Shadowdoom9 (Andi)'s Reviews
Guitar wizard from Australia Plini is back at it again with another beautiful prog-rock/metal journey for you to have a break from the grim reality of the virus. Impulse Voices has light spirit drifting in and out of heavy grounds and emotion. Any instrumental composition can be used for either imagination or meditation, but Plini can have music teleport between the two. Though it's not exactly background music, yet can stun your progressive metal heart!
He has proven himself a master before; take Handmade Cities and Sunhead for example, prolific experiences to revisit every now and then. Impulse Voices continues those experiences while enchanted with new texture ideas. You can immerse yourself in an unpredictable blend of ambient and heavy, all in playfully creative fashion.
Opening the album is "I’ll Tell You Someday" where masterful guitar melody has pleasant repetition. It's the album's first single, and the pace can shroud listeners in a warm embrace. "Papelillo" takes on lighter breeze while in a hefty balance. "Perfume" has strong dark electronics that would fit well on Stranger Things. While the rest of the album stays organic, that track's the most modern/electronic of the bunch.
"Last Call" definitely proves Plini's love for the guitar music of Joe Satriani and Eric Johnson in this jazzy track. Now don't try to calm yourself down too much as change is inevitable. There's nice cloudy synth for Dave Mackay who has recently joined Cynic. Another heavy highlight is the groove-filled title track. The highly significant "Pan" is the absolute pinnacle of the album. This is one of the most incredible songs I've heard, with a bad-a** mix of guitar heaviness and saxophone jazz. The last two minutes give me crying chills and the urge to become a symphony conductor. F***ing amazing, beyond good! The last minute has superb Dream Theater-like soloing.
Then there's the ballad-like track "Ona / 1154" that is practically another Joe Satriani tribute with Peanuts-like piano while standing by Plini's usual sound. There's never any rush, just a smooth journey. Finale "The Glass Bead Game" is a more impressive journey, his longest track at exactly 9 minutes! A gentle mix of guitar, harp, and piano guide you to your home run, much better than the previous album's ending.
Plini continues his emotional music progression with Impulse Voices. He sure knows how to think of inspiration when it strikes and allows him to create. The album has flavorful textures of life and this progressive voyager continues his wild unconventional path. Doesn't get any more beautiful than this. Over and out!
Favorites: "I’ll Tell You Someday", "Impulse Voices", "Pan", "The Glass Bead Game"
Genres: Progressive Metal
Format: Album
Year: 2020
I've been enjoying progressive metal for nearly 8 years now, and nowadays I'm changing my focus from the melodic past to a heavier future. Despite my attempt to revisit said melodic past, it ultimately hasn't worked as greatly as I wanted it to be and I ended up moving away from a big chunk of melodic bands. That includes instrumental bands Animals as Leaders and Liquid Tension Experiment. However, one artist I don't plan on letting go any time soon is Australian guitarist Plini!
Reviving progressive rock/metal in a djent-ish yet melodic wave, Plini has unleashed a calming storm from his own bedroom. I wish I could do that! Handmade Cities marks his full-length debut after several EPs, displaying his astonishing writing ability.
"Electric Sunrise" opens the album with incredible strength, starting with a catchy rhythm before the guitars rise. The title track is a solid mix of funk, djent, and progressive rock with immaculate drum breakdowns. It's well-known for the guitar rhythm during its solo being plagiarized for that of the guitar solo in American pop singer Doja Cat's 2020 metal remix of "Say So". Despite the slight controversy, the original solo at the 3 and a half minute mark is so melodic.
Shortly after, "Inhale" starts slow and mystical before it gets heavier. Next track "Every Piece Matters" has me slightly worried that the sort of generic soloing and plodding rhythm would detract the album's perfection, but the funky fills make up for it, and so does the anthemic chanting towards the end, the closest this album has to vocals!
Relatively, "Pastures" is a necessary pause in the intensity of the earlier music. Then we have the splendid expansion of sound near the end "Here We Are Again", which works awesomely despite its short length. The closer "Cascade" can be considered the climax of the album. However, it's as scatterbrained as the cover art, so it's not really a satisfying way to end, though keeping the album's perfect score intact once again.
Does curiosity pay off when you hear Plini expanding his progressive comfort zone? Yes, while it's necessary to not sound too forced or stagnant in some places. But in the end, we have absolute true melodic instrumental prog-rock/metal! I would give this album just 96% with some slight fat needing trimming, but he's still at his very strongest!
Favorites: "Electric Sunrise", "Handmade Cities", "Pastures", "Here We Are Again"
Genres: Progressive Metal
Format: Album
Year: 2016
Collaborative albums can cause quite some mixed reactions, but sometimes it makes a lot of sense and you see it as a dream come true that should've been done sooner but astonishing either way. After a few post-sludge bands like Neurosis and Cult of Luna have done their collaborative albums, it's Converge's turn on the 30th anniversary of their formation and the 20th anniversary of the game-changing Jane Doe. This is... Bloodmoon!
For this band's 10th studio album, they've joined forces with goth singer Chelsea Wolfe, along with her bandmate Ben Chisholm and former Converge member Stephen Brodsky (Cave In) for a 7-person team-up. The results? Something different than before...
The album's opening title track welcomes us to a haunting new world with clean vocals by Jacob Bannon, with Chelsea Wolfe joining in for her verses. A devastating riff knocks us straight into this realm, and would work well for live performances. "Viscera of Men" starts with a brief blast into Converge's chaotic past before slowing down again with more of Chelsea's vocals and the post-sludge drama. Her influence shines strongly in "Coil", a grand acoustic/orchestral rock single of heartbreak.
The spooky fun "Flower Moon" continues the grand experimentation of the album with all the creators in union, with Brodsky having some fun in his vocal performance and guitarist Kurt Ballou throwing around his guitar talents. The pummeling "Tongues Play Dead" allows Bannon to really shine in his vocals. The anguish-fueled "Lord of Liars" has some strain, but Ballou takes the strain out on his guitar with cool results. You can feel in "Failure Forever" the smoothness in Brodsky's vocals. A more bluesy-like tempo is used for "Scorpion's Sting", with stings a bit, but doesn't hurt.
The doomy "Daimon" once again executes the string/key ambience very well. "Crimson Stone" pulls off a lot without extra effort. Wolfe and Bannon sing together in an ethereal duet before a climatic grand finale (for the song anyway). The stunning goth-pop "Blood Dawn" marks an easy pleasant end to the journey, would make you wanna get your hands on Bloodmoon: II.
Yep, the title says Bloodmoon: I, so you know that a sequel might come in a year or a few. Anyway, this album's Converge expanding their comfort zone with the guidance of Wolfe and Brodsky through this gothic-ish avant-garde post-sludge darkness. A new era for this band is awaiting!
Favorites: "Blood Moon", "Coil", "Flower Moon", "Tongues Play Dead", "Daimon", "Crimson Stone"
Genres: Sludge Metal Post-Metal
Format: Album
Year: 2021
Bad Wolves is a band I consider part of the category of alt-metal bands my brother enjoys and I used to, and though they obviously didn't exist during my peak in the category nearly a decade ago, I enjoyed a few songs from this band when my brother listened to them a few years ago despite sounding like part of said category. I decided to revisit that band with their new album Dear Monsters, and despite Tommy Vext having already left the band, replaced by ex-The Acacia Strain guitarist Daniel "DL" Laskiewicz on vocals, upon first listen I thought this album has amazed me, probably the second-best alt-metal album of the year behind that Spiritbox album! However, well...
I took a second listen for this review, and while half of the songs still remain great, the others not so much. Still, the career of these Bad Wolves is beyond interesting. Even with TV out and DL in, this band still has their strength, especially considering the vocal abilities of the latter that's as good as the former. More cool melodies and heavy riffs are written to peak high, and they're enough to make this album an OK one to recommend and sing along.
"Sacred Kiss" starts with a slow intro before speeding into a hard rocker with an anthemic chorus. "Never Be the Same" kicks up the drumming action, along with fierce riffing. Then things go down to the middle with the radio-tune "Lifeline". However "Wildfire", with its strong environmental message, gets you humming to its massive hook.
"Comatose" continues the anthemic vibe with dynamic tempo added over sultry vocals. Next song "Gone" burns slowly and nicely with Laskiewicz's nice harmonic vocal range. The chorus riff adds some power to that song. Up next, "On the Case" is where they get serious with their metal, unleashing groove riff punches and great screams. This bad-A song can really sink its teeth into the skin of your eardrums. "If Tomorrow Never Comes" is where I get a bit lost. It's a nice song with good melody, but not so moving. The next exciting part of this metal road trip is miles away, and it doesn't when the part you are stranded is mid-tempo and filled with cliché lyrics. A decent track worth a good single, but not something to rock out to. "Springfield Summer" has nice acoustic country, but again it doesn't really work for the album.
Next track, "House of Cards" has heavier riffs than most of the previous tracks, with a killer soloing bridge. The lyrics are slightly confusing, making me unsure what they mean. "Classical" is anything but that old music genre, instead unleashing some more metal fire worth listening repeatedly. While the softer tracks weaken every time I listen, the heavier tracks have stronger impact and, once I get my drivers' license, makes me wanna drive a car into a crash pit and jump out before it falls. "In the Middle" closes the album with epic acoustics worth a strong vibe of swaying phone lights along with romantic lyrics and a solo to tribute to Slash. 5FDP shall recognize and enjoy this variation.
As a result of all these ups and downs, Dear Monsters has soft and half-acoustic tracks more suited for radio fans than myself, and epic and heavy tracks to fit inside the metal library that recognizes Bad Wolves as a solid band. Anyone tired of waiting for new material from Disturbed, Bad Wolves is the right band for you. Dear Monsters is a good start before building your way backwards into the Tommy Vext era. So turn it up and sing out loud! And get those soft radio single potentials the h*ll out of here....
Favorites: "Sacred Kiss", "Never Be the Same", "Comatose", "On the Case", "Classical", "In the Middle"
Genres: Alternative Metal Groove Metal
Format: Album
Year: 2021
There seemed to be a few cryptic hints about a new era for Bullet for My Valentine. Frontman Matt Tuck said that their upcoming album would an aggressive passionate beginning of "Bullet 2.0", and the album was later announced to be self-titled. And holy sh*t, this is accurate!
The new self-titled BFMV album marks a near-return to their earlier heaviness. BFMV has been part of my metalcore arsenal for 4 years, and their latest album at that time, Venom is a real headbanger with slight redemption of quality. Then in 2018, Gravity is a half-sh*tty nu metal backstabber. I thought if they released another album like that, I would start avoiding that band for good. Fast forward to the present with their self-titled album grabbing my attention by the b*lls. This is genuine heavy metalcore!
"Parasite" proves that right away after a minute of half of distorted brief radio samples of the band's greatest hits from practically every album. The song itself blasts through pure metal to have you fist-pumping and headbanging in no time. The riff in "Knives" will make you headbang so hard that your neck would be severed like a knife stab. I'm glad to still be living to write this review. Matt Tuck delivers lyrics of hatred and pain in vocals that could easily smash through concrete walls at command. That's quite what Robb Flynn of Machine Head had in The Blackening, but Matt does it slightly better.
After that one-two blast, "My Reverie" has slower groove, with the blend of clean vocals and growls being effective especially in the great dynamic chorus. The guitar solo can be thought of as a tribute to Dimebag, among other influences. "No Happy Ever After" cracks the sky of modern death metal influences while their land is still blessed with metalcore. During COVID lockdowns, production for the album was delayed several times before the band members agreed to record their parts separately from each other. The isolation really adds aggression to all the members' abilities, especially the soaring thrash leads from Padge. It would be interesting when the band actually play this song live and start a heavy moshpit. "Can’t Escape the Waves" brings back some of their earlier metalcore for longtime fans, while the ammo still sounds modern. Oh look, another song that gives the band something in common with Machine Head, a song titled "B****rds". However, unlike Machine Head's f***ing sh*tter, this is a real call-to-arms fight song of rebellion, perfectly nailing the semi-apocalyptic mood of their homeland of Wales. They really fire off one h*ll of a headbanger!
Changing the pace again, "Rainbow Veins" continues the monstrous groove, but with more clean singing than the unclean growls of the other songs. This rhythmic tune emphasizes on waves of sorrow in the aftermath of a revolution, containing a melancholic chorus followed by a destructive bridge. You feelin' it now? So after that slight ballad, there's more Hell to unleash with "Shatter", with rising feedback before the dark verses and fierce moshing chorus. "Paralysed" attacks with full-on Metallica/Slayer-esque thrash. "Death by a Thousand Cuts" ends the album on a heavy cliffhanger that would make you either demand the next album or just repeat this one again.
Like their older ancestors that are Sabbath, Priest, and Maiden, Bullet for My Valentine is not afraid to unearth unique sounds from the genre founded in the UK that is heavy metal. This band sure knows how to bring on their heavy artillery. Trivium has also done that with their new album the prior month, and if Bring Me the Horizon fully return to metalcore with their next Post Human release, that would make my day. Despite the quality not being same as earlier, BFMV deserves greatness for their killer comeback....
Favorites: "Parasite", "Knives", "No Happy Ever After", "B****rds", "Rainbow Veins"
Genres: Alternative Metal Metalcore
Format: Album
Year: 2021
As I continue my ultimate Pit test, I thought I would review the remaining Demolition Hammer album to fill in the gap. I'm amazed about what an underrated album Time Bomb is! I mean, this is the album where they abandoned most of the deathly thrash from their first two albums for the groove metal that was taking over the reign, but it made me have a great feeling about the genre! I might just be looking forward to the groove metal part of the test...
Apparently, Time Bomb was to be a different project, but it was still released as Demolition Hammer. New fans might be up for it, while longtime fans may not. Drummer Vinny Daze (dead from globefish poisoning, RIP) and fast soloing wizard James Reilly are out. Drummer Alex Marquez comes in, and so does the Hammer's new groove.
The album begins with a 15-second intro audio sample from Prince Of The City where a couple guys plan to lock someone up, yelling "F*** him! F*** them! F*** you!... F*** YOU!!!" Then "Under the Table" sets up what to expect in the album; heavy yet simple riffing in the face. There are also some samples from the films Serpico and Scarface. Next song "Power Struggle" stands out as a 5-minute sludge-ish groove metal epic (all other songs are just 3 to 4 minutes long).
"Mindrot" is also slow in a way similar to a blend of Pantera and Obituary. The guitar soloing absence may lets many metalheads, but it gets things more to the point. That also can also be said for "Bread and Water". Then "Missing: 5/7/89" is effective despite the lack of thrash fury. However, the earlier sound returns for the outro of "Waste".
Rocking out hard in the guitars is "Unidentified", though the basic repetition in the structure doesn't do the song any favors. "Blowtorch" stands out in some deathly riffing to remind some of Malevolent Creation. I like their cover of Devo's "Mongoloid" (despite the title being a derogatory word for someone with Down syndrome), fitting well for this different sound. The title track is almost different from the rest of the album, as f***ing heavy and fast as the other Demolition Hammer albums in its second half.
Yeah, I know, Time Bomb is all different and repetitive, but guess what? It's almost as enjoyable as their Teutonic Big 4-inspired speedy thrash albums. Time Bomb would be better appreciated by fans of Pantera and Machine Head. The slower heaviness might turn off longtime fans. Let's hope for more of this band since their recent reformation!
Favorites: "Under the Table", "Power Struggle", "Mindrot", "Blowtorch", "Time Bomb"
Genres: Groove Metal
Format: Album
Year: 1994
Brutal deathrash. At least that's what bassist/vocalist Steve Reynolds describes his band. After reviewing the classic thrash era of the melodic Annihilator, it's off to the side of spectrum with the vicious Demolition Hammer. The brutality from Tortured Existence continues in their second album Epidemic of Violence. Relentless thrash to the max!
