at Budokan’ may lie a little on the heavier side of things, but this is truly a gem that belongs in any prog fans collection. With an absolutely banging production and top-notch performances, this will surely come to be recognized as a true prog classic.
Genres: Progressive Metal
Format: Live
Year: 2004
We all love concept albums, right? If there was one cliché that firmly embodies the essence of progressive music it's concept albums. Records which use narratives to link all the songs together, they often encapsulate the peak of an artist's creativity and on most occasions, the peak of their commercial and critical success. However, if rock operas can be seen as "prog 101", then we all know what to expect somewhere down the line... the sequel!
And that brings us to 'Room V' (that's "Room Five"), Shadow Gallery's sequel to the excellent 'Tyranny' album. I'm not going to deny, the story is a bit challenging to follow, and certainly not something I can summarize in a way that makes sense. It involves government conspiracies, biological weapons, and umm... lots of amazing music!
Anyone familiar with Shadow Gallery will know what to expect from this band, and for those of you who aren't... well, they're a progressive metal band... come on! Full of incredibly mind-blowing musicianship, heartfelt and sincere vocals, and plenty of catchy chorus's that'll have you humming along to every word, there's plenty of twists and turns in the plot that keep the music engaging throughout. There's also an abundance of interludes and rather unnecessary musical passages that make the album feel slightly cluttered at times, and extends the duration to a staggering 75 minutes.
However, the band compensate for the duration of the album with arguably some of their strongest work, with highlights including 'The Archer of Ben Salem', 'Vow', 'The Andromeda Strain', 'Comfort Me' and the title track, 'Room V'. Each one makes all the segues and interludes tolerable.
Proving why Shadow Gallery are one of the most underrated bands the genre has to offer, 'Room V' is an incredible album, and a worthy sequel to 'Tyranny'.
Genres: Progressive Metal
Format: Album
Year: 2005
If you're a metal fan, you're no doubt gawking at this three-star review and seething with anger, and nothing I say will justify my views in your eyes. So let me just say, to Pantera; I'm sorry.
Pantera were one of the first metal bands I got into way back in the day, and I'm sure there was a time when I first purchased this CD that I thought it was awesome, even though I'd never really heard it enough times to familiarize myself with it. As a result, years of neglect and seeing absolutely nothing but the highest reverence for it has set the bar very high. Too high, in fact, as 'Vulgar Display...' has failed to live up to my expectations.
It's not a bad album, but it's very much the same as its predecessor, 'Cowboys From Hell', in that it's a good record with its fair share of filler songs, but it hasn't been helped by the expectations set by the countless fans who treat it like an absolute masterpiece. I mean, c'mon now... 'By Demons Be Driven' and 'No Good (Attack the Radical)' are incredibly forgettable.
But when Pantera do get it right... oh boy! 'Mouth For War', 'This Love', 'A New Level', 'Regular People (Conceit)' and the legendary though slightly overrated 'Walk' are all ballsy songs that are heavy as hell and groove-laden to the brim, with enough attitude and energy to make up for the albums shortcomings.
And the performances are all-round pretty good. Guitarist Dimebag Darrell shows off all the skills that would validate his countless accolades as one of the genres all-time greats, and vocalist Phil Anselmo screeches passionately with pure disdain at the world. While not every track is to my liking, there's no denying the chemistry between everyone.
In conclusion, 'Vulgar Display...' is one of the most influential metal albums from the 90's, and while its reputation may be justified, I don't think it's stood the test of time too well. Perhaps it's one of those things where "you had to be there" to truly appreciate it.
Genres: Groove Metal
Format: Album
Year: 1992
Megadeth took a huge risk (no pun intended) with 1999's 'Risk' album. In a bid to gain more mainstream success, the band shunned the thrash metal genre they'd popularized in the 80's and turned to a radio-friendly rock sound. It didn't pay off. Big time. Dave Mustaine and his crew had egg well and firmly on their faces, and nobody likes egg on their faces.
So by the time 2001 rolled around, the band had used up their one and only "gone back to their roots" cliché (every band that's been around long enough gets to do this at least once). The problem was, with 'Risks' massive failure behind them, and with rising tensions between artist and record label, this truly feels like a band, and in particular, a man (Mustaine), who is lacking enthusiasm and who's heart isn't in it.
For the record, I loved 'Risk'. Just saying.
With 'The World Needs a Hero', there's definitely a metal vibe again. But the music just seems pretty lifeless and rigid. The crunchy riffs are back, but everything seems so stoic. The spite and hatred of Megadeth's earlier days is long gone, having been replaced by some of the most mundane lyrics imaginable. While some of the songs are pretty decent, everything just seems so uninspired.
Guitar legend Marty Friedman, who left the band after the 'Risk' tour, has been replaced by Al Pitrelli of Savatage and Trans-Siberian Orchestra fame. This is actually really cool, because I love those bands, but unfortunately Pitrelli doesn't really have his own unique voice like his predecessor. And the interplay between Mustaine and Pitrelli doesn't produce anything noteworthy.
Still, this album does have its merits. '1000 Times Goodbye', 'Moto Psycho', 'Promises', 'Dread and the Fugitive Mind' and 'Disconnect' are all decent enough songs, but not really much to shout about if I'm honest. 'Return to Hanger', a sequel to one of their biggest hits, 'Hanger 18', serves as a weak attempt at capturing some of their thrash era glory, and things are capped off with 'When', a diabolical rip-off of the Diamond Head classic 'Am I Evil' (which is only a classic due to Mustaine's former band Metallica... the irony of it all).
Overall, this isn't a bad album, but it really sounds like a group that are burned out and in need of some new inspiration. While the world needs a hero, it feels like this band needs a break. And on that note...
Genres: Heavy Metal
Format: Album
Year: 2001