The boundaries of the extreme side of thrash are torn down, without having to go too full-on deathly. The instrumentation has more furious intensity than before. That doesn't mean this album is fastest though, there are a few crushing mid-tempo sections. The band knows how to alternate between fast and mid-tempo at such ease, and that contrast adds to the high levels of aggression that occur here.
"Skull Fracturing Nightmare" explodes into the thrash action right away before a menacing section one minute and 40 seconds in. Another one minute and 40 seconds later, a wicked thrashy instrumental bridge starts that includes some shredding soloing. One more solo that occurs ANOTHER one minute and 40 seconds later is so memorable. The instrumental passages put less focus on the rhythmic onslaught, in order for the listener to breathe. One and a half minutes into "Human Dissection" is insane fast thrash, suddenly shifting from the slower verse, adding some more unpredictable heaviness. The violent lyrics from the debut continue in "Pyroclastic Annihilation": "Catastrophic purge, tephra plague, flaming fragments inundate, combustive turbid brume, smothering, fumaroles permeate". The last 30 seconds rage in a ballistic burst.
"Envenomed" has more prominent vocal layers from Reynolds, especially one minute and 20 seconds in, with his vocals coming close to growling. That's probably one of the most vicious thrash songs I've heard, filled with hatred and rage! Not even Megadeth, Exodus, and Evildead can beat that amount of aggression. One minute and 20 seconds into "Carnivorous Obsession", the band once again bursts out of a slower intro into rapid extreme thrash in no time flat. "Orgy of Destruction" is a heavy one-minute interlude, similar to the end of Coroner's R.I.P, though ending with battle sound effects.
The vocal anger from Reynolds is quite important from the start of the title track. His vocals add to the extreme fury with sudden changes in the tempo. Though there is a catchy chorus. The band continues to pull off great surprises one minute and 20 seconds into "Omnivore", with subtle guitar reflection. The lyrical theme of predatory hunting can be seen as graphic in a juvenile way, but it adds gravity for the savage thrash to pulverize the targeted ground. Halfway through "Aborticide" has more reflective soloing.
This album, Epidemic of Violence is a true brutal way to close the classic thrash metal scene. I can already hear the greatness of thrash from some of the wildest the genre has to offer. It can be a struggle at first, but once you're fully ready, you're in for some merciless blood-spilling. Essential for fans of thrash metal and any other metal genre!
Favorites: "Skull Fracturing Nightmare", "Human Dissection", "Envenomed", "Epidemic of Violence", "Omnivore"
Genres: Thrash Metal
Format: Album
Year: 1992
So what do you get when you blend southern metal and hardcore punk together into a heroic unique style of metalcore? Every Time I Die!! They've observed that timing is everything for the best results. Their radical album Radical was completed in early 2020... Then the virus of damnation attacked. COVID changed everything and prevented concerts from opening. The band waited until they could start touring to release the album, and after playing a couple shows recently, they decided that it was time...
In the human race's battle against the pandemic, Every Time I Die have observed the progress. And finally, the 5-year wait for a new album is over. The 16 songs waiting to be have been unleashed to pummel the world like a raging monster and wipe out the virus for good! OK, maybe not that last part.
A blast right back into their discography, "Dark Distance" will stun you into stone. The band has delivered a furious frenzy in higher heights of heaviness. I've heard that the band took quite a tribute to their previous albums in this one, with that track putting a Daughters-like spin into the sound of their previous couple albums and first couple albums. "Sly" continues the action from both the previous track and the previous album, with theatrical vocal experimentation inspired by Queen. An angry lookback musically at the previous decade, and lyrically at the world, "Planet Sh*t" throw their instrumentation around in outrage like Molotov cocktails. "Post-Boredom" is the catchiest song of the album and probably their most sing-along song similar to Taking Back Sunday, while maintaining their identity. "Colossal Wreck" has colossal intensity. "Desperate Pleasures" takes an approach closer to early mewithoutyou in the political songwriting to add to the hardcore sound as they point their middle finger to the disbelievers and destroyers, to show that the Hell we're in is real.
Up next, "All This and War" is my personal favorite of the album, a throwback to the early 2000s sound of Norma Jean, and I think that band's vocalist Josh Scogin guest appears in that song. Despite this album leaning more towards chaotic metalcore, that song is a midway monstrosity of nu-mathcore. "Thing With Feathers" shows that the band is more than what the title says, spreading their eagle wings into the unknown with guest vocals by Andy Hull from Manchester Orchestra (the band, not the orchestra), creating a daring venture into indie rock, before things get wilder later in the album. "Hostile Architecture" continues the hostile approach from the band's 2009-era approach in wonderful achievement. "AWOL" is basically if Glassjaw performed Converge's masterpiece album You Fail Me, an astounding mix to adore! "The Whip" continues their speed from a decade prior in wild metalcore inspired by early Zao.
Coming in at second place for the best song of the album is "White Void" that could give you the urge to rename this band The Damned Deftones of Shai Visions (try to guess which 4 bands I'm referring to) with each random component miraculously appearing. "Distress Rehearsal" adds some Metallica-like thrash together with the usual mathy metalcore breakdowns. "Sexsexsex" starts off like post-grunge before heading back to what they had in From Parts Unknown with Coalesce-ish mathcore. "People Verses" once again continues where Low Teens has left off, and while still being a rocking hardcore song, this could fit well as the soundtrack for a battle scene in Game of Thrones. "We Go Together" ends the album similarly to Between the Buried and Me's Automata pair of albums, a theatrical metal ending encouraging us to go together.
Many films in a franchise are released 5 years apart because of the long production process, but while Radical didn't take an ultra-long time to make, it's all about the timing, and with the anticipation paying off, there really should be a Best Metalcore Comeback Album award. The outraged monster shall continue its savage ravage and beyond!
Favorites: "Dark Distance", "Sly", "Post-Boredom", "All This and War", "Thing with Feathers", "AWOL", "White Void", "We Go Together"
Genres: Metalcore
Format: Album
Year: 2021
I'm glad I got this album the other day, not just because of scarily awesome this is, but also because I can do this review of its most appropriate day... HALLOWEEN. So get ready for lots of tricks to go with this treat!
Sequels, whether to albums or films, are something to love or hate. As the tagline from Scream 2 would say about some of them, "Sequels suck." However, this one doesn't! The Silver Scream 2: Welcome to Horrorwood is the sequel to the band's most successful album, in response to fans' demands for more. I personally think they should've tackled a different horror topic like TV shows or video games, but it's still a superb sequel. So let me show you the ways through this horror-metalcore journey...
"Opening Night" is an introductory disclaimer by famous horror film actor Bill Moseley, explaining that the 13 tracks were what remains of what seems to be a more horrifying concept album from long ago that would've been about brutal killings, similar to The Texas Chainsaw Massacre. The title track, "Welcome to Horrorwood" begins similarly to Every Trick in the Book, with Spencer Charnas' vocals, piano, and strings (“ink fills the page, a classic killer completes the cast”). Then the quietness is broken by a guttural scream and furious drum pounding. The song isn't based on any horror films, but establishes what to expect in the album; film violence that sometimes bleeds into reality, all part of the album's main concept. So continuing the story from my Silver Scream review, you leave the theater and find yourself in a mysterious town known as Horrorwood, where violence from movies is real and you have to stay alive and not get killed. You successfully avoid the brutal madness and escape the town. "A Rash Decision" is based on the Cabin Fever franchise, and mixes the fast tempo, screams, and riffs of metalcore with the melodic experiments of electronica, horns and choir. Lots of contrasting layers! You find a cabin in the woods and camp out there, but then you find out that the previous owners were decomposed alive by a flesh-eating virus, so you take the time to consider fleeing. The experimentation continues in "Assault & Batteries", based on the Chucky series (Child's Play), where after a couple news broadcast samples, child singing adds to the incoming terror. While mostly referring to the first Chucky film, his bride is sometimes mentioned ("stitched back together it seems, by the evil bride of his dreams"), further expanding the concept to the rest of the franchise. You find a doll in an old abandoned shelf, but it comes to life and tries to murder you, but you outrun it and hide in a room with the door locked.
You already know what "The Shower Scene" is about! I was a little surprised that the band didn't reference Psycho, one of the most iconic 20th century horror films of all time in the first Silver Scream album, so I'm glad they haven't forgotten about it in this one. The frantic chaos of the first 3 songs is replaced with melody while keeping the usual horror-themed metalcore, evident in the catchy chorus and vocals. They've really done that film justice here, with the sound effects from the eponymous shower scene kept in, including the violin sting, knife sounds, and terrified screams. In that room, you find a bathroom and decide to shower in there to refresh yourself after feeling a bit filthy from your journey so far. However, a shadowy figure appears and tries to kill you, but you knock it out with the shower head and take its knife, then quickly dry yourself off, put your clothes back on and escape the cabin via a window. "Funeral Derangements" is a heavy fast one based on Pet Sematary, in fact basing the music and lyrics on the score and sounds of the movie, the latter coming from a truck horn and a laughing child. While running through the woods, you find a pet cemetery where animals rise from their graves as the undead. "Rainy Day" is based on the Resident Evil movie, which itself is based on the video game series and that makes me wonder if they should've saved it for a horror video game tribute album. The highly different gamer-industrial tones produce a vibe of video games and early 2000s action film soundtracks. After escaping the cemetery, you find a manhole and crawl down, but end up in a sewer filled with human zombies infected by the T-virus that can possess humans and animals. You fight off the zombies and climb up another manhole into the streets of a different town on a rainy day. "Hip to Be Scared" is based on American Psycho, and the first single of the album. They've really executed their sound like an execution! Great parts of the song include the sample of the original Huey Lewis song, and background vocals by Jacoby Shaddix of Papa Roach. You run into a banker who happens to be a serial killer preying on random innocent people. You incapacitate him and run off.
"Take Your Pick", based on My Bloody Valentine, features Cannibal Corpse vocalist Corpsegrinder in probably the most brutal heaviest song of the album, an outright mix of death metal and metalcore (equals deathcore). This collaboration would really hack your face with a pickaxe. You end up in a Valentine's Day festival which seems nice at first until a powerful serial killer in mining gear attacks. You hide under a booth and wait helplessly for the massacre to be over. The hellishly killer "The Box", based on the Hellraiser films, adds in melodic harmonies, especially in the emotional chorus, helped out by Brandon Saller (Atreyu), and guttural growls backed up by Ryan Kirby (Fit For A King), both guest vocalists adding to the metalcore greatness. Once you safely emerge from the booth and find yourself in the abandoned aftermath of the slaughter, you see a mystical puzzle box and accidentally use it to summon the deadly Cenobites. Fortunately, before they could have the chance to attack, you reverse the motions needed to open the box and send them back to whence they came. You throw the box away and wander off. "F.L.Y." focuses on melodies with Charnas singing alongside Senses Fail's Buddy Nielsen, while still having the kick-A guitars. Contrary to speculations, this wasn't based on The Silence of the Lambs which uses the motto "First Love Yourself", instead it's based on The Fly, which I guess makes more sense. After leaving the massacred Valentine's Day Festival, you find a laboratory but a fly monster crashes outta there and you outrun it. German growling starts the German-phrase-littered "Wurst Vacation" based on the porno-torture film Hostel. Those German phrases, along with strings and an electronic chorus, give the song a Rammstein vibe. You find a hotel, but out of nowhere, you are knocked out and sent to a torture chamber.
Vaudeville throwback "Ex Mortis", based on Evil Dead, continues the theatrical vibe from the previous album's epic finale. Horns and piano add to the song's groovy action. It also fits well with the madness of Army of Darkness. Once you wake up, you find yourself surrounded by demons and spirits, waiting to possess you. After fading out from the previous song, bees start buzzing while "Farewell II Flesh" begins, the longest INK song at 5 minutes since the debut's "Family Unites", based on Candyman, with soothing yet eerie piano as the story of the Candyman is introduced. After layers of dramatic atmosphere, more layers come in thanks to the other instruments that create metalcore riffing from the guitars. The leader of the spirits is the legendary Candyman who plans to kill you if you say his name repeatedly. You refuse to say his name and instead attack him and the spirits. You find a fireplace in the torture chamber and shove the Candyman, destroying him. The spirits freeze and graphically decompose. During the string bridge, you leave the chamber and find yourself in a different forest, with the chamber being just another cabin. Then when the last chorus comes in, an unseen entity attacks you from behind and possesses you. As it turns out, the entity is a spirit similar to the ones led by Candyman, but it's a different one summoned by the surviving villains of the scenarios from my reviews for the previous two albums; Dracula, Carrie, Killer Santa, and Pennywise. During the final growling outro, you come to and are possessed to become part of this league of evil horror. To be continued... (maybe?) Cue more bee noises to end the album and experience.
Nope, this sequel does not suck at all. The sequel movies I would compare this album to would be Terminator 2 and Aliens; as great as the first whether it's the subtlety or the action that you like. Hope you have a killer experience with The Silver Scream 2: Welcome To Horrorwood. I've done so, with an insane scenario to come along with it!
Favorites: "Welcome to Horrorwood", "A Rash Decision", "The Shower Scene", "Hip to Be Scared", "The Box", "F.L.Y.", "Farewell II Flesh"
Genres: Metalcore
Format: Album
Year: 2021
I'm quite selective with thrash metal. I like the genre when it's heavy and technical at best. I don't feel up to exploring more of the Big 4 beyond a few songs at the moment. Yet I'm still up for bands that aren't as big as the big ones but take influence and are closer to my generation. This is where bands like Demolition Hammer come in. So despite the horrific cover artwork that might've inspired the aftermath of the "This is fine" dog, what you're gonna witness is some of the most intense thrash around!
That's the kind of intensity Exodus and Slayer don't have, but the intensity those bands have to get more credit. For Demolition Hammer, they've added a lot of catchiness and violence that should reach the top of thrash mountain to avalanche away any naysayers. 30 years before this review, Tortured Existence was quite a metal underground hit album, at a time when most other thrash bands started disbanding or (d)evolving into the dreaded groove/nu metal. Needless to say, Demolition Hammer would fall into both traps a few years later. But before that impending fate, they've released some of the most savage thrash with a few influences from the rising death metal scene.
This headbanging thrash marathon opens with the insane ".44 Caliber Brain Surgery". The more insane "Neanderthal" has killer music that would make you wanna f***ing destroy everything in sight. That song and "Gelid Remains" stomp around with riffing that could cause massive earthquakes if blasted through a thousand loudspeakers. The dueling solos shine as well there.
"Crippling Velocity" is one of the more violent songs here in an effortless blend of fast thrash riff-fury and heavy passages of crushing chaos. So speedy as f***! The entirely memorable "Infectious Hospital Waste" is probably one of the catchiest songs in thrash with a chilling breakdown. Though not as catchy as the more melodic "Hydrophobia".
"Paracidal Epitaph" has thick monstrous bass in presence, performed by frontman Steve Reynolds besides his usual decimating vocals. "Mercenary Aggression" springs through comprehensive aggression harder than a fist in the b*lls, though not in the same heavy weight as those previous couple tracks. For anyone wanting an extra 6 minutes of thrash fury, check out the monstrous bonus track "Cataclysm" that continues of the brilliance of the frontman's vocals and bass.
Tortured Existence has some of the most violent thrash I can stand, enough to be able to come back again for more enjoyment. The more popular thrash albums don't quite top this one, and Demolition Hammer would continue the skull-blowing thrash for one more album. But for now, enjoy the fury!
Favorites: "Neanderthal", "Crippling Velocity", "Infectious Hospital Waste", "Hydrophobia", "Cataclysm" (bonus track)
Genres: Thrash Metal
Format: Album
Year: 1990
Some titles of releases that I end up reviewing really fit with my situation at the time, do they? A year ago, I finally started listening to Haken after several failed attempts in the prior 5 years. Then after 6 months, I gave up on this band during my death metal departure. But another 6 months later, here I am! So Haken is not a death metal band in any way other than a couple songs with growls, so why did I end up straining from this band? It's most likely because of their melodic progressive rock/metal sound similar to Dream Theater that I've distanced from when I decided to go extreme. Other good but very remote possibilities might include this EP's nude cover artwork, though that's not really the reason at all. Anyway, I'm glad that there's still hope for me to restore my interest in this band!
See, the problem with melodic progressive rock/metal is, despite planting their forward-thinking roots, they heavily rely on imitating Dream Theater. While Haken shines with their tremendous creativity, there are times when they've fallen into that trap. I've made my initial departure from listening to Haken to, as lead vocalist Ross Jennings sang, "escape the past by embracing the future". That line just so happened to be kind of this EP's concept; 3 demo tracks re-recorded with much more focus on progression than imitation. It's as if this trio of songs went to the gym to change from skinny to muscular, all in a 34-minute seamless workout.
"Darkest Light", based on "Blind", takes some hammer-strikes to the anvil to smith heavy prog riff dissonance and unique keyboard atmosphere, creating one of the band's heaviest metal tunes to foreshadow their recent heaviness. The slower atmospheric "Earthlings", based on "Black Seed", uses a mournful clean rock structure with trance-ish vocal patterns. This almost fits well as the penultimate ballad similar to the band's first two albums. Definitely great as the final epic similar to the band's first two albums is the 19-minute progressive beast "Crystallized", based on "Snow", with every perspective the band has tackled, jamming through soft intermissions, keyboard solos, and guitar duels, all in upbeat positivity that shines in the triumphant chorus and bridges. While the lyrics and atmosphere are their own, the track rivals against the title epic of Visions to surpass the grandeur of Dream Theater's Change of Seasons. Speaking of Dream Theater, their former drummer Mike Portnoy hit the gong at the end. Magnificent!
So that was a wonderful ride through the fantastic progressive gold of Haken. Restoration took the normally unnecessary step of re-recording older songs, but made it more interesting by refreshing them with their unlimited inventive abilities for a spectacular performance. Those 3 songs work as an introduction for newcomers and a throwback to the band's introduction for longtime veteran fans. This was almost a reintroduction for me, and I'm glad I still appreciate high-quality progressive rock/metal!
Favorites: "Darkest Light", "Crystallized"
Genres: Progressive Metal
Format: EP
Year: 2014
With their 2005 sophomore breakthrough Ascendancy and since 2008's Shogun, Trivium has marked their spot as one of the greatest discography-expanding bands of modern times, despite the flaws of albums #1 and #3. The slightly underrated 2011 masterpiece In Waves began their venture to show great concepts and executions that would carry on in subsequent albums, except in 2015's Silence in the Snow when vocalist Matt Heafy temporarily lost his growling ability. So where does it all lead?
Into the Court of the Dragon! In 2020 after the previous album What the Dead Men Say, when Trivium was in lockdown during the virus and couldn't do any live performances, they decided to not waste any time. They spent the rest of that year writing an album that would later be recorded as almost a sequel to the epic thrash-metalcore of Shogun with greater hints of its surrounding albums' sounds. While staying stellar as ever, their performance is probably the most powerful since Ascendancy. The guitars have more fire and crunch than the spiciest crunchiest KFC meal. The drumming is more brutal as well, and the vocals add a greater blend of mature cleans and convincing screams.
In the Court of the Dragon begins our descent with the anticipation-building intro "X", but unlike the previous album's heavy intro, this one is an ominous orchestral intro composed by Ihsahn. Then the furious title track erupts with Matt Heafy's f***ing beastly growling vocals. The blast-beat onslaught carries on into the cleanly-sung chorus, occurring before a brutal breakdown. The shredding soloing makes you visualize a bad-a** battle with the dragon in the pit, with your weapon being that guitar soloing. A tune of heavy brilliance! "Like a Sword Over Damocles" showcase the band's Nevermore influences in a prog-thrasher where Matt adds aggression to his singing then rises to the usual growling. The d*mn epic clean chorus should definitely get fists pumping in future live festivals. The title fits well with the perilously powerful pandemic and how our leaders are trying to prevent it from spreading further. Some more epic guitar fire in the dueling solo trade! After those first two real songs starting the album heavy, the radio anthem "Feast of Fire" has a different riff that spawned from an unknown demo. There's killer strength and maturity that levels this song up more than the similar mid-tempo songs from The Crusade. The balance between heaviness and melody continues to suit the album and makes sure it's not just a sequel to the one from last year.
Ascendancy-style heavy throwback "A Crisis of Revelation" still manages to fit well with the other high-quality tracks. The different brooding "The Shadow of the Abattoir" is the first of not one, not two, but THREE 7+ minute epics!!! This one might just have Heafy's best vocals EVER!! The verses go slow like a power ballad from Blind Guardian or Slough Feg with deep baritone vocals before rising to higher power in the chorus in a depressive journey ("Don't go searching for the battle, you won't find any beasts to slay, you'll rip yourself to pieces, you'll drive yourself insane, in the shadow of the abattoir...") The heavier bridge is more complex with key-switching breakdowns and extensive soloing that ends by perfectly replicating the chorus vocal harmony, before the final chorus itself where the background vocal harmony of bassist Paolo Gregoletto puts more emphasis in the harmony than before. EPIC!! "No Way Back Just Through" continues the heavy rage, while having a great chorus ready for future gigs.
While it's tough to pick highlights for perfect albums like this one because of how strong the songs are that make the album as cohesive as true heavy metal classics from the 80s, "Fall Into Your Hands" comes close, a headbanging epic that is the longest song by the band to not be an album's title track or a cover song. It has vocally the best chorus of the album with all 3 vocalists (one lead + two background) uniting. You get to hear killer thrashy riffing along with lots of soloing and instrumentation good for air-guitar. Besides the album's intro, Ihsahn has performed strings that are buried in the background, but this song is where those strings really shine, especially in their own glorious outro. Next up, "From Dawn to Decadence" really combines blasting thrash in the verses with hard rock in the chorus worth humming to. The triumphant closer "The Phalanx" starts with grand intro riffing before a mid-tempo verse that starts building up speed when Heafy starts his usual screaming. Strings return to prominence again in the pre-chorus before the chorus of heroic glory. This epic pretty much summarizes everything they've had in the album, with sublime soloing by Corey Beaulieu. Drummer Alex Bent really keeps his pace with the riffs and elevating them. The song's lyrical theme of fighting demons fit the song's music video like a glove, and that video is a collaboration with Bethesda Game Studios based on the Elder Scrolls Online. And to cap it all off beautifully is an ultra-epic two-minute outro as Matt's vocals lead the band and the one-man orchestra to victory, until next time...
So going out on a whim here, In the Court of the Dragon marks the band's best and strongest album since In Waves. I would recommend this to anyone who has followed the band far through their over two-decade career. The band's later greatness continues in power and glory. An amazing masterpiece that's probably, for me, the best of the year!
Favorites: "In the Court of the Dragon", "Like a Sword of Damocles", "The Shadow of the Abattoir", "Fall Into Your Hands", "The Phalanx"
Genres: Metalcore
Format: Album
Year: 2021
Rivers of Nihil is back! And I guess I am too, temporarily, after my departure from death metal that occurred earlier this year. Based on what I've heard about this album, far more progressive while staying tech-death, this might just be the listening return to this band I've truly wanted! Well, maybe not completely, but this is still very cool. Fans of their heavier tech-death sound might be p*ssed off, but I guess you can't please everyone...
This band has the rights to be different from all the other prog/tech-death bands like Alarum, Anata, Arsis, Atheist, and other bands that start with A. Here they go the Cynic Focus route and far more progressive metal tools in the box while staying tech-death. Would they keep the tech-death elements or start discarding them? Who knows...
First song "The Tower" you might expect to be an extreme opener, but NO. Instead there's a weird soft tone I f***ing hate. It starts the album with a numb boring waltz that is unlike the progressive metal that's more extreme than Dream Theater. Only the heavier growling part adds promise. What a relief when "Dreaming Black Clockwork" starts! This is the extreme tech-death riff-wrath to enjoy! However, after only over a minute of that, the soft instrumentation returns to unfairly steal the spotlight. But hold on to your seats, because there's still more extreme to the prog to continue, while switching back and forth. A killer highlight! "Wait" is a twist in the prog-death script, close to that radio pop sh*t I'm trying to get over. Here we have melodic singing, straight rhythm, classic soloing, and a sobering vibe. The stylistic journey has been taken slightly too far, while making sure nothing is sacrificed. "Focus" shows a bit of influence from Cynic and that band's similarly titled debut, albeit with slight industrial.
"Clean" can be described as anything but the title, with the vibe and riffing pounding like a jackhammer, especially that monolithic djent-death section around the two-minute mark. The next song, "The Void From Which No Sound Escapes" adds some sweet melody and jazz that only naysayers would hate and not understand. Fortunately, the djent-death drives again for a minute surrounding the two-minute point, yet still doesn't add hope to those haters. Now do you want "More?" More?! MORE?!? There's heavy riffing in the beginning that persists in later sections for a greater prog-djent-tech-deathcore mix than that of Within the Ruins. How better can that genre mix be?
"Tower 2" is a reprise of that boring intro, with slightly more Pink Floyd influence in the acoustic strumming, still not getting any better... "Episode" starts soft, then catchy, then chaotic. Not much else to say there... As if colliding a bunch of genres into one could be done more, "Maybe One Day" is unlike anything Rivers of Nihil has done before, an uplifting ballad that would be more appropriate in a recent Opeth album, but those previous few somewhat poor tracks... "Terrestria IV: Work", holy f***, now this is a closing epic!! It's the longest track by the band at 11 and a half minutes (as much as the title track of Trivium's Shogun) and not only concludes this offering but also keeps up the "Terrestria" song suite from all their albums. Probably more epic than Cult of Luna's "Cygnus"! This is too astonishing for words. Hope you have a rewarded listen!
The Work is indeed a pretty great work of art. Not quite the best of the year, but needs respect and focus for a deserving experience. Excellent writing and nearly perfect arrangement should convince people to go with this album. They were more deathly earlier on, but now look how mature and progressive they've become. Just try it!
Favorites: "Dreaming Black Clockwork", "Focus", "Clean", "More?", "Terrestria IV: Work"
Genres: Progressive Metal
Format: Album
Year: 2021
So... French hardcore metal, eh? Um, NO. This CD, Les 150 Passions Meurtrieres doesn't really do metalcore a lot of favors. Sure there is intense brutality, but it seems like their "inspirations" are mainly rip-offs. There may be some lyrical copying from Whitehouse and De Sade, especially in the title track, all mangled in the French tongue. I'm not really pleased by this. I still appreciate a bit of the heaviness though, along with its mix with melody in that title track. However... well, better luck (and review) some other time....
Favorites: just the title track
Genres: Metalcore
Format: EP
Year: 2001
Progressive metal is one of the most characteristically difficult genres of all time, when it comes to playing, composing, and sometimes listening. If you're an expert at composing excellent progressive music, you'll create wonderful results, otherwise everything would be incorrect. If you're new creating progressive metal, surely a 10-minute epic would be difficult to start with, but it's still easy to keep interesting. It would definitely be more difficult to attempt a 20-minute track with half of it is long instrumental sections and the other half is filled with ambitious vocals, all with no coherent pace. You can even challenge yourself further with 30 minutes. Now 60 minutes, an exact hour, THAT's the ultimate challenge! You have to be the master of getting used to prog to enjoy this hour-long epic, Green Carnation's Light of Day, Day of Darkness!
Green Carnation's music for this album can be described as progressive metal with slight doom. Dark sorrow in the atmosphere fits well with the high-quality composition. Probably a third (20 minutes) of the track is instrumental while not straying away from the concept, with a continuous pattern throughout the progressive complexity. Unlike Dream Theater or Rush, the album is more doom-inspired than upbeat, including the mid-range vocals and the riffs that contain slow dark heaviness to fit nicely with the sorrowful leads. The album also includes saxophone, sitar, strings, synthesizers, and other instruments starting with "S", greatly enhancing the guitar and atmosphere.
It all begins with an intro that might've made any metalhead who bought this album on the month of its release think this is a brand new Dream Theater album. Of course, the heavy doom-paced riffing might make you think otherwise. The instrumental sections are enjoyable despite being colorless. Then death growls start roaming in as of around the 8-minute mark before the pace continues being changed. Another 8 minutes later, at near the 16-minute mark, the pace picks up and flows easily. Another 16 minutes later, sometime after the 32-minute mark comes an out-of-place stretcher; 5 minutes of female operatic chanting. That almost made drop the score a half-star. You could've added some Kreator-like thrash soloing, but nope!! Fortunately, the perfection is redeemed with more heaviness, at slightly over the 40-minute mark is followed by a two-minute acoustic/piano solo, before the excellent guitar solo I've waited for. Finally, the last 5 minutes are mostly soft instrumental and be considered the track's "end credits".
What an achievement in the progressive metal realm! You can probably guess Light of Day, Day of Darkness, as the longest track from a prominent rock or metal band, but it's surpassed by Fantomas' Delirium Cordia, Transatlantic's The Whirlwind, and Bell Witch's Mirror Reaper. Everything flows without being too loose or out of place (for the most part). This is a must-have for all progressive fans, and while I didn't start my prog journey here, for anyone wanting to start on this genre for the first time....welcome!
Favorites: The entire track (though I've struggled with the female operatic chanting)
Genres: Progressive Metal
Format: Album
Year: 2001
Hopesfall is an alt-hardcore band that had a more metalcore sound 20 years before this review. They were signed to Trustkill Records, an infamous record label that took their own name seriously. This EP, No Wings to Speak of acts as a bridge in the 3-year gap between their debut The Frailty of Words and The Satellite Years. The band's Christian-themed debut is an under-recorded under-promoted album that failed to spread through a greater audience. The EP No Wings to Speak of is a greater display of their earlier work with underground spirit dug into the surface. And when I finally got the chance to listen, it was indeed a jaw-dropping experience!
Hopesfall was part of the rising hybrid band scene that included hardcore bands like this one and the more famous rap/metal hybrids like Hybrid Theory-era Linkin Park. For Hopesfall, they were one of the earliest metalcore hybrid bands, mixing the genre with emo and post-hardcore, and slight hints at the indie rock that would dominate their sound in the mid-2000s and beyond, all in dense sound layers. Despite this hybrid, their main focus isn't on metalcore's moshing chaos, but rather on smooth beauty in their sound. These 4 songs are harmoniously written compositions while still using heavy grooves and breakdowns in the song structures. Heavy but mellow compared to what their previous record label Takehold Records had then. The band stays strong with emotional chords and beautiful riffs overlapped with harsh vocals in spiritual purity.
The opener "Open Hands to the Wind" is not bad at all, but it's my least favorite song and not the best song to start with. It's a less unique melodic metallic hardcore song that seems to rip-off from Poison the Well and Evergreen Terrace, yet a minute into the song onwards, the subtle sublime changes commence so it stays good. That's where I know that the hope for perfection has never fallen! "April Left With Silence" starts with somber groove and discordant melody with pounding bass to spread out throughout at least the first half. Then you get stunned by the heaviness of dissonant chords over melodic riffs like a spring flower blooming on top of a cold winter mountain. "The End of an Era" is the best one here, with nearly 7 minutes of beauty and fury combined. A haunting opening riff turns into a towering breakdown overlapped with bright guitar which, in turn, adds dense chords and fast drums, followed by highly emotional passages, stunning tempos, dark beautiful screams, and finally a soft gentle instrumental passage at the center. So d*mn beautiful... "The Far Pavilions" runs through the snare drum more frantically before ending the album with bright power.
Yeah, I already noticed this band being Christian, and I've heard about their debut album The Frailty of Words being a Christian album. Whether they intended to keep that going, and whether your religion, Hopesfall made one of the most spiritual metallic hardcore releases to this day with No Wings to Speak of! Their music combines elemental metaphors of wind and water, and that's already seen in the bleakly beautiful cover art of black & blue & green clouds. The band has indeed taken on less Christian influences than their debut album, with its simplistic beauty that can almost be suitable for a Buddhist monastery. If you can just take that soft gentle instrumental passage from "The End of an Era" and have it seamlessly repeat without any of the heavier parts, that would be excellent meditation music. No Wings to Speak of is also more suitable for a night drive with yourself or friends than just a live show. With music filled with brilliance, beauty and a breakdown or a few, metalcore youngsters like myself would love it!
Favorites: "April Left With Silence", "The End of an Era"
Genres: Metalcore
Format: EP
Year: 2001
Well it has been so long since I last got my hands on an album full of Breaking Benjamin material. With my recent transition to The Gateway after a couple months of planning and anticipation, I now know it's time to say a proper hello to an old genre friend, alt-rock/metal! Breaking Benjamin is one of those bands of that genre, and the album I chose to review that was recently added here, We Are Not Alone is an incredible a**-kicker, showing that the band began reaching higher fame at their second album, not their first or third. As of right now, I'm currently of college-age, and a few people aren't lucky enough to find a band this good until that age. Fortunately, my older brother and I have listened to this band since 2012... Well, at least my brother still listens to them. I was 13 back then, and trying to find a set music taste to run away from the radio pop sh*t I had enough of. For one of the very first rock/metal bands to peak my interest, I was h*lla impressed. The songs from the 4 albums that were released were some of the heaviest (and the first) music to reach my old computer's headphones. And while their self-titled EP and debut Saturate have more of a post-grunge/hard rock sound than alt-metal (which is why they're the only releases still not present in this style), songs from both albums like "Polyamorous" and "Shallow Bay" marked some of the best and heaviest hard rock songs I've heard (probably still are), though I struggled a bit with the strong themes and a bit of swearing (again, I was 13 back then), which I can definitely handle now, so maybe I can have a better chance with those songs soon...
Anyway, We Are Not Alone also had a couple great songs to delight me including "So Cold", the lead single that I would talk about in the next paragraph. Little did I know, Breaking Benjamin and a few other alt-rock/metal bands would be responsible for guiding me to a new light that is my metal interest, though it would be much different from that style. While there are so many people to thank for getting me to where I am, the ultimate person I'm thankful to is my alt-rock/metal-loving brother. I've had an exciting feeling about giving this album a full listen and review, and it has really fit my expectations once I got there. Expect the usual edgy songs with heavy riffs and drum slams. The tone seems more serious than their debut. While still heavy, they have more focus on improvement than complexity, with impressive results...
With no other option, let's begin with the aforementioned "So Cold", a softer way to start the album while still rocking out with the intro and chorus that showcases the band's talent. There's wonderful guitar dueling and rhythmic drumming, the latter with toms and splashes in the verse, more than a water splash caused by a car in the rain, all in momentum being built up. Finally, the bass tightens the rhythm with its groove through the guitars. Wonderful! A track sounding closer to the more conventional alt-metal is "Simple Design", sounding edgy and broken down while built back up with Benjamin Burnley's fantastic vocals. Third track "Follow" continues the strong formula with heavy guitar riffs guiding the vocals through the verses before suspense builds for a heavier chorus. "Firefly" catches my attention with clever vocals sung by unique vocals leading the desirable instrumentation. Excellent one!
Moving on, fifth track "Break My Fall" combines heavy guitar with Burnley's singing in steady motion, a wonderful achievement! Yet nothing else worth writing about there... The next track and the best of the album is "Forget It", which is co-written and guest-performed by The Smashing Pumpkins' Billy Corgan. For a very long time, this remains one of my favorite songs from the band. It sounds so emotional even before the singing starts, with lyrics of lost love and emotion and the song title being softly repeated over melancholic yet uplifting-sounding riffing after the verses. While not the heaviest song I've heard, that one is arguably the strongest and most powerful song of the album and by the band. I don't think my brother would find the best interest there though. While the album is still very good, seventh track "Sooner or Later" is probably the least interesting song there, though the soft tone tries to say otherwise in the verses along with a cool pre-chorus and heavy chorus. Following this is "Breakdown". After a "Fur Elise"-like piano intro, Burnley screams "BREAKDOWN!!!" to begin a hardcore riffing part of the intro similar to the heavy parts of their debut. That should've been a single!
Then we have two more hard rock tracks, starting with "Away". The other song "Believe" sounds like one the band would've made in the late 90s in the first couple years of their formation. The acoustic closer "Rain" is a mellow way to close the album, with the chorus referencing a certain old nursery rhyme. A year later, the band released a full-band version as a single that was later released as a re-release bonus track for this album. It's the band's own "To End the Rapture"!
Breaking Benjamin has done what people think it's the unthinkable for a sophomore album; breaking the mold and spreading the pieces further. They provided a further challenge and added more softness and heaviness than their hard rock debut. This band really knows how to stay confident by expanding their sound while letting their earlier fans know who they still are. It's an unpredictable refreshment! I like it slightly more than nearly a decade ago, and what rock fan would you be without it? Even Saturate-era purists should listen. We Are Not Alone is one of the strongest albums to be more focused on rock while staying metal in my opinion. The band is not alone!
Favorites: "So Cold", "Follow", "Firefly", "Forget It", "Breakdown", "Believe"
Genres: Alternative Metal
Format: Album
Year: 2004
It was this album, American Capitalist that caused Five Finger Death Punch to reach the Billboard album chart higher than before. Just when the band is feeling like they're drowning under abuse, these warriors of hate fight back to claim their throne of modern heavy groove metal/hard rock, something my brother still enjoys and I used to before developing my own different metal taste...
The negative reception the band has received can really fuel the fire. They're the kind of band who would take their anger out on writing songs to gouge out naysayer's eyes with their middle fingers, all in violent aggression within their primal attitude.
The relentless title track is an example of the band never giving a doubting f***. "Under and Over It" once again fulfills their resolution with their revolution against critics. Continuing such a confrontation, "The Pride" adds a little more melody while staying as deadly as the rest of that opening song trilogy. Then we get to the power ballad "Coming Down" that sounds closer to the softer side of Mudvayne while continuing the band's layering exploration.
"Menace" continues the punishing aggression. Then you hear the nihilistic call of "Generation Dead". After that, "Back for More" is another defiant anthem worth moshing to. The magnificent "Remember Everything" once again shows how heavy even the ballads can be for 5FDP.
"Wicked Ways" is another killer song that shows their praise towards their a**-kissing fans and their middle fingers up the a**es of people trying to p*ss them off. "If I Fall" continues the heavy madness that would impress fellow bands of the NWOAHM such as Trivium. Once more, in full force is the art of "100 Ways to Hate", which is both a love song for fans and a hate song for haters.
5FDP won't please everyone, especially not those people who believe in Maiden, Metallica, and Pantera being actual metal. What works is the sides of love and hate. So which side are you on? Some things in the album might be inaccurate for me, but I have a bit of good judgement for them. In a world of opinions, 5FDP have prevailed....
Favorites: "Under and Over It", "The Pride", "Back for More", "Remember Everything", "If I Fall"
Genres: Alternative Metal Groove Metal
Format: Album
Year: 2011
This is it. The real "Big Bang" beginning of my brother's rock/metal taste that would spark up my metal interest, Disturbed's Indestructible! Or at least the title track, which we'll go to a couple paragraphs later. Disturbingly enough, both the band and this "new beginning" they created spawned from vocalist David Draiman's traumatic experience in his teens of seeing his heroin-addicted girlfriend dead and hanging from the ceiling. And apparently, that was where the band name came from, when Draiman was disturbed from that tragedy. One song from the album is heavily centered around that event and took a few years to write, and we'll get to that soon as well. Indestructible shines similarly yet greater than what I've heard from Ten Thousand Fists. There's the grand guitar performed by Dan Donegan, with pretty much every track having good soloing without ever being out of place. And those songs I've hinted at have great examples...
See, this album would've been as perfect as those masterpiece milestones for my metal interest like DragonForce's Inhuman Rampage and Trivium's In Waves, but there is something holding it back, or someone. Drummer Mike Wengren's beats sound too plain and doesn't work right in the snare-pedal combo. This causes the bass to have more prominence but in a way that overshadows the drumming. That's not to say the bass is bad at all, it's quite amazing. Simple yet interesting, performed by John Moyer.
The aforementioned title track starts off greatly with background gunfire and war sirens. It's as if you're dragged into this battlefield where you become an army soldier ready for war, and when the drums and guitar enter, you're all pumped up for a new intense experience. I'm guessing that's how my brother felt when he first heard this song that caused him to convert from our earlier sh*tty radio pop interest into the more enjoyable (for us) rock/metal. Amazing catchy chorus, impressive guitar soloing, mighty vocals... I totally understand and enjoy how this brand-new world of metal opened up for my brother and eventually me. Thank you for that, Disturbed! "Inside the Fire" follows as another favorite track for me, and it's the song heavily written about Draiman's girlfriend's suicide. Interesting electronics and riffing open the song before kicking in the bass and drums. The chorus is so brilliant, and so is the guitar soloing. Then the bridge has more of an electronic vibe in the guitar. Absolutely great! "Deceiver" starts heavy yet having pitched-up guitar. The bass and drums, along with Draiman's vocals, give the song a Nevermore kind of vibe. The lyrics describe the deceivers and liars we have to avoid in our lives. The solo-less bridge doesn't impress me. Though what's awesome is Draiman's final cry of "DECEIVING ME NOW!!!!" as the music ends. Other than that, the song is just decent. Next up, "The Night" is perhaps the second best track between those first two. It really shows the band's talent and melody in the guitar. It can really stay in your mind! The pre-chorus has heavy pounding bass before an unbelievable chorus. The solo is one of the best and longest here. Another perfect track!
Speaking of perfect, "Perfect Insanity" is a re-recording of a demo track from 10 years before this album. This one's also quite an awesome single! The drum beat intro sounds a bit weird, but once the riffing enters, so does the greatness. The chorus is so perfect, fitting well with the lyrics. There's also some more of the melodic guitar here, especially a great solo between parts of the bridge. Draiman repeatedly asks "Have I lost my mind?!?" until the song ends nicely. "Haunted" starts, well, haunting with the creepy atmospheric intro.. However, the chorus does fit well with the sinister vibe. And the disturbing bridge then just leads back to the chorus with nothing impressive. Still it's quite good. Now enough with this next song "Enough"! The guitar and vocals sound softer while being heavy in a strange balance. Make up your minds, guys! The bass and drums in the bridge are quite good, but they don't make up for the horrid chorus. "The Curse" is much better. It starts weird in the bass, drum, and guitar mix, but it's very good. The pre-chorus is great, while the chorus is incredible! There's no technicality in the guitar until the solo that's well-executed. Then some final riffing to wrap things up.
"Torn" is the most horrible disappointment for me here, with nothing impressive at all. Let's not talk about it, and instead move on. "Criminal" makes up for that sh*tter quite well with interesting drumming and vocals. There's a good addictive chorus here. The bridge melody will enter your mind and stay in. Then one more time with that chorus. What better way to start a song here than in another favorite, "Divide"?! The bass and drums actually sound complex! The guitars kick things up and before going a bit softer. The heavy chorus is so good. Then a slow solo adds to the groovy sound. So great! "Façade" is too straight in the guitar and drums, which is a bit disappointing along with the vocal strength. There are a couple upsides in the good chorus and long solo. It ends badly in the guitar and drums. Still the track is OK, but not the best ending.
All in all, Indestructible is pretty great. Despite a couple downers and poor quality in a bit of the drumming, the guitar shines a lot in technicality and melody. Any Disturbed fan might dig this, and I respect this offering as the one spark to ignite my brother's rock/metal interest and eventually mine. Hail our true beginning!
Favorites: "Indestructible", "Inside the Fire", "The Night", "Perfect Insanity", "The Curse", "Divide"
Genres: Alternative Metal
Format: Album
Year: 2008
The most accurate scenario for one of the most iconic nu metal track openings would be something like this: You're at a high floor of a tall building when you feel rumbling going on like the start of an earthquake ("Can you feel that?"). Soon the shaking gets more violent and you try to find a way to escape ("Ah sh*t..."). You find the exit staircase, but the earthquake causes you to trip and fall down the staircase, through a window, out of the building, and onto a power line, electrocuting you ("OOH-WAH-AH-AH-AH!!!").
My brother is a big fan of Disturbed, and they kickstarted his rock/metal interest that would soon lead to mine. He prefers the band's modern alternative metal sound, though he likes a bit of the nu metal heard in The Sickness and, to a lesser extent, Believe and Ten Thousand Fists, including a certain popular hit. I like this album too with several songs deserving as much attention as that hit, though some other songs may come out as weak and forgettable. The nu metal aspects within the dark guitars, electronics, and vocals work quite well, and they would sort of pave the way to Linkin Park's rise to fame with Hybrid Theory later that year.
Raging opening track "Voices" is written in the perspective of a killing psycho. This anthem of a song have fun riffing and a catchy chorus. "The Game" works well with its simple formula. "Stupify" also has a simple structure in perfect rage that would get you hooked like my brother who really enjoys it. Now, "Down with the Sickness"... You know this as one of their most popular songs, starting with that aforementioned opening riff and vocalist David Draiman's memed-to-death primal shriek of "OOH-WAH-AH-AH-AH". The song has been used in many films, TV shows, and video games. This is Disturbed's true anthem! My brother likes it too, but he skips its disturbing bridge which has Draiman roleplaying as a kid being attacked by his abusing mother and ultimately fighting back. I've heard more disturbing sh*t than that, so I can handle that just fine.
Things start to deviate in "Violence Fetish" which starts causing the album's downfall in quality. "Fear" has killer heaviness despite the electronic overdose. "Numb" shows the band attempting to make a slower ballad, ending up in mundane numbness. Linkin Park's "Numb" is better! "Want" is just plain bad, with a laughable cry of "She wants me!"
"Conflict" makes another move at raging heaviness but falls flat on its face in forgettable repetition. "Shout 2000" is a cover of the Tears for Fears single "Shout", and it brings things back to classic status as the vocals and riffing pound through for your attention. "Droppin' Plates" has decent guitar riffing, yet Draiman's profane rapping makes it another atrocity. "Meaning of Life", despite having more electronic effect, has nice heaviness in the guitar and vocals throughout its structure. A great way out!
Although there are some songs that shouldn't exist, The Sickness is a decently enjoyable album. It has the blueprints for the more recognizable elements of Disturbed. Setting aside those filler tracks, their debut is a decent start for those willing to explore this band and nu metal....
Favorites: "Voices", "Stupify", "Down with the Sickness", "Fear", "Shout 2000", "Meaning of Life"
Genres: Alternative Metal
Format: Album
Year: 2000
In Flames was once a band that I listened to before leaving the death metal realm, a Swedish metal band that started with glorious melodeath but (d)evolved into the alt-/nu metal that metalheads hate. And while this live album isn't as terrible as some of their later albums, the fault is in the quality...
Seeing this live album in the anniversaries thread yesterday as of this review, I thought it would be worth giving this band another go to see if anything's good in this album. As it turns out, some things are very good, others are horrible, like the production sounding more stereo-like. The vocals sound horrible compared to their studio works, f***ing up the songs that stand out, while some others still sound good. Do I dare talk about them all? I guess so...
Kicking off the show and the album is "Bullet Ride", with a nice riff before Anders' singing takes over, though only the bass and drums stand out more than the rest, thereby butchering the song. Anders sounded much better and less sucky in studio than this live sh*t. "Embody the Invisible" stays close to the original from the Colony album, but nothing special is added except for the bad quality of the production and vocals. "Jotun" kicks real a** in the instrumentation, but the vocals hit a new low there. "Food for the Gods" has much better vocals to bring the quality to higher average. "Moonshield" is one of the best songs from the melodeath era of the band, but for the performance here... WHAT THE F***?!? Why in the h*ll did they skip the acoustic intro?! That's the best part of the song!! The f***ed up production does not help at all. This is sad, man...
"Clayman" is just sh*tty here, too whiny-sounding. "Swim" is another one from the at-the-time latest album Clayman, still cr*ppy enough to skip. The next track begins with Anders shouting to the audience, "We're gonna take all of you behind space!" Cheesy, right?? Anders once again ruins it all with his Rabbid-like voice. That's why I prefer only the original version with Dark Tranquillity's Mikael Stanne. "Only for the Weak" is the best song of Clayman and almost this live album, though it's degraded by the cheesy "Jump!" chant and the absence of background vocals. The way he pronounces the next track title "Gyroscope" is amusing, but the rest of this song still sounds sh*t here.
"Scorn" sounds much worse than the original. The only upside is the "Raining Blood" break in the middle. "Ordinary Story" does a good job doing the original justice, but I'll still complain about the production and vocals. "Pinball Map" is absolutely worth skipping and the live version should be called "Pimple Map". The title track for Colony isn't as bad as the other songs from the album performed here. "Episode 666" is very good, almost not lame at all, with kick-A singalong moments, though not too spectacular.
All in all, this is a good live album in some parts. Their previous albums, especially their first 3, are much better than this live sh*t. D*mn bummer, man, especially since this was meant to be a nice throwback for me. The production and setlist should've been made better. Now if you'll excuse me, my time away from death metal continues....
Favorites (one song per album, I liked the original versions better): "Food for the Gods", "Moonshield", "Behind Space", "Only for the Weak", "Colony"
Genres: Death Metal
Format: Live
Year: 2001
I've been in the hardcore/metalcore zone for longer than 3 years now, and I barely despise anything from that genre. I enjoy many Revolution classics, even ones before this album like Calculating Infinity by The Dillinger Escape Plan and We are the Romans by Botch. Maybe someday I can get into other metalcore bands like Poison the Well and Hopesfall, but this band, Skycamefalling is what I'll start with, all thanks to another one of Daniel's Revolution recommendations!
This is one of those albums that essential for the hardcore/metalcore scene in the new millennium. The sole Skycamefalling album 10.21 and Converge's Jane Doe are two of the first metalcore albums with more poetic lyrics than just uniting a brotherhood of rebellion.
The instrumental "Intro" starts the album. Then "With Paper Wings" kickstarts the action. This is probably the band's greatest hit, filled with driving guitar intensity, one of my favorite metalcore songs to remember! I might just feel up to screaming along to the chorus. After grabbing your throat throughout the song, there's a beautiful piano outro that would inspire hundreds of other bands to add something like that to their songs. You know who "Laura Palmer" is, a murdered girl whose investigation serves as the plot to the series Twin Peaks. This is more aggressive than when Swallow the Sun made a song about Laura Palmer. "The Nothing" is a great way to describe where a relationship leads to: "So where were you when one heart became two?! When three words became more than you could chew?!?" I highly recommended listening to that song!
"-" is just a short instrumental. "Porcelain Heart Promises" covers pretty much everything you need to hear from this band. Another recommendation! "Healing Yesteryear" shows what TDEP and Botch should've done the previous year. "Shallow Like the Sand" is definitely what you should come for poetic lyrics: "Trees fall like iron on their way down, we bury our hands in their hearts and waste away again, because I have tried to turn words to stone, tried to fight the day with my eyes closed." Way more thought out than other hardcore bands! "The Truth Machine" continues the classic metallic hardcore, at a time when progressive innovators like Devin Townsend were on the rise.
The instrumental title epic contains 9 minutes of acoustic guitar, clean piano sounding a bit Eastern, and light percussion, leading to an ending crescendo. A soft break while you breathe in the flames of creativity! "November’s Neverending" gives you the idea of an eternal dark winter with no point in moving on. The album closes with "An Ocean Apart", staying strong even after 5 minutes of silence. A fitting end to a hardcore metal album of a beauty and intensity!
I still can't believe this talented group of musicians split up after only one album, but hopefully there would be more after a few recent reunion shows in the 2010s. As much as I enjoy other metalcore bands, I already miss these guys and hope they'll come back again. A metalcore classic of sheer poetry!
Favorites: "With Paper Wings", "The Nothing", "Porcelain Heart Promises", "Shallow Like the Sand", "10.21", "An Ocean Apart"
Genres: Metalcore
Format: Album
Year: 2000
Like a book-writer having finished making his anticipated masterpiece and what started as a small decay turned into a big one when the pandemic hit, prog-death/metalcore masters Born of Osiris suffered a similar fate. The band made a 26-minute "studio album" (nearly as long as Cryptic Shift's "Moonbelt Immolator"), The Simulation, released in early 2019. After spending the first half of the year touring, they started writing the album that was supposed to follow, but for the production, like I said, a small decay turned into a big one. Their pre-recordings fell apart when the world was altered. After spending 2020 writing more material, they were able to hit the studio again to record what turned out to be a 55-minute actual studio album, Angel or Alien!
The band has made quite a 12-year prog-death/metalcore journey of studio albums since A Higher Place (Happy 12th anniversary as of this review!!). Throughout their tenure, their passion and dedication have never died out, with their sound evolving in a time when very low tunings where a thing in the djent lands. Bands are like some foods; you wanna keep enjoying it but eventually you might end up spitting them out before you can swallow. To make sure Born of Osiris is a relevant band and never an acquired taste, they still have the will to continue to push away from the complacent dark abyss. The band that has consisted of Ronnie Canizaro (unclean vocals), Joe Buras (keyboards and clean vocals), Lee McKinney (guitars), Nick Rossi (bass while switching to guitars), and Cameron Losch (drums) make the right turn of igniting the inner fire of their roots that they embrace along with new authentic surprises through this 14-song offering.
Beginning this collection is the catchy danger worth facing that is "Poster Child". At the end of that killer opener, some of their newer elements come in such as the synth-infused saxophone to smooth out the electronic synths. Then the explosion into "White Nile" is detonated with their expected matured refinement taken to the next level. What you may hear in the title track is a long-time-no-listen infectious hook, in which you can't deny its resemblance to their past material while moving the evolution forward. "Waves" conveniently waves for its needed attention. The more brutal "Oathbreaker" continues the expected mix of melodic synths and djenty explosion to please your ears.
The present once again allows the past to stomp through in "Threat of Your Presence", another notable highlight. The emotional "Love Story" is filled with confessional sincerity, far better than that Taylor Swift song. "Crossface" howls like a wolf, reaching a Crossfaith-level of metalcore mixed with EDM synths. "Echobreather" is so beautiful yet pummeling, as the heaviness and growls is balanced with Buras' synth melody and cleans. "Lost Souls" is another astounding composition.
The brutal slaughter continues "In for the Kill" as McKinney's fine guitar work dominates over the cinematic flourishes. A gut-punch of madness is unleashed onto you in "You are the Narrative" (can this "Narrative" really be beaten up??). The self-inflicted deliverance of "Truth and Denial" has Canizaro keeping his vocal edge and pushing it up with his earlier New Reign-era shrieking. The grand finale "Shadowmourne" is almost an anthem for my earlier Horde/Infinite/Revolution clan lineup. This instrumentation in this song alone is almost superior to those other songs and almost every other band with a similar style, and the saxophone makes its triumphant return throughout this piece.
While the semi-massive delay was the virus' fault, Born of Osiris continue igniting the inner fire of their roots as their sound continues evolving beyond bounds. While other bands try and fail, this band creates a strong storm of grace that never falls, and every track in Angel or Alien proves that point. This may not be the direct follow-up to The Simulation, but it's the start of a new era that will continue with another upcoming album Born of Osiris is currently writing. Whatever comes next, I'll be ready. Bring it!
Favorites: "Poster Child", "Angel or Alien", "Threat of Your Presence", "Love Story", "Lost Souls", "In for the Kill", "Shadowmourne"
Genres: Metalcore
Format: Album
Year: 2021
I was thinking about trying to find one more thrash band that would be perfect enough to prove that I can fit well in The Pit, but ultimately, I decided that this can already be proven by a classic I'm already familiar with. One with... 246 RIFFS!!!! All of them rule as they strike through your mind and soul, taking control from beginning to end. Everyone has a different feeling when it comes to a certain album, and I find this album to be full of high-quality thrash genius!
The perfect lineup can show you more than just those killer riffs. The production is clean with audible instrumentation. Drummer Gene Hoglan adds some slower technicality alongside his usual fast thrash. Vocalist Ron Rinehart is a perfect fit here with strong vocals as the riffs from the guitarists slay away.
The title track starts with the first of those hundreds of riffs, slow before becoming lethally fast. The lyrics written by Hoglan are awesome, dealing with insanity and death in greater depths than the still perfect Darkness Descends. D*mn, even the music is incredible, including how well the bridges and choruses are structured. All that confirms that you're listening to one of the most complex and extreme thrash albums around. "Pain's Invention, Madness" has more of those many riffs, as Ron's flawless vocals continue following them. "Act Of Contrition" similar keeps up the variety of riffs to maintain your headbanging as always. The amazing soloing reaches the top compared to some other thrash albums. All this will make you stay in attention through the progressive length that most songs have.
Next one is one of my favorites, "The New Priesthood", in which lyrics detail modern technology surpassing religion. The intro riff is perhaps its most killer here. The most melodic and sinister at the same time track here is "Psychosexuality". Then comes one of my favorite songs in tech-thrash, and maybe all of thrash, "An Ancient Inherited Shame". The band's longest song at 9 minutes, all the riffs in the track kick a**. The progressive structure makes incredible tempo changes from slow to fast and in between. Dark Angel at their mightiest!
"Trauma and Catharsis" is f***ing superb, though the doom intro for nearly first two minutes is slightly unnecessary. However, the memorable fast riffing is still worth it, and the perfection is not affected. Rolling in a more sludge-ish pace, "Sensory Deprivation" is another magnificent track. While staying in the usual grand strength, the closing "A Subtle Induction" is the fastest song here and puts everything to a speedy end.
The Pit has spoken! This is what I truly desire from the clan, a technical heavy sound with awesome music and lyrics. People might think of Darkness Descends as the band's greatest album, and while they're right, Time Does Not Heal is very close to that reign as one of the greatest albums of thrash and tech-thrash. Truly standing the test of time!
Favorites: "Time Does Not Heal", "Act Of Contrition", "The New Priesthood", "An Ancient Inherited Shame", "Sensory Deprivation"
Genres: Thrash Metal
Format: Album
Year: 1991
There are a couple reasons why I wanted to give this Anthrax album a listen and review. First off, I felt a little bad for missing out on that Anthrax concert in my home country that was originally for sometime last year before this review but got postponed anyway because of the virus. Second is the reason why I chose this album State of Euphoria, because it was near the bottom of the 10+ chart list in this site. It's time to see what went wrong for this album...
This album is pretty much the black sheep of Anthrax's classic era. You can SEE why by the trippy cover and HEAR why by the simplified slightly slower sound that thrash fans don't consider a real winner. Despite a small split in the fanbase, the album continued the band's gold-winning streak. It would take some adjustment to get used to this.
Straight into the opening track "Be All, End All", we hear cello. F***ING CELLO!! The heavier fans might think, "That's thrash!? Cello is classical! Blah blah blah..." A strange yet nice addition to a song I find brilliant! If they kept using that cello, they would be an early ancestor of Apocalyptica. "Out of Sight, Out of Mind" is another a**-kicker. Joey Belladonna performs his strongest vocals there despite pressure from his bandmates. "Make Me Laugh" makes me laugh to hear anti-religious attempts to rule television.
What's considered the last winner of the album is their cover of Trust's "Antisocial" that everyone else has heard, but there are several more... The otherwise unimpressive "Who Cares Wins" can rule with Joey's singing from the heart. Another fantastic song "Now It's Dark" is shamefully shunned by other listeners, but it's one of the best for me.
However, I have an issue with the lyrical quality in "Schism", like where is the chorus?! Is that it when Joey scats "sc-sc-sc-schism"? That's quite fake and anti-climatic when expecting something different after the verses. This common issue would be fixed in their next album. Inspired by Stephen King, "Misery Loves Company" can please fans of dark-ish hardcore thrash. The interlude "13" is a small fault. However, "Finale" is a fan favorite that they should play live more often.
In my opinion, while State of Euphoria has a bit of dry gloom in their songs, it's still interesting and the necessary balance of thrash between the apparent light of Among the Living and the apparent darkness of Persistence of Time. F***ing h*ll, I enjoy this more than most other fans would, but it still doesn't get me in the mood for Anthrax....
Favorites: "Be All, End All", "Out of Sight, Out of Mind", "Who Cares Wins", "Now It's Dark", "Finale"
Genres: Thrash Metal
Format: Album
Year: 1988
Wanna hear what electro-dubstep mutating electro-rap rock from a nu metal sounds like? Look no further to the second full-length remix album from one of the biggest bands of the world! Here you would find remixes of almost every song in the album Living Things, including the greatest hits of the album like "Lost in the Echo" (now with KillSonik), "Powerless" (now with Enferno), and "Until It Breaks" (now with Datsik), and...
ACK, I just turned the first paragraph of this review that's harsh for the greater good into an advertisement! Let's just get the criticism in here; it's all just bleeding 8-bit dancehall 'n' bass that wails a lot, harmful to those with hearing epilepsy. The only great moments of the album are the one new song "A Light That Never Comes (with famous DJ Steve Aoki) and the remix by Linkin Park's album producer in the non-metal era Rick Rubin. But what's really a disaster is, they never remixed "In My Remains". One of my favorite songs of Living Things DOESN'T HAVE A F***ING REMIX!!! For all you metalheads intolerant to music that's strictly EDM, you might wanna avoid a lot of this at all costs....
Favorites (only songs I truly like): "A Light That Never Comes" (both the original and the remix)
Genres: Non-Metal
Format: Album
Year: 2013
At that point in 2012, Linkin Park had quite a problem in their hands. After the showering fanfare in the first half of the 2000s caused by their first two albums of nu metal/rap rock, they tangled themselves up in a plethora of different sounds in Minutes to Midnight, including a few U2-inspired ballads and a laughable political rap, with very little trace of their actual heavier style. A Thousand Suns shows the band joining the rock opera concept album club that includes Green Day's 21st Century Breakdown and My Chemical Romance's Danger Days, and just like that club, they reached for the mainstream stars while falling from rock grace. Then here we are at Living Things, a return to good ol' rap rock with a better balance of rapping and screaming. However, the electronic elements are still there to divide the band's fanbase. Well I didn't mind the electronic elements in their previous album, but let's find out how they turn out in this one...
I gotta admit, there's a decent amount to admire with the better sense for the band to abandon the heavily electronic direction A Thousand Suns would've taken them. It's good that they know to have balance, and they left the rock opera concept album club to continue working on individual themes they last had in Meteora. That was a great move on their part and I respect them for that.
"Lost in the Echo" is the ultimate album opener for a rap rock album. Mike Shinoda performs an incredible rapping verse while the later Chester Bennington performs an aggressive yet melodic chorus, a much better combo than, say, Equilibrium's Renegades. It's not too catchy or as heavy as Hybrid Theory, but definitely more powerful than Minutes to Midnight. "In My Remains" is another memorable track with a mid-tempo beat. "Burn It Down" sounds similar to the previous track and probably should've had a slightly later position in the track listing, but that doesn't matter. That song has Shinoda's best rapping in the album. 3 tracks in, and while not exactly groundbreaking, they're nostalgic highlights that is a step up from anything they have done in their non-metal era. What could go wrong in this album?
After that interesting opening quarter of the album, "Lies Greed Misery" is the worst ever attempt to recreate their earlier nu metal sound. I say it's too heavily electronic for that resurrection attempt! "I’ll Be Gone" lacks anything worth standing out. "Castle of Glass" is OK, but could've been far better. "Victimized" is the closest sounding to the band's nu metal roots and a hint at their heavier next album, but it's constructed as just a lazy sh*t show. The angsty lyrics are just too redundant, and while you can head-bang to the screaming chorus, I would hit my head on the wall to make myself forget that bullsh*t. "Roads Untraveled" is quite a mystery of how Bennington would sing solo in all vocal positions. This wouldn't be bad if he didn't sound so emotionless and sleepy. And if the excellent rapping of Shinoda was around, the song would be leveled up much higher, like a salesman getting demoted to secretary. That's how poorly the album is suffering. However, "Skin to Bone" is a gem that makes up for those forgettable songs with one of the catchiest choruses here, though containing the trite line "ashes to ashes, dust to dust."
"Until It Breaks" has more beautiful glory in the chorus and ending, though the rapping verses are great as well. "Tinfoil" is the experimental prelude to the final track. "Powerless" is a breathtaking ballad that stands out greatly. The most emotional non-metal album ending I've heard since the end of HIM's final album Tears on Tape.
All in all, Living Things is difficult to enjoy at its fullest, and many of their influences that they had in the first two records were replaced with something less heavy and more modern. They tried returning to their earlier form of Hybrid Theory, but they failed miserably to regain the passion in their music and lyrics. Their calmer mature moments and their earlier heavier glory outshine each other in a war where half of each army is slain. Still there are some songs that sound so emotional, including that last track that they should've used Chester's funeral. It's nice for the band to kick up a little more life, but it's not until their next studio album that marks a heavier comeback....
Favorites (the only songs I somewhat or truly enjoy): "Lost in the Echo", "In My Remains", "Burn It Down", "Skin to Bone", "Until It Breaks", "Powerless"
Genres: Non-Metal
Format: Album
Year: 2012
Like many 21st Century metalheads, my metal interest wouldn't have started without Linkin Park, specifically their diamond-selling debut Hybrid Theory and its sequel Meteora. The anger-angst combo stemming from Mike Shinoda's rapping and the late Chester Bennington is what got me hooked. Of course, I've already moved to heavier things, and while their first albums aren't exactly my favorites, they've planted the seed for my interest in bands that I've called favorites, starting with the power metal of DragonForce, then moving on to the modern metal of Trivium and Lamb of God, and currently in the post-/progressive metal of Meshuggah, Isis, and Rosetta. Those two Linkin Park albums really opened my ears to eventually where I am today. However, Minutes to Midnight really let me down in over half of its songs. Most of their nu metal was discarded for cr*ppy U2-ish pop-radio rock. Upon listening to their 4th album A Thousand Suns, I find a few better moments, but they still don't reach greatness...
To put it simply, the album provides 15 tracks of electro-alt-pop-rap-rock. And if you thought there would be a lot from 15 tracks, well... 6 of these tracks are interludes, the same amount as in Reanimation. Two 5ths of the album are interludes!! This leaves only 9 real songs! 9 songs wouldn't be that bad for an album by DragonForce or Isis, two bands that make longer songs, but this is Linkin Park, g****mn it! Most of the interludes are skippable anyway, like who would want robotic versions of famous speeches?
"The Requiem" is pretty good for the opening interlude, sounding like an actual mini-song. Shinoda sings in a pitched-up vocoder a line from a certain near-closing epic that we'll get to soon. "The Radiance" is a pointless interlude, unless you wanna hear a speech by J. Robert Oppenheimer. The real opening song "Burning in the Skies" is a catchy track for the radio that could've easily been a B-side in Minutes to Midnight and/or the "What I've Done" single. This track is actually slightly better executed than that single without ever reaching Killers-level catchiness. Nice one! "Empty Spaces" is a very short pointless interlude with war sound effects. Having curiously waited for a song with Shinoda's rapping anger, "When They Come for Me" is another highlight, completely returning to his true form that was faked in his rap songs in Minutes to Midnight. There's also a bombastic Indian-like percussion as the main beat, and while the song sounds to p*ssed off to be a single, the rap rock/nu metal fans might be most pleased since 10 years before the album's release.
"Robot Boy" continues the catchy radio appeal, but it sounds so bland, structured and sounding like a repetitive boy band. Another interlude "Jornada Del Muerto" (Day of the Dead) does not make anything better. "Waiting for the End" sounds much more optimistic, and I agree with most of the world that this one of the best non-metal tracks and of the album, highlighted by Shinoda doing rapping, but in a great melodic reggae-ish singing kind of way. "Blackout" is the weirdest of the bunch. The instrumentation is almost completely electronic, and Chester's vocals range from rapping to singing to screaming. That's right, the godly screaming of their first two albums! Those vocal styles all sound catchy though. If they added heavy guitars and had Shinoda doing the rapping verses, that would be their old heavier style. The second of the two rapping songs "Wretches and Kings" starts with an unnecessary excerpt Mario Savio's famous "bodies upon the gears" speech, then the song kicks off with a heavy beat and Shinoda's well-done rapping. Bennington sings the chorus more aggressive, and he seems to have adopted an African-like accent that some find annoying or hilarious, but I don't mind that chorus staying in my head for a while. Again, much better than the rap songs in Minutes to Midnight!
"Wisdom, Justice, and Love" is an interlude that I would let slide, because the speech by Martin Luther King Jr. is very historical, but why did the band ruin it with robotic vocal effects?! "Iridescent" is another song that's highly electronic, only this time with more emotional vocals and piano, and I mean some of the best vocals here! And it fits well with the third Transformers movie end credits that it ended up in, an uplifting song compared to "What I've Done" and "New Divide". The 6th and last interlude is a prelude to an almost 6-minute epic, but is it epic though? Sadly, "The Catalyst" is disappointing with barely any climax, just constantly looping an electronic beat. Though that beat and the vocals going strong and fast are good for a hotel stay in your head. And it's a far better closer than the unoriginal acoustic "The Messenger" that's not worth existing.
Despite many flaws and needless interludes, A Thousand Suns contains electronic tones, emotional vocals, and Shinoda's triumphant rapping that pointed the band towards higher hopes of keeping their mainstream streak going. There may be enjoyable memorable moments, but they were still far away from the revolution of Hybrid Theory....
Favorites (the only songs I somewhat or truly enjoy): "Burning in the Skies", "When They Come for Me", "Waiting for the End", "Wretches and Kings", "Iridescent"
Genres: Non-Metal
Format: Album
Year: 2010
Linkin Park has caused adoration and hatred from music fans worldwide. I used to be a Linkin Park super-fan myself when I was like 13, a year before my "real" metal interest. I built my collection with more than just the singles that everyone knows; I collected album tracks and B-sides. They never p*ssed me off...until recently.
When Minutes to Midnight was announced, the band said it would mark their departure from most of their nu metal sound, causing uncertainty from fans. I still appreciate the decent brilliance of both the Hybrid Theory and Meteora albums, but other fans think the latter is straight-up copied. Even the early announcements of their third album are total sh*t-starters when the late Chester Bennington mentioned "a mix of punk, classic rock, and hip-hop standards". That's one way to think of this album, I suppose...
Starting the album is the minute-and-a-half intro "Wake". It builds up slow and steady through promising ambience and a background campfire, but then it soars into alt-rock riffing over dense drumming. A well-done intro that sounds like the prelude to a certain brilliant single... However, this is what get instead as the first real song, "Given Up". It has an edgy punk-ish riff that's pretty cool, along with the unique clapping and key-jingling, both from Brad Delson, but they both don't sound right together as if he's trying to multitask poorly. And as if that wasn't poorly produced enough, Chester's vocals aren't the heavy type I like, more like a whining teenager after having his iPod taken away. All just 3 minutes of misery, except for the interesting moment of Chester's 17-second scream of "MISERYYYYYYY!!!!!!" After that roaring start comes the first ever ballad of the album and by the band, "Leave Out All the Rest". It's all right, but weaker than the previous track. The song shows a bit of the band's U2 influences. Chester sings nice clean vocals over average lyrics. "Bleed It Out" is much worse. Trying to create a "live" soundscape sounds a bit sloppy. Mike Shinoda raps as decently as in the previous albums, but the lyrics are more vulgar and nonsensical. Chester sounds more worn out in his edgy moments, as if that 17-second scream a couple tracks back strained his voice.
Once again following a hard song is another ballad, "Shadow of the Day", with more of their U2 influences. In fact, people have accused this song of being a rip-off of U2's song "With or Without You", and I kinda agree. They slowly build up into a pop rock climax, but it turns out to just be a boring anticlimax. Then the song ends, but not without an ambient prelude to one of Linkin Park's greatest non-metal songs ever... "What I've Done" is heard by practically everyone, especially those who have watched the first Transformers movie up to the end credits. It may sound like plain ol' pop rock, but it's done much better than any other song like that. I have nothing else to say about that beautiful piece. However, "Hands Held High" is something to rudely laugh at. It is the latter of the two rap songs here. Starting with organ and a marching beat like a cheesy march into an 18th/19th Century war, Mike's rapping is once again decent, but the lyrics are inspiring yet too cheesy to take seriously. The ending choir is so LOL-inducing!
After the lightest track of the album comes its heaviest one, "No More Sorrow". A sinister atmospheric intro allows the instruments to build up one by one, leading to a riff as well-done as my favorite type of steak. The lyrics basically graffiti-paint "F*** Bush" on the walls that don't help the poor vocals. However, making up for it is the chorus and instrumentation that is the best of the album. "Valentine’s Day" is where Chester's vocals sound the best, his vulnerable emotion singing nice lyrics that flow over light clean guitar. Then a buildup commences to a rock climax towards the end that might sound a bit cheesy but mostly well-done. "In Between" is another track with Mike taking the lead on the vocals, for the first time trying a clean singing style. However, he sounds so bored, like I am throughout that song. "In Pieces" really stands out, sounding dark and haunting with good vocals by Chester, and Brad's cool rare guitar solo. The final epic "The Little Things Give You Away" was the longest and slowest song by the band at the time with Chester vocals to highlight though sounding a bit annoying. The lyrics are the best here, a nice tribute to victims of Hurricane Katrina. The build-up is a bit bland though, sounding too drawn-out before the solo. However, that solo is worth the wait, and so is the good final part where Shinoda sings the lyrics much better than a couple tracks earlier, with Chester's background wails. What an epic!
Sadly, Minutes to Midnight shows how f***ed up the band had become. They reduced most of their earlier nu metal sound so they wouldn't get slammed for making another similar album in a row, and yet the end result is a pleasant yet sh*tty album. And they were the guys who made Hybrid Theory....
Favorites (the only songs I somewhat or truly enjoy): "Wake", "What I've Done", "No More Sorrow", "Valentine's Day", "In Pieces", "The Little Things Give You Away"
Genres: Non-Metal
Format: Album
Year: 2007
I'm no fan of rap. I'm too metal for rap! Yet I'm so familiar with Linkin Park for almost a decade now. They made waves of success with their coin-flipping hybrid rap/metal sound of the late Chester Bennington singing/screaming and Mike Shinoda rapping, and Shinoda can be quite the MC, far better than most other rappers. Shinoda's rapping skills were shining the most in the remix album Reanimation. They have a middle finger reserved for those who say that rock and hip-hop shouldn't co-exist.
Linkin Park still didn't feel like they had fulfilled their hip-hop/rock fusion vision, but they took things ONE STEP CLOSER with a new project dawning, Collision Course! However, it wasn't Linkin Park's idea to fuse songs by rap legend Jay-Z into their own, nor did Jay-Z come up with the idea by himself. MTV wanted to create the "Ultimate Mash-Up", so they gave Jay-Z the opportunity to do with a mashup album with a group of artist, and it's obviously who he chose... He and Linkin Park recorded their tracks via email exchange for their studio take, then they got together for a live performance of the whole album. The live set is redundant, so let's focus on the studio version...
The 21-minute EP starts with Bennington yelling, "I ordered a Frappuccino, where's my f***ing Frappuccino?!", beginning the "Dirt off Your Shoulder/Lying from You" fusion. The original Jay-Z beat is slowed down with Shinoda rapping his verse. Then Linkin Park's rock/metal music plays as Jay-Z emphasizes the guitar crunch and drums with his verses and chorus. After that, the original "Lying From You" song comes back second verse onwards, busting out those lyrics and music until the end, when the "Dirt Off Your Shoulder" beat returns briefly as Jay-Z shouts "B***H!", laughs with the rest, saying "You're wasting your talent, Randy!" So that first mashup turned out slightly better than the original "Lying From You" song, sounding less annoying and a little more complete, despite the rapping overdose. However, some mashups don't work as well, such as the "Big Pimpin'/Papercut" mashup. It just sounds too odd when the original Jay-Z melody plays throughout with Shinoda rapping over it with none of Linkin Park's rock sound around. You just can't have your cheese and spend it!
"Jigga What/Faint" makes more sense, returning to actually taking both sides of both the music and lyrics. The Jay-Z track blends perfectly with the Linkin Park rock/metal, as the rapping sounds great with the actual drumming and guitar. Jay-Z feels comfortable with this incredible rock crunch/rap beat mix, and so do I. You already heard the "Numb/Encore" mix nearly as many times as the original "Numb" song, being the EP's sole single. That's probably the best mashup here. "Numb" makes everything better!
"This is fun", Shinoda says, which is mostly true, but not so much in "Izzo/In the End". I mean, it is pretty fly, and Shinoda can almost turn you into the Kool-Aid guy, smiling greatly and going "OH YEAH!!", but again they could've used the "In the End" music besides the "Izzo" beat. Another missed opportunity... The ambitious last combination, "Points of Authority/99 Problems/One Step Closer" is a great way to end the EP. However, I still feel a little picky in some places, like when Shinoda awkwardly raps the line, "rap mags try and use my black a**", that he knows is unlike his style. But the nu metal magic of the two LP songs makes up for all that, especially the SHUT UP!! bridge.
This mashup album Collision Course is quite an experiment where the two artists bond well with their collaboration, especially since Shinoda and co. were hip-hop fans from the start. I think MTV mashups work the best when a rock/metal band is involved. A couple mashups might not work well, but the rest of the EP has good entertainment....
Favorites: "Jigga What/Faint", "Numb/Encore", "Points of Authority/99 Problems/One Step Closer"
Genres: Alternative Metal
Format: EP
Year: 2004
Remix albums were once a mainstream artist/band's way of keep their listeners hooked between studio albums, but it can be very rare for metal. A nu/rap metal band who already made a remix album is Limp Bizkit with their album New Old Songs. Elsewhere, a different rivalling band of that style would redefine their sound for credibility in the remixes. They were really hitting their charts with their hip-hop-infused metal sound, but they wanted more respect earned for their hip-hop side...
Linkin Park's Reanimation is a remix album project of 20 tracks; all 12 songs from the Hybrid Theory album, 2 B-sides, a medley, and 5 new interludes. While they still had their fists of alt-metal fury, a number of rappers and DJs were hired to give the sound an edge of dark electronic hip-hop. While I'm not very pleased as a fan of their rock theatrics, I find a few parts of the album more d*mn interesting, once again adding balance to the rap rock torture they're trying to distinguish from. Yes there are many rappers taking over for the remixes, but there are also a few rock/metal singer as well including Korn's Jonathan Davis. I say any non-drastic change is welcome!
The "Opening" hints at a closing remixed epic that we'll talk about when we get there. "Pts.OF.Athrty" (Points of Authority) has been given a more NERD-ish side thanks to Jay Gordon of Orgy. Astounding! "In the End" was remade into "Enth E Nd" by rappers/DJs Kutmasta Kurt and Motion Man, taking it much closer to hip-hop than the original song. Let's stop talking about it there. "[Chali]" is just a pointless voicemail message interlude. I certainly recognize Mike Shinoda as a professional MC, though not a lot of the rap community can, and his MC skills are proven his "Forgotten" remake, "Frgt/10" with rappers Alchemist and Chali 2na, the latter from Jurassic 5. If the original verses and chorus weren't included, I wouldn't the original song there, that's how different the remix is. "P5hng Me A*wy" (Pushing Me Away) adds more beats and scratching, but is redeemed by the bridge sung by Stephen Richards of Taproot. Good highlight, but doesn't do the original song justice. The annoying "Plc.4 Mie Hæd" (A Place for My Head) with Amp Live and Zion is not worth talking about here, let's move on...
"X-Ecutioner Style" is a two-minute medley exclusive to this album, with rappers Sean C, Roc Raida and Black Thought. Besides those new rapping verses, I recognize a few vocal parts from "One Step Closer" (the SHUT UP!! bridge) and "Cure for the Itch" ("Now wasn't that fun? Let's try something else"). Up next, "H! Vltg3" (High Voltage) thumps through hip hop beats and piano notes inspired by a free Dre songs, with vocals performed by Evidence, Pharoahe Monch, and DJ Babu. Sweet highlight, but both the Hybrid Theory B-side and the remix still don't beat the original from the Hybrid Theory EP. Then there's another pointless interlude, "[Riff Raff]", which I thought there was going to be actual riffing but there isn't any. After that, "Wth You" (With You), featuring Aceyalone, adds way more beats and scratching than the original. "Ntr\Mssion" is not as bad as most of the previous interludes, again giving a small hint to the upcoming closing epic.
"Ppr:Kut" (Papercut) adds more twists with a group of rappers that include Cheapshot, Jubacca, Rasco and Planet Asia. The "Runaway" remake "Rnw@y" actually adds more truth to the original, keeping the skyrocketing hooks and primitive melodies of the original to please listeners of the original song. Even the rapping bridge with Backyard Bangers and Phoenix Orion is worth headbanging to. Nice job! "My Dsmbr" is also better than the original "My December", with the otherwise weird hip-hop beats by Mickey P. making it sound more real than just a ballad. Former Sneaker Pimps vocalist Kelli Ali does background vocals in the chorus. Beautiful! "[Stef]" is another a pointless voicemail message interlude. "By_Myslf" (By Myself), produced by Josh Abraham, adds heavier industrial power in the guitars performed by Deftones' Stephen Carpenter, with blazing drum machine insanity. However, the vocals are f***ed up, especially the screams sounding more screechy. "Kyur4 th Ich" is almost the same as the original "Cure for the Itch", other than strange new vocals, so that's kinda lame. The two nearly 6-minute closing remixed epics are by far the best of the entire album, starting with their smash hit "One Step Closer" remade into "1Stp Klosr", with production by The Humble Brothers guest vocals by the aforementioned Korn lead vocalist Jonathan Davis. A great escape from the rappers and MCs from earlier! Further distancing from most of the hip-hop sh*t is what you've all been waiting for, "Krwlng", an epic dramatic revisit of "Crawling", with Staind singer Aaron Lewis, where the beat and brief rapping have earned a greater edge for a crossover with less emphasis on hip-hop. Well done, guys...
So, some of these remixes are well-made, others are kinda ridiculous or just flat-out boring, and some of the instrumentation is unrecognizable from the original. However, Reanimation has taken Linkin Park closer to the rock hall of fame with bands like Radiohead and Flaming Lips, and is the right direction for their next album Meteora....
Favorites: "Pts.OF.Athrty", "P5hng Me A*wy", "H! Vltg3", "Rnw@y", "My Dsmbr", "1Stp Klosr", "Krwlng"
Genres: Alternative Metal
Format: Compilation
Year: 2002
Once upon a time (cheesy opening, I know), 3 high school friends dreamt of starting a famous band. When they graduated, they began their plan to achieve that dream. They hired 3 more members and started a band called Xero, recording a bedroom-produced demo. However, with a name change lack of a record deal, two members left for other projects. Original vocalist Mark Wakefield's replacement, Chester Bennington (RIP) helped revived the band with new chemistry, and their path to fame was only beginning...
So yeah, I'm reviewing the EP Linkin Park released as Hybrid Theory. It's actually part of my own big project involving their discography, so you're gonna see a lot of Linkin Park reviews from me soon. I would've also included the Xero EP, but it's not in the site because that's a demo. The Hybrid Theory EP is a real release though, so let's review!
"Carousel" is a very good way to open both the EP and the band's discography. When Chester's vocals arrive, they really rock along with the instrumentation. A good song for me to like! "Technique" is a very short interlude with not a lot to say, other than having a couple mini-sections. My least favorite part here... Next up, "Step Up" is filled with Mike's rapping, which I actually like in both the verses and chorus, along with the cool guitars and drums. Mike's potential shines there more than any other rapper!
While "And One" is the second song in the EP with Chester's vocals, it is actually the second ever song Linkin Park made with his vocals, first being the then-unknown demo track "Could Have Been". My favorite song in the EP! I love the vocals from both Mike and Chester, the latter especially in the chorus, along with heavy instrumentation.
"High Voltage" is one of my favorite songs with Mike rapping. I'm not lying at all when I say his rapping is perfect, better than any other rapper or rap metal band by far! The vocoder in the chorus ruins its epic vibe, but I don't care. "Part of Me" is the weakest actual song. Chester doesn't sound so great in this song, no matter how hard he tries. At least I can appreciate Mike's anger. After 6 minutes of static, the "Ambient" hidden track shows turntablist Joe Hahn doing a good job solo, but it lacks any redemption value.
The Hybrid Theory EP is very good for a short rap metal release. Sure they would sound much different in the albums to come, but I like the strength of its sound more than I thought I would. My review streak is just starting, but in the meantime, enjoy this EP and the albums that beyond fulfilled a high-school trio of friends' big dream....
Favorites: "Carousel", "And One", "High Voltage"
Genres: Alternative Metal
Format: EP
Year: 1999
"WAR!!! DESTROYER!!!" That's what's been going in the first Linkin Park album without producer Rick Rubin and with their earlier metal sound since 2003's Meteora. These ultra-famous rap rockers from California decided to go rogue in a Star Destroyer-like spaceship to shoot missiles at ex-record labels and political rule-makers, equivalent to their rediscovery of savage loud guitars. The Hunting Party can be considered the Rogue One of their global-selling 2000 debut Hybrid Theory. While the electronic synths of their non-metal albums in between are still around, they've regained their earlier pummeling aggression. As the sound attacks, the lyrics defend, working as the band's sword and shield for the fight. Apparently, they were going to make another electronic album like Living Things, but when they decided to go to this furious metal direction, they ditched the electronics, which was the right decision for metalheads like myself.
So what's with all this rage then? Rap metal can be cool (for metalheads who like rap), but this isn't 1999 anymore. As evolution goes on, do you wish to stop and apologize for making a few critics mad? NO!! It's your sound, and while they won't accept it, just go with it so you can please the rest! Fortunately, Linkin Park had done just that. They even had a little more freedom since they self-produced the album. It's not really the highest point, but heaps of copies have been sold, and there are very few lousy songs.
"No control! No surprise!!" Distorted screaming starts the album opener "Keys to the Kingdom". Then the guitars blast off, and what follows is nu metal verses sung/rapped by Mike Shinoda and hardcore choruses screamed by the later Chester Bennington. Back to the basics and then some! "All for Nothing" continues the heavy guitars, but the drums swing slowly for Shinoda's verses of disobedience. As defiant as those verses are, the chorus is sung by Helmet's Page Hamilton (with Bennington's backing shouts) who also does a neat guitar solo. "Guilty All the Same" was pretty much the last ever song I've heard from Linkin Park in my brother's alt-rock/metal footsteps before fading out into my "real" metal interest, and I still love it to this day because of how metal it is! There's a minute-and-a-half intro of dramatic guitar buildup, and in the second half of that intro is a power metal-ish melody similar to Avenged Sevenfold, before Bennington's verses roll in where he really unleashes his rage. There's a rapping bridge, but this is the 3rd track in a row to have rapping, and it could get a bit boring for the heavier metalheads to hear Shinoda rapping in so many songs. How did they prevent that problem? Enter hip-hop legend Rakim who shines with his attack on the industry ("The media, the game, to me you're all the same, you're guilty!"). "The Summoning" is a one-minute static-infused interlude to build tension, waiting for the grenade to explode after the pin is pulled out.
"War" is surprisingly closer sounding to Bad Religion, but the stunning punk attack moves on smoothly. For a two-minute song, guitarist Brad Delson has quite some time to pull a fierce solo with Chester playing rhythm guitar to follow his lead (pun somewhat intended). "Wastelands" continues Shinoda's rapping with "Every phrase a razor blade", to paraphrase one of his verses, as the start-stop guitar is sharpened by electronic ambience. Bennington's choruses timelessly deliver declarations of d*mn discontent. The sonar synth effect from "Numb" returns in "Until It's Gone", opening the song together with a heavy guitar rush as a moody electronic rock piece. The bridge builds up until the bass is dropped and the guitars come back for the final chorus. The cliché-ish lyrics make the track sound a bit like a middle school fight song. "Rebellion" stomps in with a gnarly guitar intro, which along with the background synths, once again give the song a European power metal vibe for a medieval sword war. Assisting the band in the quest is a guest, System of a Down's Daron Malikian performing part of the aforesaid guitar riffing. The song's lyrics speak of anger and urgency, with nothing specific to fight against and just rebelling for the h*ll of it. "Mark the Graves" starts with U2-like atmosphere before they load up the punk pins and needles on the guitars and drums. It's equally naughty and nice, with the lyrics bringing up a scenario of a losing your girlfriend in the wreckage of a bombed city. Those lyrics allow space for deep touching contemplation, and really mark the album's territory.
While the lyrics have been unironic, in "Drawbar" the instrumentation can be considered the opposite. Here we have one more guest, Rage Against the Machine guitarist Tom Morello, and instead of continuing Linkin Park's rock return, he does not play a single riff or chord, he just provides guitar ambience over a shuffle of piano, synths, and drums in an off-kilter mix. A lame missed opportunity! "Final Masquerade" marks the return of actual guitars, synths, and vocals, through the verses and chorus that carry a mid-tempo hard rock ballad sound. This is basically lyrics of another love affair sung in an epic arena singalong. "A Line in the Sand" is, at 6 and a half minutes long, the longest Linkin Park song, slightly longer than the closing epic of Minutes to Midnight. When I first heard Shinoda's verses, I initially thought it was Page Hamilton again. Anyway, the metal madness continues one more time as the band hop back into their Star Destroyer and bomb the graves of the presidents who did their roles in the World Wars. The intro verse is reprised in the outro, "We laughed at the suns, we laughed at the guns, we laughed at it all," but he just sounds tired. A good rest is needed after that heavy run...
So there you have it, The Hunting Party, the heaviest album by Linkin Park since their nu metal era! Most of the songs are pretty great, but I think some of those could've been done better. The Linkin Park blood still remains within me years after my "real" metal interest took over. Sadly, their metal is gone, and so is Chester Bennington. RIP.....
Favorites: "Keys to the Kingdom", "Guilty All the Same", "War", "Rebellion", "Final Masquerade", "A Line in the Sand"
Genres: Alternative Metal
Format: Album
Year: 2014
Once a Japanese Visual Kei/glam rock band, Dir En Grey toned down their earlier imagery and focused on becoming something greater and more modern. Their superb songwriting will surely persuade listeners to enter the Japanese alt-garde metal realm!
Their 7th album Uroboros further establishes the unique genre the band has reinvented, all in emerging triumph. It is an exploration through new territory while staying familiar to earlier fans. They continue to expand on the earlier pop elements but twist it with the metal sound that would dominate this album in sonic talent. And seeing how I can better tolerate both Japanese metal bands and bands in other languages besides English, I should have no problem here...
The album begins with the intro "Sa Bir" with deep drum looping, subterranean synths, cimbalom, bass, and background vocals by lead vocalist Kyo. It is a little risky to open the main action with a 10-minute epic, but "Vinushka" wastes no time getting into the zone with an acoustic intro with soft clean vocals, before crashing into metal riffing and vocal reverb. Dynamic time changes are a stunning addition to this dark gothic-ish tune. Throughout these 10 minutes, the song just walks carefully over a deep pit but keeps staying together thanks to the vocal styles that vary more than Mike Patton. In the middle, you get a killer thrash/death metal section before returning to dark prog-pop from early on, and everything works for a seamless enjoyable experience! "Red Soil" has a bit of Soilwork-like riffing and growls while still having melodic dark pop verses. "Dōkoku to Sarinu" (Gone With Lamentation) can help you identify the vocals from whispering to shrieking in the blink of an eye. They've maintained their harder edge for a few years before this album, living up to their experimental metal motive that was never present in the 90s. "Toguro" (Coil) shows the bass carried out of the bottom of the mix.
"Glass Skin" has a dark ballad vibe closer to some of Dream Theater's ballads. Another standout is warped funk-rocker "Stuck Man" with killer bass. Another great song in that style is "Reiketsu Nariseba" (If I Was Cold Blooded) that blends the jazz and vocals of Mr. Bungle with Schizophrenia-era Sepultura. The elegant layers of "Ware, Yami Tote" (For I Am Darkness) includes Kyo's emotional singing, the breakbeats, and guitars that hook together acoustic and electric.
Before we get to the next track, there are two bonus tracks in the remastered version, the devilish "Hydra -666-" and "Bugaboo Respira", which is an odd prelude to what you were waiting for. But was it worth the wait? "Bugaboo" is as odd as the bonus prelude, but I still like it, and the album's 5-star score remains intact. "Gaika, Chinmoku ga Nemuru Koro" (Paean, the Time When Silence Sleeps) can range from emotional to a rapid headbanger. "Dozing Green" is a further demonstration of the band's sonic talent. "Inconvenient Ideal" is a ballad that seems like an inconvenient way to end the album, but I digress.
I don't know what else to say about Uroboros, other than... Get it right f***ing now! If you enjoy this alt-garde metal kind of style, this would get you hooked, otherwise you would be better off elsewhere. Dir En Grey have made one of the proudest achievements in the history of metal!
Favorites: "Vinushka", "Dōkoku to Sarinu", "Stuck Man", "Reiketsu Nariseba", "Ware, Yami Tote", "Gaika, Chinmoku ga Nemuru Koro", "Dozing Green"
Genres: Alternative Metal Avant-Garde Metal Progressive Metal
Format: Album
Year: 2008
This is the only death metal album rating and review I'm gonna keep. I promised myself I would stop listening to death metal and avoid it at all costs, but I felt like giving myself an exception. I mean, it is quite understandable, right? Y'know, when a band you've heard for a few years has ended, followed a year later by the tragic passing of their guitarist/vocalist during a new project. You probably know how I felt...
Legendary melodeath band Children of Bodom split up when half of the band left, taking the rights to the name with them, so guitarist/vocalist Alexi Laiho formed a new band Bodom After Midnight. Sadly he passed away at the end of 2020, leaving behind a few songs for an upcoming album. The rest of the band released those 3 songs as an EP, and ended the project, knowing that this was Laiho's project and continuing under its name would put them in the same legal trouble he almost had over the name rights of Children of Bodom. As a tribute to their fallen leader, Paint the Sky With Blood does great justice to his absolutely astonishing career that's now gone too soon.
Beginning this 15-minute offering of melodeath entertainment, the title track has epic melody. Fast riffs and powerful rhythms battle against neo-classical solos and fun keyboards. Alexi Laiho has vocal charisma, especially in the catchy chorus supported by gang vocal fury. This is very well the best song he has ever written in his career, absolutely hungry for the epic fury he hadn't had for 20 years. The song does indeed sound fitting for that early era of Children of Bodom.
The second track is probably the least strong and most brutally lyrical of the EP, "Payback's a B***h". It starts with heavy breathing, then energetic rhythms, furious riffs, and relentless reckless vocals kick in. There's less catchiness but more brutal atmosphere that sounds fitting for the later part of Children of Bodom's middle era 10 years ago.
The EP ends with an excellent Dissection cover, "Where Dead Angels Lie", the longest song in the whole Bodom band universe, just a few seconds longer than "The Nail" from the 1997 Children of Bodom debut Something Wild. The sinister atmosphere and melody remain while adapting into the EP's impressive technical melodeath. The song has a slower pace than the other two, but it will keep you interesting throughout these 6 and a half minutes. The original Dissection song has been appreciated by melodic black-death fans. Two melodeath-ish bands, both split up, each with their guitarist/vocalist passing away shortly after.
At the end of it all, Bodom After Midnight have made their only studio appearance with Paint the Sky With Blood, an excellent swansong EP for the melodeath mastermind Alexi Laiho. I highly recommend this timeless piece of melodeath for fans of the genre who want to preserve it for many generations. RIP Alexi and Bodom....
Favorites: "Paint the Sky With Blood", "Where Dead Angels Lie"
Genres: Death Metal
Format: EP
Year: 2021
Today is the day, a very special day... It's my time to try a bit of experimental noise-metal with Today is the Day! I tried reviewing one of their other albums that was an Infinite feature release, but I bailed out because it was too much for me. So let's find out how I'm gonna handle this one...
The 1997 Today is the Day release, Temple of the Morning Star has been known as a noise metal classic, and for its 20th anniversary in 2017, a deluxe reissue was released to include a bonus CD filled with demos and a live concert from the original release year that was released in 2007 but remastered for the album's reissue. It might seem amazing, but if I can stand the noise-ridden music in the original album, maybe then I'll proceed to those rarities. (spoiler alert: I didn't)
The opening acoustic intro starts the album in nihilistic nature ("I am slowly dying, I can’t be what you want me to be, I am dead") to summarize the views of lyricist/founder Steve Austin (not to be confused with "Stone Cold" Steve Austin). A pleasant acoustic start before the cathartic start of the sound that inspires metal acts like Converge and Thou. After that acoustic intro is a sample of Waylon Jennings' "Good-Hearted Woman", then the screaming chaos of "The Man Who Loves to Hurt Himself" starts to frighten those who aren't prepared. "Blindspot" sounds more repetitive in the riffing, but the sirens almost make the chorus sound like Pac-Man. The dark sludge to appear in later albums is hinted in "High as the Sky". My favorite track in the album is "Miracle". It's short but it sums up everything the band has from anger to doom.
The lyrics in the album are far too direct, especially in "Kill Yourself", when he gives clear instructions to take a blade and cut through the wrists, neck, thighs, heart, etc. ("Why hold back!? Kill Yourself!!! Take a blade!! Do it fast!! Do it clean!!!") No thanks! I got a lot to live for and I don't wanna waste my life by bleeding to death. A more experimental sound can be heard in "Mankind". The minimalistic noise rock of their earlier albums returns in "Pinnacle". More of the astounding noise layers come in "Crutch", keeping up the break from the emotional melody before the next track. "Root of All Evil" is a more melodic song in contrast to most of the songs so far, but before the heavier listeners could call it "filler", the powerful crescendo is still in possession. "Satan is Alive" has far more Satanic experimentation than reversed messages. Maybe playing it backwards would summon Satan itself, but do I dare to? NAH...
"Rabid Lassie" continues the melodic groove while still having rabid experimentation. "Friend for Life" is a pointless half-minute acoustic interlude that I want banned for life. Austin does a bit of clean singing in "My Life With You" (while still screaming), a tale of disappointment and demise of his ex-relationship. "I See You" can kinda be a sequel to that previous track, where he ends up seeing his ex in his dreams. We come near the end with the 8-minute doom epic "Hermaphrodite". The ending electric outro ends the album similarly to how it began, but of course more electric and tuned up a semitone. Technically the original album ends after a hidden cover of "Sabbath Bloody Sabbath".
Here's a bit of listening advice; play the album as loud as you can, but only in a soundproof room where no one can accuse you of "disturbing the peace". The only distortion you wanna hear is that of the guitars and not the production quality. The band has aced their sound but I still don't feel ready for more of that noise. Maybe some other day....
Favorites: "Temple of the Morning Star" (both versions), "The Man Who Loves to Hurt Himself", "Miracle", "Root of All Evil", "My Life with You", "Hermaphrodite", "Sabbath Bloody Sabbath" (hidden Black Sabbath cover)
Genres: Avant-Garde Metal
Format: Album
Year: 1997
Jesu is a band formed by Justin Broadrick that was active during his decade-long breakup of his main band Godflesh. The name is spelled like "Jesus" but without the second S, and pronounced "yay-zoo", like when you say "Hey kids, we're going to the zoo!" and your kids are like "YAY, ZOO!!!" I decided to give this EP I requested to add to the site a listen to see if I'm up to completing my post-sludge elemental star. Probably not at the moment, but never say never...
Fans of Justin's work pretty much fell in love with Jesu's 2004 self-titled debut and were glad to hear him still in action. In an attempt to match its greatness, he continued the project with the EP Silver. This really does seem closer to post-sludge than the drone of their debut, but it still has the band has to offer.
Off in a good start is the title track that marks the beginning of what the sound has; electronic ambient sludge instead of drone. A good but not too shocking opener. "Star" is an upbeat alt-like shocker. Jesu fans might have trouble digesting it, but it's all good once you get used to it. The second half is where things slow down to the drone style of their debut album and EP. "Wolves" is good, though sounds closer to the drone of their debut. The last track, "Dead Eyes" discards most of the guitar heaviness for synths, thereby being the EP's black synth sheep. I really like this song because of the well-placed synth-ambience, so it's my black synth sheep of favorite songs...
There are two bonus tracks in the Japanese release, which are original mixes of "Silver" and "Wolves", but seeing how the EP versions are the slightly lower quality half, I'll skip those two bonuses. Despite that, I really enjoy Silver, and how can a band not have even the slightest complaint, right? JK Broadrick has still got it!
Favorites: "Star", "Dead Eyes"
Genres: Post-Metal
Format: EP
Year: 2006
Shadow Work is known as the swansong album for Warrel Dane, who suffered a fatal heart attack while recording. He was one of the best singers in metal, and now we get to experience his last ever material. Despite being incomplete, this album is incredible! All fans of Nevermore and the recent Sanctuary should enjoy this twisted darkness.
This album was released 10 years after Praises to the War Machine, when he still had the light of Nevermore while using less of that band's virtuosic technicality. Shadow Work is so heavy and impressive, and he recorded the album in Brazil with a local band. I'm guessing those two guitarists Johnny Moraes and Thiago Oliveira were trained by Jeff Loomis before recording with Warrel Dane. The riffing balance between heavy and melodic sure has been inspired by Nevermore.
High-quality ethnic sounds perfectly fill the overture "Ethereal Blessing". Then the intense "Madame Satan" starts the extreme action in a bang. "Disconnection System" is closer sounding to the second Nevermore album The Politics of Ecstasy, even recycling some lyrics from that album. The best song to sample before the rest!
"As Fast as the Others" is ironically not as the title says, but it does have an arena rock vibe. The title track distinguishes the album from its atmosphere with its killer heaviness that make the song a highlight. The intro to their cover of The Cure's "The Hanging Garden" is probably the darkest and most extreme section of any song Warrel Dane had worked on. The guitar stays both vicious and atmospheric with a few unexpected twists, as Dane's melodic vocal emotion shines over prog-death instrumentation.
The ballad "Rain" is more accessible while still gloomy. "Mother is the Word for God" is the epic closer with all his vocals heard for the final time, from snarling to whispering. All that's missing is his falsetto from the earlier Sanctuary, but he has worn it out. This really echoes the title epic of Nevermore's This Godless Endeavor without copying.
In the beginning of this review, I mentioned that this album is incomplete, right? Yeah it was supposed to be almost twice as long, near the 80-minute CD time limit, but after Dane's passing, they used the songs he completed and thus came Shadow Work. Those recordings were made possible thanks to Dane's band and the last of his emotional vocal drama. It might seem a little rough on the edges, but this is the best album for his singing at the very end of his over 3-decade career. Thank you, Warrel Dane..... RIP
Favorites: "Madame Satan", "Disconnection System", "Shadow Work", "Mother is the Word for God"
Genres: Progressive Metal
Format: Album
Year: 2018
Whether living your life personally or professionally, you are bound to reconsider and change your path. Man's best creative achievements include artistic experimentation and renewal. Our evolution is much different from that of other creatures, with tons of changes that define who we are. After the fall of the somewhat unknown Distillator, this Dutch trio of metallers (vocalist/guitarist Laurens Houvast, bassist Frank te Riet, and drummer Marco Prij) did what the creators of Phineas and Ferb did after their show ended; start a new one! This time, they altered the thrash destruction of Distillator and took it a step forward into a futuristic progressive style to create... Bionic Swarm!
Meanwhile, American prog-thrashers Vektor reformed with a slightly different style, and both bands' changes were first exhibited in their split album Transmissions of Chaos. With the first Cryptosis album Bionic Swarm, there are a few things different from the usual thrash including Frank's mellotron synths creating ethereal ambience for the futuristic concept. This progressive thrash approach includes hardcore/death metal overtones surrounded by symphonics.
An ambient "Overture 2149" sets up the mood needed for the album. Then "Decypher" begins the prog-thrash action in a perfect blast, welcoming fans to the band's new cycle of creativity as probably one of the best songs of the album. The perfect blend of fury and harmony is mixed together with futuristic textures that stand as the concept. The interesting dynamics and rhythms bridge together the band's influences from Vektor, Coroner, and Megadeth. Despite the prog-thrash approach for the album, there's the simple verse-chorus structure that fits well as the sun of the solar system of all those elements. This minor detail serves as a stabilizing counterbalance for the technicality and progressiveness. The Megadeth-like riffing continues in "Death Technology".
"Prospect of Immortality" is more atmospheric, and what's unique compared to the other songs is, the guitar leads and solos take a break from technical simplicity to match the splendor of the other elements. "Transcendence" has a chorus that very well screams out the band's Vektor influences. "Perpetual Motion" is an ambient intermission.
The large brutality returns in "Conjuring the Egoist", breaking through walls at full speed and power. They sure know what they're doing with their razor-sharp thrash style. "Game of Souls" once again shows the band is at the top of their progressive thrash game. "Mindscape" has perfect harmony before the album's fierce remainder... "Flux Divergence" ends the album and narrative with nearly the same level of chaos as the album began. Once again, the strongest achievements by the band are made in creative maturity while gaining a bit of diversity.
Bionic Swarm shows this Dutch trio leaping into more than just stylistic change, it's a full-on reinvention of their creativity. Cryptosis' progressive-thrash hybrid brings new fresh hope to a style that has lacked attention. While I wouldn't put this album into the avant-garde category, its sense of adventure and audacity makes this album one of the most remarkable albums in the recent times of progressive thrash metal!
Favorites: "Decypher", "Prospect of Immortality", "Transcendence", "Mindscape", "Flux Divergence"
Genres: Thrash Metal
Format: Album
Year: 2021
I've never really been a Kylesa fan, but I recently stumbled upon a couple of their songs, each from one of their albums, when searching for Spotify recommendations for my private-at-the-moment playlists. While the first song, "Tired Climb" from Spiral Shadow, was a restrained pop-ish metal disappointment, the second song which appears in this album, Ultraviolet (I'll tell you which one when we come to it) is heavier and more superior. This made me surprised that this album is considered non-metal, when I hear stoner metal all over in that song, but having learned my lesson after my Alcest review/judgement submission, I decided I won't submit this album into the Hall until I make a full review. So let's dive into this offering from a sludgy stoner metal band from Georgia!
I am quite curious to see if there's metal here or not, but while the metal strength is prominent enough to be in a clan, it seems more diminished than most other metal albums I've listened to. That might sound awful, but the approach works better than you might expect because it has way more psychedelic abstract than mainstream sugar. Instead of 21 Century Blink 182-inspired music, they've gone backwards in time with their influences ranging from 90s alt-rock to 80s post-punk to 70s Pink Floyd. Baroness and Kylesa stay king and queen of present-day stoner/sludge, but the latter's sound is more evident, proving that this album is, once and for all, considered metal.
"Exhale" sounds great with cool downtuned fuzz, but the lyrics can come out hilarious. The band's combination of heavy sludge metal with psychedelic trance is so obvious in "Unspoken", their most accomplished mission in reminding me of how metal they are. In fact, that's the song from this album I found when I was adding recommended songs to one of my playlists to my Spotify account, and the main reason for this review. "Grounded" is another great song.
"We're Taking This" is short but has f***ing intense vocals with insane lyrics. The guitars sound fresh, especially at the two-minute mark that reminds me of Mastodon, though not as amazing as "Unspoken". Except in this one, you hear massive atmosphere with amazing riffs suitable for metalheads. Seriously, those sinister vocals are awesome! You'll find a lot of sludge stacking up more than Red Fang or Stake, and did I mention the heavy uncompromising riff in the psych section. It's so short, unlike Mastodon's longer songs, but I love it! I also say h*ll yeah to the awesome "Long Gone". The short "What Does It Take?" is faster, but in a Placebo-gone-metal kinda way. Philip Cope goes solo when doing the vocals for that song. "Steady Breakdown" starts with what the title says, but over the stoner rhythm is a memorable melody. However, the melancholic passages make the band have a Beach House-like sound. Laura Pleasants returns with her vocals and riffs there.
"Low Tide" is a somber flashback to Joy Division. "Vulture’s Landing" continues the speed with Laura's vocals soaring through the air, along with a short solo trip. A killer heavy tune! "Quicksand" is a quick song with not a lot to note here. "Drifting" starts off sounding more suitable for stoner smokers before increasing heaviness.
Ultraviolet is a pleasant break from the extreme metal realm of growls and blast-beats, but there are a few outstanding riffs and heavy solos, though with barely any doom in the guitars. However, what's really missing that would make the album more appealing would be any tribal drumming jams that would make the dreamy soundscape and the heavy vocals more solid. Ultraviolet might not make Kylesa reach my interest, I love the mystique of this album! Kylesa have really evolved their sound along with fellow prog-sludgers Mastodon and Baroness. Ultraviolet is an album I would recommend to people with broader stoner tastes who might find this kind of metal fascinating....
Favorites: "Unspoken", "We're Taking This", "Long Gone", "Steady Breakdown", "Vulture's Landing"
Genres: Non-Metal
Format: Album
Year: 2013